AQuiet Evening of Dance . 20h30 lundi 06 Décembre 2021; 20h30 mardi 07 Décembre 2021 + horaires. la ScÚne nationale d'Orléans William Forsythe. Figure emblématique de la danse contemporaine, William Forsythe fait un retour attendu à la scÚne, aprÚs une pause de quelques années. Découvrez le teaser du spectacle. Danse. Du baroque au hip-hop, la
Review A Quiet Evening of Dance, Melbourne Festival The program booklet for William Forsytheâs A Quiet Evening of Dance has an entire paragraph in the choreographerâs biography dedicated to listing his lifetime achievement awards â such is the stature of this man. It wasnât always so. Forsytheâs 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; Limbâs Theorem 1990, and One Flat Thing, Reproduced 2008. A review in LA Times in 1991 referred to him as âarguably the most controversial choreographer in international balletâ. In 2005, police raided his house after he presented a choreography that critiqued the war in Iraq. Forystheâs work is contemporary dance that maintains an absolute allegiance to ballet. Bill Cooper The last ten or so years have seen Forsytheâs 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 âballetâ and what we call âcontemporary danceâ 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. âI feel like a native ballet speaker,â the choreographer has said. The vast experimentation with bodily organisation, composition, structure, that animates Forsytheâs work, unfolds through the vocabulary of five positions, pliĂ©s, and Petipa. Bill Cooper A Quiet Evening of Dance is a curated program of short pieces that premiered earlier this month at Sadlerâs 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 Gillemâs 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 otherâs movements, trip, fall, stand up. The delivery is easy when something is done with great skill, it appears as if itâs done without effort. Thatâs because itâs 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 dancersâ 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 âRubber Legzâ 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. Forsytheâs 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 itâs 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 XIVâs dance teacher, codified the five positions of what was then still a dance of kings. Jennifer Homans in her recent book Apolloâs Angels refers to this moment as balletâs âcrucial leap from etiquette to art.â 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 Forsytheâs excavation of some of this history â surprising, amusing, but precise. A Quiet Evening of Dance is being staged as part of the Melbourne Festival until October 20.Mr. Forsytheâs evening at the Shed has rigor and charm but not enough transcendence. Credit...Andrea Mohin/The New York TimesOct. 13, 2019One 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 Forsytheâs program at the Shed, âA Quiet Evening of Dance,â which opened on Friday, takes that to another Forsythe has created a setting â not completely silent, but nice and hushed â that encourages listening with both the ears and the eyes. The last thing you would want to hear under such conditions? A beep, buzz or, God forbid, the marimba ringtone. Putting our cellphones in airplane mode was the easy part; more difficult was grasping the poetry of this two-act program. And that wasnât because of the sound or lack of it isnât completely quiet. The second half features a lively dance set to to Jean-Philippe Rameau, and in the first half, there are bird sounds and a spare composition by Morton Feldman. For the most part, though, itâs up to the dancers to create the score with their steps and breathing, and for the audience to absorb there are moments to admire and respect. âA Quiet Eveningâ has the rigor that Mr. Forsythe always brings to the stage; thereâs just not enough transcendence. In part, that could have been because of an injury to a leading dancer, Christopher Roman. Four others were brought on to fill in; during the curtain call, Mr. Forsythe said that they had learned their parts in three days. But there is also a sameness to the material, and that makes the less experienced dancers stand out in an unfortunate way among the Forsythe veterans.âA Quiet Evening,â with new and reworked choreography by Mr. Forsythe, pays homage to balletâs European roots while attempting to bring it into the present. Mr. Forsythe is more than qualified for such a choreographic endeavor. An American based for many years in Germany, where he directed Frankfurt Ballet, he did much to guide ballet into a new era with his extreme take on classicism, paired with stark lighting and, frequently, the bold synthesized sounds of the composer Thom Mohin/The New York TimesThe next phase of Mr. Forsytheâs career landed him in a more experimental world of theater and dance; but recently, heâs fallen back in love with ballet. While the Shed program affords the pleasure of becoming lost in his swirling, finely executed steps â how did that hip end up there? â taken as a whole, it starts to feel arid. And at times, the attempt to look at the future of ballet seems more contrived than organic, like the appearances of the street dancer Rauf Yasit. Also known as RubberLegz, he demonstrated the elasticity of his limbs with floor work that knotted him up like a pretzel, but as the night wore on, it seemed like we were seeing the same sequences on birds introduce Act 1, which begins with âPrologue.