william forsythe a quiet evening of dance

WilliamForsythe | A Quiet Evening of dance. 10 décembre 2021 à 20h00 « Ziferte Productions | _Jeanne_Darc_ La Chair du monde | Désirer tant » En quatre courtes pièces, le chorégraphe William Forsythe éclaire les liens entre le baroque, le ballet classique, le hip-hop et la danse contemporaine. « Une tranquille soirée de danse » : un titre bien modeste pour l’un Unmagistrale programma “da camera”, a firma William Forsythe, che affianca brani esistenti a due pezzi nuovi, A Quiet Evening of Dance è costruito facendo tesoro delle geometrie del balletto accademico così come del contrappunto barocco nelle scelte dinamiche e musicali. Sette dei più fidati collaboratori di Forsythe danno vita con uno speciale talento condiviso alle visioni Lascène nationale rochelaise accueillera « A quiet evening of dance », pièce pour sept danseurs créée en 2018 par William Forsythe, quarante Amasterful “chamber” programme by William Forsythe, in which he puts beside some existing pieces with two new pieces, A Quiet Evening of Dance is built upon the lessons of the geometry of academic ballet and of Baroque Thismonth, USC Glorya Kaufman School of Dance student Jake Tribus (BFA ’20) traveled across the country to perform in the New York City premiere of William Forsythe’s ballet, “Seventeen/Twenty One.” The piece was created for Forsythe’s program, “A Quiet Evening of Dance,” which was co-commissioned by The Shed in New York and Sadler’s Wells in London. nonton the uncanny counter sub indo bioskopkeren. William Forsythe's 'A Quiet Evening of Dance'. The Griffin Theater at The Shed, New York, 13, 2019. William Forsythe is arguably the most important living choreographer to advance the grammar of ballet. Active in the field for more than 45 years, his work has been featured in the repertoire of every major ballet company in the world. Forsythe’s impressive track record makes his personal introduction to the show all the more unexpected. He steps out in his Adidas pants and tennis shoes and performs an elaborate, comedic monologue about the importance of putting our phones on airplane mode for this quiet evening. Also mentioned in Forsythe’s monologue is his goal of subtracting sound in order to construct a community of sensitive listeners and achieve a collective intimacy, both of which A Quiet Evening of Dance do exceptionally well. In the first half of the show, the intricate phrasing of the dancers’ breath is the primary sound score. The program opens with Prologue, where the unmistakable Forsythe movement vocabulary is introduced through a pas de duex. The couple wears mismatched, color-blocked costumes with sleek gloves and socks over tennis shoes, a look that prevails throughout the evening and gives a subtle otherworldliness to the whole affair. The dancers move almost independently from each other with calm speed, occasionally crossing arms between quick variations of light-footed, classical positions and ephemeral moments of unison that you might miss if you blink. There is little to no pause between Prologue and the next piece, Catalogue, and this flow of motion continues throughout the entire evening, often leaving the audience unsure of when one part ends and the next begins. Catalogue is a duet between two women, and is one of the strongest parts of the show. Using mechanical gestures – cupped fingers touching shoulders and hips, isolated head tics – the movement builds in complexity as the piece goes on; the gestural vocabulary builds in both quantity and intensity, gradually becoming less angular and robotic, incorporating the lower body, and taking on a smooth, rounded quality. For the majority of the piece, the dancers are stationary, never venturing beyond the center of the stage, but in the later sections the dancers move forward and backward, tentatively exploring other parts of the room in the characteristic, Forsythian mode – a flurry of altered tendus and augmented pas de bourrées interspersed with spurts of petit allegro. The almost unison of the two dancers and the way relationship is mirrored in their similar, but distinct costumes in combination with their sidelong glances at each other give the impression that one dancer who just so happens to be the younger of the two is learning from the other in real time. Although it would be nearly impossible to improvise with such precision and speed, the way the dancers react to each other feels similar