MO OAY 10 -T EO 1 1 1 U L

CO MPA NtildeIacute A N A CIONAL D E DANZA

D UENDE

Ir vreograpiexcly I lacho Du ato

Mu sic Claude Deb ussy Paslora l 1 st part

froln the Sonata for flute

viol a and harp (1111))

Syril1x lo for flut e (191219 13)

Filal last parl

frU In the Sonata ror flutc

viola and harp (1916)

Dal1Sf sacreacutel el dal1se profane

for harp and str ing orchestra (J 904)

SeIs Walter Nobbe

CosllIm es Susan Ungc r

Liglrlilg Desigll i olas Fi chlel

COR PERDUT

Clr orcofraplry NlCho Duato

MlIsi c Maria del Mar nonct

Co II1l1 eS al1d Liglrl Deign Nac ho Du ato

Ecos horeo raplry ac ho Duato

Musir Stcphan Micus

Sellilgs Walter obbe

Coslum es Nac ho Duato

Ligil l Desigl Ni co las Fisc htel

AnENA L

Cho reograplry Nacho Dualo

vfusi c Mari a del Mar Bonet

(Telllada de Segar Ca rla a L Hxili

TOllada de Co lir Olives

DallSI de la Priml vera

Calliacuteo de Rressol )cs dc lHalorca a L A lFi l el

0 111 lral Nisi TOllada de Segar)

Se IS Walter Nobbc

(()llIlllt~S Nacho Dualo

Liglllill Design Edwarcl Effroll

DLeacuteO

Wh at characterizes Ouatos working method is th at his ideas for a choreographya

almost always prcceded by his choice in music Maybe this appl ics to Vlclde in lJalllC

ular beca use music was the only source of inspiration for this blllet Long ago Du

fell in love with Oebussy espec ially with the way th e composer l11akes naturc ~ound

music When he listens to this music Duato visualises sllapes not pcoplc rdalionhiiexcll

or eve nts This is why he considers DIende as an almost sculptural work a lIou)

movement that goes with the t-un e

Duelde lite rally means elfs and fairies like the ones Vho tidy up childnns toys 11111

but it ca n also mea n raseal a naughty child One ca n Iso possess dlelIt whcn raJo

ing energy and great charm almost havi ng a magical attractio n In Anua lusia il is

fl amenco has dueflde which can hardly be translated into anothcr language

has a touch 01 spell one might say Like the way black music has soul

More simply we migh t say duelde is the graee of Gou hich in thc artist m ms

entraquo

C()n PIROL I

Cor Pcrdur is a pas-de-deux inspired by the a talan version ni rhe song l3ir )(1111

I7I ln by M ue l Mar Bonet This particular in t rp retation is b~bed upon a Ihcm

traditional nu ances composed by the Armenian MJ Be rbcrian ltdts no ue en

no use dyingldesire is strongerjil goe its own wayraquo lame n the im prcssivc vOIcul

del Mar Bonet Her hypnot ic power on Ouato who ereatccl COI Penllll as 11

present for the Majorea n sing r is unquestionable consiclering th at two 01 Ihe

cian s most brilliant choreographies are lardi Tal cal ( 1983) ami Arma (19HR)

music by tllis interpreter To the syncopat ic and hypno tic rhythm 01 the TWliian

cussion instrument the twu dancers bring to life the chorel graphers dynam ic

and express ive language with lhe sa me anxious nuency transmittcd by the micl (

singer

Eco

For some time Stephan Micus has bec ll drawll by his fasc ination rOl the in~

other cull mes 1t is not t he creation 01 exotic sOllnding effccts t hat intercsts him

cha llcnge uf discovering ncw sO llncls and sOllnd Cll ntcxt s The process ul

sounds from Elmar Dauehers enormous blocks 01 cut granile and scrpcnti nl

combinalionlVith flut e and vocall1l llsic reprcse lltccl eacuteln enlirely ncw cxpcricn(~

Iy beca use th ey are not tllned likc normalraquo instrul11cnls but conlain I11ml

tonal intcrva ls

Ecos is bu il t upon this music playing Vith different symbulic va lues 01 lhis

sound material the hugc buildings that were built LO illll11ortalizt thtir creal

C Ii IIl lNtildeiacute l IV I U O 1 IlL D 1 1

Tlze appoilll1I ell oJrenowned dance and choreshy

ograph er Nacho Duao as Arisic Direelor of

CN D ill ul1e 1990 has meal 1I11 innovaive

challge inhe CUl1lpCIlys hisOy 1 was Duaos

flrm in elliono rall sjol7 11( COl17paliia ino a

baile wih a persolality of i I OWII in which

wih oulneglec illg he classical precepls a more

cOIIemporay sfyle is adoPlecl To achieve his

he incuded in h e companys reperloire lI eIV

choreographic iexclliarle crealed especia~y Jor i 10shy

gelher wilh olher works ofprovell qllalily recogshy

lI izec worldwide Moreover Nacho Duao CUIIshy

Iribllles lO Ihe CN D wilh hil work as a ehoreoshy

grapher pmiled hy critics all UJier h e lVorld alle

awarded prizes hy h e experls

DU(lIo is (onrClud wih filldillg h e balalce beshy

Iwerll chor(ogmphy hale alil a way oJ lije As

he sees i lIl e richnesmiddot oJ Sp(fnish Cullltre ale

fo lklore COllsiUlrs (f l illexhallslable sourer joacuter

his works

71J( CN D was foacuteull ded in 979 under h e

name oI BaIle Naciolal de ESplIla Casieo

(llld ils jirl Direc or was Viclor VIae a greclI

Spanilh eal cer who had workedfoacuter mlly years

ill iexcllaLrice Jeacutejart s Ballels du XXeme Sieacutecle

During Ilris period h e Balel ([bUulanl lVi11

young Sp(nish da n cer perlormed in 1l(IlY

Spanish ciliexcles ane made ils firsl our in foreign

cOln ries

In 1983 Ihe Direclion of th e Ballets Nacionales

- Espcliol y e asico - was pulullder Ihe ciexcl ( rge

01 well-kll owl dance leacher Maria de Avila

who syemized Ih e internal work of h e Ballel

and placee special emphasimiddot on openillg ils

doors o dall ce styles lha were vey imporlalI

lhough harey klOwn in Spain slIeh as Ihose of

George Balall chill e a7( A nlzol7y Tudor H OlIshy

ever Ihe Ballet nol only impored greCil j oreigl1

choreographic crealions blll il aso slarled slagshy

ing peforman ces of its OW1 creaions

Maria de Avila put Ray Barra a former

Northamerican dancer and choreographer livshy

ing in Spain in charge of a number of choreoshy

graphies and later offered him the post of Asshy

sistant Directo which he luld until 1990

In December 1987 Maya Plissetskaya was apshy

pointed as the ballet s Artistic Director The exshy

traordinaJY Russian dancer introduced various

works ofthe classieal repertoire An oUlstanding

contribution to the repertoire was the fulllength

ballet La Fille Mal Gardeacutee based on the vershy

sion of Marius Petipa and the produetions ofA

Gorsky and A J1esserer

Throughout these years Ihe CND has built up

a so lid reputalion giving a great number ofpershy

formanees as well as touring in Spain and

abroad Franee Austria German) Switzershy

land Cuba Taiwan Israel Russia Mexico

Ita 1) Venezuela Japan Argentina Puerlo Rishy

co lhe Uniled Kingdom Canada and Ihe U S

As of 1990 lhe CD has started on a new path

as a slable compan) oecupying a well-earned

place in the inlemational dance scene

highlighting their own insignificance the f1eetingness ami fragility of their existence~

those stones piled up high in order to be closer to God were finally extremely attachcJ

to earth and in many cases became covered by it It also refers to the power or energ

of some megalithic elements worshipped by remote or present religions man addresmiddot

es his payers to a lifeless subject which in this way becomes the genesis of his spiritual

life Perishabletimeless vainmagnificent lifelessa live matterlspirit

binomials constitute the inspiration of the spirit of 1eos

1 fU 11

Arenal is a choreography by Nacho Duato inspired by songs of Maria del Mar Bonet

In this ballet the choreographers purpose has been to show lhe uninbibiled cheerfulmiddot

ness of th e Mediterranean personality contrasting with the everyday struggle ror life

Duato makes thi s contrast very obvious On the one hand there is the dancing ora

group of men and women motivated by the pure joyfulness of musie Its jubilation i~

reflected in the clear movements of the dances (pas-de-deux pas-de-trois pas-de

quatre) to Greek songs translated into Catalonian and Majorcan ones by Maria dcl

Mar Bonet

On the other hand one woman dancer stands apart dancing alone to four songs which

are performend a cappella These songs are of eacutel realistic content and seem to arise al

an agonizing outcry of the heart The dancers movements are nearer to tbe ground

than those of the others This is lO express the influence of the land Colour choreogmiddot

raphy movement everything is undeniably MediLeranean

Nacho Duato had worked bcfore with Maria del Mar Bonet in another ballet Jaul

Taneal laquoHer music constitules an important source of inspiralioll for my worogt says Ihe

choreographer While I was listening to her record Gavines 1Dragans the idea ojAremiddot

na immediatel) OCCWTed to me At once 1 began to consider the possibility ofMaria di

Mar Bonctjoining us to give a Uve perlilrmance ofher songsraquo Duato sees Arenal as an exmiddot

tension of his first work Jardi TiacutenWl laquohough it is m ore vital more iexcliexclvey morr jaacuteitiexclfil

lo Ihe inner yhm of Ihe songs Ihemselves wilWUl abandoning Ihe real world ofpeoplr

and ofworo

laquo1 have always known that my songs were born with rythm but I only really became

aware of it the day Nacho Duato danced to them When I saw the first choreogramiddot

phyJardi Tuneat [was quiLe cxcitcd He had given them another Iife they Vere inmiddot

dependent and at the same time tied to me yet they had acq uircd a new palpitation

they had Laken a different road

Thcre is sOll1cthing in Arenal thaL has always fascin atcd me the trea tment of th

Majorcan work songs which [ sing a capella These are songs which form pan of out

earliest M ajo rcan trad iti on but which are no longer sung wbcre they come from or

what they were created for ie work in th e field s There are hardly a few places in

Maj orca where work in the countryside is st ill the same as fo rty o r fiuacutey years ago

Ho wever when acho has used thos e songs for his choreographics he has g ive n

them back this role of uniqu e pieces as if lhey were precious s[(lIles

While Jaiexcldi Tarual Vas so fu ll of life in Arenal 1 have discoved an inner pass ion 1

will never tire of r e pcati ng that these choreogra phics of Nacho Dua to have hee n

one of the most preciollS arlistic p rese nts r have ever received 1 believe [h ey helong

to that type of thing which gocs hand-in-hand with so deeply felt emo tions [ha t it can

ha rdly be cxpressed in words

Than k you ac horaquo

Maria de l Mar Banet

71

J J J U R S D J Y 1 3 - r R I D Y 1 4 L

COMPANtildeIacuteA NACIONAL DE DA NZ A II(lS1 [) 1(1 (JI I IV)

R ETURN TO THE STRA NGE L AND

Ch oreography Jiriacute Kylian

Musi e Leos Jan icek

(Sonata 1s1 October 1905 Ovelgrown Path

[n the Mis )

COslUm es Ji iiacute Kylian

Lighl Design Joop Caboort

R eslaging Arl e tt e va n BovenJim Vincent

RASSEMBLEME NT

Ch oreography Na cho Du a to

Musie Toto Bissainthe (Basableacuteman)

Seenely Walter N o bbe

Co slumes Nacho Du ato

L ighl Design Nic o las Fi schte l

accord ing to th e o ri g in a l des ign

by Dick Limdsctrb m

Slaging Lena Wennergre n-Jur as

MED1TERRANIA

Choreography Nacho Du a to

Musie J e ronimo M essoA M a hmoud

T a brizi Pete r GriggsJ u an

A ArtecheJavie Paxarintildeo

Seis N ac ho Du a to

Coslum es Lu is D evo ta

and M odes to Lo mba

Lighl Nic o laacutes Fischtel

Rf TLRN TO TIr TR lIciF L I NO

On the sudden death of the choreographer and director John Cranko in the sumshy

mer of 1973 the former director of the Stuttgart Ballet asked me to create a ballet

in his memory 1 made a pas-de-trois on the music of Leos Janaacutecek namely the last

part of his piano sonata OClober the 1st 1905 In 1975 1 used this as the final piece

of Return lo the Slrange Land The title is a contradiction How can you return to a

land where you have never been before This ballet is about death and reincarnashy

tion disappearance reappearance death and rebirth were its main sources of inshy

spiration Although the physical existence ends the particles reappear in a different

shape These particles laquoknowraquo the laquounknown landraquo They are part ofyou until they

return to the strange land

This is one of my first works The role of c1assical elements and patterns is more proshy

nounced than in my later works A highly important starting point was the emotion

existing inside the body Dresses are reduced to a minimum This ballet is made up

of a pas-de-trois They imply slow reincarnation processes At the end the sensation

is created that something abstract has taken life from inside the bodies The return

full of yearning for the past takes us to an apparently well-known place to an unshy

known presence Can it be the premonition of death

For a long time 1 had felt the urge to do something with Janaacuteceks piano music It

seemed to me that this assignment was the ideal opportunity As a rule 1 work the

other way round Normally the idea springs forth from the music The ballet starts

with the first part of the sonata for piano Oclober the 1st 1905 This is followed by

the mazurka from Overgrown Path and the first part of In the Mist to end with the

last part of the piano sonata His music is at all times rooted in people and their

emotions which explains its close resemblance to popular songs

Jiriacute Kylian

R middot ISSEMBLeacuteJIFi T

This time Duato has turned to Haiti and the music of Toto Bissainthe with drive

and sway to create a work inspired in the crisp clearcut style of Jardi Tancal Four

couples in shades of grey working c1othes start calmly and build up to an arresting

finish with the word diberteacuteraquo repeated in the songo

Rassemblement is a creation which gradually through the liberating powers of mushy

sic and dance proves to be an impressive thrilling and audience-affecting human

rights appea

These songs are mostly slaves songs from the Voodoo culto They express the daily life

of the slaves their longing for Africa not as a geographical reality but as a mythical

land of freedom They express their resistance and their refusa resistance against the

colonial master refusal of his politics his religion his culture and his language

Their new consciousness created bonds between the s[aves in their new Vor[d which

enabled them to gain their independence T hey beca me revo[utionary pcasallts fne

peasallts and from being free peasants bccamc servi le peasants During the hi~to rl

of Haiti the face of the master has often ehanged We know his present facc dimiddot

guised withh the make-up of the tourist tratlc whieh when uncovered rcveals mimiddot

ery exploitat ion and violence One ca n then recogn ise that the present network 01

economic interests under the cover of good works such as cultural and re ligiou

missio ns binds the present power structure to imperialism Capital developing in

Haiti has transformed the sense of Voodoo The ethnographer came first and thel

the tourist for whom folklore was reproduced for exotic excitement Voodoo which

for the poor and exp loited peasants had been a ce[ebration of the African roots llf

their daily more unbearab[e way of life became a laquore [igiollgt one of the too [s 01

power

We do not sing the laquoVoodoo phenomenon)) We do not lean pleasantly on the beaumiddot

ty of these songs our work leads us in a different direction LOwarcls anoth e r sort of

authenticity The birth of Voodoo in a land of exi le the first common languag(

among s [aves of different et hnic backgro und s Vas a vita l ereative moment a cu lturo

al unification which was to transform the world nn open ing for the confined That i

the moment we sing about Using the tradition a [ music of Haiti we meet witll other

musical forms to open a way towards a contempomry music that knows no fronticr

iexclIIHIIIIi

It is usually music which inspires me when creating a new ballet On this oceasion

however the sea and its lig ht the fire and its meaning in our own culture as Vell a

the fertility of land have been my sources of inspiration to crea te this choreograph)

dedicated to the Valencia n eommunity

With this work (would [ike to express some intimate feelings and imagcs the preso

ence of my roots very esscncc which -even having been abroad for long periods llf

time and influeneed by various other cultures- I a lways felt in the blood 01 my veins

I have avoided llsing folk elements historie referenees anecdotes or allllsions 10

charactcrs trying instcnd to eommlll1icate throllgh movemcl1t the sensuality of (he

landscape the scnsitivity of its inhabitants and thei r uninhibited worship to the

ephemeral so chnraeteristic of this community

Overlooking the stereotype has meant abandoning the artifiees of ll1usic costumc

and scenogTaphy in order to reaeh a si mplification This may seem somewhat C(lld if

compared with the exuberance in the daily li ves of our people but ( do hope to exmiddot

press that vitality throllgh 1l10vement

In order to achieve thi s 1 have ll sed percllssion and wind sOll nds always wrappcd up

with the constant beating of water 1 did this not o11 ly beeause th ey identify Valenmiddot

cian cul ture but also beca use they have he lp ed me to find ou t movements cl oser to

the earth o f a telluric strength and th e refore to get a be tter co ntrast for the mos t

deliea te movements Thj s is exemplified in the pas-de-deux o f El Aza har or El Ma r

[ have si mply wanted to dee ply re traee my roo ts and those of my ances to rs 1 have

lried to pee l the ora nge to ge t to its f1 es h the pl ayful and sensua l spirit o f this land

always intimate ly rela te d to the sea

[ dedica te this ba ll e t to those who as myse lf feel acco mpli ces with th e Meditershy

ra nea n

Nacho Duato

NACHO Dli O

Born in Yalenciexcl Sp in in 1957 lacho

Dualo lrlcd hi s rrokional ba ll et

training Vitb the RamlJert Sehool in Lonshy

don at the age of eighteen To expand

tudies he joined Maurice Beacutejart s Mu shy

dra School in Brussse ls and complcted

hi s dance education at The Alvin Ailey

American Dance Center in ew York

In 1980 at Ihe age of 23 Nacho Duato

si~ncd his first profess ional contnlCt

il h the Cullberg Ball et in Stockh oi m

and ayear Iter Jiriacute Kylian brough t him

lo the Nederlands Dans Thealer in Holshy

land where he was quickly in corpora ted

into the company ami ils repertoire

In 19K7 he received the YSCD Gouden

Dansrrijs (Golden Dan ce AlVard) for

his achieve ments as a dancer

Nacho Duatos natura l talent had him

soon look beyond the limitations of a

dancer and turn towards choreography

His first att emrt in 19H3 turned into a

major succes Jardiacute Talcal to panshy

ishCatalan music by compatr iot Maria

del Mar l30nel Vo n him the first pri ze at

the Interna tional Choreographic Workshy

shap (lntcrnatio naler Chorcographischshy

er Wcttbewe rb) at Cologne

Without reducing hi rcronsiblilities as

a dlI1cer dcho Dllato has si nce then

crcaled about a dozen works [or both

cderlands Dans Theater and Ncdershy

lands Dans Theater 2 for instance Dal1

1(1 y Rito (Chavez) Um lIi (Respighi )

SJIIIllllIIiacute (XenakisViexcl)ngel is) Boleacutero

(Rave l) Arenal (Maria del Mar Bonet)

Chansons vladeacuteraucs (Rave l) and Rapshy

iexclus to Richard Wagncrs Wescl1dolk

U eder For alm05t evely work

painterde5igner Walter obbe proved

an inspi ring and reiable co llaborator In

1988 Nacho Duato was named Re sid ent

Choreographer for ederlands Dans

lilca ter - next lo Hans van Maneacute n and

Jiriacute Kylian

With the growing demand of internation shy

nal companics reqll cst ing his orks rOl their repertoire - ie The Cullherg Ballet

The frankfurt Ballet The Gulbenkian

Ballet Les Grands Ballets Canadicns

Ballet Teatro Lirico Nacional Nacho

Duato was foreed to make a deeisive step

towards ehoosing his ruture carce r Beshy

ing5011ght after by a number of important

opera hOllses and balletcompanies it Vas

the ca ll of the Min isterio de Cultura 01 his

nati ve Spain which made him decide to

aceept in Jllne 1990 the posit ion of drtisshy

tic director and choreographcr Vith the

Compantildeiacutea Nacional de Danza

IRIacuteKYLIAacuteN

Sec puge 44

REVIEWS AND

Fro01 Madrid a Troupe Based in Earthy

Iassion

laquoMr Duato asked to take over a classiea l

ballet cammp~ny in 1990 revamped it

stylistica lly mixing modern and ballet idshy

iom lle has raised it to an international

leve raquo

The le York TilTle~ Anna Ki )clgoff

(I3iexcl5iexclq4 )

laquoDuato is a distinct choreographic talent

perh aps eviexcln a choreographic findraquo

Nol Yurk Pos t C1 ive Barn os (135194)

Th e sheer qua ntity of dancing moveshy

ment invention and emot ion onstage was

stagggering in Ihe six picccs all by him

that comprised the US debut of his

Comparl iacutea Nacional de Danza The

dancc rs appetite for nlOving their deft

spced and their trcngt h as wdl aS flcxibilshy

ity made thcm dcscrvedJy popular with

the City Ccnter audiences

Dance 1agazinc Marilyn Hunt (Octoher 04)

