Meine herzlichen Glückwünsche an Cathy Marston, eine der international renommiertesten Choreografinnen, und an Christian Spuck, unseren überaus geschätzten Ballettdirektor in Zürich seit 2012, der ab 2023/24 die Intendanz des Berliner Staatsballetts übernehmen wird.
Auch wenn es sehr zu bedauern ist, dass Christian Spuck das Zürcher Ballett verlässt, freue ich mich schon jetzt auf viele Berlinbesuche, um die grösste Compagnie in Deutschland unter seiner Leitung zu bewundern. Mit über 90 Tänzerinnen und Tänzern kann er aus dem Vollen schöpfen. Was für eine fantastische Herausforderung für diesen äusserst kreativen Choreografen!
Interview with Aurélia Sellier, Founder and President of „The What Dance Can Do Project“ in September 2020.
I just wanted to give you a quick update for 2021 as COVID did not totally stop this non-profit organization although some projects obviously had to be put on hold. New activities happened last year in New Zealand (primary school), Morocco (orphanage), Paris (hospital Necker and young migrants). This year THE WHAT DANCE CAN DO PROJECT started weekly ballet classes for underprivileged children in Tunis Tunisia. Also they will launch in June a partnership with a new hospital in Paris, George Pompidou. In Fall Aurélia Sellier hopes to be able to resume her work with Kinderspital in Zurich, a hospital in Bruxelles and hopefully start projects in the UK, perhaps with the Royal Ballet in London. This organization was recognized of public interest in Switzerland (all donations are deductible) and now is in the process of registering in France and New Zealand.
Interview with Mladen, Composer, performer and interpreter
What does a ballet pianist do?
The ballet pianist’s job consists of playing the piano for ballet classes, that is to say accompanying the dancers in their daily workout and rehearsals in the ballet studio and on stage. Furthermore it is the key figure assisting the choreographer in the creative process from the musical point of view.
A raked (or inclined) theatre stage is built on an angle that slopes upward and away from the front the stage, away from the audience. It improves the view, supports the illusion and help make choreographic designs clear. Raked stages are nowadays usually with a rake of 5 degrees or less. There are far more common today in Europe, with its deep theatrical traditions in the Middle ages. Almost all American stages have flat floors, except the Philadelphia Academy of Music and a few Broadway productions f.e. the version of the musical Billy Elliot.
Visiting professional dancers have been known to experience vertigo when they first set foot on raked stages. Balance is completely different. It takes a good deal of adjustment during the first few days on a raked stage, especially when turning. Even the risk of injury increases by three times for dancers on raked stages.
Walking Mad – Choreographies by Edward Clug and Johan Inger
For a reduced audience of 50 people due to covid regulations in Switzerland, a special program has been developed. This two-part ballet evening WALKING MAD already premiered on 1 May, next performances on 21 ans 22 May – no way to get a ticket!
Anlässlich seines Jubiläums haben sich szenik und der Ballettloversblog mit dem Choreografen und Basler Tanzdirektoren Richard Wherlock unterhalten. Ein Interview über seine unendliche Liebe zum Tanz, die Entwicklung seiner Ziele, die Auswahl der TänzerInnen und das Basler Publikum. Wir sagen: Alles Gute zum Jubiläum und auf die nächsten 20 Jahre!
What an outstanding project created by Eric Gauthier! „The Dying Swan“ revisited in 16 new creations: 16 solos by 16 choreographers from all over the world, danced by the 16 dancers of Gauthier Dance//Dance Company Theaterhaus Stuttgart, with music by 16 componists, captured by 16 video artists: This is „The Dying Swans Project“.
How the project started
The initial spark for Eric Gauthier’s Dying Swan’s Project was ignited when Gauthier Dance’s extensive tour program in February and March fell victim to the extended lockdown. Eric Gauthier saw the increasing discouragement in the eyes of his dancers and he realized that he had to do something about it. His “dying swans” needed a new artistic challenge and so The Dying Swans Project was born! Small at first, but it was to get better. A few days later, Gauthier, himself a member of the “be a mover” community, was invited to a talk with Jörg Howe, Head of Global Communication at Daimler AG. When he shared his dream, Howe spontaneously offered him support.
Watch all terrific 16 choreographies here – coming consecutively!