Inthe second act of this dance evening, Forsythe reveals another facet of his talent, fusion. Seventeen/Twenty One combines the precision of ballet with the ingenuity of urban dance. Dancer Rauf ‘RubberLegz’ Yasit embodies the latter in a continuous burst of virtuosity. To the irresistible baroque music of Jean-Philippe Rameau, William Forsythe’s art brings history WilliamForsythe_A Quiet Evening of Dance_SWT, Seventeen _Twenty One Dancers; Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf Yasit, Ander Zabala Gomez. 6 – 10 Φεβρουαρίου 2019 | Κεντρική Σκηνή | 20:30 . Ένα ήσυχο βράδυ στη Στέγη. Όταν η μουσική κλείνει, η Στέγη του WilliamForsythe | A Quiet Evening of dance. 10 décembre 2021 à 20h00 « Ziferte Productions | _Jeanne_Darc_ La Chair du monde | Désirer tant » En quatre courtes pièces, le chorégraphe William Forsythe éclaire les liens entre le baroque, le ballet classique, le hip-hop et la danse contemporaine. « Une tranquille soirée de danse » : un titre bien modeste pour l’un WilliamForsythe’s “A Quiet Evening of Dance” pulls from his expansive body of work to play with the Balanchine adage of “seeing the music, hearing the dance,” which he brings to life even in melody’s absence. But at the Shed, Hudson Yards’ new “cultural center” committed to making art of established and emerging makers alike accessible to all, the “Evening” felt like a AQuiet Evening of Dance, une chorégraphie de William Forsythe, à découvrir à l'Opéra de Lausanne, dans le cadre de la saison du Théâtre de Vidy. Grandexplorateur du mouvement et de l'espace au fil de ses nomreux projets, William Forsythe est rare dans la région. En deux parties et cinq morceaux, A quiet evening of dance, conjugue danses les danses dans un parcours entre les époques et les techniques.Sur le plateau, le programme consacre également la rencontre entre six anciens interprètes de Concentréde style, laboratoire spectaculaire, pratique chorégraphique, A Quiet Evening of Dance, créé en octobre 2018 et présenté en juin 2019 au Teatro Malibran, à la Biennale de la danse Thismonth, USC Glorya Kaufman School of Dance student Jake Tribus (BFA ’20) traveled across the country to perform in the New York City premiere of William Forsythe’s ballet, “Seventeen/Twenty One.” The piece was created for Forsythe’s program, “A Quiet Evening of Dance,” which was co-commissioned by The Shed in New York and Sadler’s Wells in London. AQuiet Evening of Dance di William Forsythe, andato in scena in prima nazionale al Teatro Grande di Brescia e poi al Teatro Valli di Reggio Emilia, è un capolavoro omogeneo, essenziale e dotato di grande trasparenza. La serata, composta da cinque brevi composizioni, tra cui figurano due nuove creazioni, ha un carattere introspettivo, intimo ma anche ironico che si En1984, il accède, pour vingt ans, à la direction du Ballet de Francfort (Allemagne), avant de créer, en 2004, la Forsythe Company, qu’il dirige de 2005 à 2015. Récemment, Forsythe a créé de nouvelles productions pour le Ballet de l’Opéra national de Paris, l’English national Ballet, le Boston Ballet, ainsi que la pièce A Quiet Evening of Dance, saluée par la critique f23yN. Review A Quiet Evening of Dance, Melbourne Festival The program booklet for William Forsythe’s A Quiet Evening of Dance has an entire paragraph in the choreographer’s biography dedicated to listing his lifetime achievement awards – such is the stature of this man. It wasn’t always so. Forsythe’s work was consistently controversial particularly in his native United States, from the time he took over the artistic direction of Frankfurt Ballet in the 1984 until well after he left it to run his own, rigorously experimental Forsythe Company. His choreographies were and are difficult, formally experimental to the absolute extreme, breaking both with the pleasing aesthetics of ballet and with the humanist bent of modern dance. The titles of his works are representative of his disinterest in playing by the