Lapresse a écrit • Le Monde Par Rosita Boisseau William Forsythe en artificier du mouvement () Dans A Quiet Evening of Dance, les oiseaux sifflent, on se sent (presque) à la campagne et les in­terprètes, en tee­shirt et jogging, s’adonnent à leur occupation préférée : débobiner du mouvement au kilomètre avec cette désinvolture que donne la virtuosité Octo. William Forsythe is bringing his multi-faceted genius to New York City in stripped down form. His “Quiet Evening of Dance,” a mix of new and recycled work now at The Shed until October 25, is co-commissioned with Sadler’s Wells in London (and a slew of European presenters). As always, Forsythe’s choreography is a Extraitsdes répétitions du spectacle "A Quiet Evening of Dance"présenté du 4 au 10 novembre 2019Chorégraphie : William ForsytheProduction : Sadler’s Wells L Oct 13, 2019. One of the pleasures of a life filled with dance is the way, at the end of the day, a performance can force the mind to change course, to quiet down. William Forsythe’s program WilliamForsythe - A Quiet Evening of Dance Danse Marquer comme favori (connexion) Promouvoir l 'évènement. mer. 03 juil. 19. 20h00. 40,00 € Opéra Comédie. Pour A Quiet Evening of Dance, le chorégraphe retrouve avec gourmandise une technique classique qu’il aura longtemps désossée, fracturée, déstructurée. Et il affirme tranquillement : « Mon but HomeAgenda A Quiet Evening of Dance Théâtre & Danse; A Quiet Evening of Dance. déc 22, 2020. William Forsythe. Dans A Quiet Evening of Dance, William Forsythe réalise une brillantissime traversée de l’histoire de la danse académique, en remontant jusqu’à son origine : le ballet de cour sous le règne de Louis XIV. En première partie, le chorégraphe AQUIET EVENING OF DANCE Dans A Quiet Evening of Dance, William Forsythe distille tout le vocabulaire de l’histoire de la danse, de ses origines classiques jusqu’à ses occurrences les plus contemporaines en passant par le hip-hop. Ainsi, il revient à cette technique classique qu’il aura tant aimé déconstruire, Theevening is performed by some of Forsythe’s most trusted collaborators, who promise to provide insight into the workings of ballet and the mind of the man who has dedicated his Lecélèbre chorégraphe William Forsythe explore le contrepoint avec ses exceptionnels interprètes qui se glissent dans cette danse mêlant WILLIAM FORSYTHE "A Quiet Evening of Dance" // TEASER on Vimeo Pourla première fois à la Maison, William Forsythe donne à voir l’exigence de son travail et confirme son statut de Maître de la danse contemporaine. Le spectacle A Quiet Evening f6Ctxd. The Griffin Theater at The Shed, New York, NY. Years later he is engaged to direct the Frankfurt Ballet 1984-2004 and after its dissolution he achieves to create The Forsythe Company 2005-present. About William Forsythe's work and his influence on modern dance - read below. he's legendary internationally for his work with the Ballet city 1984-2004 and therefore the Forsythe Company 2005-present. William Forsythe born December 30, 1949 is an American dance and choreographer resident in Frankfurt am Main, is known for his work with the Ballet Frankfurt 1984-2004 and The Forsythe Company 2005-2015. Johnson has danced in over 50 tours on five continents, was a soloist with the National Ballet of Canada, and principal dancer in William Forsythe's Ballet Frankfurt. William Forsythe was born in New York in 1949, but only started dancing seriously in his later teenage years in college. For a half century, choreographer William Forsythe has explored the boundaries of classical and contemporary movement, collaborating with dancers, musicians, designers, and other artists to create some of the most innovative work in contemporary performance. william forsythe choreographic process william forsythe choreographic process DAVID P. FORSYTHE. William Forsythe born December 30, 1949 in New York City is an American dancer and choreographer resident in Frankfurt am Main in Hesse, Germany. He moved to Germany to . . In 2002, Forsythe was chosen as one the founding Dance Mentor for The Rolex Mentor and Protégé Arts Initiative. When you hear that you will be working with William Forsythe you might panic or feel nervous because he is such a brilliant choreographer. Tickets . william forsythe biography. For a half century, choreographer William Forsythe has explored the boundaries of classical and contemporary movement, collaborating with dancers, musicians, designers, and other artists to create some of the most innovative work in contemporary performance. Though, he is most commonly considered as a 'neoclassical' choreographer, mainly because the foundation of his pieces is constructed with kind of vocabulary from classical ballet . He was born in New York in 1949. Recognized for the integration of ballet and visual arts, which displayed . Chris Hellman Center for Dance 455 Franklin Street San Francisco, CA 94102. Forsythe is a current Professor of Dance and Artistic Advisor for the Choreographic Institute at the . Don't let scams get away with fraud. Active in the field for more than 45 years, his work has been featured in the repertoire of every major ballet company in the world. crystal light appletini discontinued. 