+ All Categories
Home > Documents > Scottish Ballet Autumn Season 2009

Scottish Ballet Autumn Season 2009

Date post: 11-Mar-2016
Category:
Upload: scottish-ballet
View: 218 times
Download: 2 times
Share this document with a friend
Description:
Scottish Ballet Autumn Season 2009 40th Anniversary Tour
Popular Tags:
18
A triple bill celebrating Modern Ballet
Transcript
Page 1: Scottish Ballet Autumn Season 2009

A triple bill celebrating Modern Ballet

Page 2: Scottish Ballet Autumn Season 2009

The company will present you three highly contrasting examples of modern ballet, presented in the order in which they were created, demonstrating that the language of classical ballet is alive, healthy and constantly being re-examined by choreographers who are passionate about their chosen art form.Ashley Page

Page 3: Scottish Ballet Autumn Season 2009

Rubies (1967) Choreography George BalanchineMusic Igor Stravinsky

WorkWithinWork (1998) Choreography William ForsytheMusic Luciano BerioDesign Yannis Thavoris

In Light and Shadow (2000) Choreography Krzysztof PastorMusic Johann Sebastian BachDesign Tatyana Van Walsum

CHOREOGRAPHERS HISTORICALLY CONNECTED3

Page 4: Scottish Ballet Autumn Season 2009

GEORGE BALANCHINE (1904 - 1983)

• From Russia to America• As a dancer, he was classically trained with Imperial and Mariinsky Ballets• As a choreographer, he heightened, quickened, expanded streamlined and even

inverted the fundamentals of ballet• Focussed on dancer’s strength in the legs• Was ballet master with Ballet Russes, Paris • Founded New York City Ballet in 1948 and worked there until his death in

1983, creating 425 dance works• Musicality• Frequently choreographed to music by Igor Stravinsky• Patricia Neary – lead female solo from Rubies choreographed on her

Page 5: Scottish Ballet Autumn Season 2009

RUBIES (1967)• Rubies is taken from Balanchine’s full-length

work Jewels, which was inspired by New York jewellery designer Claude Arpels

• Dancers are dressed in scarlet red costumes adorned with sparkling gems

• Crisp and witty, Rubies contains some of Balanchine’s most dazzling and virtuosic dance set to a sumptuous Stravinsky score

• “No Polite Dancing” - George Balanchine

• A celebration of ‘babes’ from the American musicals

• The carefree spontaneity Balanchine so loved about America

• It paints a picture and sets a mood

Page 6: Scottish Ballet Autumn Season 2009

Rubies, the jazzy Moulin Rouge romp that ended the evening in a blaze of red sequins.

The Daily Telegraph

Page 7: Scottish Ballet Autumn Season 2009
Page 8: Scottish Ballet Autumn Season 2009

Forsythe on Balanchine

There’s the style of dancing from Balanchine and there is his choreography. At one point you have to try and separate the two because he does have a school. The school teaches the style of very rigorous épaulment. The choreography itself was dependent upon this school, the dancers all had access to this technical ability and the choreography is spectacularly musical. That is the whole point of the choreography and it is there for music as an interpretation. Whether this is the only way to make ballets now, interpreting music, certainly begs questioning. I wanted first to move through Balanchine. It was important that I first tried to imitate. The first works I did were very clearly imitations

From the John Tusa Interview with William Forsythe

Page 9: Scottish Ballet Autumn Season 2009

WILLIAM FORSYTHE (1949)

• From America to Europe• Classically trained dancer• As a choreographer, he “attacked” the classical line, sending dancers off-balance, stretching

their bodies in all directions• Ballet Frankfurt – 20 year tenure from 1984• Reorienting the practice of ballet from its identification with classical repertoire to a dynamic

21st century art form• Founded The Forsythe Company in 2005• Researched on the performative potentials of dance and his investigation of choreography as a

fundamental principle of organization.• His choreography is an intensive collaborative process• In 1994, he created instructional CD-ROM Improvisation Technologies• In 2009, he launched website Synchronous Objects for One Flat Thing

(www.synchronousobjects.osu.edu)

Page 10: Scottish Ballet Autumn Season 2009

WORKWITHINWORK (1998)

There is a fine line between choreography and improvisation where the dancers learn the steps, then make it their own.

Page 11: Scottish Ballet Autumn Season 2009

• Explores a philosophy of movement to reach deeper

• To bring more thoughts into the work

• To keep moving – it’s all about motion

• Movement never stops

• Things keep evolving

• Dancers working in the space individually on sections – work within the work

• There is never a right or wrong

Page 12: Scottish Ballet Autumn Season 2009

CULTURAL ANDARTISTIC STIMULUS• Pablo Picasso’s light drawings

• Various architecture and sculpture particularly that of Santiago Calatrava

Page 13: Scottish Ballet Autumn Season 2009

Workwithinwork is Scottish Ballet to the core. You can’t fake Forsythe – you’ve either got it or you haven’t – and Scottish Ballet’s take on it was nothing short of remarkable.

The Scotsman

Page 14: Scottish Ballet Autumn Season 2009

• From Poland – Nederlands

• Dancer – classically trained at Polish National Ballet

• Danced as a soloist with Ballet de l’Opera of Lyon

• As a choreographer, his work is grounded in classical ballet, particularly pointe work, yet his ballets are never purely form-driven; instead his dance is hallmarked by and suffused with a sense of melancholy, passion and excitement.

• Became resident choreographer at Het National Ballet (Amsterdam) in 2003

• Creates many ballets for companies internationally

• 2008 world premiere of Romeo and Juliet, choreographed on Scottish Ballet

• Appointed director of Polish National Opera Ballet Company in March 2009

KRZYSZTOF PASTOR (1956)

Page 15: Scottish Ballet Autumn Season 2009

In the studio Balanchine is always looking over my shoulder. Solo (1997)

Page 16: Scottish Ballet Autumn Season 2009

IN LIGHT AND SHADOW (2000)

Inspired by:

• A range of Baroque dances

• Painters – Vermeer, Rembrandt, Michelangelo

• Interplay of light and shadow

• Capturing the period of the music

• Transfering the energy in the music to contemporary movement

Page 17: Scottish Ballet Autumn Season 2009
Page 18: Scottish Ballet Autumn Season 2009

Recommended