Tag Archive: Emma barrowman

The Seeming and the Real

“Artifact II / The Exiles / Zugvögel”
Bavarian State Ballet
National Theater
Munich, Germany
June 19, 2015

by Ilona Landgraf
Copyright © 2015 by Ilona Landgraf

1. E.Barrowman, J.Amo and ensemble, “Artifact II” by W.Forsythe, Bavarian State Ballet, Munich © W.Hösl 2015Munich’s National Theater was packed to the roof for the last performance of “Artifact II / The Exiles / Zugvögel”. The triple bill combines two older pieces – “Artifact II” by William Forsythe and “Zugvögel” by Jiří Kylián – with “The Exiles”, a newly acquired work by José Limón. It is the fourth work by Limón in the company’s repertory. Forsythe’s “Artifact II” is the second part of the full-evening, quadripartite “Artifact” which has been in the company’s repertory since 2009. “Zugvögel” (“Migrating Birds”) is a creation by Kylían which opened Munich’s ballet festival week in 2009. Performance rights of “Zugvögel” are reserved for the Bavarian State Ballet. (more…)

Today’s Trash and Tradition Warmed Up

“The Girl and the Knife Thrower”, “Le Sacre du Printemps”
Bavarian State Ballet
Reithalle (Riding Hall)
Munich, Germany
June 19, 2014

by Ilona Landgraf
Copyright © 2014 by Ilona Landgraf

1. Ensemble, The Girl and the Knife Thrower, Bavarian State Ballet One of this season’s revivals that dance connoisseurs in Germany awaited with much interest, was Mary Wigman’s “Le Sacre du Printemps”. More than fifty years after its Berlin premiere, the Bavarian State Ballet tried to bring the piece back to the stage together with a modern counterpart: Simone Sandroni’s “The Girl and the Knife Thrower”.

Sandroni’s ballet is based on an eponymous cycle of poems by German writer Wolf Wondratschek about singular moments in the daily life of a circus troupe. The main characters are the knife thrower, his target – a girl, two other young women and a clown. Sandroni relocated the goings-on to a filthy playground and supplemented the group of itinerants by devising roles for two hip-hop Russians.

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Pieces by Maliphant, Limón and Massine Put to the Test

“Forever Young”
Bavarian State Ballet
National Theater
Munich, Germany
February 01, 2014

by Ilona Landgraf
Copyright © 2014 by Ilona Landgraf

1. Nikita Korotkov and Ekaterina Petina, Broken Fall by Russell Maliphant, Forever Young, Bavarian State Ballet“Forever young”, claims the Bavarian State Ballet, are the pieces on this eponymous triple bill, which premiered last season. At least two of them – “The Moor’s Pavane”, choreographed in 1949 by modern dance icon José Limón, and “Choreartium”, choreographed in 1933 by Léonide Massine – are said to be masterpieces exempt from aging. The third, Russell Maliphant’s “Broken Fall”, dating from 2003, has yet to prove its endurance.

The evening started with the contemporary “Broken Fall” and turned back along the timeline to the modernist classics. Created for the Royal Ballet, or more precisely for Sylvie Guillem, the Maliphant work toys with gravity and the risk of falling by challenging the body control of three dancers. It tests the limits of mutual trust. Set to artificial soundscapes by Berry Adamson, the atmosphere was slightly surreal. Two men and one woman – Matej Urban, Nikita Korotkov and Ekaterina Petina -, bare foot and clad in shorts and simple tops, gave little samples of their abilities in passing. They seemed cool professionals engaged in casual training. Their interactions began with slow motion lifts and counterbalances, the interactions becoming more and more risky. Petina’s knee pads seemed to proclaim that, in the sports context, no hazard would be avoided. The three dancers’ faces were, aptly, serious throughout. Although the dancing had the appearance of contact improvisation, it lacked spontaneity and play. Everything was too well-calculated. Lifts and falls were audacious, yet all motion had a smooth quality with the transitions, especially, being softened. Consequently, the interaction of strongly contrasting forces was pretty much watered down. What we got was a physical gymnastics demonstration. Petina, in her final solo which included some classical dance vocabulary, had feline strength, radiated power and was expressive – more so than anything preceding this display.

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