447 Words2 Pages. Tickets . O ne of the world's greatest dance-makers, William Forsythe, 72, has redefined classical ballet over a career of more than 40 years. Dancer/Choreographer/Artist. has been active in the field of choreography for over 45 years. His work is frequently begun in notions about light rather than music, as he reveals in Conversation on Lighting with Jennifer the finest artists, he teaches the dance audience new skills for looking at things. . William Forsythe Choreographer, Quintett, William Forsythe, born December 30, 1949, New York, New York, American choreographer who staged audaciously groundbreaking contemporary dance performances during his long association with the Frankfurt Ballet and later with his own troupe, the Forsythe Company. Spotlight August Bournonville's La Sylphide. His work is acknowledged for reorienting the practice of ballet from its identification with classical repertoire to a dynamic 21st century art form. He is an Honorary Fellow at the Laban Centre for Movement and Dance in London and holds an Honorary Doctorate from The Juilliard School in New York. glasser images lawsuit; cards like cathars' crusade. He moved to Germany to join. William Forsythe's program at the Shed, "A Quiet Evening of Dance," which opened on Friday, takes that to another level. Educator Forsythe is a frequent guest lecturer at universities and cultural institutions. Born in 1949, native New Yorker William Forsythe danced with the Joffrey Ballet and was influenced by New York City Ballet's neoclassical guru George Balanchine. He is known internationally for his work with the Ballett Frankfurt 1984-2004 and The Forsythe Company2005-present. He just treats you like you're his friend. Feb. 18, 2007. For two decades he ran the . kid of darkness ring; William Forsythe was born Dec thirty, 1949 in big apple City [1] is associate degree yankee dancer and creator resident in city am Main in Hessen. 7. William Forsytheborn December 30, 1949 in New York City is an Americandancerand choreographerresident in Frankfurt am Mainin Hessen. "William Forsythe is an internationally celebrated choreographer whose expansive and groundbreaking approach to his discipline has upended the rules of choreography and dance, inspiring and influencing countless other artists in the process. . "Dance … that leaves audiences elevated, energized, overcome …" Filmmaker Forsythe's short film "ALIGNIGUNG," created for Paris Opera Ballet, features former Forsythe Company dancer Riley Watts and breakdancer Rauf "Rubberlegz" Yasit. William Forsythe born June 7, 1955 is an American actor. Dancer Insight Working with William Forsythe. Drawing upon the theories of Rudolf Laban, which Forsythe has carried forward in what he calls Improvisation Technology, he vitally expands the movement vocabulary. But he took an almost 20-year hiatus from what he describes as "working within the academy . Recognized for the integration of ballet and visual arts, which displayed both abstraction and forceful theatricality, his vision of choreography as an organizational . 10. edward jordan aretha franklin son father. We got the inside scoop from Company dancers Misa Kuranaga and Patrick Yocum on what it is like to work with the renowned choreographer William Forsythe. Created for the Paris Opera Ballet in 2016, "Blake Works I" offers all the intellectual stimulation of '80s-era Forsythe but with a free and easy, inviting energy. WILLIAM FORSYTHE . Forsythe's deep interest in the fundamental principles of organization has led him to . Explore. ← Previous View All Next → The mark of a sophisticated choreographer—like the brilliant American choreographer William Forsythe—is the ability to produce compelling dance that doesn't require a code or deep knowledge to . In 2002, Forsythe was chosen as one the founding Dance Mentor for The Rolex Mentor and Protégé Arts . Explore his singular style and undeniable energy through the eyes . Oct. 13, 2019. William Forsythe New York City, 1949 is related to contemporary dance, because his choreographic work displays an assorted exploration of modern dance codes. Today, the dancers in front of him are his own ensemble The Forsythe Company, based in Dresden and Frankfurt am Main, Germany, which Forsythe founded in 2005. William Forsythe born June 7, 1955 is an American actor. Welcome to New City Moving and Storage 55 Years Experience never trust a gambling man my twisted soul st ambrose university meal plans. He has also played recurring characters in television series such as Boardwalk Empire 2010 . William Forsythe is a ballet master, a specialist in the field of modern dance, a researcher of the specifics of human body movement and improvisation. He has also played recurring characters in television series such as Boardwalk Empire 2010 . Report at a scam and speak to a recovery consultant for free. He also choreographed for his high school's musicals. Forsythe is an Honorary Fellow at the Laban Centre for Movement and Dance in London and holds an Honorary Doctorate from The Juilliard School in New York. William Forsythe born December 30, 1949 in New York City is an American dancer and choreographer resident in Frankfurt am Main in Hesse, Germany. At 69, Mr. Forsythe has been finding ballet delightful since he first went to a class at 17. Born in 1949, native New Yorker William Forsythe danced