to a tightly structured improvisation. Not only does Catalogue toe the line between “live” creation and prepared movement, but it calls attention to the overlap of conversation and performance. Although the dancers face the audience almost exclusively, a clear sign of performance, the concurrence of their respective choreography undeniably invokes the give and take of a dialogue. The glimmers of unison are the most striking moments of Catalogue. Toward the end of the piece, the dancers pierce the breathy quiet with a perfectly timed clap. In this moment, Forsythe’s unique voice manifests itself with resonance. Up next is Epilogue, a series of solos and duets set to neoclassical piano music characterized by dizzying direction changes, a wide range of facial expressions unapologetically showy, serious, playful, and nimble footwork. Although it lacks the cohesion of Catalogue, the audience is struck by the sheer amount of material that can be produced within the distinct world that Forsythe has constructed. According to Forsythe, the final piece of the first act – Dialogue DUO2015 – has been in the works for 20 years, evolving as new dancers step into its two roles. This version features Riley Watts, a male dancer based in Portland, Maine, with the most flawless technique imaginable, and Rauf RubberLegz’ Yasit, the LA-based contemporary b-boy Instagram icon. The piece has an air of casualness that its predecessors do not. Many of the choreographic patterns from Catalogue conversational choreography, flashes of unison are employed, but in a less formal, more human mode that unabashedly whips across the stage leaving no inch of marley untouched. Dialogue achieves humor through facial expressions and the juxtaposition of two opposing characters who nevertheless seem to share an almost brotherly connection. Despite their differences, they are ultimately on the same page. Following intermission is one longer piece, Seventeen / Twenty One. I must admit that after the undulations of the first half of the show, the piece felt comparatively uninflected and drawn out. Seventeen / Twenty One marks a definitive mood switch from the first act, coloring the air with the harmonies of powerful string instruments. Quick blackouts mark the end of one section and the beginning of the next and while the choreography sometimes directly coincides with the music, it is primarily independent from the bright, celebratory melodies. It is unclear what the dancers’ relationships are to each other, and equally unclear whether Forsythe is interested in these abstruse relationships beyond their spatial organization. RubberLegz’s floorwork is again a highlight, and serves as a welcome interruption to the classical tropes that are at the fore. The entire cast comes together for the first time during a vibrant, short-lived finale that ends with a synchronized bow. With elements both human and alien, both classical and avant-garde, A Quiet Evening of Dance is genre-defying. Forsythe’s work is refreshing in comparison to a great deal of contemporary concert work for one crucial reason. I often see dance shows and think, “I know how they constructed that phrase,” or “I know what improvisational exercise this section was born out of.” With Forsythe, both dancemakers and general audiences are left asking themselves, “how did he come up with this?” Forsythe’s ability to keep audiences asking this question is the underlying reason for his unabated success. By Charly Santagado of Dance Informa. Mr. Forsythe’s evening at the Shed has rigor and charm but not enough transcendence. Credit...Andrea Mohin/The New York TimesOct. 13, 2019One of the pleasures of a life filled with dance is the way, at the end of the day, a performance can force the mind to change course, to quiet down. William Forsythe’s program at the Shed, “A Quiet Evening of Dance,” which opened on Friday, takes that to another Forsythe has created a setting — not completely silent, but nice and hushed — that encourages listening with both the ears and the eyes. The last thing you would want to hear under such conditions? A beep, buzz or, God forbid, the marimba ringtone. Putting our cellphones in airplane mode was the easy part; more difficult was grasping the poetry of this two-act program. And that wasn’t because of the sound or lack of it isn’t completely quiet. The second half features a lively dance set to to Jean-Philippe Rameau, and in the first half, there