â Parvaneh Scharafali and Ander Zabala, wearing evening gloves and sneakers covered with socks, perform a crisp, stately duet â itâs a labyrinth of limbs â with joints as loose as soft spaghetti. The socks over the sneakers remind me of the way figure skaters pull their tights over their boots â not my favorite look.More intriguing is âCatalogue,â featuring the velvety dancing of Jill Johnson â formerly a principal dancer with Ballet Frankfurt, she is still astonishing â alongside the newcomer Brit Rodemund. Here, itâs as if they are illustrating the development of ballet starting with simple shapes, some awkward, others pedestrian. This dance is in silence, which begins the moment they each extend an arm and touch palms. At the start, they draw invisible lines along the perimeter of their torsos with their hands. As they increase their force and expand spatially, the dancersâ elbows and shoulders tell a tale of Mr. Forsytheâs intense study of Ă©paulement, or the carriage of the arms. Eventually their isolated movements morph into ballet steps and shapes. When their palms touch in the center once again, and the music â Feldmanâs âNature Pieces From Piano No. 1â â starts, so does âEpilogue,â in which the cast of seven continues the story of some of Mr. Forsytheâs most recognizable contributions to dance his use of torque, speed, articulation and handsome in parts and confounding in others Why include even a second of the ever-popular floss dance? Is it meant to be playful? It feels like a Mohin/The New York TimesâDialogue DUO2015,â the final piece in Act 1, pairs Brigel Gjoka and Riley Watts â an extraordinary dancer with silky athleticism â in a frisky duet of physical reverberations. This and âCatalogueâ reveal much about Mr. Forsytheâs lineage and achievements â both spoke of scale and intimacy â but as informative as the first half of âA Quiet Eveningâ is, itâs also rambling. Steel yourself. If Act 1 is about revealing the raw ingredients that make up Mr. Forsytheâs classicism, Act 2 is the meal in the form of a stand-alone dance âSeventeen/Twenty One,â to Rameauâs âHippolyte et Aricie Ritournelleâ from âUne Symphonie Imaginaire.â It explores balletâs evolution from the 17th century to the 21st, flooding the previously quiet space with full-bodied dancing and baroque is a dance, charming in moments, that is hungry for movement. By the end, it creates a sweet and simple sense of community â a group of people just dancing together â that comes to a joyful close as they suddenly clasp hands and run to the front of the stage for a bow. But the most consistent pleasure is from one dancer Ms. Johnson brings an unassuming clarity and articulation to Mr. Forsytheâs movement that feels like it comes from the deepest of places. All night long, her quiet radiance was the loudest thing in the Quiet Evening of DanceThrough Oct 25 at the Shed, Manhattan; 646-455-3494,BillCooper. A Quiet Evening of Dance is a curated program of short pieces that premiered earlier this month at Sadlerâs Wells in London and De Singel in Antwerp before coming to Melbourne Festival.
Plasticien autant que choreÌgraphe â mais on pourrait aussi dire, cineÌaste, architecte, sceÌnographe, theÌoricien du mouvement, concepteur de lumieÌres et homme eÌclaireÌ â, William Forsythe donne ici sa version de la musique de chambre. Pour cette tranquille soireÌe de danse », il a reÌuni quatre pieÌces, deux anciennes, deux nouvelles, certaines porteÌes par ses collaborateurs de longue date, dâautres par un nouveau venu, Rauf Yasit, alias âRubberLegzâ jambes en caoutchouc ». On y retrouvera deux perles, embleÌmatiques et rares, intimes et complexes, tireÌes du reÌpertoire de lâancien directeur du Ballet de Francfort. Duo, ouÌ les danseurs finissent par devenir une horloge qui abolit les limites en retournant aÌ son point de deÌpart », creÌeÌ en 1996, est devenu DUO2015 graÌce aÌ une nouvelle incarnation, cette fois masculine ; Catalogue, dâune complexiteÌ presque baroque », sublime la compliciteÌ ancienne qui unit ses deux interpreÌtes. Le temps dâune soireÌe, peut-eÌtre moins calme quâannonceÌe, souvenirs retrouveÌs et creÌations teÌmoignent de lâincroyable vitaliteÌ artistique de Forsythe, modeste geÌant de la danse contemporaine, qui nâheÌsite pas aÌ revisiter le passeÌ pour se reÌinventer au preÌsent.