Un[orgcttable Span ish dance compan)

imports originality sensualit) and passhy

sion

C OViexcl lvtEN TS

laquof or Nacho Duato as for mosl contcmshy

porary European masters choreograpll

does not mean mere decoration or cntershy

tainmen Choreography means COIl) shy

menting the co ntemporary 1I0 rld infloshy

vating movemcnts and attitudes selecting

olle material defin ing ones codcs lmiddotshyrrcss ing olles artistry

AII three excc llent ballets he prescntcd in

Paris cuumluld therefore be tcrl11 cd apocashy

Iyptic

Le Devoir Va leric Lehm tnn (1) ~~

Compantildeia Nacional de Danza tIANOMH

ECOS (HXOI ampAnOHXOI)

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KOOTOUacuteiexcllIa Nomo NTouaTo (J)WTlopoiacute NIKoAalt ltDionA

(npW11l ano TO eNo Ma6pi11l 17 NOEflapiou 1994)IUiexclJJUVIUVI

10 KaI 11 IOY AIOY Xopeuacuteouv

KnTlnJ1 AMoacutepVT Xooe M APIlOlt Kmiacute ApTEoacuteyKa NTE Mnava

Map Mnovnooacutev TOVl ltDoacuteflnp KOTEpivo iJ~UIJlll fOuiacutelt MapTiacutev Oyla

poue AVYKEA PovTpiyKE~ OOKOP TOpaacuteVTO

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Xopeuacuteouv AMOacutepVT bull NaTao NTouaTo

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1010YAIOY 11 IOYAIOY

nOI~ampVIKOacute 10 iexclJipoiexcl ano Tl1 iquestovalO VIO qlAOOUTO BloacuteAa Km apna (1916)

Xopeuouv Xopeuouv AAe~av1)po iquestKOT EIliexclJovoueacuteMa Mnpovoeacutev Map MnovTeoov Euacutea KpeBIVleacutev

naTplK VTe Mnavo PIKapVTo ltDpavKo

Iuply~ LOAo Vla qlAaouTo (191213)

Xopeuouv Xopeuouv Euacutea loacutene~ KpeBIVleacutev MouplEacuteA POIlipo

Xooeacute A KoulpoVKa AVTOacuteVIO KaAeacutepo CDlvaA

TeAeuraiacuteo Ileacutepoiexcl ano Tl1 LovalO VIa qlAaOuTO BIOAa Km apna (1916)

Xopeuouv Xopeuouv TOacuteVI ltDalmp PaouacuteA Tivo

Xooi MavouiA Apllac PaiexclJi EPi Iouiiexcl MapTiv Ova OOKap TopaVTo

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Kanpiva XaiexclJnaoKeXooi A KouiacutepOVKO XplOTiacuteva OpTlVKoueacuteAaeAvroacutevlo KaAeacutepo NTOTOAiacute MnouiooveAVYKiA jT(1vl(~f PouS MapOacuteToeXooeacute A MneVKlpOTalV

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OAO TO iexclmaAiTO

ARENAL (AMMOTOnOI) Xopoypaqiexcliacutea NaTOO NTouaacuteTO KOOTOUacutelIa NaTOO NTouaTO

MOUGlKrj Mapiacutea vTeA Map MnoacuteveT ()WTlOl1oiacute Eqlpov OUiexcliexclATep NOiexclJnll

(npiexcliexclTl1 naVKOacuteOllla napouoiaoll ano TO 1lgtIWIlJH1VTf NTaVl AiexclJOTepvTaiexclJ 26 lavouapiacuteou 1988 npiexcliexclTl1 napou

oiaan anoacute Tll eNDbull 60KTw13Piou 1990)

1010YAIOY 11 IOYAIOY Solo

Xopeuouv Xopeuouv Karepivo AMapVT Kari ApTeaVKO

Paso a Dos PouS MapoTO MOUPUA POlleacutepo

PIKapVTO ltDpavKo AVYKeA PovTpiVKe~

Paso a cuatro Map Mnovreooacutev XpIOTiva OpTIVKoutAa

Ma Aoui~a NTeAVKoacuteoacuteo Euacutea Aone~ KpeplVltv Xoot AVTOVIO MneVKlplOTalv NiKOAO ltDovTe

PaOUacuteA Tivo Xooi MavousA ApiexclJae

Paso a EiexclJlJavoueacuteMa Mnpovoeacutev EIJIlaVousMa Mnpovosv

Iouie OVla TOacuteVI ltDOacutelJnp Xooi AVTOacuteVIO KouipoacuteVKa AVTOacuteVIO KaAtpo

C Ii IIl lNtildeiacute l IV I U O 1 IlL D 1 1

Tlze appoilll1I ell oJrenowned dance and choreshy

ograph er Nacho Duao as Arisic Direelor of

CN D ill ul1e 1990 has meal 1I11 innovaive

challge inhe CUl1lpCIlys hisOy 1 was Duaos

flrm in elliono rall sjol7 11( COl17paliia ino a

baile wih a persolality of i I OWII in which

wih oulneglec illg he classical precepls a more

cOIIemporay sfyle is adoPlecl To achieve his

he incuded in h e companys reperloire lI eIV

choreographic iexclliarle crealed especia~y Jor i 10shy

gelher wilh olher works ofprovell qllalily recogshy

lI izec worldwide Moreover Nacho Duao CUIIshy

Iribllles lO Ihe CN D wilh hil work as a ehoreoshy

grapher pmiled hy critics all UJier h e lVorld alle

awarded prizes hy h e experls

DU(lIo is (onrClud wih filldillg h e balalce beshy

Iwerll chor(ogmphy hale alil a way oJ lije As

he sees i lIl e richnesmiddot oJ Sp(fnish Cullltre ale

fo lklore COllsiUlrs (f l illexhallslable sourer joacuter

his works

71J( CN D was foacuteull ded in 979 under h e

name oI BaIle Naciolal de ESplIla Casieo

(llld ils jirl Direc or was Viclor VIae a greclI

Spanilh eal cer who had workedfoacuter mlly years

ill iexcllaLrice Jeacutejart s Ballels du XXeme Sieacutecle

During Ilris period h e Balel ([bUulanl lVi11

young Sp(nish da n cer perlormed in 1l(IlY

Spanish ciliexcles ane made ils firsl our in foreign

cOln ries

In 1983 Ihe Direclion of th e Ballets Nacionales

- Espcliol y e asico - was pulullder Ihe ciexcl ( rge

01 well-kll owl dance leacher Maria de Avila

who syemized Ih e internal work of h e Ballel

and placee special emphasimiddot on openillg ils

doors o dall ce styles lha were vey imporlalI

lhough harey klOwn in Spain slIeh as Ihose of

George Balall chill e a7( A nlzol7y Tudor H OlIshy

ever Ihe Ballet nol only impored greCil j oreigl1

choreographic crealions blll il aso slarled slagshy

ing peforman ces of its OW1 creaions

Maria de Avila put Ray Barra a former

Northamerican dancer and choreographer livshy

ing in Spain in charge of a number of choreoshy

graphies and later offered him the post of Asshy

sistant Directo which he luld until 1990

In December 1987 Maya Plissetskaya was apshy

pointed as the ballet s Artistic Director The exshy

traordinaJY Russian dancer introduced various

works ofthe classieal repertoire An oUlstanding

contribution to the repertoire was the fulllength

ballet La Fille Mal Gardeacutee based on the vershy

sion of Marius Petipa and the produetions ofA

Gorsky and A J1esserer

Throughout these years Ihe CND has built up

a so lid reputalion giving a great number ofpershy

formanees as well as touring in Spain and

abroad Franee Austria German) Switzershy

land Cuba Taiwan Israel Russia Mexico

Ita 1) Venezuela Japan Argentina Puerlo Rishy

co lhe Uniled Kingdom Canada and Ihe U S

As of 1990 lhe CD has started on a new path

as a slable compan) oecupying a well-earned

place in the inlemational dance scene

highlighting their own insignificance the f1eetingness ami fragility of their existence~

those stones piled up high in order to be closer to God were finally extremely attachcJ

to earth and in many cases became covered by it It also refers to the power or energ

of some megalithic elements worshipped by remote or present religions man addresmiddot

es his payers to a lifeless subject which in this way becomes the genesis of his spiritual

life Perishabletimeless vainmagnificent lifelessa live matterlspirit

binomials constitute the inspiration of the spirit of 1eos

1 fU 11

Arenal is a choreography by Nacho Duato inspired by songs of Maria del Mar Bonet

In this ballet the choreographers purpose has been to show lhe uninbibiled cheerfulmiddot

ness of th e Mediterranean personality contrasting with the everyday struggle ror life

Duato makes thi s contrast very obvious On the one hand there is the dancing ora

group of men and women motivated by the pure joyfulness of musie Its jubilation i~

reflected in the clear movements of the dances (pas-de-deux pas-de-trois pas-de

quatre) to Greek songs translated into Catalonian and Majorcan ones by Maria dcl

Mar Bonet

On the other hand one woman dancer stands apart dancing alone to four songs which

are performend a cappella These songs are of eacutel realistic content and seem to arise al

an agonizing outcry of the heart The dancers movements are nearer to tbe ground

than those of the others This is lO express the influence of the land Colour choreogmiddot

raphy movement everything is undeniably MediLeranean

Nacho Duato had worked bcfore with Maria del Mar Bonet in another ballet Jaul

Taneal laquoHer music constitules an important source of inspiralioll for my worogt says Ihe

choreographer While I was listening to her record Gavines 1Dragans the idea ojAremiddot

na immediatel) OCCWTed to me At once 1 began to consider the possibility ofMaria di

Mar Bonctjoining us to give a Uve perlilrmance ofher songsraquo Duato sees Arenal as an exmiddot

tension of his first work Jardi TiacutenWl laquohough it is m ore vital more iexcliexclvey morr jaacuteitiexclfil

lo Ihe inner yhm of Ihe songs Ihemselves wilWUl abandoning Ihe real world ofpeoplr

and ofworo

laquo1 have always known that my songs were born with rythm but I only really became

aware of it the day Nacho Duato danced to them When I saw the first choreogramiddot

phyJardi Tuneat [was quiLe cxcitcd He had given them another Iife they Vere inmiddot

dependent and at the same time tied to me yet they had acq uircd a new palpitation

they had Laken a different road

Thcre is sOll1cthing in Arenal thaL has always fascin atcd me the trea tment of th

Majorcan work songs which [ sing a capella These are songs which form pan of out

earliest M ajo rcan trad iti on but which are no longer sung wbcre they come from or

what they were created for ie work in th e field s There are hardly a few places in

Maj orca where work in the countryside is st ill the same as fo rty o r fiuacutey years ago

Ho wever when acho has used thos e songs for his choreographics he has g ive n

them back this role of uniqu e pieces as if lhey were precious s[(lIles

While Jaiexcldi Tarual Vas so fu ll of life in Arenal 1 have discoved an inner pass ion 1

will never tire of r e pcati ng that these choreogra phics of Nacho Dua to have hee n

one of the most preciollS arlistic p rese nts r have ever received 1 believe [h ey helong

to that type of thing which gocs hand-in-hand with so deeply felt emo tions [ha t it can

ha rdly be cxpressed in words

Than k you ac horaquo

Maria de l Mar Banet

71

J J J U R S D J Y 1 3 - r R I D Y 1 4 L

COMPANtildeIacuteA NACIONAL DE DA NZ A II(lS1 [) 1(1 (JI I IV)

R ETURN TO THE STRA NGE L AND

Ch oreography Jiriacute Kylian

Musi e Leos Jan icek

(Sonata 1s1 October 1905 Ovelgrown Path

[n the Mis )

COslUm es Ji iiacute Kylian

Lighl Design Joop Caboort

R eslaging Arl e tt e va n BovenJim Vincent

RASSEMBLEME NT

Ch oreography Na cho Du a to

Musie Toto Bissainthe (Basableacuteman)

Seenely Walter N o bbe

Co slumes Nacho Du ato

L ighl Design Nic o las Fi schte l

accord ing to th e o ri g in a l des ign

by Dick Limdsctrb m

Slaging Lena Wennergre n-Jur as

MED1TERRANIA

Choreography Nacho Du a to

Musie J e ronimo M essoA M a hmoud

T a brizi Pete r GriggsJ u an

A ArtecheJavie Paxarintildeo

Seis N ac ho Du a to

Coslum es Lu is D evo ta

and M odes to Lo mba

Lighl Nic o laacutes Fischtel

Rf TLRN TO TIr TR lIciF L I NO

On the sudden death of the choreographer and director John Cranko in the sumshy

mer of 1973 the former director of the Stuttgart Ballet asked me to create a ballet

in his memory 1 made a pas-de-trois on the music of Leos Janaacutecek namely the last

part of his piano sonata OClober the 1st 1905 In 1975 1 used this as the final piece

of Return lo the Slrange Land The title is a contradiction How can you return to a

land where you have never been before This ballet is about death and reincarnashy

tion disappearance reappearance death and rebirth were its main sources of inshy

spiration Although the physical existence ends the particles reappear in a different

shape These particles laquoknowraquo the laquounknown landraquo They are part ofyou until they

return to the strange land

This is one of my first works The role of c1assical elements and patterns is more proshy

nounced than in my later works A highly important starting point was the emotion

existing inside the body Dresses are reduced to a minimum This ballet is made up

of a pas-de-trois They imply slow reincarnation processes At the end the sensation

is created that something abstract has taken life from inside the bodies The return

full of yearning for the past takes us to an apparently well-known place to an unshy

known presence Can it be the premonition of death

For a long time 1 had felt the urge to do something with Janaacuteceks piano music It

seemed to me that this assignment was the ideal opportunity As a rule 1 work the

other way round Normally the idea springs forth from the music The ballet starts

with the first part of the sonata for piano Oclober the 1st 1905 This is followed by

the mazurka from Overgrown Path and the first part of In the Mist to end with the

last part of the piano sonata His music is at all times rooted in people and their

emotions which explains its close resemblance to popular songs

Jiriacute Kylian

R middot ISSEMBLeacuteJIFi T

This time Duato has turned to Haiti and the music of Toto Bissainthe with drive

and sway to create a work inspired in the crisp clearcut style of Jardi Tancal Four

couples in shades of grey working c1othes start calmly and build up to an arresting

finish with the word diberteacuteraquo repeated in the songo

Rassemblement is a creation which gradually through the liberating powers of mushy

sic and dance proves to be an impressive thrilling and audience-affecting human

rights appea

These songs are mostly slaves songs from the Voodoo culto They express the daily life

of the slaves their longing for Africa not as a geographical reality but as a mythical

land of freedom They express their resistance and their refusa resistance against the

colonial master refusal of his politics his religion his culture and his language

Their new consciousness created bonds between the s[aves in their new Vor[d which

enabled them to gain their independence T hey beca me revo[utionary pcasallts fne

peasallts and from being free peasants bccamc servi le peasants During the hi~to rl

of Haiti the face of the master has often ehanged We know his present facc dimiddot

guised withh the make-up of the tourist tratlc whieh when uncovered rcveals mimiddot

ery exploitat ion and violence One ca n then recogn ise that the present network 01

economic interests under the cover of good works such as cultural and re ligiou

missio ns binds the present power structure to imperialism Capital developing in

Haiti has transformed the sense of Voodoo The ethnographer came first and thel

the tourist for whom folklore was reproduced for exotic excitement Voodoo which

for the poor and exp loited peasants had been a ce[ebration of the African roots llf

their daily more unbearab[e way of life became a laquore [igiollgt one of the too [s 01

power

We do not sing the laquoVoodoo phenomenon)) We do not lean pleasantly on the beaumiddot

ty of these songs our work leads us in a different direction LOwarcls anoth e r sort of

authenticity The birth of Voodoo in a land of exi le the first common languag(

among s [aves of different et hnic backgro und s Vas a vita l ereative moment a cu lturo

al unification which was to transform the world nn open ing for the confined That i

the moment we sing about Using the tradition a [ music of Haiti we meet witll other

musical forms to open a way towards a contempomry music that knows no fronticr

iexclIIHIIIIi

It is usually music which inspires me when creating a new ballet On this oceasion

however the sea and its lig ht the fire and its meaning in our own culture as Vell a

the fertility of land have been my sources of inspiration to crea te this choreograph)

dedicated to the Valencia n eommunity

With this work (would [ike to express some intimate feelings and imagcs the preso

ence of my roots very esscncc which -even having been abroad for long periods llf

time and influeneed by various other cultures- I a lways felt in the blood 01 my veins

I have avoided llsing folk elements historie referenees anecdotes or allllsions 10

charactcrs trying instcnd to eommlll1icate throllgh movemcl1t the sensuality of (he

landscape the scnsitivity of its inhabitants and thei r uninhibited worship to the

ephemeral so chnraeteristic of this community

Overlooking the stereotype has meant abandoning the artifiees of ll1usic costumc

and scenogTaphy in order to reaeh a si mplification This may seem somewhat C(lld if

compared with the exuberance in the daily li ves of our people but ( do hope to exmiddot

press that vitality throllgh 1l10vement

In order to achieve thi s 1 have ll sed percllssion and wind sOll nds always wrappcd up

with the constant beating of water 1 did this not o11 ly beeause th ey identify Valenmiddot

cian cul ture but also beca use they have he lp ed me to find ou t movements cl oser to

the earth o f a telluric strength and th e refore to get a be tter co ntrast for the mos t

deliea te movements Thj s is exemplified in the pas-de-deux o f El Aza har or El Ma r

[ have si mply wanted to dee ply re traee my roo ts and those of my ances to rs 1 have

lried to pee l the ora nge to ge t to its f1 es h the pl ayful and sensua l spirit o f this land

always intimate ly rela te d to the sea

[ dedica te this ba ll e t to those who as myse lf feel acco mpli ces with th e Meditershy

ra nea n

Nacho Duato

NACHO Dli O

Born in Yalenciexcl Sp in in 1957 lacho

Dualo lrlcd hi s rrokional ba ll et

training Vitb the RamlJert Sehool in Lonshy

don at the age of eighteen To expand

tudies he joined Maurice Beacutejart s Mu shy

dra School in Brussse ls and complcted

hi s dance education at The Alvin Ailey

American Dance Center in ew York

In 1980 at Ihe age of 23 Nacho Duato

si~ncd his first profess ional contnlCt

il h the Cullberg Ball et in Stockh oi m

and ayear Iter Jiriacute Kylian brough t him

lo the Nederlands Dans Thealer in Holshy

land where he was quickly in corpora ted

into the company ami ils repertoire

In 19K7 he received the YSCD Gouden

Dansrrijs (Golden Dan ce AlVard) for

his achieve ments as a dancer

Nacho Duatos natura l talent had him

soon look beyond the limitations of a

dancer and turn towards choreography

His first att emrt in 19H3 turned into a

major succes Jardiacute Talcal to panshy

ishCatalan music by compatr iot Maria

del Mar l30nel Vo n him the first pri ze at

the Interna tional Choreographic Workshy

shap (lntcrnatio naler Chorcographischshy

er Wcttbewe rb) at Cologne

Without reducing hi rcronsiblilities as

a dlI1cer dcho Dllato has si nce then

crcaled about a dozen works [or both

cderlands Dans Theater and Ncdershy

lands Dans Theater 2 for instance Dal1

1(1 y Rito (Chavez) Um lIi (Respighi )

SJIIIllllIIiacute (XenakisViexcl)ngel is) Boleacutero

(Rave l) Arenal (Maria del Mar Bonet)

Chansons vladeacuteraucs (Rave l) and Rapshy

iexclus to Richard Wagncrs Wescl1dolk

U eder For alm05t evely work

painterde5igner Walter obbe proved

an inspi ring and reiable co llaborator In

1988 Nacho Duato was named Re sid ent

Choreographer for ederlands Dans

lilca ter - next lo Hans van Maneacute n and

Jiriacute Kylian

With the growing demand of internation shy

nal companics reqll cst ing his orks rOl their repertoire - ie The Cullherg Ballet

The frankfurt Ballet The Gulbenkian

Ballet Les Grands Ballets Canadicns

Ballet Teatro Lirico Nacional Nacho

Duato was foreed to make a deeisive step

towards ehoosing his ruture carce r Beshy

ing5011ght after by a number of important

opera hOllses and balletcompanies it Vas

the ca ll of the Min isterio de Cultura 01 his

nati ve Spain which made him decide to

aceept in Jllne 1990 the posit ion of drtisshy

tic director and choreographcr Vith the

Compantildeiacutea Nacional de Danza

IRIacuteKYLIAacuteN

Sec puge 44

REVIEWS AND

Fro01 Madrid a Troupe Based in Earthy

Iassion

laquoMr Duato asked to take over a classiea l

ballet cammp~ny in 1990 revamped it

stylistica lly mixing modern and ballet idshy

iom lle has raised it to an international

leve raquo

The le York TilTle~ Anna Ki )clgoff

(I3iexcl5iexclq4 )

laquoDuato is a distinct choreographic talent

perh aps eviexcln a choreographic findraquo

Nol Yurk Pos t C1 ive Barn os (135194)

Th e sheer qua ntity of dancing moveshy

ment invention and emot ion onstage was

stagggering in Ihe six picccs all by him

that comprised the US debut of his

Comparl iacutea Nacional de Danza The

dancc rs appetite for nlOving their deft

spced and their trcngt h as wdl aS flcxibilshy

ity made thcm dcscrvedJy popular with

the City Ccnter audiences

Dance 1agazinc Marilyn Hunt (Octoher 04)

