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23 juin 2011

 
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MessagePosté le: Jeu Juin 23, 2011 6:42 am    Sujet du message: 23 juin 2011 Répondre en citant

Ballet: Diana Vichneva fête ses 15 ans de scène (Ria Novosti)

Citation:
Deux événements artistiques - une exposition multimédia et une première de ballet - marqueront le 15e anniversaire de la carrière de Diana Vichneva, danseuse étoile du Théâtre Mariinski de Saint-Pétersbourg. Intitulé "Le mouvement ne ment jamais", cette exposition, qui s'ouvre le 22 juin au Musée pétersbourgeois d'art théâtral, est consacrée aux rôles interprétés par la ballerine...


Danse / Corps et âmes de Julien Lestel au TCE - L’avenir du ballet français, par Jacqueline Thuilleux (Concert Classic)

Citation:
L’horizon semble moins embrumé dans la France chorégraphique où la danse néoclassique a du mal à se frayer un chemin faute de créateurs : jusqu’à présent seul sur son bastion biarrot, Thierry Malandain défendait la place, et non sans mal, même si enfin les décideurs grincheux de la soi-disant avant-garde se décident à lui donner la place qui lui revient. Voici, avec Julien Lestel, la quarantaine, un nouveau venu, déjà remarqué pour deux pièces subtiles, Constance et Les âmes frères, où il témoignait d’une vraie originalité au sein d’un langage qui a fait ses preuves d’expressivité autant que d’excellence plastique...


100 tifosi au mariage de Balzaretti (So Foot)

Citation:
Après "Quatre mariages et un enterrement", voici la version sicilienne : « Un mariage et cent tifosi ». Hier, Federico Balzaretti, latéral de Palerme, et la danseuse Eleonora Abbagnato, se sont dit "oui" dans la Chapelle Palatine de la capitale sicilienne. Ce mariage a été défini « mariage de l’année » par de nombreux journaux transalpins. Prenez-ça William et Kate...


Note to Self: A Good Pair of Shoes Always Ends Up Paying for Itself, par Roslyn Sulcas (The New York Times)

Citation:
James Kudelka manages something fairly remarkable in his version of “Cinderella,” which American Ballet Theater performed on Tuesday in the first of a seven-performance run at the Metropolitan Opera House. He succeeds in creating a fairy-tale ballet entirely devoid of charm, a “Cinderella” that is for neither children nor adults and that somehow misses nearly every theatrical moment in the familiar story. Choreographed for the National Ballet of Canada in 2004 and first performed by Ballet Theater in 2006, the work offers Cinderella (Gillian Murphy on Tuesday) as a somewhat less downtrodden, if conventionally sweet, character. She is ignored rather than oppressed by her stepmother and stepsisters. (Mr. Kudelka omits the father, and thus an element of pathos.) And the final garden-party wedding scene suggests a transformation that is less rags to riches than dowdy to happy housewife...


It's not all gourd-geous, par Leigh Witchel (The New York Post)

Citation:
She gets her prince at the end, but Ameri can Ballet Theatre's "Cinderella" isn't very charming. James Kudelka's version, which ABT's danced since 2006, seemed heavy on satire at Tuesday's opening night, and even a little frantic. Though he ran the National Ballet of Canada, Kudelka's bent is more contemporary: He never seems to trust classical ballet to do the trick without extra tweaks and distortions.The plot is the familiar one of pumpkins and balls, but in the ballet, Cinderella's glass slipper is a bedazzled pointe shoe. There are bold art-deco designs, '30s costumes and a garden of gigantic vegetables. Cinderella's stepmother, a towering creature with blond Marcel curls, totters about looking for booze. Her two stepsisters are the real heavies, but even they are less wicked than selfish...


City Ballet Raises Ticket Cost and Ire, par Daniel J. Wakin (The New York Times)

Citation:
New York City Ballet fans accustomed to sitting in the lofty fourth ring of the David H. Koch Theater are a hardy band of passionate balletomanes, and they’re angry that the company has decided to stop selling most of the low-priced nosebleed tickets. The move is part of a strategy of changing ticket prices and limiting access to certain parts of the theater to help consolidate its audience in the orchestra and lower rings for less-than-full performances. This move will eliminate scattered pockets of people and create a more “vibrant performance atmosphere,” the company said. The changes will especially hit buyers of cheap seats...