HomeAgenda A Quiet Evening of Dance ThĂ©Ăątre & Danse; A Quiet Evening of Dance. dĂ©c 22, 2020. William Forsythe. Dans A Quiet Evening of Dance, William Forsythe rĂ©alise une brillantissime traversĂ©e de lâhistoire de la danse acadĂ©mique, en remontant jusquâĂ son origine : le ballet de cour sous le rĂšgne de Louis XIV. En premiĂšre partie, le chorĂ©graphe
A Quiet Evening of Dance â William Forsythe ThĂ©Ăątre dâOrlĂ©ans, 6 dĂ©cembre 2021, OrlĂ©ans. A Quiet Evening of Dance â William Forsythe du lundi 6 dĂ©cembre au mardi 7 dĂ©cembre Ă ThĂ©Ăątre dâOrlĂ©ans **Figure emblĂ©matique de la danse contemporaine, William Forsythe fait un retour attendu Ă la scĂšne, aprĂšs une pause de quelques annĂ©es.** En 45 ans de crĂ©ation, il nâa cessĂ© de bousculer notre maniĂšre de regarder la danse et malgrĂ© cette rĂ©volution permanente, il nâa jamais perdu de vue son point de dĂ©part le Ballet. Pour cette soirĂ©e qui marque son retour comme chorĂ©graphe indĂ©pendant, 4 ans aprĂšs la fin programmĂ©e de sa Forsythe Company, le maĂźtre amĂ©ricain sâentoure de 7 interprĂštes, dont un danseur de hip-hop, qui connaissent son style sur le bout des doigts. Cette soirĂ©e revisite ses piĂšces _Dialogue DUO2015_ et _Catalogue_ et nous offre deux crĂ©ations inĂ©dites, _Epilogue_ et _Seventeen/Twenty One_, pour un programme qui va Ă lâessentiel avec un rigoureux travail de tressage entre danse et musique. En limitant dĂ©cors et costumes, Forsythe construit une danse de chambre » mettant Ă nu la mĂ©canique de son travail, entre prĂ©cision analytique et contrepoint baroque. Un travail dâorfĂšvre, servi par des artistes qui en maĂźtrisent chaque articulation. Du pur Forsythe et bien plus encore ! [DĂ©couvrez le teaser du spectacle] â **Nos rendez-vous** **Lundi 29 novembre** de 11h Ă 18h â CCNO Stage professionnel avec Fabrice Mazliah, enseignant de la technologie dâimprovisation de William Forsythe. Tarif 15âŹ. Sur inscription, plus dâinformations. â **Sadlerâs Wells London** ChorĂ©graphie William Forsythe Co-crĂ©ateurs Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf RubberLegz » Yasit, Ander Zabala InterprĂ©tation Roderick George, Brigel Gjoka, Jill Johnson, Brit Rodemund, Riley Watts, Rauf RubberLegz » Yasit, Ander Zabala Musiques Morton Feldman, JeanâPhilippe Rameau Costumes Dorothee Merg, William Forsythe LumiĂšres Tanja RĂŒhl, William Forsythe CrĂ©ation sonore Niels Lanz â **Lundi 6, mardi 7 dĂ©cembre** 20h30 â Salle Barrault Tarifs de 5⏠à 25âŹ, dĂ©tails et renseignements [ici] â guichet billetterie exceptionnellement ouvert lundi 6 dĂ©cembre de 14h jusquâau dĂ©but du spectacle DurĂ©e 1h30 environ _Ce spectacle a remportĂ© le Prix Fedora â VanCleef & Arpels pour le Ballet en 2018_ Tarifs de 5⏠à 25⏠Figure emblĂ©matique de la danse contemporaine, William Forsythe fait un retour attendu Ă la scĂšne, aprĂšs une pause de quelques annĂ©es. ThĂ©Ăątre dâOrlĂ©ans boulevard pierre sĂ©gelle 45000 orleans OrlĂ©ans Loiret Dates et horaires de dĂ©but et de fin annĂ©e â mois â jour â heure 2021-12-06T203000 2021-12-06T220000;2021-12-07T203000 2021-12-07T220000x8Ibs.
a quiet evening of dance william forsythe