Un[orgcttable Span ish dance compan)

imports originality sensualit) and passhy

sion

C OViexcl lvtEN TS

laquof or Nacho Duato as for mosl contcmshy

porary European masters choreograpll

does not mean mere decoration or cntershy

tainmen Choreography means COIl) shy

menting the co ntemporary 1I0 rld infloshy

vating movemcnts and attitudes selecting

olle material defin ing ones codcs lmiddotshyrrcss ing olles artistry

AII three excc llent ballets he prescntcd in

Paris cuumluld therefore be tcrl11 cd apocashy

Iyptic

Le Devoir Va leric Lehm tnn (1) ~~

Compantildeia Nacional de Danza tIANOMH

ECOS (HXOI ampAnOHXOI)

XOpoYPQ(pia NaTao NTOUOTO Mououaj LTfqlav iquestKTVIKOacute OUWAnp NOIlTlll

KOOTOUacuteiexcllIa Nomo NTouaTo (J)WTlopoiacute NIKoAalt ltDionA

(npW11l ano TO eNo Ma6pi11l 17 NOEflapiou 1994)IUiexclJJUVIUVI

10 KaI 11 IOY AIOY Xopeuacuteouv

KnTlnJ1 AMoacutepVT Xooe M APIlOlt Kmiacute ApTEoacuteyKa NTE Mnava

Map Mnovnooacutev TOVl ltDoacuteflnp KOTEpivo iJ~UIJlll fOuiacutelt MapTiacutev Oyla

poue AVYKEA PovTpiyKE~ OOKOP TOpaacuteVTO

COR PERDUT (XAMENH KAPAIA)

)()tl)II~ln(fjln NOacuteTOO NTOUOacutepO Mouollltiiexcl VTEA Map MnOVET

nVLIlVLIUIU amp (J)wTlopoi NaacuteTaO NTouaacuteTO

(npW11l napouoioon anoacute TO NtvTEpAavn Nravlt TEOacuteTEP Xaacuteyn 25 AnptAiou 1989 npwTn ano Tn eNo 30 louviou 1990)

Xopeuacuteouv AMOacutepVT bull NaTao NTouaTo

Duende (NTOYENTE)

Xopoypaqiexclia Namo NTouaTO KOOTOUacuteiexcllIa Louacute~av MOUGtKrj KAiexcliexclVT NTelmuouacute (nOliexclJeVIKO ()WTlOlloiacute NIKOAaacuteC ltDiOTeA

IKrVIKaacute Ouiexcliexclnep NOacutellTIl1

(npiexcliexclTl1 nOVKOOIUO nopouoiaan ano TO NeacutevTepAaVTiexcl NlOViexcl TeaTep XaacuteVl1 21 NoeiexclJBpiou 1991 npiexcliexclTl1 napouoioan ano T1 eND Ma1)piTl1 11 crcuuutJU

1010YAIOY 11 IOYAIOY

nOI~ampVIKOacute 10 iexclJipoiexcl ano Tl1 iquestovalO VIO qlAOOUTO BloacuteAa Km apna (1916)

Xopeuouv Xopeuouv AAe~av1)po iquestKOT EIliexclJovoueacuteMa Mnpovoeacutev Map MnovTeoov Euacutea KpeBIVleacutev

naTplK VTe Mnavo PIKapVTo ltDpavKo

Iuply~ LOAo Vla qlAaouTo (191213)

Xopeuouv Xopeuouv Euacutea loacutene~ KpeBIVleacutev MouplEacuteA POIlipo

Xooeacute A KoulpoVKa AVTOacuteVIO KaAeacutepo CDlvaA

TeAeuraiacuteo Ileacutepoiexcl ano Tl1 LovalO VIa qlAaOuTO BIOAa Km apna (1916)

Xopeuouv Xopeuouv TOacuteVI ltDalmp PaouacuteA Tivo

Xooi MavouiA Apllac PaiexclJi EPi Iouiiexcl MapTiv Ova OOKap TopaVTo

XopOacuteC IampPOTIKOacuteC fioacute apna Km eacutevxop1)a (1904)

Xopeuacuteouv Xopeuouv Ma Ioui~a NTeAVKMoenmpiK VTe Mnava Ma Aouiacute~a NTeAVKOacuteoacuteoePIKapVTO ltDpavKo

Kanpiva XaiexclJnaoKeXooi A KouiacutepOVKO XplOTiacuteva OpTlVKoueacuteAaeAvroacutevlo KaAeacutepo NTOTOAiacute MnouiooveAVYKiA jT(1vl(~f PouS MapOacuteToeXooeacute A MneVKlpOTalV

XopOacuteC ~t~riexclAoc na apna Km (1904)

OAO TO iexclmaAiTO

ARENAL (AMMOTOnOI) Xopoypaqiexcliacutea NaTOO NTouaacuteTO KOOTOUacutelIa NaTOO NTouaTO

MOUGlKrj Mapiacutea vTeA Map MnoacuteveT ()WTlOl1oiacute Eqlpov OUiexcliexclATep NOiexclJnll

(npiexcliexclTl1 naVKOacuteOllla napouoiaoll ano TO 1lgtIWIlJH1VTf NTaVl AiexclJOTepvTaiexclJ 26 lavouapiacuteou 1988 npiexcliexclTl1 napou

oiaan anoacute Tll eNDbull 60KTw13Piou 1990)

1010YAIOY 11 IOYAIOY Solo

Xopeuouv Xopeuouv Karepivo AMapVT Kari ApTeaVKO

Paso a Dos PouS MapoTO MOUPUA POlleacutepo

PIKapVTO ltDpavKo AVYKeA PovTpiVKe~

Paso a cuatro Map Mnovreooacutev XpIOTiva OpTIVKoutAa

Ma Aoui~a NTeAVKoacuteoacuteo Euacutea Aone~ KpeplVltv Xoot AVTOVIO MneVKlplOTalv NiKOAO ltDovTe

PaOUacuteA Tivo Xooi MavousA ApiexclJae

Paso a EiexclJlJavoueacuteMa Mnpovoeacutev EIJIlaVousMa Mnpovosv

Iouie OVla TOacuteVI ltDOacutelJnp Xooi AVTOacuteVIO KouipoacuteVKa AVTOacuteVIO KaAtpo

ing peforman ces of its OW1 creaions

Maria de Avila put Ray Barra a former

Northamerican dancer and choreographer livshy

ing in Spain in charge of a number of choreoshy

graphies and later offered him the post of Asshy

sistant Directo which he luld until 1990

In December 1987 Maya Plissetskaya was apshy

pointed as the ballet s Artistic Director The exshy

traordinaJY Russian dancer introduced various

works ofthe classieal repertoire An oUlstanding

contribution to the repertoire was the fulllength

ballet La Fille Mal Gardeacutee based on the vershy

sion of Marius Petipa and the produetions ofA

Gorsky and A J1esserer

Throughout these years Ihe CND has built up

a so lid reputalion giving a great number ofpershy

formanees as well as touring in Spain and

abroad Franee Austria German) Switzershy

land Cuba Taiwan Israel Russia Mexico

Ita 1) Venezuela Japan Argentina Puerlo Rishy

co lhe Uniled Kingdom Canada and Ihe U S

As of 1990 lhe CD has started on a new path

as a slable compan) oecupying a well-earned

place in the inlemational dance scene

highlighting their own insignificance the f1eetingness ami fragility of their existence~

those stones piled up high in order to be closer to God were finally extremely attachcJ

to earth and in many cases became covered by it It also refers to the power or energ

of some megalithic elements worshipped by remote or present religions man addresmiddot

es his payers to a lifeless subject which in this way becomes the genesis of his spiritual

life Perishabletimeless vainmagnificent lifelessa live matterlspirit

binomials constitute the inspiration of the spirit of 1eos

1 fU 11

Arenal is a choreography by Nacho Duato inspired by songs of Maria del Mar Bonet

In this ballet the choreographers purpose has been to show lhe uninbibiled cheerfulmiddot

ness of th e Mediterranean personality contrasting with the everyday struggle ror life

Duato makes thi s contrast very obvious On the one hand there is the dancing ora

group of men and women motivated by the pure joyfulness of musie Its jubilation i~

reflected in the clear movements of the dances (pas-de-deux pas-de-trois pas-de

quatre) to Greek songs translated into Catalonian and Majorcan ones by Maria dcl

Mar Bonet

On the other hand one woman dancer stands apart dancing alone to four songs which

are performend a cappella These songs are of eacutel realistic content and seem to arise al

an agonizing outcry of the heart The dancers movements are nearer to tbe ground

than those of the others This is lO express the influence of the land Colour choreogmiddot

raphy movement everything is undeniably MediLeranean

Nacho Duato had worked bcfore with Maria del Mar Bonet in another ballet Jaul

Taneal laquoHer music constitules an important source of inspiralioll for my worogt says Ihe

choreographer While I was listening to her record Gavines 1Dragans the idea ojAremiddot

na immediatel) OCCWTed to me At once 1 began to consider the possibility ofMaria di

Mar Bonctjoining us to give a Uve perlilrmance ofher songsraquo Duato sees Arenal as an exmiddot

tension of his first work Jardi TiacutenWl laquohough it is m ore vital more iexcliexclvey morr jaacuteitiexclfil

lo Ihe inner yhm of Ihe songs Ihemselves wilWUl abandoning Ihe real world ofpeoplr

and ofworo

laquo1 have always known that my songs were born with rythm but I only really became

aware of it the day Nacho Duato danced to them When I saw the first choreogramiddot

phyJardi Tuneat [was quiLe cxcitcd He had given them another Iife they Vere inmiddot

dependent and at the same time tied to me yet they had acq uircd a new palpitation

they had Laken a different road

Thcre is sOll1cthing in Arenal thaL has always fascin atcd me the trea tment of th

Majorcan work songs which [ sing a capella These are songs which form pan of out

earliest M ajo rcan trad iti on but which are no longer sung wbcre they come from or

what they were created for ie work in th e field s There are hardly a few places in

Maj orca where work in the countryside is st ill the same as fo rty o r fiuacutey years ago

Ho wever when acho has used thos e songs for his choreographics he has g ive n

them back this role of uniqu e pieces as if lhey were precious s[(lIles

While Jaiexcldi Tarual Vas so fu ll of life in Arenal 1 have discoved an inner pass ion 1

will never tire of r e pcati ng that these choreogra phics of Nacho Dua to have hee n

one of the most preciollS arlistic p rese nts r have ever received 1 believe [h ey helong

to that type of thing which gocs hand-in-hand with so deeply felt emo tions [ha t it can

ha rdly be cxpressed in words

Than k you ac horaquo

Maria de l Mar Banet

71

J J J U R S D J Y 1 3 - r R I D Y 1 4 L

COMPANtildeIacuteA NACIONAL DE DA NZ A II(lS1 [) 1(1 (JI I IV)

R ETURN TO THE STRA NGE L AND

Ch oreography Jiriacute Kylian

Musi e Leos Jan icek

(Sonata 1s1 October 1905 Ovelgrown Path

[n the Mis )

COslUm es Ji iiacute Kylian

Lighl Design Joop Caboort

R eslaging Arl e tt e va n BovenJim Vincent

RASSEMBLEME NT

Ch oreography Na cho Du a to

Musie Toto Bissainthe (Basableacuteman)

Seenely Walter N o bbe

Co slumes Nacho Du ato

L ighl Design Nic o las Fi schte l

accord ing to th e o ri g in a l des ign

by Dick Limdsctrb m

Slaging Lena Wennergre n-Jur as

MED1TERRANIA

Choreography Nacho Du a to

Musie J e ronimo M essoA M a hmoud

T a brizi Pete r GriggsJ u an

A ArtecheJavie Paxarintildeo

Seis N ac ho Du a to

Coslum es Lu is D evo ta

and M odes to Lo mba

Lighl Nic o laacutes Fischtel

Rf TLRN TO TIr TR lIciF L I NO

On the sudden death of the choreographer and director John Cranko in the sumshy

mer of 1973 the former director of the Stuttgart Ballet asked me to create a ballet

in his memory 1 made a pas-de-trois on the music of Leos Janaacutecek namely the last

part of his piano sonata OClober the 1st 1905 In 1975 1 used this as the final piece

of Return lo the Slrange Land The title is a contradiction How can you return to a

land where you have never been before This ballet is about death and reincarnashy

tion disappearance reappearance death and rebirth were its main sources of inshy

spiration Although the physical existence ends the particles reappear in a different

shape These particles laquoknowraquo the laquounknown landraquo They are part ofyou until they

return to the strange land

This is one of my first works The role of c1assical elements and patterns is more proshy

nounced than in my later works A highly important starting point was the emotion

existing inside the body Dresses are reduced to a minimum This ballet is made up

of a pas-de-trois They imply slow reincarnation processes At the end the sensation

is created that something abstract has taken life from inside the bodies The return

full of yearning for the past takes us to an apparently well-known place to an unshy

known presence Can it be the premonition of death

For a long time 1 had felt the urge to do something with Janaacuteceks piano music It

seemed to me that this assignment was the ideal opportunity As a rule 1 work the

other way round Normally the idea springs forth from the music The ballet starts

with the first part of the sonata for piano Oclober the 1st 1905 This is followed by

the mazurka from Overgrown Path and the first part of In the Mist to end with the

last part of the piano sonata His music is at all times rooted in people and their

emotions which explains its close resemblance to popular songs

Jiriacute Kylian

R middot ISSEMBLeacuteJIFi T

This time Duato has turned to Haiti and the music of Toto Bissainthe with drive

and sway to create a work inspired in the crisp clearcut style of Jardi Tancal Four

couples in shades of grey working c1othes start calmly and build up to an arresting

finish with the word diberteacuteraquo repeated in the songo

Rassemblement is a creation which gradually through the liberating powers of mushy

sic and dance proves to be an impressive thrilling and audience-affecting human

rights appea

These songs are mostly slaves songs from the Voodoo culto They express the daily life

of the slaves their longing for Africa not as a geographical reality but as a mythical

land of freedom They express their resistance and their refusa resistance against the

colonial master refusal of his politics his religion his culture and his language

Their new consciousness created bonds between the s[aves in their new Vor[d which

enabled them to gain their independence T hey beca me revo[utionary pcasallts fne

peasallts and from being free peasants bccamc servi le peasants During the hi~to rl

of Haiti the face of the master has often ehanged We know his present facc dimiddot

guised withh the make-up of the tourist tratlc whieh when uncovered rcveals mimiddot

ery exploitat ion and violence One ca n then recogn ise that the present network 01

economic interests under the cover of good works such as cultural and re ligiou

missio ns binds the present power structure to imperialism Capital developing in

Haiti has transformed the sense of Voodoo The ethnographer came first and thel

the tourist for whom folklore was reproduced for exotic excitement Voodoo which

for the poor and exp loited peasants had been a ce[ebration of the African roots llf

their daily more unbearab[e way of life became a laquore [igiollgt one of the too [s 01

power

We do not sing the laquoVoodoo phenomenon)) We do not lean pleasantly on the beaumiddot

ty of these songs our work leads us in a different direction LOwarcls anoth e r sort of

authenticity The birth of Voodoo in a land of exi le the first common languag(

among s [aves of different et hnic backgro und s Vas a vita l ereative moment a cu lturo

al unification which was to transform the world nn open ing for the confined That i

the moment we sing about Using the tradition a [ music of Haiti we meet witll other

musical forms to open a way towards a contempomry music that knows no fronticr

iexclIIHIIIIi

It is usually music which inspires me when creating a new ballet On this oceasion

however the sea and its lig ht the fire and its meaning in our own culture as Vell a

the fertility of land have been my sources of inspiration to crea te this choreograph)

dedicated to the Valencia n eommunity

With this work (would [ike to express some intimate feelings and imagcs the preso

ence of my roots very esscncc which -even having been abroad for long periods llf

time and influeneed by various other cultures- I a lways felt in the blood 01 my veins

I have avoided llsing folk elements historie referenees anecdotes or allllsions 10

charactcrs trying instcnd to eommlll1icate throllgh movemcl1t the sensuality of (he

landscape the scnsitivity of its inhabitants and thei r uninhibited worship to the

ephemeral so chnraeteristic of this community

Overlooking the stereotype has meant abandoning the artifiees of ll1usic costumc

and scenogTaphy in order to reaeh a si mplification This may seem somewhat C(lld if

compared with the exuberance in the daily li ves of our people but ( do hope to exmiddot

press that vitality throllgh 1l10vement

In order to achieve thi s 1 have ll sed percllssion and wind sOll nds always wrappcd up

with the constant beating of water 1 did this not o11 ly beeause th ey identify Valenmiddot

cian cul ture but also beca use they have he lp ed me to find ou t movements cl oser to

the earth o f a telluric strength and th e refore to get a be tter co ntrast for the mos t

deliea te movements Thj s is exemplified in the pas-de-deux o f El Aza har or El Ma r

[ have si mply wanted to dee ply re traee my roo ts and those of my ances to rs 1 have

lried to pee l the ora nge to ge t to its f1 es h the pl ayful and sensua l spirit o f this land

always intimate ly rela te d to the sea

[ dedica te this ba ll e t to those who as myse lf feel acco mpli ces with th e Meditershy

ra nea n

Nacho Duato

NACHO Dli O

Born in Yalenciexcl Sp in in 1957 lacho

Dualo lrlcd hi s rrokional ba ll et

training Vitb the RamlJert Sehool in Lonshy

don at the age of eighteen To expand

tudies he joined Maurice Beacutejart s Mu shy

dra School in Brussse ls and complcted

hi s dance education at The Alvin Ailey

American Dance Center in ew York

In 1980 at Ihe age of 23 Nacho Duato

si~ncd his first profess ional contnlCt

il h the Cullberg Ball et in Stockh oi m

and ayear Iter Jiriacute Kylian brough t him

lo the Nederlands Dans Thealer in Holshy

land where he was quickly in corpora ted

into the company ami ils repertoire

In 19K7 he received the YSCD Gouden

Dansrrijs (Golden Dan ce AlVard) for

his achieve ments as a dancer

Nacho Duatos natura l talent had him

soon look beyond the limitations of a

dancer and turn towards choreography

His first att emrt in 19H3 turned into a

major succes Jardiacute Talcal to panshy

ishCatalan music by compatr iot Maria

del Mar l30nel Vo n him the first pri ze at

the Interna tional Choreographic Workshy

shap (lntcrnatio naler Chorcographischshy

er Wcttbewe rb) at Cologne

Without reducing hi rcronsiblilities as

a dlI1cer dcho Dllato has si nce then

crcaled about a dozen works [or both

cderlands Dans Theater and Ncdershy

lands Dans Theater 2 for instance Dal1

1(1 y Rito (Chavez) Um lIi (Respighi )

SJIIIllllIIiacute (XenakisViexcl)ngel is) Boleacutero

(Rave l) Arenal (Maria del Mar Bonet)

Chansons vladeacuteraucs (Rave l) and Rapshy

iexclus to Richard Wagncrs Wescl1dolk

U eder For alm05t evely work

painterde5igner Walter obbe proved

an inspi ring and reiable co llaborator In

1988 Nacho Duato was named Re sid ent

Choreographer for ederlands Dans

lilca ter - next lo Hans van Maneacute n and

Jiriacute Kylian

With the growing demand of internation shy

nal companics reqll cst ing his orks rOl their repertoire - ie The Cullherg Ballet

The frankfurt Ballet The Gulbenkian

Ballet Les Grands Ballets Canadicns

Ballet Teatro Lirico Nacional Nacho

Duato was foreed to make a deeisive step

towards ehoosing his ruture carce r Beshy

ing5011ght after by a number of important

opera hOllses and balletcompanies it Vas

the ca ll of the Min isterio de Cultura 01 his

nati ve Spain which made him decide to

aceept in Jllne 1990 the posit ion of drtisshy

tic director and choreographcr Vith the

Compantildeiacutea Nacional de Danza

IRIacuteKYLIAacuteN

Sec puge 44

REVIEWS AND

Fro01 Madrid a Troupe Based in Earthy

Iassion

laquoMr Duato asked to take over a classiea l

ballet cammp~ny in 1990 revamped it

stylistica lly mixing modern and ballet idshy

iom lle has raised it to an international

leve raquo

The le York TilTle~ Anna Ki )clgoff

(I3iexcl5iexclq4 )

laquoDuato is a distinct choreographic talent

perh aps eviexcln a choreographic findraquo

Nol Yurk Pos t C1 ive Barn os (135194)

Th e sheer qua ntity of dancing moveshy

ment invention and emot ion onstage was

stagggering in Ihe six picccs all by him

that comprised the US debut of his

Comparl iacutea Nacional de Danza The

dancc rs appetite for nlOving their deft

spced and their trcngt h as wdl aS flcxibilshy

ity made thcm dcscrvedJy popular with

the City Ccnter audiences

Dance 1agazinc Marilyn Hunt (Octoher 04)

