Posted October 10th, 2018 Author Filed under Performance Tags Ander Zabala, Brigel Gjoka, Christopher Roman, Dorothee Merg, Jill Johnson, Parvaneh Scharafali, Rauf “RubberLegz” Yasit, Riley Watts, Tanja Rühl, William Forsythe Comments Off on William Forsythe A Quiet Evening of Dance at Sadler’s WellsWilliam Forsythe, A Quiet Evening of Dance, Sadler’s Wells, October 4 Brigel Gjoka and Riley Watts in A Quiet Evening of Dance photo Bill Cooper William Forsythe tells Sarah Crompton in her program interview that his goal is to make people see ballet better’ but it is immediately apparent in A Quiet Evening of Dance that in order to make us see ballet better he is also making us hear ballet better. The program is divided into two parts, the first of which has four sections and the second just one. The title of each section in the first part is related etymologically to the Greek logos, or word Prologue, Catalogue, Epilogue and Dialogue, though not a word is spoken; they are performed in silence, to birdsong or, as in Epilogue, to a solo piano score by Morton Feldman. Costume designer Dorothee Merg adds to the sense of silence by muffling the dancers’ footware in lightweight brightly-coloured warmers or thick socks. The effect of silence concentrates our visual appreciation of the movement as if we are watching mime, an effect heightened by Merg’s covering the dancers’ arms in long, coloured gloves. If the costumes aid the silence, so does the lighting of Tanja Rühl. The denuded space of the Sadler’s Wells stage is like a light box that casts no shadows and maintains an even intensity that give individual shapes and colours a consummate clarity. In a visual environment that celebrates and enhances movement, Forsythe engages our attention in his plastic deconstruction of choreography into a catalogue of its structural components that he then rearticulates into diverse possibilities. For Forsythe, choreography’s manifold incarnations are a perfect ecology of idea-logics; they do not insist on a single path to form-of-thought and persist in the hope of being without enduring’. In this way, action becomes visible as spatial duration, from its emergence to its disappearance or mutation into another movement that generates a further action — a modulation of bodily thoughts, and felt motion that communicates through and across bodies. This physical thinking’ is what links a compelling evening, from silence to sound, and from choreographic logos to rich expression. Forsythe’s dancers are classically trained but have a muscular elasticity that allows them to explore his range of physical ideas to a degree that stretches beyond accepted classical form. In the opening Prologue Parvaneh Scharafali and Ander Zabala engage in a play of gesture that moves effortlessly in space but with Jill Johnson and Christopher Roman in Catalogue Forsythe enlarges the play of gesture to a successive articulation of the entire body. As they stand side by side Johnson and Roman engage in form of extended pas de deux without the partnering a long adagio in which they constantly exchange and challenge physical ideas, a couple of short variations, and a coda. It lasts long enough for us to grasp the rules of the game and perceive in its full catalogue of logos moments of flamboyance, nonchalance and wit. Epilogue is a cumulative development in which Scharafali, Zabala, Johnson and Roman are joined by Rauf “RubberLegz” Yasit in a vibrant use of body shapes and accented colours to layer responses to Morton Feldman’s piano music. The introduction of Yasit, as his moniker suggests, mixes up the vocabulary into a choreographic puzzle that would test any notator. This is the kind of unexpected conundrum in which Forsythe revels. Dialogue introduces two more dancers, Brigel Gjoka and Riley Watts, whose exploration of space is a corporal dialogue of beginnings without ends, a fluid stream of ideas that coil classical ballet around the most contemporary dance and yet astonish in their unruffled virtuosity. They finish their dialogue neatly in fifth position with arms casually held behind their backs. After the intermission Forsythe’s most recent work, Seventeen / Twenty One, beams with confidence, colour and music that are infectious from the outset; the choreographer is in scintillating and effulgent form. With the music of Jean-Philippe Rameau he has taken the ballet idiom closer to its courtly origins, but this is Forsythe’s baroque not that of Versailles; when Johnson enters for a duet with Roman she’s wearing a baseball cap. All the dancers generate a joy in the complexity of their tasks that matches the exuberance of Rameau’s orchestral miniatures; the score comes alive through their musicality. And if you think hip hop can’t be courtly, Forsythe gets “RubberLegz” Yasit to tie himself with exquisite musical timing into elegant knots from which he emerges serenely as if summoned suddenly by the King. In an evening of intellectual sensuality it’s a scene that brilliantly coalesces Forsythe’s exploration of choreographic form and ideas.
Pourla première fois à la Maison, William Forsythe donne à voir l’exigence de son travail et confirme son statut de Maître de la danse contemporaine. Le spectacle A Quiet Evening of Dance de William Forsythe a fait l'objet d'une adaptation en raison de l'absence d'un des danseurs (test positif à la COVID-19). Error 403 Guru Meditation XID 860557696 Varnish cache server| Яշ антеዤοπочε | Ռቿճቪ аκеሯаζ ձիλևцоբаና | Оሼяቅа нтеζазвεሰ | Слаցኸτу ደрፗለևс |
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WilliamForsythe’s Seventeen Twenty-One, part of A Quiet Evening of Dance with Brigel Gjorka, Riley Watts and Ander Zabala Gomez Photo Bill Cooper Dialogue developed from DUO2015 , an early incarnation for two female dancers, is now performed by Brogel Gjorka and Riley Watts.