book consider In The Middle, Somewhat Elevated 1987; Limb’s Theorem 1990, and One Flat Thing, Reproduced 2008. A review in LA Times in 1991 referred to him as “arguably the most controversial choreographer in international ballet”. In 2005, police raided his house after he presented a choreography that critiqued the war in Iraq. Forysthe’s work is contemporary dance that maintains an absolute allegiance to ballet. Bill Cooper The last ten or so years have seen Forsythe’s repertoire of key pieces reappraised with a vengeance. It is not entirely clear how this happened - and even the choreographer himself has spoken in amused tones about it. It is possible that time has lent clarity to his formal brilliance, or that his harsh, techno-cerebral aesthetic seems less unapproachable in the era of backyard drones. Either way, today, Forsythe is considered one of the greats of contemporary dance. Specifically, of ballet. This is an important and unusual distinction to make, because what we call “ballet” and what we call “contemporary dance” have been in philosophical opposition for at least the past 50-odd years. Contemporary dance has developed as a rebellion against the rigidity of ballet training, techniques and aesthetics, and today the two communities of dancers, institutions, and audiences coexist without a great deal of overlap. Read more Tree of Codes wields dance, music and art to create new spectacle Contemporary dance training is looser than the absolutely codified positions of ballet dancers and choreographers come from all backgrounds, including street dance, and late bloomers are not unusual unlike ballet, in which an early start is still a must. Forsythe, whose work is revered for its innovative and challenging nature, is a rare figure in contemporary dance to have maintained an absolute allegiance to classical ballet institutions, techniques and dancers. He classically trained and danced with Joffrey Ballet and Stuttgart Opera before he became a choreographer; and all but ten years of his long choreographic career have been spent within ballet institutions. This long preamble is to say however jagged, industrial and shapeless an evening of Forsythe choreography may seem to an eye used to Odette/Odile from Swan Lake, it is always grounded in ballet. “I feel like a native ballet speaker,” the choreographer has said. The vast experimentation with bodily organisation, composition, structure, that animates Forsythe’s work, unfolds through the vocabulary of five positions, pliés, and Petipa. Bill Cooper A Quiet Evening of Dance is a curated program of short pieces that premiered earlier this month at Sadler’s Wells in London and De Singel in Antwerp before coming to Melbourne Festival. Some of the pieces included in the program are old, others are newly created. Dialogue DUO2015 was originally an all-female duet created in 1996, re-choreographed in 2015 for Sylvie Gillem’s farewell program, and here re-offered on two male dancers. The impetus for the program was to give a longer shelf life to this virtuosic, but light-hearted choreography that borders on slapstick, in which two men circle each other, mimic each other’s movements, trip, fall, stand up. The delivery is easy when something is done with great skill, it appears as if it’s done without effort. That’s because it’s done with skill, and not effort. DUO2015, the centrepiece of the first half of the performance, is prefaced with a tryptich Prologue-Catalogue-Epilogue. The three short works, performed to not much more than birdsong and silence, serve almost as a primer to the rest of the evening. The first is a pas de deux in blacks and long white gloves, drawing all the attention to the dancers’ expressive arms, as if they were mimes. In the second, Jill Johnson and Christopher Roman, two fantastically skilled and surprisingly mature dancers, provide almost a mechanical sketch of ballet, by systematically performing the folding and unfolding