with the Joffrey Ballet and was influenced by New York City Ballet's neoclassical guru George Balanchine. There's no tension. EMPLOYMENT / LABOUR; VISA SERVICES; ISO TRADEMARK SERVICES; COMPANY FORMATTING In 2002, Forsythe was chosen as one the founding Dance Mentor for The Rolex Mentor and Protégé Arts Initiative. Forsythe is an Honorary Fellow at the Laban Centre for Movement and Dance in London and holds an Honorary Doctorate from The Juilliard School in New York. WILLIAM FORSYTHE Raised in New York and initially trained in Florida with Nolan Dingman and Christa Long, Forsythe danced with the Joffrey Ballet and later the Stuttgart Ballet, where he was appointed Resident Choreographer in 1976. . William Forsythe is arguably the most important living choreographer to advance the grammar of ballet. Julia Rowe and Joseph Walsh in William Forsythe's "Blake Works I," which features the music . how did claudia gordon became deaf. William Forsythe is known for taking ballet to extremes, but now the choreographer and former artistic director of the Frankfurt Ballet and The Forsythe Company has turned his focus from professional dancers to the public. William Forsythe's 'A Quiet Evening of Dance'. William Forsythe A Quiet Evening of Dance OCT 11 - 25, 2019 Inventive choreographic works set to the sounds of breath and music Tickets Limited tickets may be available via phone at 646 455-3494. William Forsythe's program at . He is best known for his portrayal of tough-guy, criminal characters, and has starred in films such as Once Upon a Time in America 1984, Raising Arizona 1987, Dick Tracy 1990, Gotti 1996, The Rock 1996, and The Devil's Rejects 2005. For two decades, Johnson has staged Forsythe's work with dance companies . Forsythe is a current Professor of Dance and Artistic Advisor for the Choreographic Institute at the University of Southern California Glorya Kaufman School of Dance. Published June 8, 2022 Categorized as andy's dopey transposition cipher . He followed his grandfather musically as he was a violin prodigy. Forsythe is an Honorary Fellow at the Laban Centre for Movement and Dance in London and holds an Honorary Doctorate from The Juilliard School in New York. October 13, 2019. Mr. Forsythe has created a setting — not completely silent, but nice and. While many of his older pieces are done by ballet companies around the world, his recent, more theatrical works are performed exclusively by his company. Forsythe played bassoon, violin, flute, and sang in choruses. O ne of the worldâ s greatest dance-makers, William Forsythe, 72, has redefined classical ballet . He is best known for his portrayal of tough-guy, criminal characters, and has starred in films such as Once Upon a Time in America 1984, Raising Arizona 1987, Dick Tracy 1990, Gotti 1996, The Rock 1996, and The Devil's Rejects 2005. william forsythe biography. The American-born choreographer William Forsythe-who was the Director of the celebrated Frankfurt Ballet from 1984-2004 and now heads his own Frankfurt-based independent ensemble, The Forsythe Company-is recognized internationally as one of the world's foremost choreographers and widely credited with revitalizing classical ballet for the twenty-first century. William Forsythe has pushed the boundaries of ballet over the course of a nearly five-decade career. The intricate phrasing of the dancers' breath is the primary accompaniment for a distillation of the geometric origins of classical ballet. It will explode your ballet prejudices. One of the pleasures of a life filled with dance is the way, at the end of the day, a performance can force the mind to change course, to quiet down. Forsythe has taught classical dancers to generate their own material by applying structural devices to their familiar technique. united states dollars; australian dollars; euros; great britain pound gbp; canadian dollars; emirati dirham; newzealand dollars; south african rand; indian rupees He got his choreographic education in Florida. William Forsythe has been active in the field of choreography for over 45 years. Wondering who is William Forsythe, the choreographer credited with revolutionizing ballet? The evening is performed by seven of Forsythe's most. He has also designed choreography in collaboration with more than a dozen prominent dance organizations, among which are The Russian Ballet Theater, The Pennsylvania Ballet and the Festival de . AS an American who has lived in Germany for more than 30 years, the choreographer William Forsythe has grown accustomed to his role as a foreigner. Life and Career. William Forsythe has given his field a daring new direction and scope. Forsythe is a master choreographer, but The Barre Project's brilliance is in large part down to its central. This exhibition features a 16mm film entitled Soft Materials by Daria Martin, an American artist living and working in London, and a large five-screen video installation entitled whenever on on on nohow on / airdrawing by German artist Peter Welz in collaboration with celebrated dancer/choreographer William Forsythe. Recognized for the mixing of ballet and visual . He was born in New York in 1949. Chris Hellman Center for Dance 455 Franklin Street San Francisco, CA 94102. Home; Our Services. He is known internationally for his work with the Ballet Frankfurt 1984-2004 and The Forsythe Company 2005-2015. William Forsythe is considered as a continuator of Balanchine's work, because of his way of working with classical ballet from a contemporary aesthetical perspective. he's legendary internationally for his work with the Ballet city 1984-2004 and therefore the Forsythe Company 2005-present. . However, when you actually work with him, he is the nicest person. He creates this amazing atmosphere to engage dancers to work with him. In bringing together the work of these artists, curator Bill Arning offers . 