Retour © Bill Cooper Description 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 des plus grands chorégraphes actuels qui, depuis les années quatre-vingt, ne cesse de bouleverser les codes du classique. L’ancien maître du Ballet de Francfort, revisite dans ce spectacle deux perles de son répertoire, DUO2015 et Catalogue, auxquelles il ajoute deux nouvelles pièces. Conjuguant musiques de Bach, de Rameau ou de Morton Feldman et silences éloquents, William Forsythe puise dans le XVIIIe siècle qu’il voit comme le siècle de l’idéal néoplatonicien et des excès du baroque », tout en enlevant le superflu. Compagnons de longue date ou nouveaux venus issus du breakdance comme Rauf Yasit alias RubberLegz » jambes de caoutchouc », ses interprètes portent avec virtuosité le travail aussi précis qu’épuré du maître américain. Tarifs Tarif réduit 10€Tarif plein 32€Sur réservation Points de vente Billetterie sur placeBilletterie en ligne Modes de paiement Informations pratiques Horaires après midi 18hHoraires journée 20h10/12/2021 Accès transport T1, T2, T3 arrêt Théâtre des ArtsStation Théâtre des Arts Localisation Veuillez patienter pendant la génération du pdf © 2018 - - Tous droits réservés - Création site internet Marque Blanche - Référencement - Mentions légales - *Aimez, vivez Rouen Normandie !
AQuiet Evening of Dance – William Forsythe Figure emblématique de la danse contemporaine, William Forsythe fait un retour attendu à la scène, après une pause de quelques années. En 45 ans de création, il n’a cessé de bousculer notre manière de regarder la danse et malgré cette révolution permanente, il n’a jamais perdu de vue son point de
They say it’s the quiet ones you have to watch out for. With its bare stage and low-key lighting and sound, with coloured gloves and shoes its sole ostentation, William Forsythe’s A Quiet Evening of Dance even the title feels reticent is the opposite of showy. But pay it close attention and it reveals a kind of introverted virtuosity that leaves you one opens with an intricate duet for Parvaneh Schafarali and Ander Zabala, its small steps and swift swerves as soft, beautiful and exacting as the birdsong on its soundtrack. There follows an astonishing duet by Jill Johnson and Christopher Roman who, accompanied only by the sound of our own hushed coughs and rustles, articulate detailed sequences of moves built on the intersection between the idealised geometries of ballet pointed foot, angled leg and the anatomical realities of the body the pivots, swivels and folds of shoulder, hip, knee or elbow. Undramatised yet utterly fascinating, it feels like a choreographic secret, offered freely, without sound returns, Morton Feldman’s atonal plinks forming a sparse background to more idiosyncratic danced episodes; one solo keeping the arms and hands close to the face, another showing, without fuss or flash, just how extraordinary b-boy Rauf “RubberLegz” Yasit earned his one ends with a reprise of a 2015 duet, to birdsong again, performed by Brigel Gjoka and Riley Watts. Beginning casually enough, it builds towards convoluted-yet-always-clear spins, skitters and knots, the two dancers echoing each other as if giving different expression to the same underlying two is a consummately crafted suite of dances, each ending quietly rather than climactically, and all beautifully phrased to courtly music by Jean-Philippe Rameau. There’s a gentle theatricality. Johnson and Roman come across as a couple, she preoccupied, he rather particular. There’s humour in Yasit’s lock-limbed, floor-bound interruption of an elegantly upright duet; sadness elsewhere, with bodies weighted as if by inner style, staging and effect are now far more conventional, we can almost see through these surfaces to the strange, spare structures of act one, lying beneath like a choreographic skeleton. It has been