Ballet: Diana Vichneva fête ses 15 ans de scène (Ria Novosti)

Citation:
Deux événements artistiques - une exposition multimédia et une première de ballet - marqueront le 15e anniversaire de la carrière de Diana Vichneva, danseuse étoile du Théâtre Mariinski de Saint-Pétersbourg. Intitulé "Le mouvement ne ment jamais", cette exposition, qui s'ouvre le 22 juin au Musée pétersbourgeois d'art théâtral, est consacrée aux rôles interprétés par la ballerine...


Danse / Corps et âmes de Julien Lestel au TCE - L’avenir du ballet français, par Jacqueline Thuilleux (Concert Classic)

Citation:
L’horizon semble moins embrumé dans la France chorégraphique où la danse néoclassique a du mal à se frayer un chemin faute de créateurs : jusqu’à présent seul sur son bastion biarrot, Thierry Malandain défendait la place, et non sans mal, même si enfin les décideurs grincheux de la soi-disant avant-garde se décident à lui donner la place qui lui revient. Voici, avec Julien Lestel, la quarantaine, un nouveau venu, déjà remarqué pour deux pièces subtiles, Constance et Les âmes frères, où il témoignait d’une vraie originalité au sein d’un langage qui a fait ses preuves d’expressivité autant que d’excellence plastique...


100 tifosi au mariage de Balzaretti (So Foot)

Citation:
Après "Quatre mariages et un enterrement", voici la version sicilienne : « Un mariage et cent tifosi ». Hier, Federico Balzaretti, latéral de Palerme, et la danseuse Eleonora Abbagnato, se sont dit "oui" dans la Chapelle Palatine de la capitale sicilienne. Ce mariage a été défini « mariage de l’année » par de nombreux journaux transalpins. Prenez-ça William et Kate...


City Ballet Raises Ticket Cost and Ire, par Daniel J. Wakin (The New York Times)

Citation:
New York City Ballet fans accustomed to sitting in the lofty fourth ring of the David H. Koch Theater are a hardy band of passionate balletomanes, and they’re angry that the company has decided to stop selling most of the low-priced nosebleed tickets. The move is part of a strategy of changing ticket prices and limiting access to certain parts of the theater to help consolidate its audience in the orchestra and lower rings for less-than-full performances. This move will eliminate scattered pockets of people and create a more “vibrant performance atmosphere,” the company said. The changes will especially hit buyers of cheap seats...


Ballet points the way for digital presence, par Matthew Westwood (The Australian)

Citation:
Research commissioned by the Australia Council for the Arts has identified a gap in supply and demand for meaningful online content.
People want to use digital media at all stages of what the study calls the arts "attendance journey": from learning about a show or exhibition, to buying tickets and sharing the experience at the event or afterwards.
The two-part study, conducted by Nielsen Online, surveyed 2500 arts attendees and found that 90 per cent of them were searching for arts content online. Almost one-third - 31 per cent - had used mobile internet while at an arts event. The research suggests that word of mouth is shifting online. About half of all respondents learned of an event through text messages, email and social networks, while half were still having conversations on the phone or in person. However, young people aged 18-24 - tomorrow's audiences - prefer texting, tweeting and Facebook...


Passion and Ecstasy, par Richard Edmonds (The Stage)

Citation:
Birmingham Royal Ballet’s exciting double bill opens with David Bintley’s abstract piece Allegri Diversi, which is about everything or nothing, depending on your experience. Four couples evoke multiple dreams of stasis or interaction. Nothing seemed to be at stake except fine movement, and Bintley marshalled these dreamy patterns with admirable intensity. Joseph Caley and Nao Sakuma proved to be perfect partners, commanding the stage with grace and precision, and once again proving their value to what is regarded nowadays as one of the world’s top ballet companies. Bintley’s totally fascinating Carmina Burana, backed sensationally by Carl Orff’s thunderous music and a splendid set by Philip Prowse, follows the fortunes of three seminarians as they reject their faith for the pleasures of the flesh.Priests run in terror from amoral assailants, pregnant women strut their stuff among lines of laundry and street life swings...


Birmingham Royal Ballet’s Passion and Ecstasy, par Andy Richardson (The Shropshire Star)

Citation:
In seeking to describe Birmingham Royal Ballet’s production of Carmina Burana – which is one half of their present Passion and Ecstasy production – all superlatives seem inadequate. It is beyond sensational, beyond moving, beyond thrilling. BRB director David Bintley has created a masterwork that will live long in the memories of those who witnessed his electrifying, tender and deeply intelligent work. The work was mind-blowing, quite simply, sweeping the audience away in a cavalcade of dramatic jumps and phrases; combining stunning balllet and an incredible vocal performance from Ex Cathedra with the beautiful musicianship of the resident orchestra...