Un[orgcttable Span ish dance compan)

imports originality sensualit) and passhy

sion

C OViexcl lvtEN TS

laquof or Nacho Duato as for mosl contcmshy

porary European masters choreograpll

does not mean mere decoration or cntershy

tainmen Choreography means COIl) shy

menting the co ntemporary 1I0 rld infloshy

vating movemcnts and attitudes selecting

olle material defin ing ones codcs lmiddotshyrrcss ing olles artistry

AII three excc llent ballets he prescntcd in

Paris cuumluld therefore be tcrl11 cd apocashy

Iyptic

Le Devoir Va leric Lehm tnn (1) ~~

Compantildeia Nacional de Danza tIANOMH

ECOS (HXOI ampAnOHXOI)

XOpoYPQ(pia NaTao NTOUOTO Mououaj LTfqlav iquestKTVIKOacute OUWAnp NOIlTlll

KOOTOUacuteiexcllIa Nomo NTouaTo (J)WTlopoiacute NIKoAalt ltDionA

(npW11l ano TO eNo Ma6pi11l 17 NOEflapiou 1994)IUiexclJJUVIUVI

10 KaI 11 IOY AIOY Xopeuacuteouv

KnTlnJ1 AMoacutepVT Xooe M APIlOlt Kmiacute ApTEoacuteyKa NTE Mnava

Map Mnovnooacutev TOVl ltDoacuteflnp KOTEpivo iJ~UIJlll fOuiacutelt MapTiacutev Oyla

poue AVYKEA PovTpiyKE~ OOKOP TOpaacuteVTO

COR PERDUT (XAMENH KAPAIA)

)()tl)II~ln(fjln NOacuteTOO NTOUOacutepO Mouollltiiexcl VTEA Map MnOVET

nVLIlVLIUIU amp (J)wTlopoi NaacuteTaO NTouaacuteTO

(npW11l napouoioon anoacute TO NtvTEpAavn Nravlt TEOacuteTEP Xaacuteyn 25 AnptAiou 1989 npwTn ano Tn eNo 30 louviou 1990)

Xopeuacuteouv AMOacutepVT bull NaTao NTouaTo

Duende (NTOYENTE)

Xopoypaqiexclia Namo NTouaTO KOOTOUacuteiexcllIa Louacute~av MOUGtKrj KAiexcliexclVT NTelmuouacute (nOliexclJeVIKO ()WTlOlloiacute NIKOAaacuteC ltDiOTeA

IKrVIKaacute Ouiexcliexclnep NOacutellTIl1

(npiexcliexclTl1 nOVKOOIUO nopouoiaan ano TO NeacutevTepAaVTiexcl NlOViexcl TeaTep XaacuteVl1 21 NoeiexclJBpiou 1991 npiexcliexclTl1 napouoioan ano T1 eND Ma1)piTl1 11 crcuuutJU

1010YAIOY 11 IOYAIOY

nOI~ampVIKOacute 10 iexclJipoiexcl ano Tl1 iquestovalO VIO qlAOOUTO BloacuteAa Km apna (1916)

Xopeuouv Xopeuouv AAe~av1)po iquestKOT EIliexclJovoueacuteMa Mnpovoeacutev Map MnovTeoov Euacutea KpeBIVleacutev

naTplK VTe Mnavo PIKapVTo ltDpavKo

Iuply~ LOAo Vla qlAaouTo (191213)

Xopeuouv Xopeuouv Euacutea loacutene~ KpeBIVleacutev MouplEacuteA POIlipo

Xooeacute A KoulpoVKa AVTOacuteVIO KaAeacutepo CDlvaA

TeAeuraiacuteo Ileacutepoiexcl ano Tl1 LovalO VIa qlAaOuTO BIOAa Km apna (1916)

Xopeuouv Xopeuouv TOacuteVI ltDalmp PaouacuteA Tivo

Xooi MavouiA Apllac PaiexclJi EPi Iouiiexcl MapTiv Ova OOKap TopaVTo

XopOacuteC IampPOTIKOacuteC fioacute apna Km eacutevxop1)a (1904)

Xopeuacuteouv Xopeuouv Ma Ioui~a NTeAVKMoenmpiK VTe Mnava Ma Aouiacute~a NTeAVKOacuteoacuteoePIKapVTO ltDpavKo

Kanpiva XaiexclJnaoKeXooi A KouiacutepOVKO XplOTiacuteva OpTlVKoueacuteAaeAvroacutevlo KaAeacutepo NTOTOAiacute MnouiooveAVYKiA jT(1vl(~f PouS MapOacuteToeXooeacute A MneVKlpOTalV

XopOacuteC ~t~riexclAoc na apna Km (1904)

OAO TO iexclmaAiTO

ARENAL (AMMOTOnOI) Xopoypaqiexcliacutea NaTOO NTouaacuteTO KOOTOUacutelIa NaTOO NTouaTO

MOUGlKrj Mapiacutea vTeA Map MnoacuteveT ()WTlOl1oiacute Eqlpov OUiexcliexclATep NOiexclJnll

(npiexcliexclTl1 naVKOacuteOllla napouoiaoll ano TO 1lgtIWIlJH1VTf NTaVl AiexclJOTepvTaiexclJ 26 lavouapiacuteou 1988 npiexcliexclTl1 napou

oiaan anoacute Tll eNDbull 60KTw13Piou 1990)

1010YAIOY 11 IOYAIOY Solo

Xopeuouv Xopeuouv Karepivo AMapVT Kari ApTeaVKO

Paso a Dos PouS MapoTO MOUPUA POlleacutepo

PIKapVTO ltDpavKo AVYKeA PovTpiVKe~

Paso a cuatro Map Mnovreooacutev XpIOTiva OpTIVKoutAa

Ma Aoui~a NTeAVKoacuteoacuteo Euacutea Aone~ KpeplVltv Xoot AVTOVIO MneVKlplOTalv NiKOAO ltDovTe

PaOUacuteA Tivo Xooi MavousA ApiexclJae

Paso a EiexclJlJavoueacuteMa Mnpovoeacutev EIJIlaVousMa Mnpovosv

Iouie OVla TOacuteVI ltDOacutelJnp Xooi AVTOacuteVIO KouipoacuteVKa AVTOacuteVIO KaAtpo

earliest M ajo rcan trad iti on but which are no longer sung wbcre they come from or

what they were created for ie work in th e field s There are hardly a few places in

Maj orca where work in the countryside is st ill the same as fo rty o r fiuacutey years ago

Ho wever when acho has used thos e songs for his choreographics he has g ive n

them back this role of uniqu e pieces as if lhey were precious s[(lIles

While Jaiexcldi Tarual Vas so fu ll of life in Arenal 1 have discoved an inner pass ion 1

will never tire of r e pcati ng that these choreogra phics of Nacho Dua to have hee n

one of the most preciollS arlistic p rese nts r have ever received 1 believe [h ey helong

to that type of thing which gocs hand-in-hand with so deeply felt emo tions [ha t it can

ha rdly be cxpressed in words

Than k you ac horaquo

Maria de l Mar Banet

71

J J J U R S D J Y 1 3 - r R I D Y 1 4 L

COMPANtildeIacuteA NACIONAL DE DA NZ A II(lS1 [) 1(1 (JI I IV)

R ETURN TO THE STRA NGE L AND

Ch oreography Jiriacute Kylian

Musi e Leos Jan icek

(Sonata 1s1 October 1905 Ovelgrown Path

[n the Mis )

COslUm es Ji iiacute Kylian

Lighl Design Joop Caboort

R eslaging Arl e tt e va n BovenJim Vincent

RASSEMBLEME NT

Ch oreography Na cho Du a to

Musie Toto Bissainthe (Basableacuteman)

Seenely Walter N o bbe

Co slumes Nacho Du ato

L ighl Design Nic o las Fi schte l

accord ing to th e o ri g in a l des ign

by Dick Limdsctrb m

Slaging Lena Wennergre n-Jur as

MED1TERRANIA

Choreography Nacho Du a to

Musie J e ronimo M essoA M a hmoud

T a brizi Pete r GriggsJ u an

A ArtecheJavie Paxarintildeo

Seis N ac ho Du a to

Coslum es Lu is D evo ta

and M odes to Lo mba

Lighl Nic o laacutes Fischtel

Rf TLRN TO TIr TR lIciF L I NO

On the sudden death of the choreographer and director John Cranko in the sumshy

mer of 1973 the former director of the Stuttgart Ballet asked me to create a ballet

in his memory 1 made a pas-de-trois on the music of Leos Janaacutecek namely the last

part of his piano sonata OClober the 1st 1905 In 1975 1 used this as the final piece

of Return lo the Slrange Land The title is a contradiction How can you return to a

land where you have never been before This ballet is about death and reincarnashy

tion disappearance reappearance death and rebirth were its main sources of inshy

spiration Although the physical existence ends the particles reappear in a different

shape These particles laquoknowraquo the laquounknown landraquo They are part ofyou until they

return to the strange land

This is one of my first works The role of c1assical elements and patterns is more proshy

nounced than in my later works A highly important starting point was the emotion

existing inside the body Dresses are reduced to a minimum This ballet is made up

of a pas-de-trois They imply slow reincarnation processes At the end the sensation

is created that something abstract has taken life from inside the bodies The return

full of yearning for the past takes us to an apparently well-known place to an unshy

known presence Can it be the premonition of death

For a long time 1 had felt the urge to do something with Janaacuteceks piano music It

seemed to me that this assignment was the ideal opportunity As a rule 1 work the

other way round Normally the idea springs forth from the music The ballet starts

with the first part of the sonata for piano Oclober the 1st 1905 This is followed by

the mazurka from Overgrown Path and the first part of In the Mist to end with the

last part of the piano sonata His music is at all times rooted in people and their

emotions which explains its close resemblance to popular songs

Jiriacute Kylian

R middot ISSEMBLeacuteJIFi T

This time Duato has turned to Haiti and the music of Toto Bissainthe with drive

and sway to create a work inspired in the crisp clearcut style of Jardi Tancal Four

couples in shades of grey working c1othes start calmly and build up to an arresting

finish with the word diberteacuteraquo repeated in the songo

Rassemblement is a creation which gradually through the liberating powers of mushy

sic and dance proves to be an impressive thrilling and audience-affecting human

rights appea

These songs are mostly slaves songs from the Voodoo culto They express the daily life

of the slaves their longing for Africa not as a geographical reality but as a mythical

land of freedom They express their resistance and their refusa resistance against the

colonial master refusal of his politics his religion his culture and his language

Their new consciousness created bonds between the s[aves in their new Vor[d which

enabled them to gain their independence T hey beca me revo[utionary pcasallts fne

peasallts and from being free peasants bccamc servi le peasants During the hi~to rl

of Haiti the face of the master has often ehanged We know his present facc dimiddot

guised withh the make-up of the tourist tratlc whieh when uncovered rcveals mimiddot

ery exploitat ion and violence One ca n then recogn ise that the present network 01

economic interests under the cover of good works such as cultural and re ligiou

missio ns binds the present power structure to imperialism Capital developing in

Haiti has transformed the sense of Voodoo The ethnographer came first and thel

the tourist for whom folklore was reproduced for exotic excitement Voodoo which

for the poor and exp loited peasants had been a ce[ebration of the African roots llf

their daily more unbearab[e way of life became a laquore [igiollgt one of the too [s 01

power

We do not sing the laquoVoodoo phenomenon)) We do not lean pleasantly on the beaumiddot

ty of these songs our work leads us in a different direction LOwarcls anoth e r sort of

authenticity The birth of Voodoo in a land of exi le the first common languag(

among s [aves of different et hnic backgro und s Vas a vita l ereative moment a cu lturo

al unification which was to transform the world nn open ing for the confined That i

the moment we sing about Using the tradition a [ music of Haiti we meet witll other

musical forms to open a way towards a contempomry music that knows no fronticr

iexclIIHIIIIi

It is usually music which inspires me when creating a new ballet On this oceasion

however the sea and its lig ht the fire and its meaning in our own culture as Vell a

the fertility of land have been my sources of inspiration to crea te this choreograph)

dedicated to the Valencia n eommunity

With this work (would [ike to express some intimate feelings and imagcs the preso

ence of my roots very esscncc which -even having been abroad for long periods llf

time and influeneed by various other cultures- I a lways felt in the blood 01 my veins

I have avoided llsing folk elements historie referenees anecdotes or allllsions 10

charactcrs trying instcnd to eommlll1icate throllgh movemcl1t the sensuality of (he

landscape the scnsitivity of its inhabitants and thei r uninhibited worship to the

ephemeral so chnraeteristic of this community

Overlooking the stereotype has meant abandoning the artifiees of ll1usic costumc

and scenogTaphy in order to reaeh a si mplification This may seem somewhat C(lld if

compared with the exuberance in the daily li ves of our people but ( do hope to exmiddot

press that vitality throllgh 1l10vement

In order to achieve thi s 1 have ll sed percllssion and wind sOll nds always wrappcd up

with the constant beating of water 1 did this not o11 ly beeause th ey identify Valenmiddot

cian cul ture but also beca use they have he lp ed me to find ou t movements cl oser to

the earth o f a telluric strength and th e refore to get a be tter co ntrast for the mos t

deliea te movements Thj s is exemplified in the pas-de-deux o f El Aza har or El Ma r

[ have si mply wanted to dee ply re traee my roo ts and those of my ances to rs 1 have

lried to pee l the ora nge to ge t to its f1 es h the pl ayful and sensua l spirit o f this land

always intimate ly rela te d to the sea

[ dedica te this ba ll e t to those who as myse lf feel acco mpli ces with th e Meditershy

ra nea n

Nacho Duato

NACHO Dli O

Born in Yalenciexcl Sp in in 1957 lacho

Dualo lrlcd hi s rrokional ba ll et

training Vitb the RamlJert Sehool in Lonshy

don at the age of eighteen To expand

tudies he joined Maurice Beacutejart s Mu shy

dra School in Brussse ls and complcted

hi s dance education at The Alvin Ailey

American Dance Center in ew York

In 1980 at Ihe age of 23 Nacho Duato

si~ncd his first profess ional contnlCt

il h the Cullberg Ball et in Stockh oi m

and ayear Iter Jiriacute Kylian brough t him

lo the Nederlands Dans Thealer in Holshy

land where he was quickly in corpora ted

into the company ami ils repertoire

In 19K7 he received the YSCD Gouden

Dansrrijs (Golden Dan ce AlVard) for

his achieve ments as a dancer

Nacho Duatos natura l talent had him

soon look beyond the limitations of a

dancer and turn towards choreography

His first att emrt in 19H3 turned into a

major succes Jardiacute Talcal to panshy

ishCatalan music by compatr iot Maria

del Mar l30nel Vo n him the first pri ze at

the Interna tional Choreographic Workshy

shap (lntcrnatio naler Chorcographischshy

er Wcttbewe rb) at Cologne

Without reducing hi rcronsiblilities as

a dlI1cer dcho Dllato has si nce then

crcaled about a dozen works [or both

cderlands Dans Theater and Ncdershy

lands Dans Theater 2 for instance Dal1

1(1 y Rito (Chavez) Um lIi (Respighi )

SJIIIllllIIiacute (XenakisViexcl)ngel is) Boleacutero

(Rave l) Arenal (Maria del Mar Bonet)

Chansons vladeacuteraucs (Rave l) and Rapshy

iexclus to Richard Wagncrs Wescl1dolk

U eder For alm05t evely work

painterde5igner Walter obbe proved

an inspi ring and reiable co llaborator In

1988 Nacho Duato was named Re sid ent

Choreographer for ederlands Dans

lilca ter - next lo Hans van Maneacute n and

Jiriacute Kylian

With the growing demand of internation shy

nal companics reqll cst ing his orks rOl their repertoire - ie The Cullherg Ballet

The frankfurt Ballet The Gulbenkian

Ballet Les Grands Ballets Canadicns

Ballet Teatro Lirico Nacional Nacho

Duato was foreed to make a deeisive step

towards ehoosing his ruture carce r Beshy

ing5011ght after by a number of important

opera hOllses and balletcompanies it Vas

the ca ll of the Min isterio de Cultura 01 his

nati ve Spain which made him decide to

aceept in Jllne 1990 the posit ion of drtisshy

tic director and choreographcr Vith the

Compantildeiacutea Nacional de Danza

IRIacuteKYLIAacuteN

Sec puge 44

REVIEWS AND

Fro01 Madrid a Troupe Based in Earthy

Iassion

laquoMr Duato asked to take over a classiea l

ballet cammp~ny in 1990 revamped it

stylistica lly mixing modern and ballet idshy

iom lle has raised it to an international

leve raquo

The le York TilTle~ Anna Ki )clgoff

(I3iexcl5iexclq4 )

laquoDuato is a distinct choreographic talent

perh aps eviexcln a choreographic findraquo

Nol Yurk Pos t C1 ive Barn os (135194)

Th e sheer qua ntity of dancing moveshy

ment invention and emot ion onstage was

stagggering in Ihe six picccs all by him

that comprised the US debut of his

Comparl iacutea Nacional de Danza The

dancc rs appetite for nlOving their deft

spced and their trcngt h as wdl aS flcxibilshy

ity made thcm dcscrvedJy popular with

the City Ccnter audiences

Dance 1agazinc Marilyn Hunt (Octoher 04)

Un[orgcttable Span ish dance compan)

imports originality sensualit) and passhy

sion

C OViexcl lvtEN TS

laquof or Nacho Duato as for mosl contcmshy

porary European masters choreograpll

does not mean mere decoration or cntershy

tainmen Choreography means COIl) shy

menting the co ntemporary 1I0 rld infloshy

vating movemcnts and attitudes selecting

olle material defin ing ones codcs lmiddotshyrrcss ing olles artistry

AII three excc llent ballets he prescntcd in

Paris cuumluld therefore be tcrl11 cd apocashy

Iyptic

Le Devoir Va leric Lehm tnn (1) ~~

Compantildeia Nacional de Danza tIANOMH

ECOS (HXOI ampAnOHXOI)

XOpoYPQ(pia NaTao NTOUOTO Mououaj LTfqlav iquestKTVIKOacute OUWAnp NOIlTlll

KOOTOUacuteiexcllIa Nomo NTouaTo (J)WTlopoiacute NIKoAalt ltDionA

(npW11l ano TO eNo Ma6pi11l 17 NOEflapiou 1994)IUiexclJJUVIUVI

10 KaI 11 IOY AIOY Xopeuacuteouv

KnTlnJ1 AMoacutepVT Xooe M APIlOlt Kmiacute ApTEoacuteyKa NTE Mnava

Map Mnovnooacutev TOVl ltDoacuteflnp KOTEpivo iJ~UIJlll fOuiacutelt MapTiacutev Oyla

poue AVYKEA PovTpiyKE~ OOKOP TOpaacuteVTO

COR PERDUT (XAMENH KAPAIA)

)()tl)II~ln(fjln NOacuteTOO NTOUOacutepO Mouollltiiexcl VTEA Map MnOVET

nVLIlVLIUIU amp (J)wTlopoi NaacuteTaO NTouaacuteTO

(npW11l napouoioon anoacute TO NtvTEpAavn Nravlt TEOacuteTEP Xaacuteyn 25 AnptAiou 1989 npwTn ano Tn eNo 30 louviou 1990)

Xopeuacuteouv AMOacutepVT bull NaTao NTouaTo

Duende (NTOYENTE)

Xopoypaqiexclia Namo NTouaTO KOOTOUacuteiexcllIa Louacute~av MOUGtKrj KAiexcliexclVT NTelmuouacute (nOliexclJeVIKO ()WTlOlloiacute NIKOAaacuteC ltDiOTeA

IKrVIKaacute Ouiexcliexclnep NOacutellTIl1

(npiexcliexclTl1 nOVKOOIUO nopouoiaan ano TO NeacutevTepAaVTiexcl NlOViexcl TeaTep XaacuteVl1 21 NoeiexclJBpiou 1991 npiexcliexclTl1 napouoioan ano T1 eND Ma1)piTl1 11 crcuuutJU

1010YAIOY 11 IOYAIOY

nOI~ampVIKOacute 10 iexclJipoiexcl ano Tl1 iquestovalO VIO qlAOOUTO BloacuteAa Km apna (1916)

Xopeuouv Xopeuouv AAe~av1)po iquestKOT EIliexclJovoueacuteMa Mnpovoeacutev Map MnovTeoov Euacutea KpeBIVleacutev

naTplK VTe Mnavo PIKapVTo ltDpavKo

Iuply~ LOAo Vla qlAaouTo (191213)

Xopeuouv Xopeuouv Euacutea loacutene~ KpeBIVleacutev MouplEacuteA POIlipo

Xooeacute A KoulpoVKa AVTOacuteVIO KaAeacutepo CDlvaA

TeAeuraiacuteo Ileacutepoiexcl ano Tl1 LovalO VIa qlAaOuTO BIOAa Km apna (1916)

Xopeuouv Xopeuouv TOacuteVI ltDalmp PaouacuteA Tivo

Xooi MavouiA Apllac PaiexclJi EPi Iouiiexcl MapTiv Ova OOKap TopaVTo

XopOacuteC IampPOTIKOacuteC fioacute apna Km eacutevxop1)a (1904)

Xopeuacuteouv Xopeuouv Ma Ioui~a NTeAVKMoenmpiK VTe Mnava Ma Aouiacute~a NTeAVKOacuteoacuteoePIKapVTO ltDpavKo