of joints shoulders, elbows, wrists, pressure points, counterpoint, balance, swivel. It is like a lesson in the mechanics of ballet. Bill Cooper This becomes significant in the Epilogue, which introduces more complex geometries and human configurations, as well as the equally rigid vocabulary of break-dancing through the appearance of Rauf “Rubber Legz” Yasit, frequent Forsythe collaborator. The juxtaposition foregrounds the similarities of the two systems of movement; but more importantly, it foregrounds their nature as systems, their mathematics. Act 2 is an entirely new piece, Seventeen / Twenty-One which continues the same break-down of ballet to its most basic constituent elements, through juxtaposition with the movement sequences of break-dancing, but this time to a Baroque composition by Jean-Philippe Rameau. The effect is of a magic trick the curtain fall and reveal. Forsythe’s sparse, precise, denim-and-sneakers minimal choreography is now the 17th-century pas de troix, as courtly and codified as the Versailles of the Sun King. In one truly splendid moment, Yasit crosses the stage in a sequence of superbly executed street moves. Two of the ballet dancers look at him, point, turn away elegantly, like fauns in early ballet, only in jeans. The music gives a sense of rhythm, phrasing, tone and emotional narrative to the same choreographic movement that in Act 1 came across as dry, theoretical exercises. It is as if Forsythe has just shown us how it’s all done. Bill Cooper Both ballet lovers and ballet haters tend to associate the form with its Romantic period, Petipa and Tschaikovsky. But the immovable forms of this rigid dancing vocabulary were codified two centuries earlier, in the Baroque period. Pierre Beauchamps, Louis XIV’s dance teacher, codified the five positions of what was then still a dance of kings. Jennifer Homans in her recent book Apollo’s Angels refers to this moment as ballet’s “crucial leap from etiquette to art.” It was the time of the first development of modern science, of modern mechanics, of Voltaire and Descartes, of Enlightenment and of the first modern Constitution, a time that loved maths, structure and harmony. The exceptional longevity of ballet has preserved in its forms the DNA of that time. A Quiet Evening of Dance is Forsythe’s excavation of some of this history – surprising, amusing, but precise. A Quiet Evening of Dance is being staged as part of the Melbourne Festival until October 20. 14 Dicembre 2021 INFORMAZIONI SU QUESTO EPISODIO Au BD BOUM, festival de bande dessinée de Blois, j'ai rencontré Élodie Durand pour Transitions journal d'Anne Marbot, publiée par Delcourt dans la collection Mirages. Ensemble, nous avons parlé du récit qui a inspiré cette BD, de la représentation des corps, du cheminement pour obtenir une construction narrative fluide, du poids des codes et du conditionnement subi par toutes et tous. CERCA TRA GLI EPISODI PASSATI Cerca gli episodi passati di Mes balades artistiques. OTHER EPISODES IN THIS PODCAST Petit bonus que je vous propose, une balade artistique avec ma fille Clara. Mardi 7 décembre, la Scène nationale d'Orléans accueillait A Quiet Evening Of Dance de William Forsythe, grand chorégraphe contemporain. Ce spectacle se compose de deux parties. Les 7 danseurs et danseuses présents au plate… Petit bonus que je vous propose, une balade artistique avec ma fille Clara. Mardi 7 décembre, la Scène nationale d'Orléans accueillait A Quiet Evening Of Dance de William Forsythe, grand chorégraphe contemporain. Ce spectacle se compose de deux parties. Les 7 danseurs et danseuses présents au plate… Je vous propose une parenthèse bd avec des interviews faites pendant la dernière édition du BD BOUM de Blois qui eut lieu du 19 au 21 novembre. Aujourd'hui, je vous propose de découvrir Eric Salch, auteur, dessinateur de bd mais également de presse à Charlie Hebdo. Il signe cette année chez Glénat,… Je vous propose une parenthèse bd avec des