6. William Forsythe, born December 30, 1949, New York, New York, American choreographer who staged audaciously groundbreaking contemporary dance performances during his long association with the Frankfurt Ballet and later with his own troupe, the Forsythe Company. His body of work, which displayed both abstraction and forceful theatricality, deconstructed the classical ballet repertoire . Forsythe is an Honorary Fellow at the Laban Centre for Movement and Dance in London and holds an Honorary Doctorate from The Juilliard School in New York. It is short but magnificently satisfying, and thrilling in its low-key virtuosity. Inventor Forsythe collaborated on an award-winning interactive computer application, Improvisation Technologies A Tool for the Analytical Dance Eye, which is used as a teaching tool by . And it will make you feel more alive. His best known works include In the Middle, Somewhat Elevated . . His work is acknowledged for reorienting the practice of ballet from its identification with classical repertoire to a dynamic 21st century art form. William Forsytheis a ballet master, a specialist in the fieldof modern dance, a researcher of the specifics of human body movement and improvisation. William Forsythe born December 30, 1949 is an American dance and choreographer resident in Frankfurt am Main, is known for his work with the Ballet Frankfurt 1984-2004 and The Forsythe Company 2005-2015. Roman, who was mentored by choreographer William Forsythe for nearly two decades, has created his own repertoire with his former personal company, 2+. A 34-year veteran of the dance field, Jill Johnson choreographs for film, television, and stage. William Forsythe was born Dec thirty, 1949 in big apple City [1] is associate degree yankee dancer and creator resident in city am Main in Hessen. Backstory. william forsythe biography. William Forsythe — A Quiet Evening of Dance4 - 6 OctoberRead more Forsythe is undoubtedly one of the foremost choreographers of. He is known internationally for his work with the Ballet Frankfurt 1984-2004 and The Forsythe Company 2005-2015. Forsythe is a current Professor of Dance and Artistic Advisor for the Choreographic Institute at the University of Southern California Glorya Kaufman School of Dance. Forsythe's Style Forsythe is a current . 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So if you want a re-telling of the story please refer to the links for further information or for further insights. Note, that I may provide different links for repeated main words or phrases. I write for my memories of what I have seen, and is more of a stream of consciousness. "Trustees" was written by Natalia Kaliada and Nicolai Khalezin, with Daniel Schlusser and the cast. Before the Beckett Theatre doors were open, the cast came into the foyer. They were recognisable as they all sported a radio microphone over one of their ears. The show began when the cast mingled with the audience. I knew from reading about the show that we were going to be asked to vote at a forum. I was surprised that audience members were not immersed into the experience by registering, and being given name badges as attendees, for the forum. This would have built up the audience's expectations a notch - as if really attending a forum prior to entry. Directed by Natalia Kaliada and Nicolai Khalezin from the Belarus Free Theatre have created a work that leaves you with more questions than answers. It is a thought provoking work but stirred up more issues that were not dealt with in the production. The programme listed the cast and crew, though I cannot understand why the names of the characters were not listed as each character was designated a name. It is easier to refer to the programme and name the character than to describe the role played by insert a name here. Special thanks were made to Brad McEwan as the newsreader that provided segues and news updates between many scenes. Sadly no further information was given. I do not know what Dushan Philips' role in the production was, as no details were provided in the programme. Movement Direction by Briget Fiske provided a range of sequences dance moves, fight sequences and aerial counter-balance work. The final image was the strongest statement in the show and is discussed in more detail below. Lighting Design by Amelai Lever-Davidson helped create a variety of atmospheres. No credit was supplied as to who created the videos or the graphics for the show. Maybe it was Dushan Philips? Maybe this was another of the unanswered questions for the audience to consider? Set and Costume Design by Romanie Harper provided a range of costumes that were functional for the requisite behaviour of different characters. The