Tag Archive: Ohad Naharin

In the Running

“Ekman / Goecke / Naharin”
Ballet of the Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre
Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre
Moscow, Russia
March 23, 2019

by Ilona Landgraf
Copyright © 2019 by Ilona Landgraf

1. E. Mikirticheva and ensemble, “Tyll” by A. Ekman, Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre 2019 © S. Avvakum No fewer than three pieces of the Stanislavsky Ballet’s repertoire were nominated for this year’s Golden Mask award: “Tyll” by Alexander Ekman, “Lonesome George” by Marco Goecke, and “Minus 16” by Ohad Naharin. On top of that, the company’s senior principal, Oksana Kardash, is nominated twice for her performances in “Tyll” and “Lonesome George”.
The Golden Mask Festival is in full swing in Moscow, presenting the most significant productions of all genres of theater from all over Russia. The winners will be announced on April 16 at an awards ceremony in the Bolshoi Theatre. (more…)

The Power of Imagination?

“La Fresque”
Ballet Preljocaj
Forum Ludwigsburg
Ludwigsburg, Germany
January 11, 2019

by Ilona Landgraf
Copyright © 2019 by Ilona Landgraf

1. Ensemble, “La Fresque” by A.Preljocaj, Ballet Preljocaj 2019 © J.-C.CarbonneBallet Preljocaj, Angelin Preljocaj’s Aix-en-Provence-based company, toured Germany in early January with “Le Fresque”. The piece, which features choreography by Preljocaj from 2016, depicts and interprets “The Mural”, a narrative from the collection “Strange Tales From a Chinese Studio” by Chinese author Pu Songling (1640 – 1715). Two male wayfarers, Chu and Meng, are forced by inclement weather to stop at a dilapidated temple. There, a temple fresco showing a group of young women attracts Chu’s attention. He falls in love with one of the women and, while watching her, suddenly finds himself inside the painting. The painting comes surreally to life, and a romance blossoms between Chu and the woman, climaxing in a consummation of the marriage. (more…)

Still in the Warming Phase

“Bella Figura”
Semperoper Ballet
Semperoper
Dresden, Germany
September 05, 2014

by Ilona Landgraf
Copyright © 2014 by Ilona Landgraf

1. Albouy, Weiss, Cangialosi, Bella Figura by Jiri Kylián, Semperoper Ballet Semperoper Ballet Dresden heralded the new season with the triple bill “Bella Figura”, titled after Jiří Kylián’s eponymous “Bella Figura” and complemented by David Dawson’s “The Grey Area” and “Minus 16” by Ohad Naharin.
(The photos show a different cast of an earlier performance.)

Where is the borderline between art and artificiality? Between fantasy and reality? Truth and falsehood? Such are Kyliàn’s questions behind “Bella Figura”. Also: at which point does a performance actually start? “Bella Figura” has no formal beginning. While the auditorium fills, the dancers warm up. They wear practice clothing and repeat step combinations. When the lights dim, the curtain shuts. With the start of the music – a collage of various Baroque composers plus a Renaissance-based suite by the contemporary American composer Lukas Foss – two dancers are in the spotlight: a section of the curtain, as large as a door, is left open on the right. It leaves room for a man in skin-colored undershorts (Maximilian Genov). Lying on the floor with bent legs up in the air, he reminds of an insect that accidentally has fallen on its back. To the left, Jenni Schäferhoff, bare-breasted and likewise in skin-colored undies, is wrapped into the curtain’s folds by invisible arms from behind. Repeatedly she walks, gesticulating to the forestage but – perhaps confronted with something daunting – backs away and again seeks shelter in the curtain’s embrace. (more…)