Dansomanie Index du Forum
Connexion S'enregistrer FAQ Liste des Membres Rechercher Dansomanie Index du Forum

05 - 06 août 2011

Poster un nouveau sujet   Répondre au sujet    Dansomanie Index du Forum -> La presse au quotidien
Voir le sujet précédent :: Voir le sujet suivant  
Auteur Message
Site Admin

Inscrit le: 28 Déc 2003
Messages: 25062

MessagePosté le: Ven Aoû 05, 2011 8:16 am    Sujet du message: 05 - 06 août 2011 Répondre en citant

Comment dit-on «changer de vie» dans la langue de Goethe? (La Voix du Nord)

Eugénie Hecquet, jusqu'alors danseuse à Galatée danse, à Wattignies, s'apprête à changer de vie (lire ci-dessous) : mardi, l'adolescente de 15 ans s'installera à Hambourg, où elle va intégrer l'école du Ballet John-Neumeier. Dans des conditions qui ne sont pas des plus faciles. La jeune artiste ne connaît pas un mot d'allemand, va intégrer l'internat du lycée français, à plus de vingt minutes de l'école de danse, où elle va se retrouver au milieu de Suédois, d'Autrichiens et d'Anglais, entre autres...

3e étage not your typical night at the ballet, par Janine Parker (Boston.com)

The group 3e étage, made up of world-class dancers borrowed from the Paris Opera Ballet, is making its US debut at Jacob’s Pillow Dance Festival this week. In the program’s 10 dances, these supreme descendants of the classical line ply their virtuosity with both jaw-dropping elan and unaffected miens. Director and dancer Samuel Murez attempts to establish a thread that connects the pieces, first by naming the program - “Disorders’’ - and then by inserting a series of darkly comic entr’actes, so that most of the dances become more like scenes in a play and less like individual pieces. The conceit is mostly successful, but less would be more: more time to digest and savor...

Mariinksy Ballet: Don Quixote – review, par Judith Mackrell (The Guardian)

The Mariinsky's Don Quixote looks every one of its 100-plus years: its jokes ancient, its gestures creaky, its contours sagging. But the right dancers can still galvanise this buffoon of a ballet into spectacular life. And what I love about the Mariinsky is their ability to deliver those performances where you least expect them. Take Espada – the preening matador who has no plot function beyond macho display. On his first entrance, Karen Ioannisyan seemed to have got his swagger tangled up in his cloak. But out of nowhere he suddenly found his form as the most sinuous, charismatic man on stage – his gaze electric, his long, incredibly supple back arched like a cobra...

Don Quixote, Royal Opera House, London, par Zoë Anderson (The Independent)

The Mariinsky's corps de ballet rush on, stamping red-heeled slippers and swishing flounced skirts – a different pattern for every girl. Don Quixote is set in Ballet Spain, a world where everybody hurls away their glass after drinking, before plunging into more bouncy dancing. This production, by Alexander Gorsky after Marius Petipa, is very loosely based on Cervantes. Don Quixote and his servant Sancho Panza wander through the action, watching or prompting more dance numbers. In the second act, the ballet suddenly remembers that it ought to have some windmills – but only so the Don can be hit on the head, giving him a vision of girls in classical tutus...

Scotch Symphony/ In the Night/ Ballet Imperial, Mariinsky Ballet, Royal Opera House, par Ismene Brown (The Arts Desk)

Great Mariinsky ballerinas are a breed apart, even from Bolshoi women. They take the stage with a consciousness of entitlement that’s thrilling to watch, and when this almost sacred sense of mystique and grace instilled in St Petersburg comes with vivid expressive distinction too, then there really is nothing like it. Even if three American 20th-century ballets might not be thought the likeliest territory to make such discoveries, what a night for ballerinas last night was. Viktoria Terëshkina and Alina Somova are on their way to joining the peerless Uliana Lopatkina at the high table...

Balanchine/Robbins, Mariinsky Ballet, Covent Garden, review, par Sarah Crompton (The Daily Telegraph)

The relationship between George Balanchine and Jerome Robbins, twin pillars of American ballet, could be the subject of several novels. Robbins adored his mentor Balanchine, who respected his acolyte - but couldn’t resist putting him down. So this programme serves up a certain poetic justice: it is dominated by Balanchine but it’s Robbins who triumphs. His In the Night, fashioned at the end of a deeply turbulent period in his life, is a wonder - and the Mariinsky perform it to perfection...

Mariinsky Ballet: Balanchine/Robbins triple bill – review, par Judith Mackrell (The Guardian)

Uliana Lopatkina opened the Mariinsky season as an exquisite but emotionally inaccessible Odette. Making her first entrance in Jerome Robbins's In the Night, she's a different being – legs kicking, arms furiously thrashing the air. Dancing one of three couples in Robbins's supercharged portrait of sex and love, Lopatkina suddenly looks wide awake. And so does the rest of the company. While the Mariinsky's stock repertory of 19th-century classics may be good for the box office, it's a relief finally to see them in the less familiar world of Robbins and Balanchine...