Kanpiva XaiexclJnaoKeXooi A KouiacutepOVKO XplOTiacuteva OpTlVKoueacuteAaeAvroacutevlo KaAeacutepo NTOTOAiacute MnouiooveAVYKiA jT(1vl(~f PouS MapOacuteToeXooeacute A MneVKlpOTalV

XopOacuteC ~t~riexclAoc na apna Km (1904)

OAO TO iexclmaAiTO

ARENAL (AMMOTOnOI) Xopoypaqiexcliacutea NaTOO NTouaacuteTO KOOTOUacutelIa NaTOO NTouaTO

MOUGlKrj Mapiacutea vTeA Map MnoacuteveT ()WTlOl1oiacute Eqlpov OUiexcliexclATep NOiexclJnll

(npiexcliexclTl1 naVKOacuteOllla napouoiaoll ano TO 1lgtIWIlJH1VTf NTaVl AiexclJOTepvTaiexclJ 26 lavouapiacuteou 1988 npiexcliexclTl1 napou

oiaan anoacute Tll eNDbull 60KTw13Piou 1990)

1010YAIOY 11 IOYAIOY Solo

Xopeuouv Xopeuouv Karepivo AMapVT Kari ApTeaVKO

Paso a Dos PouS MapoTO MOUPUA POlleacutepo

PIKapVTO ltDpavKo AVYKeA PovTpiVKe~

Paso a cuatro Map Mnovreooacutev XpIOTiva OpTIVKoutAa

Ma Aoui~a NTeAVKoacuteoacuteo Euacutea Aone~ KpeplVltv Xoot AVTOVIO MneVKlplOTalv NiKOAO ltDovTe

PaOUacuteA Tivo Xooi MavousA ApiexclJae

Paso a EiexclJlJavoueacuteMa Mnpovoeacutev EIJIlaVousMa Mnpovosv

Iouie OVla TOacuteVI ltDOacutelJnp Xooi AVTOacuteVIO KouipoacuteVKa AVTOacuteVIO KaAtpo

J J J U R S D J Y 1 3 - r R I D Y 1 4 L

COMPANtildeIacuteA NACIONAL DE DA NZ A II(lS1 [) 1(1 (JI I IV)

R ETURN TO THE STRA NGE L AND

Ch oreography Jiriacute Kylian

Musi e Leos Jan icek

(Sonata 1s1 October 1905 Ovelgrown Path

[n the Mis )

COslUm es Ji iiacute Kylian

Lighl Design Joop Caboort

R eslaging Arl e tt e va n BovenJim Vincent

RASSEMBLEME NT

Ch oreography Na cho Du a to

Musie Toto Bissainthe (Basableacuteman)

Seenely Walter N o bbe

Co slumes Nacho Du ato

L ighl Design Nic o las Fi schte l

accord ing to th e o ri g in a l des ign

by Dick Limdsctrb m

Slaging Lena Wennergre n-Jur as

MED1TERRANIA

Choreography Nacho Du a to

Musie J e ronimo M essoA M a hmoud

T a brizi Pete r GriggsJ u an

A ArtecheJavie Paxarintildeo

Seis N ac ho Du a to

Coslum es Lu is D evo ta

and M odes to Lo mba

Lighl Nic o laacutes Fischtel

Rf TLRN TO TIr TR lIciF L I NO

On the sudden death of the choreographer and director John Cranko in the sumshy

mer of 1973 the former director of the Stuttgart Ballet asked me to create a ballet

in his memory 1 made a pas-de-trois on the music of Leos Janaacutecek namely the last

part of his piano sonata OClober the 1st 1905 In 1975 1 used this as the final piece

of Return lo the Slrange Land The title is a contradiction How can you return to a

land where you have never been before This ballet is about death and reincarnashy

tion disappearance reappearance death and rebirth were its main sources of inshy

spiration Although the physical existence ends the particles reappear in a different

shape These particles laquoknowraquo the laquounknown landraquo They are part ofyou until they

return to the strange land

This is one of my first works The role of c1assical elements and patterns is more proshy

nounced than in my later works A highly important starting point was the emotion

existing inside the body Dresses are reduced to a minimum This ballet is made up

of a pas-de-trois They imply slow reincarnation processes At the end the sensation

is created that something abstract has taken life from inside the bodies The return

full of yearning for the past takes us to an apparently well-known place to an unshy

known presence Can it be the premonition of death

For a long time 1 had felt the urge to do something with Janaacuteceks piano music It

seemed to me that this assignment was the ideal opportunity As a rule 1 work the

other way round Normally the idea springs forth from the music The ballet starts

with the first part of the sonata for piano Oclober the 1st 1905 This is followed by

the mazurka from Overgrown Path and the first part of In the Mist to end with the

last part of the piano sonata His music is at all times rooted in people and their

emotions which explains its close resemblance to popular songs

Jiriacute Kylian

R middot ISSEMBLeacuteJIFi T

This time Duato has turned to Haiti and the music of Toto Bissainthe with drive

and sway to create a work inspired in the crisp clearcut style of Jardi Tancal Four

couples in shades of grey working c1othes start calmly and build up to an arresting

finish with the word diberteacuteraquo repeated in the songo

Rassemblement is a creation which gradually through the liberating powers of mushy

sic and dance proves to be an impressive thrilling and audience-affecting human

rights appea

These songs are mostly slaves songs from the Voodoo culto They express the daily life

of the slaves their longing for Africa not as a geographical reality but as a mythical

land of freedom They express their resistance and their refusa resistance against the

colonial master refusal of his politics his religion his culture and his language

Their new consciousness created bonds between the s[aves in their new Vor[d which

enabled them to gain their independence T hey beca me revo[utionary pcasallts fne

peasallts and from being free peasants bccamc servi le peasants During the hi~to rl

of Haiti the face of the master has often ehanged We know his present facc dimiddot

guised withh the make-up of the tourist tratlc whieh when uncovered rcveals mimiddot

ery exploitat ion and violence One ca n then recogn ise that the present network 01

economic interests under the cover of good works such as cultural and re ligiou

missio ns binds the present power structure to imperialism Capital developing in

Haiti has transformed the sense of Voodoo The ethnographer came first and thel

the tourist for whom folklore was reproduced for exotic excitement Voodoo which

for the poor and exp loited peasants had been a ce[ebration of the African roots llf

their daily more unbearab[e way of life became a laquore [igiollgt one of the too [s 01

power

We do not sing the laquoVoodoo phenomenon)) We do not lean pleasantly on the beaumiddot

ty of these songs our work leads us in a different direction LOwarcls anoth e r sort of

authenticity The birth of Voodoo in a land of exi le the first common languag(

among s [aves of different et hnic backgro und s Vas a vita l ereative moment a cu lturo

al unification which was to transform the world nn open ing for the confined That i

the moment we sing about Using the tradition a [ music of Haiti we meet witll other

musical forms to open a way towards a contempomry music that knows no fronticr

iexclIIHIIIIi

It is usually music which inspires me when creating a new ballet On this oceasion

however the sea and its lig ht the fire and its meaning in our own culture as Vell a

the fertility of land have been my sources of inspiration to crea te this choreograph)

dedicated to the Valencia n eommunity

With this work (would [ike to express some intimate feelings and imagcs the preso

ence of my roots very esscncc which -even having been abroad for long periods llf

time and influeneed by various other cultures- I a lways felt in the blood 01 my veins

I have avoided llsing folk elements historie referenees anecdotes or allllsions 10

charactcrs trying instcnd to eommlll1icate throllgh movemcl1t the sensuality of (he

landscape the scnsitivity of its inhabitants and thei r uninhibited worship to the

ephemeral so chnraeteristic of this community

Overlooking the stereotype has meant abandoning the artifiees of ll1usic costumc

and scenogTaphy in order to reaeh a si mplification This may seem somewhat C(lld if

compared with the exuberance in the daily li ves of our people but ( do hope to exmiddot

press that vitality throllgh 1l10vement

In order to achieve thi s 1 have ll sed percllssion and wind sOll nds always wrappcd up

with the constant beating of water 1 did this not o11 ly beeause th ey identify Valenmiddot

cian cul ture but also beca use they have he lp ed me to find ou t movements cl oser to

the earth o f a telluric strength and th e refore to get a be tter co ntrast for the mos t

deliea te movements Thj s is exemplified in the pas-de-deux o f El Aza har or El Ma r

[ have si mply wanted to dee ply re traee my roo ts and those of my ances to rs 1 have

lried to pee l the ora nge to ge t to its f1 es h the pl ayful and sensua l spirit o f this land

always intimate ly rela te d to the sea

[ dedica te this ba ll e t to those who as myse lf feel acco mpli ces with th e Meditershy

ra nea n

Nacho Duato

NACHO Dli O

Born in Yalenciexcl Sp in in 1957 lacho

Dualo lrlcd hi s rrokional ba ll et

training Vitb the RamlJert Sehool in Lonshy

don at the age of eighteen To expand

tudies he joined Maurice Beacutejart s Mu shy

dra School in Brussse ls and complcted

hi s dance education at The Alvin Ailey

American Dance Center in ew York

In 1980 at Ihe age of 23 Nacho Duato

si~ncd his first profess ional contnlCt

il h the Cullberg Ball et in Stockh oi m

and ayear Iter Jiriacute Kylian brough t him

lo the Nederlands Dans Thealer in Holshy

land where he was quickly in corpora ted

into the company ami ils repertoire

In 19K7 he received the YSCD Gouden

Dansrrijs (Golden Dan ce AlVard) for

his achieve ments as a dancer

Nacho Duatos natura l talent had him

soon look beyond the limitations of a

dancer and turn towards choreography

His first att emrt in 19H3 turned into a

major succes Jardiacute Talcal to panshy

ishCatalan music by compatr iot Maria

del Mar l30nel Vo n him the first pri ze at

the Interna tional Choreographic Workshy

shap (lntcrnatio naler Chorcographischshy

er Wcttbewe rb) at Cologne

Without reducing hi rcronsiblilities as

a dlI1cer dcho Dllato has si nce then

crcaled about a dozen works [or both

cderlands Dans Theater and Ncdershy

lands Dans Theater 2 for instance Dal1

1(1 y Rito (Chavez) Um lIi (Respighi )

SJIIIllllIIiacute (XenakisViexcl)ngel is) Boleacutero

(Rave l) Arenal (Maria del Mar Bonet)

Chansons vladeacuteraucs (Rave l) and Rapshy

iexclus to Richard Wagncrs Wescl1dolk

U eder For alm05t evely work

painterde5igner Walter obbe proved

an inspi ring and reiable co llaborator In

1988 Nacho Duato was named Re sid ent

Choreographer for ederlands Dans

lilca ter - next lo Hans van Maneacute n and

Jiriacute Kylian

With the growing demand of internation shy

nal companics reqll cst ing his orks rOl their repertoire - ie The Cullherg Ballet

The frankfurt Ballet The Gulbenkian

Ballet Les Grands Ballets Canadicns

Ballet Teatro Lirico Nacional Nacho

Duato was foreed to make a deeisive step

towards ehoosing his ruture carce r Beshy

ing5011ght after by a number of important

opera hOllses and balletcompanies it Vas

the ca ll of the Min isterio de Cultura 01 his

nati ve Spain which made him decide to

aceept in Jllne 1990 the posit ion of drtisshy

tic director and choreographcr Vith the

Compantildeiacutea Nacional de Danza

IRIacuteKYLIAacuteN

Sec puge 44

REVIEWS AND

Fro01 Madrid a Troupe Based in Earthy

Iassion

laquoMr Duato asked to take over a classiea l

ballet cammp~ny in 1990 revamped it

stylistica lly mixing modern and ballet idshy

iom lle has raised it to an international

leve raquo

The le York TilTle~ Anna Ki )clgoff

(I3iexcl5iexclq4 )

laquoDuato is a distinct choreographic talent

perh aps eviexcln a choreographic findraquo

Nol Yurk Pos t C1 ive Barn os (135194)

Th e sheer qua ntity of dancing moveshy

ment invention and emot ion onstage was

stagggering in Ihe six picccs all by him

that comprised the US debut of his

Comparl iacutea Nacional de Danza The

dancc rs appetite for nlOving their deft

spced and their trcngt h as wdl aS flcxibilshy

ity made thcm dcscrvedJy popular with

the City Ccnter audiences

Dance 1agazinc Marilyn Hunt (Octoher 04)

Un[orgcttable Span ish dance compan)

imports originality sensualit) and passhy

sion

C OViexcl lvtEN TS

laquof or Nacho Duato as for mosl contcmshy

porary European masters choreograpll

does not mean mere decoration or cntershy

tainmen Choreography means COIl) shy

menting the co ntemporary 1I0 rld infloshy

vating movemcnts and attitudes selecting

olle material defin ing ones codcs lmiddotshyrrcss ing olles artistry

AII three excc llent ballets he prescntcd in

Paris cuumluld therefore be tcrl11 cd apocashy

Iyptic

Le Devoir Va leric Lehm tnn (1) ~~

Compantildeia Nacional de Danza tIANOMH

ECOS (HXOI ampAnOHXOI)

XOpoYPQ(pia NaTao NTOUOTO Mououaj LTfqlav iquestKTVIKOacute OUWAnp NOIlTlll

KOOTOUacuteiexcllIa Nomo NTouaTo (J)WTlopoiacute NIKoAalt ltDionA

(npW11l ano TO eNo Ma6pi11l 17 NOEflapiou 1994)IUiexclJJUVIUVI

10 KaI 11 IOY AIOY Xopeuacuteouv

KnTlnJ1 AMoacutepVT Xooe M APIlOlt Kmiacute ApTEoacuteyKa NTE Mnava

Map Mnovnooacutev TOVl ltDoacuteflnp KOTEpivo iJ~UIJlll fOuiacutelt MapTiacutev Oyla

poue AVYKEA PovTpiyKE~ OOKOP TOpaacuteVTO

COR PERDUT (XAMENH KAPAIA)

)()tl)II~ln(fjln NOacuteTOO NTOUOacutepO Mouollltiiexcl VTEA Map MnOVET

nVLIlVLIUIU amp (J)wTlopoi NaacuteTaO NTouaacuteTO

(npW11l napouoioon anoacute TO NtvTEpAavn Nravlt TEOacuteTEP Xaacuteyn 25 AnptAiou 1989 npwTn ano Tn eNo 30 louviou 1990)

Xopeuacuteouv AMOacutepVT bull NaTao NTouaTo

Duende (NTOYENTE)

Xopoypaqiexclia Namo NTouaTO KOOTOUacuteiexcllIa Louacute~av MOUGtKrj KAiexcliexclVT NTelmuouacute (nOliexclJeVIKO ()WTlOlloiacute NIKOAaacuteC ltDiOTeA

IKrVIKaacute Ouiexcliexclnep NOacutellTIl1

(npiexcliexclTl1 nOVKOOIUO nopouoiaan ano TO NeacutevTepAaVTiexcl NlOViexcl TeaTep XaacuteVl1 21 NoeiexclJBpiou 1991 npiexcliexclTl1 napouoioan ano T1 eND Ma1)piTl1 11 crcuuutJU

1010YAIOY 11 IOYAIOY

nOI~ampVIKOacute 10 iexclJipoiexcl ano Tl1 iquestovalO VIO qlAOOUTO BloacuteAa Km apna (1916)

Xopeuouv Xopeuouv AAe~av1)po iquestKOT EIliexclJovoueacuteMa Mnpovoeacutev Map MnovTeoov Euacutea KpeBIVleacutev

naTplK VTe Mnavo PIKapVTo ltDpavKo

Iuply~ LOAo Vla qlAaouTo (191213)

Xopeuouv Xopeuouv Euacutea loacutene~ KpeBIVleacutev MouplEacuteA POIlipo

Xooeacute A KoulpoVKa AVTOacuteVIO KaAeacutepo CDlvaA

TeAeuraiacuteo Ileacutepoiexcl ano Tl1 LovalO VIa qlAaOuTO BIOAa Km apna (1916)

Xopeuouv Xopeuouv TOacuteVI ltDalmp PaouacuteA Tivo

Xooi MavouiA Apllac PaiexclJi EPi Iouiiexcl MapTiv Ova OOKap TopaVTo

XopOacuteC IampPOTIKOacuteC fioacute apna Km eacutevxop1)a (1904)

Xopeuacuteouv Xopeuouv Ma Ioui~a NTeAVKMoenmpiK VTe Mnava Ma Aouiacute~a NTeAVKOacuteoacuteoePIKapVTO ltDpavKo

Kanpiva XaiexclJnaoKeXooi A KouiacutepOVKO XplOTiacuteva OpTlVKoueacuteAaeAvroacutevlo KaAeacutepo NTOTOAiacute MnouiooveAVYKiA jT(1vl(~f PouS MapOacuteToeXooeacute A MneVKlpOTalV

XopOacuteC ~t~riexclAoc na apna Km (1904)

OAO TO iexclmaAiTO

ARENAL (AMMOTOnOI) Xopoypaqiexcliacutea NaTOO NTouaacuteTO KOOTOUacutelIa NaTOO NTouaTO

MOUGlKrj Mapiacutea vTeA Map MnoacuteveT ()WTlOl1oiacute Eqlpov OUiexcliexclATep NOiexclJnll

(npiexcliexclTl1 naVKOacuteOllla napouoiaoll ano TO 1lgtIWIlJH1VTf NTaVl AiexclJOTepvTaiexclJ 26 lavouapiacuteou 1988 npiexcliexclTl1 napou

oiaan anoacute Tll eNDbull 60KTw13Piou 1990)

1010YAIOY 11 IOYAIOY Solo

Xopeuouv Xopeuouv Karepivo AMapVT Kari ApTeaVKO

Paso a Dos PouS MapoTO MOUPUA POlleacutepo

PIKapVTO ltDpavKo AVYKeA PovTpiVKe~

Paso a cuatro Map Mnovreooacutev XpIOTiva OpTIVKoutAa

Ma Aoui~a NTeAVKoacuteoacuteo Euacutea Aone~ KpeplVltv Xoot AVTOVIO MneVKlplOTalv NiKOAO ltDovTe

PaOUacuteA Tivo Xooi MavousA ApiexclJae

Paso a EiexclJlJavoueacuteMa Mnpovoeacutev EIJIlaVousMa Mnpovosv

Iouie OVla TOacuteVI ltDOacutelJnp Xooi AVTOacuteVIO KouipoacuteVKa AVTOacuteVIO KaAtpo

Rf TLRN TO TIr TR lIciF L I NO

On the sudden death of the choreographer and director John Cranko in the sumshy

mer of 1973 the former director of the Stuttgart Ballet asked me to create a ballet

in his memory 1 made a pas-de-trois on the music of Leos Janaacutecek namely the last

part of his piano sonata OClober the 1st 1905 In 1975 1 used this as the final piece

of Return lo the Slrange Land The title is a contradiction How can you return to a

land where you have never been before This ballet is about death and reincarnashy

tion disappearance reappearance death and rebirth were its main sources of inshy

spiration Although the physical existence ends the particles reappear in a different

shape These particles laquoknowraquo the laquounknown landraquo They are part ofyou until they

return to the strange land

This is one of my first works The role of c1assical elements and patterns is more proshy

nounced than in my later works A highly important starting point was the emotion

existing inside the body Dresses are reduced to a minimum This ballet is made up

of a pas-de-trois They imply slow reincarnation processes At the end the sensation

is created that something abstract has taken life from inside the bodies The return

full of yearning for the past takes us to an apparently well-known place to an unshy

known presence Can it be the premonition of death

For a long time 1 had felt the urge to do something with Janaacuteceks piano music It

seemed to me that this assignment was the ideal opportunity As a rule 1 work the

other way round Normally the idea springs forth from the music The ballet starts

with the first part of the sonata for piano Oclober the 1st 1905 This is followed by

the mazurka from Overgrown Path and the first part of In the Mist to end with the

last part of the piano sonata His music is at all times rooted in people and their

emotions which explains its close resemblance to popular songs

Jiriacute Kylian

R middot ISSEMBLeacuteJIFi T

This time Duato has turned to Haiti and the music of Toto Bissainthe with drive

and sway to create a work inspired in the crisp clearcut style of Jardi Tancal Four

couples in shades of grey working c1othes start calmly and build up to an arresting

finish with the word diberteacuteraquo repeated in the songo

Rassemblement is a creation which gradually through the liberating powers of mushy

sic and dance proves to be an impressive thrilling and audience-affecting human

rights appea

These songs are mostly slaves songs from the Voodoo culto They express the daily life

of the slaves their longing for Africa not as a geographical reality but as a mythical

land of freedom They express their resistance and their refusa resistance against the

colonial master refusal of his politics his religion his culture and his language