are bird sounds and a spare composition by Morton Feldman. For the most part, though, it’s up to the dancers to create the score with their steps and breathing, and for the audience to absorb there are moments to admire and respect. “A Quiet Evening” has the rigor that Mr. Forsythe always brings to the stage; there’s just not enough transcendence. In part, that could have been because of an injury to a leading dancer, Christopher Roman. Four others were brought on to fill in; during the curtain call, Mr. Forsythe said that they had learned their parts in three days. But there is also a sameness to the material, and that makes the less experienced dancers stand out in an unfortunate way among the Forsythe veterans.“A Quiet Evening,” with new and reworked choreography by Mr. Forsythe, pays homage to ballet’s European roots while attempting to bring it into the present. Mr. Forsythe is more than qualified for such a choreographic endeavor. An American based for many years in Germany, where he directed Frankfurt Ballet, he did much to guide ballet into a new era with his extreme take on classicism, paired with stark lighting and, frequently, the bold synthesized sounds of the composer Thom Mohin/The New York TimesThe next phase of Mr. Forsythe’s career landed him in a more experimental world of theater and dance; but recently, he’s fallen back in love with ballet. While the Shed program affords the pleasure of becoming lost in his swirling, finely executed steps — how did that hip end up there? — taken as a whole, it starts to feel arid. And at times, the attempt to look at the future of ballet seems more contrived than organic, like the appearances of the street dancer Rauf Yasit. Also known as RubberLegz, he demonstrated the elasticity of his limbs with floor work that knotted him up like a pretzel, but as the night wore on, it seemed like we were seeing the same sequences on birds introduce Act 1, which begins with “Prologue.” Parvaneh Scharafali and Ander Zabala, wearing evening gloves and sneakers covered with socks, perform a crisp, stately duet — it’s a labyrinth of limbs — with joints as loose as soft spaghetti. The socks over the sneakers remind me of the way figure skaters pull their tights over their boots — not my favorite look.More intriguing is “Catalogue,” featuring the velvety dancing of Jill Johnson — formerly a principal dancer with Ballet Frankfurt, she is still astonishing — alongside the newcomer Brit Rodemund. Here, it’s as if they are illustrating the development of ballet starting with simple shapes, some awkward, others pedestrian. This dance is in silence, which begins the moment they each extend an arm and touch palms. At the start, they draw invisible lines along the perimeter of their torsos with their hands. As they increase their force and expand spatially, the dancers’ elbows and shoulders tell a tale of Mr. Forsythe’s intense study of épaulement, or the carriage of the arms. Eventually their isolated movements morph into ballet steps and shapes. When their palms touch in the center once again, and the music — Feldman’s “Nature Pieces From Piano No. 1” — starts, so does “Epilogue,” in which the cast of seven continues the story of some of Mr. Forsythe’s most recognizable contributions to dance his use of torque, speed, articulation and handsome in parts and confounding in others Why include even a second of the ever-popular floss dance? Is it meant to be playful? It feels like a Mohin/The New York Times“Dialogue DUO2015,” the final piece in Act 1, pairs Brigel Gjoka and Riley Watts — an extraordinary dancer with silky athleticism — in a frisky duet of physical reverberations. This and “Catalogue” reveal much about Mr. Forsythe’s lineage and achievements — both spoke of scale and intimacy — but as informative as the first half of “A Quiet Evening” is, it’s also rambling. Steel yourself. If Act 1 is about revealing the raw ingredients that make up Mr. Forsythe’s classicism, Act 2 is the meal in the form of a stand-alone dance “Seventeen/Twenty One,” to Rameau’s “Hippolyte et Aricie Ritournelle” from “Une Symphonie Imaginaire.” It explores ballet’s evolution from the 17th century to the 21st, flooding the previously quiet space with full-bodied dancing and baroque is a dance, charming in moments, that is hungry for movement. By the end, it creates a sweet and simple sense of community — a group of people just dancing together — that comes to a joyful close as