Designers reinterpret the tutu for ENB, par Emma Sells (Elle - UK)

Citation:
Erdem, Giles and Roksanda Ilincic have brought their creative visions to bear on the ballet tutu, creating fashion-inflected versions of the classic performance costume for the English National Ballet. ENB dancer Kerry Birkett modelled Erdem’s design, a white silk tutu with dramatic black lace appliqués. ‘It’s very different than tutus I would wear onstage,’ Birkett said. ‘Normally they would sit very low and tight on the waist, and this is almost empire line. But beautiful, absolutely beautiful. ‘I’m not sure how much dancing I could do, but I feel amazing wearing it.’...


Theatre: Review - Work No. 1020 at Sadler’s Wells, par Damian O'Loughlin (West End Extra)

Citation:
It’s fair to say that a show that begins with its creator shouting a song instructing the audience to go away in the most profane terms and ends with the performers receiving their adulation in front of a film of a young woman defecating is not a show that should be taken too seriously.
It seems, however, that some of the Sadler’s patrons witnessing the return of Martin Creed’s discordant Work No. 1020 on Tuesday suffered a slight sense of humour failure, using the first instance of the Turner Prize-winner leaving the stage as an opportunity to make their own exit out of the auditorium. It’s not an entirely unforgiveable act as Creed’s work is genuinely offensive, whether it be the amplified and angry rock ’n’ roll of his band, the huge video projections of the most intimate – and in one case quite excitable – body parts or the off-key tones that drive the dancers...


Jiří Pokorný: The prodigal performer, par Johana Mücková (The Prague Post)

Citation:
If you don't know Jiří Pokorný, you don't know Czech dance. Pokorný is one of the most successful contemporary Czech dancers, one of the few Czechs to be accepted into the prestigious Nederlands Dans Theater (NDT), and one of even fewer to voluntarily leave that company. Born in Prague in 1981, Pokorný entered the Ballet Prep School of the National Theater when he was just 7 years old and graduated into the Prague Dance Conservatory at the age of 11. Pokorný started his career after graduating from the conservatory and joining Prague's Laterna Magika in 2000. He stayed with that company for three years, dancing many solo roles from the repertoire and earning the Philip Morris Prize for the best dance talent of the year in 2002. In 2003, Pokorný was accepted into the Nederlands Dans Theater 2 (NDT 2), one of the most prestigious dance theaters in the world...


Da ist Neumeier drin, par Gisela Sonnenburg (Junge Welt)

Citation:
Bertolt Brecht galt die Bibel als das wichtigste Buch – außer seinen eigenen. Versteht man die derbe Schrift als zufällige Sammlung von Mythen und Sinnsprüchen, mag an der Einschätzung was dran sein. Eine der Glücksformeln in ihr lautet »Glaube, Liebe, Hoffnung« (nach 1. Korinther 13,13). Schlaglichtartig wie dieser Text beginnen am Sonntag auch die Hamburger Ballett-Tage. Es sind die 37. – John Neumeiers Truppe ist im besten Alter für Bühnentanz. Die Uraufführung zum Auftakt des Festivals ist indes nicht leichthändig zu nehmen: »Purgatorio« (Fegefeuer) nennt Neumeier seine Phantasie auf die Zehnte Sinfonie von Gustav Mahler. Weil es um die Ehe von Mahler und seiner Alma geht, hat der Choreograph Liedkompositionen von ihr, der Begabten und Verhinderten, angefügt. Alma Mahler-Werfel, bei Neumeier mit ihrem Namen Schindler-Mahler auftauchend, mußte dem Gatten zuliebe die Kompositionsarbeit aufgeben. Feierlich versenkten die Verliebten ihre vielversprechenden »Versuche« in einer Kiste. Eine barbarische Aktion. Motto: Ein Genie pro Ehe reicht...


The National Ballet of China präsentiert "Die rote Laterne", par Gisela Sonnenburg (Hamburg-Magazin)

Citation:
Nach dem großen Erfolg der Solisten des National Ballet of China in der letzten Nijinsky-Gala ist es eine besondere Freude, eine der aufwendigsten und aufregendsten Produktionen des National Ballet of China als Deutsche Erstaufführung in der Hansestadt zu zeigen. Am 5. und 6. Juli 2011 präsentiert The National Ballet of China präsentiert im Rahmen der Ballett-Tage "Die rote Laterne"...



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