Their new consciousness created bonds between the s[aves in their new Vor[d which

enabled them to gain their independence T hey beca me revo[utionary pcasallts fne

peasallts and from being free peasants bccamc servi le peasants During the hi~to rl

of Haiti the face of the master has often ehanged We know his present facc dimiddot

guised withh the make-up of the tourist tratlc whieh when uncovered rcveals mimiddot

ery exploitat ion and violence One ca n then recogn ise that the present network 01

economic interests under the cover of good works such as cultural and re ligiou

missio ns binds the present power structure to imperialism Capital developing in

Haiti has transformed the sense of Voodoo The ethnographer came first and thel

the tourist for whom folklore was reproduced for exotic excitement Voodoo which

for the poor and exp loited peasants had been a ce[ebration of the African roots llf

their daily more unbearab[e way of life became a laquore [igiollgt one of the too [s 01

power

We do not sing the laquoVoodoo phenomenon)) We do not lean pleasantly on the beaumiddot

ty of these songs our work leads us in a different direction LOwarcls anoth e r sort of

authenticity The birth of Voodoo in a land of exi le the first common languag(

among s [aves of different et hnic backgro und s Vas a vita l ereative moment a cu lturo

al unification which was to transform the world nn open ing for the confined That i

the moment we sing about Using the tradition a [ music of Haiti we meet witll other

musical forms to open a way towards a contempomry music that knows no fronticr

iexclIIHIIIIi

It is usually music which inspires me when creating a new ballet On this oceasion

however the sea and its lig ht the fire and its meaning in our own culture as Vell a

the fertility of land have been my sources of inspiration to crea te this choreograph)

dedicated to the Valencia n eommunity

With this work (would [ike to express some intimate feelings and imagcs the preso

ence of my roots very esscncc which -even having been abroad for long periods llf

time and influeneed by various other cultures- I a lways felt in the blood 01 my veins

I have avoided llsing folk elements historie referenees anecdotes or allllsions 10

charactcrs trying instcnd to eommlll1icate throllgh movemcl1t the sensuality of (he

landscape the scnsitivity of its inhabitants and thei r uninhibited worship to the

ephemeral so chnraeteristic of this community

Overlooking the stereotype has meant abandoning the artifiees of ll1usic costumc

and scenogTaphy in order to reaeh a si mplification This may seem somewhat C(lld if

compared with the exuberance in the daily li ves of our people but ( do hope to exmiddot

press that vitality throllgh 1l10vement

In order to achieve thi s 1 have ll sed percllssion and wind sOll nds always wrappcd up

with the constant beating of water 1 did this not o11 ly beeause th ey identify Valenmiddot

cian cul ture but also beca use they have he lp ed me to find ou t movements cl oser to

the earth o f a telluric strength and th e refore to get a be tter co ntrast for the mos t

deliea te movements Thj s is exemplified in the pas-de-deux o f El Aza har or El Ma r

[ have si mply wanted to dee ply re traee my roo ts and those of my ances to rs 1 have

lried to pee l the ora nge to ge t to its f1 es h the pl ayful and sensua l spirit o f this land

always intimate ly rela te d to the sea

[ dedica te this ba ll e t to those who as myse lf feel acco mpli ces with th e Meditershy

ra nea n

Nacho Duato

NACHO Dli O

Born in Yalenciexcl Sp in in 1957 lacho

Dualo lrlcd hi s rrokional ba ll et

training Vitb the RamlJert Sehool in Lonshy

don at the age of eighteen To expand

tudies he joined Maurice Beacutejart s Mu shy

dra School in Brussse ls and complcted

hi s dance education at The Alvin Ailey

American Dance Center in ew York

In 1980 at Ihe age of 23 Nacho Duato

si~ncd his first profess ional contnlCt

il h the Cullberg Ball et in Stockh oi m

and ayear Iter Jiriacute Kylian brough t him

lo the Nederlands Dans Thealer in Holshy

land where he was quickly in corpora ted

into the company ami ils repertoire

In 19K7 he received the YSCD Gouden

Dansrrijs (Golden Dan ce AlVard) for

his achieve ments as a dancer

Nacho Duatos natura l talent had him

soon look beyond the limitations of a

dancer and turn towards choreography

His first att emrt in 19H3 turned into a

major succes Jardiacute Talcal to panshy

ishCatalan music by compatr iot Maria

del Mar l30nel Vo n him the first pri ze at

the Interna tional Choreographic Workshy

shap (lntcrnatio naler Chorcographischshy

er Wcttbewe rb) at Cologne

Without reducing hi rcronsiblilities as

a dlI1cer dcho Dllato has si nce then

crcaled about a dozen works [or both

cderlands Dans Theater and Ncdershy

lands Dans Theater 2 for instance Dal1

1(1 y Rito (Chavez) Um lIi (Respighi )

SJIIIllllIIiacute (XenakisViexcl)ngel is) Boleacutero

(Rave l) Arenal (Maria del Mar Bonet)

Chansons vladeacuteraucs (Rave l) and Rapshy

iexclus to Richard Wagncrs Wescl1dolk

U eder For alm05t evely work

painterde5igner Walter obbe proved

an inspi ring and reiable co llaborator In

1988 Nacho Duato was named Re sid ent

Choreographer for ederlands Dans

lilca ter - next lo Hans van Maneacute n and

Jiriacute Kylian

With the growing demand of internation shy

nal companics reqll cst ing his orks rOl their repertoire - ie The Cullherg Ballet

The frankfurt Ballet The Gulbenkian

Ballet Les Grands Ballets Canadicns

Ballet Teatro Lirico Nacional Nacho

Duato was foreed to make a deeisive step

towards ehoosing his ruture carce r Beshy

ing5011ght after by a number of important

opera hOllses and balletcompanies it Vas

the ca ll of the Min isterio de Cultura 01 his

nati ve Spain which made him decide to

aceept in Jllne 1990 the posit ion of drtisshy

tic director and choreographcr Vith the

Compantildeiacutea Nacional de Danza

IRIacuteKYLIAacuteN

Sec puge 44

REVIEWS AND

Fro01 Madrid a Troupe Based in Earthy

Iassion

laquoMr Duato asked to take over a classiea l

ballet cammp~ny in 1990 revamped it

stylistica lly mixing modern and ballet idshy

iom lle has raised it to an international

leve raquo

The le York TilTle~ Anna Ki )clgoff

(I3iexcl5iexclq4 )

laquoDuato is a distinct choreographic talent

perh aps eviexcln a choreographic findraquo

Nol Yurk Pos t C1 ive Barn os (135194)

Th e sheer qua ntity of dancing moveshy

ment invention and emot ion onstage was

stagggering in Ihe six picccs all by him

that comprised the US debut of his

Comparl iacutea Nacional de Danza The

dancc rs appetite for nlOving their deft

spced and their trcngt h as wdl aS flcxibilshy

ity made thcm dcscrvedJy popular with

the City Ccnter audiences

Dance 1agazinc Marilyn Hunt (Octoher 04)

Un[orgcttable Span ish dance compan)

imports originality sensualit) and passhy

sion

C OViexcl lvtEN TS

laquof or Nacho Duato as for mosl contcmshy

porary European masters choreograpll

does not mean mere decoration or cntershy

tainmen Choreography means COIl) shy

menting the co ntemporary 1I0 rld infloshy

vating movemcnts and attitudes selecting

olle material defin ing ones codcs lmiddotshyrrcss ing olles artistry

AII three excc llent ballets he prescntcd in

Paris cuumluld therefore be tcrl11 cd apocashy

Iyptic

Le Devoir Va leric Lehm tnn (1) ~~

Compantildeia Nacional de Danza tIANOMH

ECOS (HXOI ampAnOHXOI)

XOpoYPQ(pia NaTao NTOUOTO Mououaj LTfqlav iquestKTVIKOacute OUWAnp NOIlTlll

KOOTOUacuteiexcllIa Nomo NTouaTo (J)WTlopoiacute NIKoAalt ltDionA

(npW11l ano TO eNo Ma6pi11l 17 NOEflapiou 1994)IUiexclJJUVIUVI

10 KaI 11 IOY AIOY Xopeuacuteouv

KnTlnJ1 AMoacutepVT Xooe M APIlOlt Kmiacute ApTEoacuteyKa NTE Mnava

Map Mnovnooacutev TOVl ltDoacuteflnp KOTEpivo iJ~UIJlll fOuiacutelt MapTiacutev Oyla

poue AVYKEA PovTpiyKE~ OOKOP TOpaacuteVTO

COR PERDUT (XAMENH KAPAIA)

)()tl)II~ln(fjln NOacuteTOO NTOUOacutepO Mouollltiiexcl VTEA Map MnOVET

nVLIlVLIUIU amp (J)wTlopoi NaacuteTaO NTouaacuteTO

(npW11l napouoioon anoacute TO NtvTEpAavn Nravlt TEOacuteTEP Xaacuteyn 25 AnptAiou 1989 npwTn ano Tn eNo 30 louviou 1990)

Xopeuacuteouv AMOacutepVT bull NaTao NTouaTo

Duende (NTOYENTE)

Xopoypaqiexclia Namo NTouaTO KOOTOUacuteiexcllIa Louacute~av MOUGtKrj KAiexcliexclVT NTelmuouacute (nOliexclJeVIKO ()WTlOlloiacute NIKOAaacuteC ltDiOTeA

IKrVIKaacute Ouiexcliexclnep NOacutellTIl1

(npiexcliexclTl1 nOVKOOIUO nopouoiaan ano TO NeacutevTepAaVTiexcl NlOViexcl TeaTep XaacuteVl1 21 NoeiexclJBpiou 1991 npiexcliexclTl1 napouoioan ano T1 eND Ma1)piTl1 11 crcuuutJU

1010YAIOY 11 IOYAIOY

nOI~ampVIKOacute 10 iexclJipoiexcl ano Tl1 iquestovalO VIO qlAOOUTO BloacuteAa Km apna (1916)

Xopeuouv Xopeuouv AAe~av1)po iquestKOT EIliexclJovoueacuteMa Mnpovoeacutev Map MnovTeoov Euacutea KpeBIVleacutev

naTplK VTe Mnavo PIKapVTo ltDpavKo

Iuply~ LOAo Vla qlAaouTo (191213)

Xopeuouv Xopeuouv Euacutea loacutene~ KpeBIVleacutev MouplEacuteA POIlipo

Xooeacute A KoulpoVKa AVTOacuteVIO KaAeacutepo CDlvaA

TeAeuraiacuteo Ileacutepoiexcl ano Tl1 LovalO VIa qlAaOuTO BIOAa Km apna (1916)

Xopeuouv Xopeuouv TOacuteVI ltDalmp PaouacuteA Tivo

Xooi MavouiA Apllac PaiexclJi EPi Iouiiexcl MapTiv Ova OOKap TopaVTo

XopOacuteC IampPOTIKOacuteC fioacute apna Km eacutevxop1)a (1904)

Xopeuacuteouv Xopeuouv Ma Ioui~a NTeAVKMoenmpiK VTe Mnava Ma Aouiacute~a NTeAVKOacuteoacuteoePIKapVTO ltDpavKo

Kanpiva XaiexclJnaoKeXooi A KouiacutepOVKO XplOTiacuteva OpTlVKoueacuteAaeAvroacutevlo KaAeacutepo NTOTOAiacute MnouiooveAVYKiA jT(1vl(~f PouS MapOacuteToeXooeacute A MneVKlpOTalV

XopOacuteC ~t~riexclAoc na apna Km (1904)

OAO TO iexclmaAiTO

ARENAL (AMMOTOnOI) Xopoypaqiexcliacutea NaTOO NTouaacuteTO KOOTOUacutelIa NaTOO NTouaTO

MOUGlKrj Mapiacutea vTeA Map MnoacuteveT ()WTlOl1oiacute Eqlpov OUiexcliexclATep NOiexclJnll

(npiexcliexclTl1 naVKOacuteOllla napouoiaoll ano TO 1lgtIWIlJH1VTf NTaVl AiexclJOTepvTaiexclJ 26 lavouapiacuteou 1988 npiexcliexclTl1 napou

oiaan anoacute Tll eNDbull 60KTw13Piou 1990)

1010YAIOY 11 IOYAIOY Solo

Xopeuouv Xopeuouv Karepivo AMapVT Kari ApTeaVKO

Paso a Dos PouS MapoTO MOUPUA POlleacutepo

PIKapVTO ltDpavKo AVYKeA PovTpiVKe~

Paso a cuatro Map Mnovreooacutev XpIOTiva OpTIVKoutAa

Ma Aoui~a NTeAVKoacuteoacuteo Euacutea Aone~ KpeplVltv Xoot AVTOVIO MneVKlplOTalv NiKOAO ltDovTe

PaOUacuteA Tivo Xooi MavousA ApiexclJae

Paso a EiexclJlJavoueacuteMa Mnpovoeacutev EIJIlaVousMa Mnpovosv

Iouie OVla TOacuteVI ltDOacutelJnp Xooi AVTOacuteVIO KouipoacuteVKa AVTOacuteVIO KaAtpo

Their new consciousness created bonds between the s[aves in their new Vor[d which

enabled them to gain their independence T hey beca me revo[utionary pcasallts fne

peasallts and from being free peasants bccamc servi le peasants During the hi~to rl

of Haiti the face of the master has often ehanged We know his present facc dimiddot

guised withh the make-up of the tourist tratlc whieh when uncovered rcveals mimiddot

ery exploitat ion and violence One ca n then recogn ise that the present network 01

economic interests under the cover of good works such as cultural and re ligiou

missio ns binds the present power structure to imperialism Capital developing in

Haiti has transformed the sense of Voodoo The ethnographer came first and thel

the tourist for whom folklore was reproduced for exotic excitement Voodoo which

for the poor and exp loited peasants had been a ce[ebration of the African roots llf

their daily more unbearab[e way of life became a laquore [igiollgt one of the too [s 01

power

We do not sing the laquoVoodoo phenomenon)) We do not lean pleasantly on the beaumiddot

ty of these songs our work leads us in a different direction LOwarcls anoth e r sort of

authenticity The birth of Voodoo in a land of exi le the first common languag(

among s [aves of different et hnic backgro und s Vas a vita l ereative moment a cu lturo

al unification which was to transform the world nn open ing for the confined That i

the moment we sing about Using the tradition a [ music of Haiti we meet witll other

musical forms to open a way towards a contempomry music that knows no fronticr

iexclIIHIIIIi

It is usually music which inspires me when creating a new ballet On this oceasion

however the sea and its lig ht the fire and its meaning in our own culture as Vell a

the fertility of land have been my sources of inspiration to crea te this choreograph)

dedicated to the Valencia n eommunity

With this work (would [ike to express some intimate feelings and imagcs the preso

ence of my roots very esscncc which -even having been abroad for long periods llf

time and influeneed by various other cultures- I a lways felt in the blood 01 my veins

I have avoided llsing folk elements historie referenees anecdotes or allllsions 10

charactcrs trying instcnd to eommlll1icate throllgh movemcl1t the sensuality of (he

landscape the scnsitivity of its inhabitants and thei r uninhibited worship to the

ephemeral so chnraeteristic of this community

Overlooking the stereotype has meant abandoning the artifiees of ll1usic costumc

and scenogTaphy in order to reaeh a si mplification This may seem somewhat C(lld if

compared with the exuberance in the daily li ves of our people but ( do hope to exmiddot

press that vitality throllgh 1l10vement

In order to achieve thi s 1 have ll sed percllssion and wind sOll nds always wrappcd up

with the constant beating of water 1 did this not o11 ly beeause th ey identify Valenmiddot

cian cul ture but also beca use they have he lp ed me to find ou t movements cl oser to

the earth o f a telluric strength and th e refore to get a be tter co ntrast for the mos t

deliea te movements Thj s is exemplified in the pas-de-deux o f El Aza har or El Ma r

[ have si mply wanted to dee ply re traee my roo ts and those of my ances to rs 1 have

lried to pee l the ora nge to ge t to its f1 es h the pl ayful and sensua l spirit o f this land

always intimate ly rela te d to the sea

[ dedica te this ba ll e t to those who as myse lf feel acco mpli ces with th e Meditershy

ra nea n

Nacho Duato

NACHO Dli O

Born in Yalenciexcl Sp in in 1957 lacho

Dualo lrlcd hi s rrokional ba ll et

training Vitb the RamlJert Sehool in Lonshy

don at the age of eighteen To expand

tudies he joined Maurice Beacutejart s Mu shy

dra School in Brussse ls and complcted

hi s dance education at The Alvin Ailey

American Dance Center in ew York

In 1980 at Ihe age of 23 Nacho Duato

si~ncd his first profess ional contnlCt

il h the Cullberg Ball et in Stockh oi m

and ayear Iter Jiriacute Kylian brough t him

lo the Nederlands Dans Thealer in Holshy

land where he was quickly in corpora ted

into the company ami ils repertoire

In 19K7 he received the YSCD Gouden

Dansrrijs (Golden Dan ce AlVard) for

his achieve ments as a dancer

Nacho Duatos natura l talent had him

soon look beyond the limitations of a

dancer and turn towards choreography

His first att emrt in 19H3 turned into a

major succes Jardiacute Talcal to panshy

ishCatalan music by compatr iot Maria

del Mar l30nel Vo n him the first pri ze at

the Interna tional Choreographic Workshy

shap (lntcrnatio naler Chorcographischshy

er Wcttbewe rb) at Cologne

Without reducing hi rcronsiblilities as

a dlI1cer dcho Dllato has si nce then

crcaled about a dozen works [or both

cderlands Dans Theater and Ncdershy

lands Dans Theater 2 for instance Dal1

1(1 y Rito (Chavez) Um lIi (Respighi )

SJIIIllllIIiacute (XenakisViexcl)ngel is) Boleacutero

(Rave l) Arenal (Maria del Mar Bonet)

Chansons vladeacuteraucs (Rave l) and Rapshy

iexclus to Richard Wagncrs Wescl1dolk

U eder For alm05t evely work

painterde5igner Walter obbe proved

an inspi ring and reiable co llaborator In

1988 Nacho Duato was named Re sid ent

Choreographer for ederlands Dans

lilca ter - next lo Hans van Maneacute n and

Jiriacute Kylian

With the growing demand of internation shy

nal companics reqll cst ing his orks rOl their repertoire - ie The Cullherg Ballet

The frankfurt Ballet The Gulbenkian

Ballet Les Grands Ballets Canadicns

Ballet Teatro Lirico Nacional Nacho

Duato was foreed to make a deeisive step

towards ehoosing his ruture carce r Beshy

ing5011ght after by a number of important

opera hOllses and balletcompanies it Vas

the ca ll of the Min isterio de Cultura 01 his

nati ve Spain which made him decide to

aceept in Jllne 1990 the posit ion of drtisshy

tic director and choreographcr Vith the

Compantildeiacutea Nacional de Danza

IRIacuteKYLIAacuteN

Sec puge 44

REVIEWS AND

Fro01 Madrid a Troupe Based in Earthy

Iassion

laquoMr Duato asked to take over a classiea l

ballet cammp~ny in 1990 revamped it

stylistica lly mixing modern and ballet idshy

iom lle has raised it to an international

leve raquo

The le York TilTle~ Anna Ki )clgoff

(I3iexcl5iexclq4 )

laquoDuato is a distinct choreographic talent

perh aps eviexcln a choreographic findraquo

Nol Yurk Pos t C1 ive Barn os (135194)

Th e sheer qua ntity of dancing moveshy

ment invention and emot ion onstage was

stagggering in Ihe six picccs all by him

that comprised the US debut of his

Comparl iacutea Nacional de Danza The

dancc rs appetite for nlOving their deft

spced and their trcngt h as wdl aS flcxibilshy

ity made thcm dcscrvedJy popular with

the City Ccnter audiences

Dance 1agazinc Marilyn Hunt (Octoher 04)

Un[orgcttable Span ish dance compan)

imports originality sensualit) and passhy

sion

C OViexcl lvtEN TS

laquof or Nacho Duato as for mosl contcmshy

porary European masters choreograpll

does not mean mere decoration or cntershy

tainmen Choreography means COIl) shy

menting the co ntemporary 1I0 rld infloshy

vating movemcnts and attitudes selecting

olle material defin ing ones codcs lmiddotshyrrcss ing olles artistry

AII three excc llent ballets he prescntcd in

Paris cuumluld therefore be tcrl11 cd apocashy

Iyptic

Le Devoir Va leric Lehm tnn (1) ~~

Compantildeia Nacional de Danza tIANOMH

ECOS (HXOI ampAnOHXOI)

XOpoYPQ(pia NaTao NTOUOTO Mououaj LTfqlav iquestKTVIKOacute OUWAnp NOIlTlll

KOOTOUacuteiexcllIa Nomo NTouaTo (J)WTlopoiacute NIKoAalt ltDionA

(npW11l ano TO eNo Ma6pi11l 17 NOEflapiou 1994)IUiexclJJUVIUVI

10 KaI 11 IOY AIOY Xopeuacuteouv

KnTlnJ1 AMoacutepVT Xooe M APIlOlt Kmiacute ApTEoacuteyKa NTE Mnava

Map Mnovnooacutev TOVl ltDoacuteflnp KOTEpivo iJ~UIJlll fOuiacutelt MapTiacutev Oyla

poue AVYKEA PovTpiyKE~ OOKOP TOpaacuteVTO

COR PERDUT (XAMENH KAPAIA)

)()tl)II~ln(fjln NOacuteTOO NTOUOacutepO Mouollltiiexcl VTEA Map MnOVET

nVLIlVLIUIU amp (J)wTlopoi NaacuteTaO NTouaacuteTO

(npW11l napouoioon anoacute TO NtvTEpAavn Nravlt TEOacuteTEP Xaacuteyn 25 AnptAiou 1989 npwTn ano Tn eNo 30 louviou 1990)

Xopeuacuteouv AMOacutepVT bull NaTao NTouaTo

Duende (NTOYENTE)

