Monat: Februar 2016

DADA, DANCE and 50 SWISS FRANCS

Do you know who the women on the 50 Swiss Franc note is?  Do you anything about DADA?

Well, that lady is Sophie Taeuber Arp, a Swiss artist and contemporary dancer who was performing in DADA -costumes at the opening night of DADA in Caberet Voltaire in 1916. She has been studying dance with Mary Wigman at Rudolf von Laban choreographic training center in Zurich where she learned about a radical modern form of expressive movement art. She always wore handmade cubism-like masks to cover her face, as she was a professor at a Zurich Art School.

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Review: Ratmansky‘s Reconstruction of Swan Lake – Better? Different?

Opening night at the Opera Zurich on 6. February 2016

As much as I like the performance of the Zurich Ballet, ballet lovers may be confused by the steps and dancing. In the old days, ballet had different standards as we are now used to. It was all about conveying a story – meaning a lot of acting, and less jumps and footwork. Even the most famous of arm movements were not shown. I really missed seeing these beautiful swan-like movements.

IMG_6724 (1).jpgFoto by Gegory Batardon

Ratmansky’s swans however are more like girls. Odette plays the part of a young lady who falls in love, and is shocked after her lovers betrayal. I must say, I like this performance a lot – stunning setting, awesome costumes, great pantomime, brilliant principal dancers, perfect corps de ballet, however I still prefer the quality of dance that we have today.

Weiterlesen „Review: Ratmansky‘s Reconstruction of Swan Lake – Better? Different?“

Schwanensee im Original: Früher war alles anders

Schwanensee rekonstruiert von Alexei Ratmansky für das Ballett Zürich

Das Zürcher Ballett zeigt die Originalversion von Schwanensee, die der Star-Choreograf Alexei Ratmansky in mühevoller Kleinarbeit rekonstruiert hat. Schwanensee wird in der Erstfassung von Marius Petipa und Lew Iwanow aus dem Jahr 1895 aufgeführt.

Meine Empfehlung: SEHENSWERT!
Wer aber einen klassischen Schwanensee auf höchstem technischen Niveau mit Schwanenarmen und Querspagat erwartet, wird enttäuscht werden. Die Originalfassung basiert auf Gestik, die Tanzbewegungen sind reduziert, dafür gibt es wunderbare Massenszenen mit tollen Kostümen, Fantasie und Emotionen.

IMG_6723.jpgFoto von Gregory Batardon

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Winners 2016 of Prix de Lausanne

The jury was made up of 9 internationally renowned dance professionals, chaired by Mr Julio Bocca, former Principal of American Ballet Theatre, New York and director of the Ballet Nacional Sodre, Uruguay.  Congratulations to all winners. They did a great job.

The 7 Prix de Lausanne 2016 prize winners are:

adveq 126 Hang YU, 16 years old, China

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Beau-Rivage Palace 307 Madison YOUNG, 17 years old, USA

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Restless Ballett Zürich – sehenswert

Ein riesiges Kompliment ans Zürcher Ballett! RESTLESS war wirklich SPITZE! Die Ballettkompagnie hat die vier anspruchsvollen Stücke dieses Ballettabends technisch äusserst perfekt mit Bravour und Hingabe getanzt. Die Stimmungen der völlig unterschiedlichen Ballette wurden exzellent eingefangen und wunderbar umgesetzt.

Grosses Kompliment an Christian Spuck, den Ballettdirektor des Zürcher Balletts, für diese gelungene Auswahl. Wie auch schon bei Gods and Dogs, dem dreiteiligen Publikumsrenner von 2015, schaffte es Spuck, ein einmaliges Gesamtkunstwerk zu zusammenzustellen.  Weiterlesen „Restless Ballett Zürich – sehenswert“

Ballet Star Sergei Polunin: Intimate Prodigy

„The James Dean of the Ballet World“ Sergei Polunin was decribed by Daily Telegraph in 2012. He quit the Royal Ballet in London sensationally and stopped his golden carreer by himself. Enjoy to see him dancing in „Take me to church“, by Hozier, directed by David LaChapelle.

 

Article in the guardian from February 2015 von Judith Mackrell

Sergei Polunin dances with his demons to Hozier’s Take Me to Church
David LaChapelle captures the Ukrainian dancer’s battle to make peace with his talent – and in another viral video, Baryshnikov partners Lil Buck

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