they suddenly clasp hands and run to the front of the stage for a bow. But the most consistent pleasure is from one dancer Ms. Johnson brings an unassuming clarity and articulation to Mr. Forsythe’s movement that feels like it comes from the deepest of places. All night long, her quiet radiance was the loudest thing in the Quiet Evening of DanceThrough Oct 25 at the Shed, Manhattan; 646-455-3494, Réservé aux abonnés Publié le 26/06/2019 à 1538, Mis à jour le 26/06/2019 à 1702 Avec A Quiet Evening of Dance» , William Forsythe assène une des plus belles leçons de danse qui soient données de voir. Une leçon de danse nue. ©Bill Cooper/©Photo_ Bill Cooper Créée à Londres et présentée à Venise, le ballet sera à Montpellier la semaine prochaine. Une bulle de légèreté et de beauté. A Quiet Evening of Dance. Sous cet intitulé, William Forsythe signe une de ses productions les plus miraculeuses. Une bulle de légèreté et de beauté, créée au Sadlers’ Wells de Londres, reprise à la Biennale de danse de Venise, puis la semaine prochaine à Montpellier Danse avant de venir au Châtelet, à l’invitation du Festival d’automne. Le tour du monde de cette pièce ne fait que être tranquille, cette soirée de danse n’a rien d’un long fleuve. Au Théâtre Malibran, à Venise, la pièce débute sur des chants d’oiseaux qui accueillent le public puis les danseurs. Ils sont sept, des artistes qui, pour la plupart, composent comme la famille du chorégraphe qui a déjà créé sur eux. Ainsi Brigel Gjoka, Parvaneh Scharafali, Ander Zabala, Jill Johnson et l’inénarrable Riley Watts, auxquels s’ajoute Rauf RubberLegz» Yasit. À l’invitation du chorégraphe, ils se sont rendus dans sa maison du Vermont où Forsythe s’est équipé de deux studios de danse. Et le travail a commencé. L’osmose… Cet article est réservé aux abonnés. Il vous reste 66% à sa liberté, c’est cultiver sa à lire votre article pour 0,99€ le premier mois Déjà abonné ? Connectez-vous William Forsythe William Forsythe is undoubtedly one of the foremost choreographers of his generation. For this unusual configuration of new and existing work, Forsythe has imagined something akin to an evening of chamber music, designed to be listened to. The works range from sparse analytic condensation to baroque inspired counterpoint. The intricate phrasing of the dancers’ breath is the primary accompaniment for a distillation of the geometric origins of classical ballet. The evening is performed by seven of Forsythe’s most trusted collaborators, who promise to provide insight into the workings of ballet and the mind of the man who has dedicated his work to this task. The evening is performed by some of Forsythe’s most trusted collaborators, who promise to provide insight into the workings of ballet and the mind of the man who has dedicated his work to this task. The programme includes two new pieces, Epilogue and Seventeen/Twenty One; two reimagined repertory works, Dialogue DUO2015 and Catalogue Second Edition, as well as Prologue, an excerpt of Seventeen/Twenty One. This production has won the following prestigious awards Winner of Best Modern Choreography Award at The Critics’ Circle Awards 2020. Winner of the FEDORA – VAN CLEEF & ARPELS Prize for Ballet 2018. A rare and revelatory evening★★★★★ THE GUARDIAN A richly satisfying programme witty, unpredictable, superlatively danced.★★★★★ THE FINANCIAL TIMES Quiet it may be, but William Forsythe’s latest evening of dance at Sadler’s Wells resounds with an extraordinary cerebral and imaginative force.★★★★★ THE STAGE Seventeen/Twenty One’ is a humdinger of a workTHE NEW YORK TIMES Creative Team By William Forsythe and Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz” Yasit and Ander Zabala. Co-produced with Théâtre de la Ville, Paris; Théâtre du Châtelet, Paris; Festival d’Automne à Paris; Festival Montpellier Danse 2019; Les Théâtres de la Ville de Luxembourg; The Shed, New York; Onassis Cultural Centre, Athens; deSingel international arts campus, Antwerp. First performed at Sadler’s Wells London on 4 October 2018. Winner of Best Modern Choreography Award at The Critics’ Circle Awards 2020 Winner of the FEDORA – VAN CLEEF & ARPELS Prize for Ballet 2018. If anyone could be described as having “electrified” ballet, as having breathed new life into it and transformed it into a dynamic art-form ready to soar ever higher in the 21st century, that person would be William creates entire worlds using nothing but the human body, space and