Balanchine and Robbins / Mariinsky, Covent Garden - review, par Sarah Frater (The Evening Standard)

The Mariinsky Ballet is best known for the big-scale classics but this visit to London may be remembered for a small ballet by Jerome Robbins. On the face of it, this makes no sense. Robbins was a New Yorker, he choreographed the quintessentially American film West Side Story, and his ballets were often short and plotless. Set to Chopin's Nocturnes, In the Night is an ensemble piece for six dancers. There are no sets and unremarkable costumes. And there's no story, just three couples who look and behave like people - or at least lovely-looking ballet people - evoking the pleasure and pain of grown-up love...

Paris troupe: ballet for the 21st century, par Tresca Weinstein (Times Union)

First, there was classical ballet; then came neoclassical ballet. That was followed by contemporary ballet, influenced by both modern and postmodern dance. Onstage at Jacob's Pillow this week, 3e Etage, made up of dancers from the Paris Opera Ballet, takes that evolution another step, landing a centuries-old art form squarely in the 21st century. Let's call it Ballet 2.0. Named after the third floor of the Palais Garnier theater, where new members of the Paris Opera Ballet are assigned dressing rooms, the company made its U.S. debut Wednesday evening at the Pillow with "The Disorders Program." It's a collection of 10 linked vignettes for the 12 dancers, most choreographed by ensemble director Samuel Murez, who also makes dances under the pseudonym Raul Zeummes...

Demonstrating How a Special Choreographer Made Men Special, par Alastair Macauley (The New York Times)

Beaver Creek, Colo. — When the choreographer George Balanchine was running New York City Ballet, there were two sides to being one of his male dancers. Much of the time, as successive men have related, it was as if they just weren’t there. Sometimes, when teaching, he was so focused on exclusively female exercises that he omitted to give the men anything to do until they reminded him of their presence. Whether or not “Mr. B.” ever said “Ballet is woman,” he meant it. His male dancers were mostly there as part of a chivalrous and entirely heterosexual society in which women reigned. But when Balanchine made dances for men, the picture changed. “Suddenly we did exist,” as one dancer told me when Balanchine created “Kammermusik No. 2,” with its all-male corps de ballet. And many of those Balanchine roles for men were without precedent or equal...

Hamburgs Neuer war früher Ballett-Tänzerl (Berliner Kurier)

Bevor es für ihn mit dem Fußball so richtig losging, schwang er das Tanzbein. „Ich habe sieben Jahre lang Ballett getanzt. Mit 15 wollte mich mein Lehrer auf eine Akademie schicken. Das war mir dann doch etwas zu viel. Aber es war eine schöne Zeit als einziger Junge mit 25 Mädchen“, lacht Skjelbred. Er entschied sich für den Fußball. Den Startschuss zur Profi-Karriere gab es bei einer Casting-Show, nun wagt er sich ins Ausland...

Industriearchitektur für den Tanz : seit März arbeitet das Staatsballett in neuer Homebase an der Deutschen Oper, par Volkmar Draeger (Neues Deutschland)

Das Entree ist sachlich und dennoch anheimelnd: Die neue Heimat des Staatsballetts Berlin in der Deutschen Oper erreicht man über das Foyer de la danse. Nicht den Prunk des gleichnamigen Foyers der Pariser Oper findet man hier. Der 314 Quadratmeter weite Raum von lichter Höhe, früher Kaschierwerkstatt, punktet als Industriearchitektur, ist in den Bauhaus-Farben Rot, Blau, Grau gehalten. Er wurde, so erzählt Vize-Intendantin Christiane Theobald, mit rund 720 000 Euro aus den Rücklagen der Compagnie finanziert...

Un petit "j'aime" sur la page Facebook de Dansomanie : http://www.facebook.com/Dansomanie/
Revenir en haut
Voir le profil de l'utilisateur Envoyer un message privé
Montrer les messages depuis:   
Poster un nouveau sujet   Répondre au sujet    Dansomanie Index du Forum -> La presse au quotidien Toutes les heures sont au format GMT + 1 Heure
Page 1 sur 1

Sauter vers:  
Vous ne pouvez pas poster de nouveaux sujets dans ce forum
Vous ne pouvez pas répondre aux sujets dans ce forum
Vous ne pouvez pas éditer vos messages dans ce forum
Vous ne pouvez pas supprimer vos messages dans ce forum
Vous ne pouvez pas voter dans les sondages de ce forum

Nous Contacter
Powered by phpBB © phpBB Group
Theme created by Vjacheslav Trushkin
Traduction par : phpBB-fr.com