Xopoypaqiexclia Namo NTouaTO KOOTOUacuteiexcllIa Louacute~av MOUGtKrj KAiexcliexclVT NTelmuouacute (nOliexclJeVIKO ()WTlOlloiacute NIKOAaacuteC ltDiOTeA

IKrVIKaacute Ouiexcliexclnep NOacutellTIl1

(npiexcliexclTl1 nOVKOOIUO nopouoiaan ano TO NeacutevTepAaVTiexcl NlOViexcl TeaTep XaacuteVl1 21 NoeiexclJBpiou 1991 npiexcliexclTl1 napouoioan ano T1 eND Ma1)piTl1 11 crcuuutJU

1010YAIOY 11 IOYAIOY

nOI~ampVIKOacute 10 iexclJipoiexcl ano Tl1 iquestovalO VIO qlAOOUTO BloacuteAa Km apna (1916)

Xopeuouv Xopeuouv AAe~av1)po iquestKOT EIliexclJovoueacuteMa Mnpovoeacutev Map MnovTeoov Euacutea KpeBIVleacutev

naTplK VTe Mnavo PIKapVTo ltDpavKo

Iuply~ LOAo Vla qlAaouTo (191213)

Xopeuouv Xopeuouv Euacutea loacutene~ KpeBIVleacutev MouplEacuteA POIlipo

Xooeacute A KoulpoVKa AVTOacuteVIO KaAeacutepo CDlvaA

TeAeuraiacuteo Ileacutepoiexcl ano Tl1 LovalO VIa qlAaOuTO BIOAa Km apna (1916)

Xopeuouv Xopeuouv TOacuteVI ltDalmp PaouacuteA Tivo

Xooi MavouiA Apllac PaiexclJi EPi Iouiiexcl MapTiv Ova OOKap TopaVTo

XopOacuteC IampPOTIKOacuteC fioacute apna Km eacutevxop1)a (1904)

Xopeuacuteouv Xopeuouv Ma Ioui~a NTeAVKMoenmpiK VTe Mnava Ma Aouiacute~a NTeAVKOacuteoacuteoePIKapVTO ltDpavKo

Kanpiva XaiexclJnaoKeXooi A KouiacutepOVKO XplOTiacuteva OpTlVKoueacuteAaeAvroacutevlo KaAeacutepo NTOTOAiacute MnouiooveAVYKiA jT(1vl(~f PouS MapOacuteToeXooeacute A MneVKlpOTalV

XopOacuteC ~t~riexclAoc na apna Km (1904)

OAO TO iexclmaAiTO

ARENAL (AMMOTOnOI) Xopoypaqiexcliacutea NaTOO NTouaacuteTO KOOTOUacutelIa NaTOO NTouaTO

MOUGlKrj Mapiacutea vTeA Map MnoacuteveT ()WTlOl1oiacute Eqlpov OUiexcliexclATep NOiexclJnll

(npiexcliexclTl1 naVKOacuteOllla napouoiaoll ano TO 1lgtIWIlJH1VTf NTaVl AiexclJOTepvTaiexclJ 26 lavouapiacuteou 1988 npiexcliexclTl1 napou

oiaan anoacute Tll eNDbull 60KTw13Piou 1990)

1010YAIOY 11 IOYAIOY Solo

Xopeuouv Xopeuouv Karepivo AMapVT Kari ApTeaVKO

Paso a Dos PouS MapoTO MOUPUA POlleacutepo

PIKapVTO ltDpavKo AVYKeA PovTpiVKe~

Paso a cuatro Map Mnovreooacutev XpIOTiva OpTIVKoutAa

Ma Aoui~a NTeAVKoacuteoacuteo Euacutea Aone~ KpeplVltv Xoot AVTOVIO MneVKlplOTalv NiKOAO ltDovTe

PaOUacuteA Tivo Xooi MavousA ApiexclJae

Paso a EiexclJlJavoueacuteMa Mnpovoeacutev EIJIlaVousMa Mnpovosv

Iouie OVla TOacuteVI ltDOacutelJnp Xooi AVTOacuteVIO KouipoacuteVKa AVTOacuteVIO KaAtpo

cian cul ture but also beca use they have he lp ed me to find ou t movements cl oser to

the earth o f a telluric strength and th e refore to get a be tter co ntrast for the mos t

deliea te movements Thj s is exemplified in the pas-de-deux o f El Aza har or El Ma r

[ have si mply wanted to dee ply re traee my roo ts and those of my ances to rs 1 have

lried to pee l the ora nge to ge t to its f1 es h the pl ayful and sensua l spirit o f this land

always intimate ly rela te d to the sea

[ dedica te this ba ll e t to those who as myse lf feel acco mpli ces with th e Meditershy

ra nea n

Nacho Duato

NACHO Dli O

Born in Yalenciexcl Sp in in 1957 lacho

Dualo lrlcd hi s rrokional ba ll et

training Vitb the RamlJert Sehool in Lonshy

don at the age of eighteen To expand

tudies he joined Maurice Beacutejart s Mu shy

dra School in Brussse ls and complcted

hi s dance education at The Alvin Ailey

American Dance Center in ew York

In 1980 at Ihe age of 23 Nacho Duato

si~ncd his first profess ional contnlCt

il h the Cullberg Ball et in Stockh oi m

and ayear Iter Jiriacute Kylian brough t him

lo the Nederlands Dans Thealer in Holshy

land where he was quickly in corpora ted

into the company ami ils repertoire

In 19K7 he received the YSCD Gouden

Dansrrijs (Golden Dan ce AlVard) for

his achieve ments as a dancer

Nacho Duatos natura l talent had him

soon look beyond the limitations of a

dancer and turn towards choreography

His first att emrt in 19H3 turned into a

major succes Jardiacute Talcal to panshy

ishCatalan music by compatr iot Maria

del Mar l30nel Vo n him the first pri ze at

the Interna tional Choreographic Workshy

shap (lntcrnatio naler Chorcographischshy

er Wcttbewe rb) at Cologne

Without reducing hi rcronsiblilities as

a dlI1cer dcho Dllato has si nce then

crcaled about a dozen works [or both

cderlands Dans Theater and Ncdershy

lands Dans Theater 2 for instance Dal1

1(1 y Rito (Chavez) Um lIi (Respighi )

SJIIIllllIIiacute (XenakisViexcl)ngel is) Boleacutero

(Rave l) Arenal (Maria del Mar Bonet)

Chansons vladeacuteraucs (Rave l) and Rapshy

iexclus to Richard Wagncrs Wescl1dolk

U eder For alm05t evely work

painterde5igner Walter obbe proved

an inspi ring and reiable co llaborator In

1988 Nacho Duato was named Re sid ent

Choreographer for ederlands Dans

lilca ter - next lo Hans van Maneacute n and

Jiriacute Kylian

With the growing demand of internation shy

nal companics reqll cst ing his orks rOl their repertoire - ie The Cullherg Ballet

The frankfurt Ballet The Gulbenkian

Ballet Les Grands Ballets Canadicns

Ballet Teatro Lirico Nacional Nacho

Duato was foreed to make a deeisive step

towards ehoosing his ruture carce r Beshy

ing5011ght after by a number of important

opera hOllses and balletcompanies it Vas

the ca ll of the Min isterio de Cultura 01 his

nati ve Spain which made him decide to

aceept in Jllne 1990 the posit ion of drtisshy

tic director and choreographcr Vith the

Compantildeiacutea Nacional de Danza

IRIacuteKYLIAacuteN

Sec puge 44

REVIEWS AND

Fro01 Madrid a Troupe Based in Earthy

Iassion

laquoMr Duato asked to take over a classiea l

ballet cammp~ny in 1990 revamped it

stylistica lly mixing modern and ballet idshy

iom lle has raised it to an international

leve raquo

The le York TilTle~ Anna Ki )clgoff

(I3iexcl5iexclq4 )

laquoDuato is a distinct choreographic talent

perh aps eviexcln a choreographic findraquo

Nol Yurk Pos t C1 ive Barn os (135194)

Th e sheer qua ntity of dancing moveshy

ment invention and emot ion onstage was

stagggering in Ihe six picccs all by him

that comprised the US debut of his

Comparl iacutea Nacional de Danza The

dancc rs appetite for nlOving their deft

spced and their trcngt h as wdl aS flcxibilshy

ity made thcm dcscrvedJy popular with

the City Ccnter audiences

Dance 1agazinc Marilyn Hunt (Octoher 04)

Un[orgcttable Span ish dance compan)

imports originality sensualit) and passhy

sion

C OViexcl lvtEN TS

laquof or Nacho Duato as for mosl contcmshy

porary European masters choreograpll

does not mean mere decoration or cntershy

tainmen Choreography means COIl) shy

menting the co ntemporary 1I0 rld infloshy

vating movemcnts and attitudes selecting

olle material defin ing ones codcs lmiddotshyrrcss ing olles artistry

AII three excc llent ballets he prescntcd in

Paris cuumluld therefore be tcrl11 cd apocashy

Iyptic

Le Devoir Va leric Lehm tnn (1) ~~

Compantildeia Nacional de Danza tIANOMH

ECOS (HXOI ampAnOHXOI)

XOpoYPQ(pia NaTao NTOUOTO Mououaj LTfqlav iquestKTVIKOacute OUWAnp NOIlTlll

KOOTOUacuteiexcllIa Nomo NTouaTo (J)WTlopoiacute NIKoAalt ltDionA

(npW11l ano TO eNo Ma6pi11l 17 NOEflapiou 1994)IUiexclJJUVIUVI

10 KaI 11 IOY AIOY Xopeuacuteouv

KnTlnJ1 AMoacutepVT Xooe M APIlOlt Kmiacute ApTEoacuteyKa NTE Mnava

Map Mnovnooacutev TOVl ltDoacuteflnp KOTEpivo iJ~UIJlll fOuiacutelt MapTiacutev Oyla

poue AVYKEA PovTpiyKE~ OOKOP TOpaacuteVTO

COR PERDUT (XAMENH KAPAIA)

)()tl)II~ln(fjln NOacuteTOO NTOUOacutepO Mouollltiiexcl VTEA Map MnOVET

nVLIlVLIUIU amp (J)wTlopoi NaacuteTaO NTouaacuteTO

(npW11l napouoioon anoacute TO NtvTEpAavn Nravlt TEOacuteTEP Xaacuteyn 25 AnptAiou 1989 npwTn ano Tn eNo 30 louviou 1990)

Xopeuacuteouv AMOacutepVT bull NaTao NTouaTo

Duende (NTOYENTE)

Xopoypaqiexclia Namo NTouaTO KOOTOUacuteiexcllIa Louacute~av MOUGtKrj KAiexcliexclVT NTelmuouacute (nOliexclJeVIKO ()WTlOlloiacute NIKOAaacuteC ltDiOTeA

IKrVIKaacute Ouiexcliexclnep NOacutellTIl1

(npiexcliexclTl1 nOVKOOIUO nopouoiaan ano TO NeacutevTepAaVTiexcl NlOViexcl TeaTep XaacuteVl1 21 NoeiexclJBpiou 1991 npiexcliexclTl1 napouoioan ano T1 eND Ma1)piTl1 11 crcuuutJU

1010YAIOY 11 IOYAIOY

nOI~ampVIKOacute 10 iexclJipoiexcl ano Tl1 iquestovalO VIO qlAOOUTO BloacuteAa Km apna (1916)

Xopeuouv Xopeuouv AAe~av1)po iquestKOT EIliexclJovoueacuteMa Mnpovoeacutev Map MnovTeoov Euacutea KpeBIVleacutev

naTplK VTe Mnavo PIKapVTo ltDpavKo

Iuply~ LOAo Vla qlAaouTo (191213)

Xopeuouv Xopeuouv Euacutea loacutene~ KpeBIVleacutev MouplEacuteA POIlipo

Xooeacute A KoulpoVKa AVTOacuteVIO KaAeacutepo CDlvaA

TeAeuraiacuteo Ileacutepoiexcl ano Tl1 LovalO VIa qlAaOuTO BIOAa Km apna (1916)

Xopeuouv Xopeuouv TOacuteVI ltDalmp PaouacuteA Tivo

Xooi MavouiA Apllac PaiexclJi EPi Iouiiexcl MapTiv Ova OOKap TopaVTo

XopOacuteC IampPOTIKOacuteC fioacute apna Km eacutevxop1)a (1904)

Xopeuacuteouv Xopeuouv Ma Ioui~a NTeAVKMoenmpiK VTe Mnava Ma Aouiacute~a NTeAVKOacuteoacuteoePIKapVTO ltDpavKo

Kanpiva XaiexclJnaoKeXooi A KouiacutepOVKO XplOTiacuteva OpTlVKoueacuteAaeAvroacutevlo KaAeacutepo NTOTOAiacute MnouiooveAVYKiA jT(1vl(~f PouS MapOacuteToeXooeacute A MneVKlpOTalV

XopOacuteC ~t~riexclAoc na apna Km (1904)

OAO TO iexclmaAiTO

ARENAL (AMMOTOnOI) Xopoypaqiexcliacutea NaTOO NTouaacuteTO KOOTOUacutelIa NaTOO NTouaTO

MOUGlKrj Mapiacutea vTeA Map MnoacuteveT ()WTlOl1oiacute Eqlpov OUiexcliexclATep NOiexclJnll

(npiexcliexclTl1 naVKOacuteOllla napouoiaoll ano TO 1lgtIWIlJH1VTf NTaVl AiexclJOTepvTaiexclJ 26 lavouapiacuteou 1988 npiexcliexclTl1 napou

oiaan anoacute Tll eNDbull 60KTw13Piou 1990)

1010YAIOY 11 IOYAIOY Solo

Xopeuouv Xopeuouv Karepivo AMapVT Kari ApTeaVKO

Paso a Dos PouS MapoTO MOUPUA POlleacutepo

PIKapVTO ltDpavKo AVYKeA PovTpiVKe~

Paso a cuatro Map Mnovreooacutev XpIOTiva OpTIVKoutAa

Ma Aoui~a NTeAVKoacuteoacuteo Euacutea Aone~ KpeplVltv Xoot AVTOVIO MneVKlplOTalv NiKOAO ltDovTe

PaOUacuteA Tivo Xooi MavousA ApiexclJae

Paso a EiexclJlJavoueacuteMa Mnpovoeacutev EIJIlaVousMa Mnpovosv

Iouie OVla TOacuteVI ltDOacutelJnp Xooi AVTOacuteVIO KouipoacuteVKa AVTOacuteVIO KaAtpo

NACHO Dli O

Born in Yalenciexcl Sp in in 1957 lacho

Dualo lrlcd hi s rrokional ba ll et

training Vitb the RamlJert Sehool in Lonshy

don at the age of eighteen To expand

tudies he joined Maurice Beacutejart s Mu shy

dra School in Brussse ls and complcted

hi s dance education at The Alvin Ailey

American Dance Center in ew York

In 1980 at Ihe age of 23 Nacho Duato

si~ncd his first profess ional contnlCt

il h the Cullberg Ball et in Stockh oi m

and ayear Iter Jiriacute Kylian brough t him

lo the Nederlands Dans Thealer in Holshy

land where he was quickly in corpora ted

into the company ami ils repertoire

In 19K7 he received the YSCD Gouden

Dansrrijs (Golden Dan ce AlVard) for

his achieve ments as a dancer

Nacho Duatos natura l talent had him

soon look beyond the limitations of a

dancer and turn towards choreography

His first att emrt in 19H3 turned into a

major succes Jardiacute Talcal to panshy

ishCatalan music by compatr iot Maria

del Mar l30nel Vo n him the first pri ze at

the Interna tional Choreographic Workshy

shap (lntcrnatio naler Chorcographischshy

er Wcttbewe rb) at Cologne

Without reducing hi rcronsiblilities as

a dlI1cer dcho Dllato has si nce then

crcaled about a dozen works [or both

cderlands Dans Theater and Ncdershy

lands Dans Theater 2 for instance Dal1

1(1 y Rito (Chavez) Um lIi (Respighi )

SJIIIllllIIiacute (XenakisViexcl)ngel is) Boleacutero

(Rave l) Arenal (Maria del Mar Bonet)

Chansons vladeacuteraucs (Rave l) and Rapshy

iexclus to Richard Wagncrs Wescl1dolk

U eder For alm05t evely work

painterde5igner Walter obbe proved

an inspi ring and reiable co llaborator In

1988 Nacho Duato was named Re sid ent

Choreographer for ederlands Dans

lilca ter - next lo Hans van Maneacute n and

Jiriacute Kylian

With the growing demand of internation shy

nal companics reqll cst ing his orks rOl their repertoire - ie The Cullherg Ballet

The frankfurt Ballet The Gulbenkian

Ballet Les Grands Ballets Canadicns

Ballet Teatro Lirico Nacional Nacho

Duato was foreed to make a deeisive step

towards ehoosing his ruture carce r Beshy

ing5011ght after by a number of important

opera hOllses and balletcompanies it Vas

the ca ll of the Min isterio de Cultura 01 his

nati ve Spain which made him decide to

aceept in Jllne 1990 the posit ion of drtisshy

tic director and choreographcr Vith the

Compantildeiacutea Nacional de Danza

IRIacuteKYLIAacuteN

Sec puge 44

REVIEWS AND

Fro01 Madrid a Troupe Based in Earthy

Iassion

laquoMr Duato asked to take over a classiea l

ballet cammp~ny in 1990 revamped it

stylistica lly mixing modern and ballet idshy

iom lle has raised it to an international

leve raquo

The le York TilTle~ Anna Ki )clgoff

(I3iexcl5iexclq4 )

laquoDuato is a distinct choreographic talent

perh aps eviexcln a choreographic findraquo

Nol Yurk Pos t C1 ive Barn os (135194)

Th e sheer qua ntity of dancing moveshy

ment invention and emot ion onstage was

stagggering in Ihe six picccs all by him

that comprised the US debut of his

Comparl iacutea Nacional de Danza The

dancc rs appetite for nlOving their deft

spced and their trcngt h as wdl aS flcxibilshy

ity made thcm dcscrvedJy popular with

the City Ccnter audiences

Dance 1agazinc Marilyn Hunt (Octoher 04)

Un[orgcttable Span ish dance compan)

imports originality sensualit) and passhy

sion

C OViexcl lvtEN TS

laquof or Nacho Duato as for mosl contcmshy

porary European masters choreograpll

does not mean mere decoration or cntershy

tainmen Choreography means COIl) shy

menting the co ntemporary 1I0 rld infloshy

vating movemcnts and attitudes selecting

olle material defin ing ones codcs lmiddotshyrrcss ing olles artistry

AII three excc llent ballets he prescntcd in

Paris cuumluld therefore be tcrl11 cd apocashy

Iyptic

Le Devoir Va leric Lehm tnn (1) ~~

Compantildeia Nacional de Danza tIANOMH

ECOS (HXOI ampAnOHXOI)

XOpoYPQ(pia NaTao NTOUOTO Mououaj LTfqlav iquestKTVIKOacute OUWAnp NOIlTlll

KOOTOUacuteiexcllIa Nomo NTouaTo (J)WTlopoiacute NIKoAalt ltDionA

(npW11l ano TO eNo Ma6pi11l 17 NOEflapiou 1994)IUiexclJJUVIUVI

10 KaI 11 IOY AIOY Xopeuacuteouv

KnTlnJ1 AMoacutepVT Xooe M APIlOlt Kmiacute ApTEoacuteyKa NTE Mnava

Map Mnovnooacutev TOVl ltDoacuteflnp KOTEpivo iJ~UIJlll fOuiacutelt MapTiacutev Oyla

poue AVYKEA PovTpiyKE~ OOKOP TOpaacuteVTO

COR PERDUT (XAMENH KAPAIA)

)()tl)II~ln(fjln NOacuteTOO NTOUOacutepO Mouollltiiexcl VTEA Map MnOVET

nVLIlVLIUIU amp (J)wTlopoi NaacuteTaO NTouaacuteTO

(npW11l napouoioon anoacute TO NtvTEpAavn Nravlt TEOacuteTEP Xaacuteyn 25 AnptAiou 1989 npwTn ano Tn eNo 30 louviou 1990)

Xopeuacuteouv AMOacutepVT bull NaTao NTouaTo

Duende (NTOYENTE)

Xopoypaqiexclia Namo NTouaTO KOOTOUacuteiexcllIa Louacute~av MOUGtKrj KAiexcliexclVT NTelmuouacute (nOliexclJeVIKO ()WTlOlloiacute NIKOAaacuteC ltDiOTeA

IKrVIKaacute Ouiexcliexclnep NOacutellTIl1

(npiexcliexclTl1 nOVKOOIUO nopouoiaan ano TO NeacutevTepAaVTiexcl NlOViexcl TeaTep XaacuteVl1 21 NoeiexclJBpiou 1991 npiexcliexclTl1 napouoioan ano T1 eND Ma1)piTl1 11 crcuuutJU

1010YAIOY 11 IOYAIOY

nOI~ampVIKOacute 10 iexclJipoiexcl ano Tl1 iquestovalO VIO qlAOOUTO BloacuteAa Km apna (1916)