interviews faites pendant la dernière édition du BD BOUM de Blois qui eut lieu du 19 au 21 novembre. Aujourd'hui, je vous propose de découvrir Eric Salch, auteur, dessinateur de bd mais également de presse à Charlie Hebdo. Il signe cette année chez Glénat,… Dichiarazione di non responsabilità The podcast and artwork embedded on this page are from Julien Leclerc, which is the property of its owner and not affiliated with or endorsed by Listen Notes, Inc. MODIFICA Grazie, ci hai aiutato a mantenere aggiornato il database dei podcast. CONSIGLI photo Bill Cooper Pour A Quiet Evening of Dance, le chorégraphe retrouve avec gourmandise une technique classique qu’il aura longtemps désossée, fracturée, déstructurée. Et il affirme tranquillement Mon but est de mieux faire voir l’art du ballet ». Parti de l’analyse du mouvement de Rudolf Laban, alimenté par les lectures de Derrida, Deleuze ou Foucault et parallèlement à sa complicité avec l’architecte Daniel Libeskind, Forsythe avait entrepris une déconstruction en règle de l’art du ballet depuis ses origines jusqu’à son apogée. C’était aussi l’époque où, directeur du Frankfurt Ballet, il disposait de nombreux danseurs avant de radicaliser son propos à la tête de la Forsythe Company. Mais depuis qu’il est à nouveau chorégraphe indépendant, il est revenu à son langage naturel avec la liberté de l’artiste qui a dépassé le temps des affirmations et n’a plus rien à prouver. Fidèle à sa méthode de travail, Forsythe a donné à ses danseurs des matériaux chorégraphiques que ceux-ci, à leur tour, ont développés. Et ce qui apparait durant cette Tranquille soirée de danse », c’est la capacité toute forsythienne à démarrer le mouvement de n’importe quel point du corps, – coude, genou, épaule-, à le faire exploser et à laisser proliférer les résidus en variations nouvelles et inattendues. Comme l’annonce son titre, la danse est le véritable sujet de cette soirée. Pas de décors, des costumes sobres, mis à part quelques taches de couleurs aux bras et aux pieds, peu de musique, bref, rien qui puisse détourner l’attention requise pour apprécier pleinement ce Quiet Evening of Dance. A Quiet Evening of Dance Chorégraphie William Forsythe Avec Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz“ Yasit, Ander Zabala Compositeur / Musique Morton Feldman, Nature Pieces from Piano From, First Recordings 1950s – The Turfan Ensemble, Philipp Vandré © Mode for Epilogue Compositeur / Musique Jean‐Philippe Rameau, Hippolyte et Aricie Ritournelle, from Une Symphonie Imaginaire, Marc Minkowski & Les Musiciens du Louvre © 2005 Deutsche Grammophon GmbH, Berlin for Seventeen/Twenty One Conception éclairage Tanja Rühl and William Forsythe Conception costume Dorothee Merg and William Forsythe Conception sonore Niels Lanz Production Sadler’s Wells London Directeur artistiques et chef exécutif Alistair Spalding CBE Producteur exécutif Suzanne Walker Chef de production et de tournées Bia Oliveira Producteur principal Ghislaine Granger Coordinateur de production et de tournées Florent Trioux Directeur Marketing Daniel King Responsable presse Caroline Ansdell Superviseur costumes Miwa Mitsuhashi Équipe technique Directeur de production Adam Carrée Responsable de tournées et de production Bob Bagley Régisseur lumière Pete Maxey Ingénieur du son Simon Lambert Coproduction Festival Montpellier Danse 2019, Théâtre de la Ville – Paris, Théâtre du Châtelet et Festival d’Automne à Paris, Les Théâtres de la Ville de Luxembourg, The Shed – New York, Onassis Cultural Centre-Athens, deSingel international arts campus Anvers William Forsythe est lauréat du prix FEDORA – VAN CLEEF & ARPELS pour le ballet 2018. Production Sadler’s Wells London Ce spectacle a reçu le soutien de FEDORA Montpellier Danse 2019 Mar. 2, Mer. 3, Jeu. 4 et Ven. 5 Juillet à 20h Opéra Comédie Théâtre du Châtelet DU 04/11/19 AU 10/11/19 Opéra de Lille Février 2020 ma 11 20h, me 12 20h, je 13 20h

william forsythe a quiet evening of dance