time, making dance an unprecedented experience for dancers and audience performance, an Onassis Stegi international co-production, includes two new pieces "Epilogue" and "Seventeen/Twenty One", two new versions of older works from Forsythe’s repertoire "Dialogue DUO2015" and "Catalogue Second Edition", plus "Prologue", an extract from "Seventeen/Twenty One".Dancers who have worked with him for many years narrate profoundly communicative stories with their bodies, their breathing the only sound accompanying them. Humour, sensitivity, provocation, response. Guiding them their rhythm and incredible coordination. Like the hands on an invisible clock, they record time, render it visible, expand and contract it by changing space and, ultimately, by opening the secret channel through which we communicate with it.“A Quiet Evening of Dance”Image1/4Photo © Carl FoxFriday 8 FebruaryAfter performance talk with dancers Cyril Baldy, Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf RubberLegz’ YasitChaired by Tassos Koukoutas, Dance TheoristCREDITSChoreographyWilliam Forsythe and Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz“ Yasit and Ander ZabalaThe dancers areCyril Baldry, Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf RubberLegz’ YasitComposer/MusicMorton Feldman, Nature Pieces for Piano No 1’, from First Recordings 1950s – The Turfan Ensemble, Philipp Vandré © Mode for Epilogue’Composer/MusicJean‐Philippe Rameau, Hippolyte et Aricie Ritournelle, from Une Symphonie Imaginaire, Marc Minkowski & Les Musiciens du Louvre © 2005 Deutsche Grammophon GmbH, Berlin for Seventeen/ Twenty-One’LightingTanja Rühl & William ForsytheCostumesDorothee Merg & William ForsytheProductionSadler’s Wells LondonCo-produced withThéâtre de la Ville-Paris, le Théâtre du Châtelet and Festival d’Automne à Paris; Festival Montpellier Danse 2019; Les Théâtres de la Ville de Luxembourg; The Shed, New York; Onassis Stegi; deSingel international arts campus AntwerpTechniciansDirector of technical ProductionsAdam CarréeProduction Company Stage ManagerBob BagleyElectrician/RelighterGerald McDermottFor Sadler’s WellsChief Executive & Artistic DirectorAlistair Spalding CBEExecutive ProducerSuzanne WalkerHead of Producing & TouringBia OliveiraTour ProducerAristea CharalampidouProducing & Touring CoordinatorFlorent TriouxMarketing ManagerDaniel KingSenior Press ManagerCaroline AnsdellWardrobe SupervisorMiwa MitsuhashiFirst performed at Sadler’s Wells London on 4 October of the FEDORA - VAN CLEEF & ARPELS Prize for Ballet 2018William Forsythe has been choreographing for 45 years now. He has redefined ballet, transforming it from an art-form obsessed with repertoire into a dynamic, creative art free of all limitations. He is considered the most important choreographer of his evening’s seven dancers are among Forsythe’s closest and most trusted associates. Ideal performers, they can provide us with a profound, insider perspective on the physical work of ballet and shed light on Forsythe's life's work. The program is an international Onassis Stegi co-production.“Catalogue” was created for two ex-Forsythe dancers, Jill Johnson and Christopher Roman, who created their own company, the DANCE ON ENSEMBLE. Forsythe describes the project as "complex, almost Baroque". In this updated version, it becomes a trio with the addition of the talented Brit Rodemund, who is collaborating with Forsythe for the first time.“DUO2015” was originally created in 1996 for two dancers who would only use the front part of the stage. Today, it is danced by two male new version was premièred in 2015 and was subsequently included by Sylvie Guillem in her farewell programme. Guillem collaborated with Forsythe at a historic moment of his career on “In the middle somewhat elevated”, which he created in 1987 for the Paris Opera Ballet, then under the direction of Rudolf Nureyev. With its electrifying atmosphere and eccentric equilibria, its pulse and constantly shifting relationships, the choreography would change the course of dance forever and turn both the choreographer and his dancers Sylvie Guillem, Laurent Hilaire, Isabelle Guérin and Manuel Legris into instantly-recognizable mediaIf you want to enjoy embedded rich media, please customize your cookie settings to allow for Performance and Targeting cookies. Your data may be transferred to third-party services such as YouTube, Vimeo, SoundCloud and Cookies

william forsythe a quiet evening of dance