a rare and revelatory evening. At Sadler’s Wells, London, until 6 October. AQuiet Evening of Dance. Sous cet intitulé, William Forsythe signe une de ses productions les plus miraculeuses. Une bulle de légèreté et de beauté, créée au Sadlers’ A LA MAISON DE LA DANSE 8 avenue Jean Mermoz Lyon 8ème GJOKA, YASIT, FILIZTEK Neighbours Conçu comme un diptyque dont la première partie fut présentée lors de la dernière Biennale de la danse, Neighbours est une collaboration entre deux artistes au sommet de leur discipline. Brigel Gjoka, danseur, chorégraphe international et adepte des techniques d’improvisation, manie avec élégance la danse classique et contemporaine tandis que Rauf RubberLegz’ Yasit, star mondiale des danses urbaines, est réputé pour créer avec son corps des formes inimaginables. De leur rencontre en 2018 pour la création de William Forsythe A Quiet Evening Of Dance, ils décident de poursuivre ensemble l’exploration de leurs différences. Le mercredi 21 septembre à 20h Tarifs Adultes 23€, Ce 29€. -18 ans 11€ Ce 16€ Vos billets sont à retirer le soir de la représentation à La Maison de la DanseOct 13, 2019. One of the pleasures of a life filled with dance is the way, at the end of the day, a performance can force the mind to change course, to quiet down. William Forsythe’s program
A Quiet Evening of DanceWilliam Forsythe 6-10 ΦΕΒ 2019 2030, Κενρική κηνή Ο χορ εμπειρία. Αναμφιβήηα, αν υπάρχει ένα άνθρπο που ηλέκριε» ο μπαλέο, που ου έδε νέα πνοή και ο έκανε μια δυναμική έχνη έοιμη να εκοξευεί ον 21ο αιώνα, αυ είναι ο Ουίλλιαμ Αμερικαν χορογράφο δημιουργεί κμου ολκληρου με μοναδικά μέα ο ανθρώπινο ώμα, ον χώρο και ον χρνο, μεαβάλλονα ον χορ ε μια πργνρη εμπειρία, ο για ου χορευέ ο και για ο κοιν ου. Αυ ιχύει και για α έερα έργα που υνθέουν ο πργραμμα η βραδιά – δύο αναβιώει παλαιερν έργν και δύο νέε που έχουν υνεργαεί μαζί ου για πολλά χρνια αφηγούναι με α ώμαά ου ιορίε βαθιά επικοιννία, με μοναδικ ήχο ην αναπνοή ου. Χιούμορ, ευαιθηία, πρκληη, απκριη. Οδηγ ου ο ρυθμ και ο απίευο υνονιμ ου. αν ου δείκε εν αραου ρολογιού, κααγράφουν ον χρνο, ον κάνουν ορα, ον επιμηκύνουν και ον υρρικνώνουν, αλλάζονα ον χώρο και, ενέλει, ανοίγονα η μυική δίοδο η δική μα επικοιννία μαζί ου. ΥΝΕΛΕΕ Χορογραφία William Forsytheκαι για ο “Trio Second Edition” Χορογραφία William Forsythe, ε καλλιεχνική υνεργαία με ου Jill Johnson, Brit Rodemund και Christopher RomanΦιμοί Tanja RühlΚοούμια Dorothee MergεχνικοίΔιεύθυνη Παραγγή Περιοδεία Philip ConnollyΗλεκρολγο Παραγγή Will FrostΥπεύθυνο Ήχου Simon LambertΥπεύθυνη Παραγγή Bia Oliveira υνονιμ Παραγγή Περιοδεία Florent Trioux Οι χορευέ είναι Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf RubberLegz’ Yasit, Ander ZabalaΑνικααάε χορευέ Cyril Baldy, Brit RodemundΜια παραγγή ου Sadler’s Wells ου υμπαραγγή με α Théâtre de la Ville-Paris, le Théâtre du Châtelet και Festival d’Automne Παρίι, Festival Montpellier Danse 2019 Μονπελιέ, Les Théâtres de la Ville de Luxembourg Λουξεμβούργο, The Shed Νέα Υρκη, έγη ου Ιδρύμαο νάη Αθήνα, deSingel international arts campus Αμβέρα.Πρώη παρουίαη ο Sadler’s Wells ου Λονδίνου ι 4 Οκβρίου παράαη απέπαε ο Βραβείο για Μπαλέο ου 2018 FEDORA - VAN CLEEF & ARPELS ΙΜΕ ΕΙΙΗΡΙΝ Κανονικ 7, 15, 18, 28 €Μειμένο, Φίλο, Παρέα 5-9 άομα 6, 12, 14, 22 €Παρέα 10+ άομα 5, 11, 13, 20 €Κάοικο Γειονιά 7 €ΑμεΑ, Ανεργία 5 € υνοδ ΑμεA 7, 10 € Ομαδικέ κραήει ο groupsales ΠΡΟΠΛΗΗ ΕΙΙΗΡΙΝ Έναρξη προπώληη Φίλν 6 ΙΑΝ 2019, 1200Έναρξη γενική προπώληη 13 ΙΑΝ 2019, 1200 Επίημα ημεία πώληη ειιηρίν η εκδήλη είναι α παρακά. εκ ούου, η Ticketmaster ουδεμία ευθύνη φέρει για ειιήρια α οποία έχουν προέλθει απ αγορέ εκ ου επίημου δικύου η και παρέχοναι χρί καμία απολύ εγγύηη για ην ορθηα και ην ακρίβειά ου. ΡΟΠΟΙ ΠΛΗΡΜΗ Με χρήη πιική/ χρεική κάρα - - ηλεφνικ Κένρο 210 900 5 800 Κυρ. 900 - 2100 - Δίκυο κααημάν PUBLIC Με μερηά - Εκδοήρια έγη - Δίκυο κααημάν PUBLIC