Xopeuouv Xopeuouv AAe~av1)po iquestKOT EIliexclJovoueacuteMa Mnpovoeacutev Map MnovTeoov Euacutea KpeBIVleacutev

naTplK VTe Mnavo PIKapVTo ltDpavKo

Iuply~ LOAo Vla qlAaouTo (191213)

Xopeuouv Xopeuouv Euacutea loacutene~ KpeBIVleacutev MouplEacuteA POIlipo

Xooeacute A KoulpoVKa AVTOacuteVIO KaAeacutepo CDlvaA

TeAeuraiacuteo Ileacutepoiexcl ano Tl1 LovalO VIa qlAaOuTO BIOAa Km apna (1916)

Xopeuouv Xopeuouv TOacuteVI ltDalmp PaouacuteA Tivo

Xooi MavouiA Apllac PaiexclJi EPi Iouiiexcl MapTiv Ova OOKap TopaVTo

XopOacuteC IampPOTIKOacuteC fioacute apna Km eacutevxop1)a (1904)

Xopeuacuteouv Xopeuouv Ma Ioui~a NTeAVKMoenmpiK VTe Mnava Ma Aouiacute~a NTeAVKOacuteoacuteoePIKapVTO ltDpavKo

Kanpiva XaiexclJnaoKeXooi A KouiacutepOVKO XplOTiacuteva OpTlVKoueacuteAaeAvroacutevlo KaAeacutepo NTOTOAiacute MnouiooveAVYKiA jT(1vl(~f PouS MapOacuteToeXooeacute A MneVKlpOTalV

XopOacuteC ~t~riexclAoc na apna Km (1904)

OAO TO iexclmaAiTO

ARENAL (AMMOTOnOI) Xopoypaqiexcliacutea NaTOO NTouaacuteTO KOOTOUacutelIa NaTOO NTouaTO

MOUGlKrj Mapiacutea vTeA Map MnoacuteveT ()WTlOl1oiacute Eqlpov OUiexcliexclATep NOiexclJnll

(npiexcliexclTl1 naVKOacuteOllla napouoiaoll ano TO 1lgtIWIlJH1VTf NTaVl AiexclJOTepvTaiexclJ 26 lavouapiacuteou 1988 npiexcliexclTl1 napou

oiaan anoacute Tll eNDbull 60KTw13Piou 1990)

1010YAIOY 11 IOYAIOY Solo

Xopeuouv Xopeuouv Karepivo AMapVT Kari ApTeaVKO

Paso a Dos PouS MapoTO MOUPUA POlleacutepo

PIKapVTO ltDpavKo AVYKeA PovTpiVKe~

Paso a cuatro Map Mnovreooacutev XpIOTiva OpTIVKoutAa

Ma Aoui~a NTeAVKoacuteoacuteo Euacutea Aone~ KpeplVltv Xoot AVTOVIO MneVKlplOTalv NiKOAO ltDovTe

PaOUacuteA Tivo Xooi MavousA ApiexclJae

Paso a EiexclJlJavoueacuteMa Mnpovoeacutev EIJIlaVousMa Mnpovosv

Iouie OVla TOacuteVI ltDOacutelJnp Xooi AVTOacuteVIO KouipoacuteVKa AVTOacuteVIO KaAtpo

Compantildeia Nacional de Danza tIANOMH

ECOS (HXOI ampAnOHXOI)

XOpoYPQ(pia NaTao NTOUOTO Mououaj LTfqlav iquestKTVIKOacute OUWAnp NOIlTlll

KOOTOUacuteiexcllIa Nomo NTouaTo (J)WTlopoiacute NIKoAalt ltDionA

(npW11l ano TO eNo Ma6pi11l 17 NOEflapiou 1994)IUiexclJJUVIUVI

10 KaI 11 IOY AIOY Xopeuacuteouv

KnTlnJ1 AMoacutepVT Xooe M APIlOlt Kmiacute ApTEoacuteyKa NTE Mnava

Map Mnovnooacutev TOVl ltDoacuteflnp KOTEpivo iJ~UIJlll fOuiacutelt MapTiacutev Oyla

poue AVYKEA PovTpiyKE~ OOKOP TOpaacuteVTO

COR PERDUT (XAMENH KAPAIA)

)()tl)II~ln(fjln NOacuteTOO NTOUOacutepO Mouollltiiexcl VTEA Map MnOVET

nVLIlVLIUIU amp (J)wTlopoi NaacuteTaO NTouaacuteTO

(npW11l napouoioon anoacute TO NtvTEpAavn Nravlt TEOacuteTEP Xaacuteyn 25 AnptAiou 1989 npwTn ano Tn eNo 30 louviou 1990)

Xopeuacuteouv AMOacutepVT bull NaTao NTouaTo

Duende (NTOYENTE)

Xopoypaqiexclia Namo NTouaTO KOOTOUacuteiexcllIa Louacute~av MOUGtKrj KAiexcliexclVT NTelmuouacute (nOliexclJeVIKO ()WTlOlloiacute NIKOAaacuteC ltDiOTeA

IKrVIKaacute Ouiexcliexclnep NOacutellTIl1

(npiexcliexclTl1 nOVKOOIUO nopouoiaan ano TO NeacutevTepAaVTiexcl NlOViexcl TeaTep XaacuteVl1 21 NoeiexclJBpiou 1991 npiexcliexclTl1 napouoioan ano T1 eND Ma1)piTl1 11 crcuuutJU

1010YAIOY 11 IOYAIOY

nOI~ampVIKOacute 10 iexclJipoiexcl ano Tl1 iquestovalO VIO qlAOOUTO BloacuteAa Km apna (1916)

Xopeuouv Xopeuouv AAe~av1)po iquestKOT EIliexclJovoueacuteMa Mnpovoeacutev Map MnovTeoov Euacutea KpeBIVleacutev

naTplK VTe Mnavo PIKapVTo ltDpavKo

Iuply~ LOAo Vla qlAaouTo (191213)

Xopeuouv Xopeuouv Euacutea loacutene~ KpeBIVleacutev MouplEacuteA POIlipo

Xooeacute A KoulpoVKa AVTOacuteVIO KaAeacutepo CDlvaA

TeAeuraiacuteo Ileacutepoiexcl ano Tl1 LovalO VIa qlAaOuTO BIOAa Km apna (1916)

Xopeuouv Xopeuouv TOacuteVI ltDalmp PaouacuteA Tivo

Xooi MavouiA Apllac PaiexclJi EPi Iouiiexcl MapTiv Ova OOKap TopaVTo

XopOacuteC IampPOTIKOacuteC fioacute apna Km eacutevxop1)a (1904)

Xopeuacuteouv Xopeuouv Ma Ioui~a NTeAVKMoenmpiK VTe Mnava Ma Aouiacute~a NTeAVKOacuteoacuteoePIKapVTO ltDpavKo

Kanpiva XaiexclJnaoKeXooi A KouiacutepOVKO XplOTiacuteva OpTlVKoueacuteAaeAvroacutevlo KaAeacutepo NTOTOAiacute MnouiooveAVYKiA jT(1vl(~f PouS MapOacuteToeXooeacute A MneVKlpOTalV

XopOacuteC ~t~riexclAoc na apna Km (1904)

OAO TO iexclmaAiTO

ARENAL (AMMOTOnOI) Xopoypaqiexcliacutea NaTOO NTouaacuteTO KOOTOUacutelIa NaTOO NTouaTO

MOUGlKrj Mapiacutea vTeA Map MnoacuteveT ()WTlOl1oiacute Eqlpov OUiexcliexclATep NOiexclJnll

(npiexcliexclTl1 naVKOacuteOllla napouoiaoll ano TO 1lgtIWIlJH1VTf NTaVl AiexclJOTepvTaiexclJ 26 lavouapiacuteou 1988 npiexcliexclTl1 napou

oiaan anoacute Tll eNDbull 60KTw13Piou 1990)

1010YAIOY 11 IOYAIOY Solo

Xopeuouv Xopeuouv Karepivo AMapVT Kari ApTeaVKO

Paso a Dos PouS MapoTO MOUPUA POlleacutepo

PIKapVTO ltDpavKo AVYKeA PovTpiVKe~

Paso a cuatro Map Mnovreooacutev XpIOTiva OpTIVKoutAa

Ma Aoui~a NTeAVKoacuteoacuteo Euacutea Aone~ KpeplVltv Xoot AVTOVIO MneVKlplOTalv NiKOAO ltDovTe

PaOUacuteA Tivo Xooi MavousA ApiexclJae

Paso a EiexclJlJavoueacuteMa Mnpovoeacutev EIJIlaVousMa Mnpovosv

Iouie OVla TOacuteVI ltDOacutelJnp Xooi AVTOacuteVIO KouipoacuteVKa AVTOacuteVIO KaAtpo

Duende (NTOYENTE)

Xopoypaqiexclia Namo NTouaTO KOOTOUacuteiexcllIa Louacute~av MOUGtKrj KAiexcliexclVT NTelmuouacute (nOliexclJeVIKO ()WTlOlloiacute NIKOAaacuteC ltDiOTeA

IKrVIKaacute Ouiexcliexclnep NOacutellTIl1

(npiexcliexclTl1 nOVKOOIUO nopouoiaan ano TO NeacutevTepAaVTiexcl NlOViexcl TeaTep XaacuteVl1 21 NoeiexclJBpiou 1991 npiexcliexclTl1 napouoioan ano T1 eND Ma1)piTl1 11 crcuuutJU

1010YAIOY 11 IOYAIOY

nOI~ampVIKOacute 10 iexclJipoiexcl ano Tl1 iquestovalO VIO qlAOOUTO BloacuteAa Km apna (1916)

Xopeuouv Xopeuouv AAe~av1)po iquestKOT EIliexclJovoueacuteMa Mnpovoeacutev Map MnovTeoov Euacutea KpeBIVleacutev

naTplK VTe Mnavo PIKapVTo ltDpavKo

Iuply~ LOAo Vla qlAaouTo (191213)

Xopeuouv Xopeuouv Euacutea loacutene~ KpeBIVleacutev MouplEacuteA POIlipo

Xooeacute A KoulpoVKa AVTOacuteVIO KaAeacutepo CDlvaA

TeAeuraiacuteo Ileacutepoiexcl ano Tl1 LovalO VIa qlAaOuTO BIOAa Km apna (1916)

Xopeuouv Xopeuouv TOacuteVI ltDalmp PaouacuteA Tivo

Xooi MavouiA Apllac PaiexclJi EPi Iouiiexcl MapTiv Ova OOKap TopaVTo

XopOacuteC IampPOTIKOacuteC fioacute apna Km eacutevxop1)a (1904)

Xopeuacuteouv Xopeuouv Ma Ioui~a NTeAVKMoenmpiK VTe Mnava Ma Aouiacute~a NTeAVKOacuteoacuteoePIKapVTO ltDpavKo

Kanpiva XaiexclJnaoKeXooi A KouiacutepOVKO XplOTiacuteva OpTlVKoueacuteAaeAvroacutevlo KaAeacutepo NTOTOAiacute MnouiooveAVYKiA jT(1vl(~f PouS MapOacuteToeXooeacute A MneVKlpOTalV

XopOacuteC ~t~riexclAoc na apna Km (1904)

OAO TO iexclmaAiTO

ARENAL (AMMOTOnOI) Xopoypaqiexcliacutea NaTOO NTouaacuteTO KOOTOUacutelIa NaTOO NTouaTO

MOUGlKrj Mapiacutea vTeA Map MnoacuteveT ()WTlOl1oiacute Eqlpov OUiexcliexclATep NOiexclJnll

(npiexcliexclTl1 naVKOacuteOllla napouoiaoll ano TO 1lgtIWIlJH1VTf NTaVl AiexclJOTepvTaiexclJ 26 lavouapiacuteou 1988 npiexcliexclTl1 napou

oiaan anoacute Tll eNDbull 60KTw13Piou 1990)

1010YAIOY 11 IOYAIOY Solo

Xopeuouv Xopeuouv Karepivo AMapVT Kari ApTeaVKO

Paso a Dos PouS MapoTO MOUPUA POlleacutepo

PIKapVTO ltDpavKo AVYKeA PovTpiVKe~

Paso a cuatro Map Mnovreooacutev XpIOTiva OpTIVKoutAa

Ma Aoui~a NTeAVKoacuteoacuteo Euacutea Aone~ KpeplVltv Xoot AVTOVIO MneVKlplOTalv NiKOAO ltDovTe

PaOUacuteA Tivo Xooi MavousA ApiexclJae

Paso a EiexclJlJavoueacuteMa Mnpovoeacutev EIJIlaVousMa Mnpovosv

Iouie OVla TOacuteVI ltDOacutelJnp Xooi AVTOacuteVIO KouipoacuteVKa AVTOacuteVIO KaAtpo

Compantildeia Nacional de Danza AIANOMH

RETURN TO THE STRANGE LAND (EnIITPOltDH ITHN ArNQITH XQPA)

Xopoypaqiexclia riacuteP41 KUAtaV Mouoldiexcl Moe r()VaTOeK eEpya yta mayo anoacute T1l lovoacuteTa

laquo111

1310YAIOY

Xopeuacuteouv EllllaVOUEMa MnpovaEV XOOE MavoueacuteA

Aoule MapTiv Oyla

Euacutea Aoacutene4 KoBI~ltV

PlKapvro ltlgtpOVKO

EllllavoueacuteMa MfTlJovlaev Aoule MapTiacutev Oyla

Euacutea oacutene~ Kpe~lyleacutev

XOOB AVTOacuteVIO MmYKlpIOTOacuteV PIKOacutePVTO ltlgtPOacuteVKO

1905raquo TO laquoXoPTOPiexclaaIlEVO Movonanraquo Ka TO laquoMEoa OTIlV nOacuteXVlll) Koarouila riP41 KUacuteAlav

()uacuteJTlOioi T40un KallnouacutepT Ava3iuacuteJariexcl APAET Qlav Mnoacute~ev ampT~lfJ BivoevT

l Paso a Tres

11 Paso a Dos

Paso a Dos

IV Paso a Tres

RASSEMBLEMENT (IVNAepOIIH) Xopoypaqiexclia Nomo NTOUOTO

Mououaj TOTO MmvoaivT (Rasableman) NOllnn

Koarouila NaTao NTouaTo

1410YAIOY

Xopeuacuteouy Pou8 MapOacuteTO NiKOAO ltlgtoacutevre TOacuteVI

Pou8 MapoacuteTO TOacuteVI

Map Mnovreaoacutev Palli

OOKap TOPOacuteVTO

()uacute)noioi NIKoAaacutee ltlgtiareA anoacute TOUe npwToacuteTunouc TOU NTlK AillvrKOTpall

anoacute TO MnaMTo 13 teKell~piexclou 1991)

1310YAIOY Xopeuacuteouv

KOTepivo AMapVT Map MnOVTeooacutev KaTi ApTeoyKo

Ma Aoui~a PaIlOe TOacuteVI ltlgtallnp

Aoule MapTlv Oyla AVVKeA PovTpiyKe~

PaOUacuteA Tlvo

Xopeuouv XooEacute AvrOacuteVIO MneyKlptOTOiV

NiKOAO ltlgtoacutevre

ano

1410YAIOY Xopeuacuteouv

KaTepiva AMoacutepVT Karepivo XOllnOacuteOK

EllllavoueacuteMo Mnpovoeacutev Pou8 MapaTo

nOTpiK VTe Mnoacuteva Xooeacute AvroacuteVIO MneyKlpiaroacuteiv

NiKOAO ltlgtoacutevTe AVTOacuteViO KaMpo

Xopeuacuteouv AVyKeA PovTpiacuteYKe4

OOKap TopQvro

MEDITERRANIA (MEIOrEIOI)

Xopoyparpia Namo NTouaTo MOUGlKr) LM1UVlllV MEacuteoool A MaXllouacutevr rKpIYK XOUOV A APTEacuteKCI XaaiEacute f1alaVIIVlO

NT~Rnrt1 amp MOVTtOlo AOacutellna ltlgtiOlCA

Nomo NTouaTo

13 Kal 14 IOYAIOY 1 Introduction

Meacuteooo)

Xopeuacuteouv KaTi ApTeaYKa Map MnOVTCOOacuteV NaTGAi Mnoulooacutev Ma Aouiia NTcAYKMo KaTcpiva XallnOacuteOK XplOliva OpnYKoueacuteAa Euacutea Aoacutenei KpCaiYieacutev Mapia Aouiia PaIlOe MOUPleacuteA POlleacutepo iquestKOT

Xopeuacuteouv KaTcpiva AMaacutepVT TOacuteVl ltlgtaacutellnp Aouje MapTiv OYla

111 Rice Dance (n rKplYKe)

Xopeuacuteouv X MavoueacuteA Apila naTpiK VTe Mnava AVTOacuteVIO KGAeacutepo TOacuteVi ltlgtallnp PiKaacutepVTO ltlgtpOVKO Aouje MapTjv OYia Avshy

yKcA PovTpjYKeiexcl Paouacutei Tivo

IV Palm (a A rKEacutepapvT Mil ntppu

Xopeuacuteouv Nomo NTOUOTO KaTepiva AiAaacutepVT Kan NaTaii Mnouiexclooacutev Ma Aouiia NreiYKMo KaTepiva XallnooK MOUPitA POlleacutepo AAe~aacutev5pa iquestKOT X Mavoueacutei Apllae narpiK VTe Mnaacuteva X AVTOacuteViO MneYKlpiOlaacuteiV TOacuteVi ltlgtollnp NiKOAo ltlgtoacutevTe Aoule MapTiv Ovla AVVKei

VOrange XA ApTeacuteKe X na~avivio

Xopeuacuteouv Map MnovTeooacutev Paoui Tivo

VI Fire (Ti

Xopeuacuteouv KaTepiva AAiOpvT Koacuten ApTeaacuteYKa Map MnovTeooacutev Naraii Mnoulooacutev Ma Aouiia NTeiVKo50 Karepiva XalmaacuteoK XPIshyOliva OpnVKouEacuteia Euacutea Mapia Aouiia POacuteIlO MoupEacuteA Aie~aacutev5pa iacuteKOT X Mavouei ApshyIlae naTpiK VTe Mnaacuteva X AVTOacuteVIO MneVKpIOlOIV AvroacutevO Kaieacutepo TOacuteV ltlgtaacutellnp NiKOiO ltlgtoacutevTe PKOacutePVTO ltlgtPOacuteVKO Aoule MapTiv OYla AvyKCi PovTpiYKCi Paouacutei Tivo

MEDITERRANIA (MEIOrEIOI)

Xopoyparpia Namo NTouaTo MOUGlKr) LM1UVlllV MEacuteoool A MaXllouacutevr rKpIYK XOUOV A APTEacuteKCI XaaiEacute f1alaVIIVlO

NT~Rnrt1 amp MOVTtOlo AOacutellna ltlgtiOlCA

Nomo NTouaTo

13 Kal 14 IOYAIOY 1 Introduction

Meacuteooo)

Xopeuacuteouv KaTi ApTeaYKa Map MnOVTCOOacuteV NaTGAi Mnoulooacutev Ma Aouiia NTcAYKMo KaTcpiva XallnOacuteOK XplOliva OpnYKoueacuteAa Euacutea Aoacutenei KpCaiYieacutev Mapia Aouiia PaIlOe MOUPleacuteA POlleacutepo iquestKOT

Xopeuacuteouv KaTcpiva AMaacutepVT TOacuteVl ltlgtaacutellnp Aouje MapTiv OYla

111 Rice Dance (n rKplYKe)

Xopeuacuteouv X MavoueacuteA Apila naTpiK VTe Mnava AVTOacuteVIO KGAeacutepo TOacuteVi ltlgtallnp PiKaacutepVTO ltlgtpOVKO Aouje MapTjv OYia Avshy

yKcA PovTpjYKeiexcl Paouacutei Tivo

IV Palm (a A rKEacutepapvT Mil ntppu

Xopeuacuteouv Nomo NTOUOTO KaTepiva AiAaacutepVT Kan NaTaii Mnouiexclooacutev Ma Aouiia NreiYKMo KaTepiva XallnooK MOUPitA POlleacutepo AAe~aacutev5pa iquestKOT X Mavoueacutei Apllae narpiK VTe Mnaacuteva X AVTOacuteViO MneYKlpiOlaacuteiV TOacuteVi ltlgtollnp NiKOAo ltlgtoacutevTe Aoule MapTiv Ovla AVVKei

VOrange XA ApTeacuteKe X na~avivio

Xopeuacuteouv Map MnovTeooacutev Paoui Tivo

VI Fire (Ti

Xopeuacuteouv KaTepiva AAiOpvT Koacuten ApTeaacuteYKa Map MnovTeooacutev Naraii Mnoulooacutev Ma Aouiia NTeiVKo50 Karepiva XalmaacuteoK XPIshyOliva OpnVKouEacuteia Euacutea Mapia Aouiia POacuteIlO MoupEacuteA Aie~aacutev5pa iacuteKOT X Mavouei ApshyIlae naTpiK VTe Mnaacuteva X AVTOacuteVIO MneVKpIOlOIV AvroacutevO Kaieacutepo TOacuteV ltlgtaacutellnp NiKOiO ltlgtoacutevTe PKOacutePVTO ltlgtPOacuteVKO Aoule MapTiv OYla AvyKCi PovTpiYKCi Paouacutei Tivo