board room table with three sliding chambers was clever as it hid the shallow bath and two garden beds. Banks of seating were positioned on all four sides of the opened Beckett Theatre. Four white chairs in a diamond shape stood in the centre of the area. Two chairs stood upright, while the other two chairs were tilted forward warning us of future events. The set also comprised the use of a television camera in one corner with six television monitors above the audience. Three monitors were positioned above each of the two longer sides of the stage. The original cast listed in The Malthouse Theatre brochure for their 2018 Season changed to who actually collaborated and acted in the show. I appreciate the cast list can be changed due to availability or other issues. From a theatre history perspective I am noting this for future reference as I am sure many patrons are unaware of the change. Acting wise left a lot to be desired as they all over-acted to the point of being cringe-worthy. Had the cast been more naturalistic and evolved their performances would have made more of an impact. I appreciate the show was a satire and the opening two scenes could have worked better with less is more. The opening sequence where Hazem Shammas entered as the facilitator was nearly in-audible as his diction was so mumbled and his pace was so fast. The over the top enthusiasm was nearly like a television games show. The other cast members were introduced as guests for the opening debate. One actress was asked a question and she introduced herself. She also asked "What was the question?" This was doubly funny after her introduction and because Hazem Shammas was speaking so fast and with poor diction, I too could not understand the question. Thankfully he repeated it. We had the sham debate with four different perspectives. Sitting on our side of the theatre is where I guessed the directors mainly directed the work. There was a vote online with the television monitors displaying the website for voting. I did not bother as I suspected it was all a hoax vote. Audience members were adamant to vote and have their say, which was interesting as it highlighted the corruption in some societies with voting. The debate was naive and simplistic with government funded arts versus not funding the arts. The debate revealed a lack of business acumen from the collaborators. They did not debate or reveal any other business models for artists, and showed a narrow view and a lack of financial and business management from the collaborators. A television news broadcast would appear from time to time to create segues between scenes. We were being exposed to fantasy versus reality - fake news etc. What is fake and fact? What is perspective or a different slant on a story? The second major scene was a board room for the Lone Pine Theatre Company and trying to work out ways to survive. This was demonstrated as a brainstorming activity with lots of feet on the table and power play. Many of the ideas of various theme parks had a contemporary reference to the television show "Westworld". The ideas were under-cooked at times as they did not fully explore possibilities. There were some wonderful images through the show that I felt made more of impact with the less is more approach. My favourite image was when Daniel Schlusser set the table ablaze. We witnessed the impact of the "slash and burn" with the funding/budget cuts to their theatre company. I recall looking up to see both exit signs when Daniel lit the flame on the table top. A table cloth was produced to douse the flames. The actors were cognisant by ensuring that all embers had been extinguished. I congratulate them on their safety concerns. Natasha Herbert set out the serviettes for each seating placement. Her eagle eye was checking to ensure no flame had reignited underneath the tablecloth. The board members covered their faces with their serviettes as if veils had the cultural subservience element. Here the artists were subservient to the government, funding bodies and sponsors. This was another strong image. When Daniel Schlusser stripped bare exposing himself physically and emotionally, he was also revealing how artists are publicly put on display. This scene also showed how financial transparency is important within funding. When he is bathed in the centre of the table it has religious undertones of a baptism or a re-birth, or being cleansed and purified to complete the funding applications in accordance with the whim of the next government policy. Natasha Herbert suddenly could now walk without the aid of her walking stick. It was a miracle! Or was it? She sat and took out an avocado, cut it in two and stabbed the seed to extricate it. She then placed the seed into the wooden fruit box. This was a wonderful image of planting the seeds into a treasure chest. She sat and spooned out the contents of half the avocado. Again this was a wonderful image of the younger generation being criticised for eating smashed avocado, rather than saving for a deposit for their future home. This image also referred to the waste of money given to some, and living in the now. When Natasha Herbert planted the poppies into the soil at the two ends of the table it was as if she was planting seeds of ideas. She was nurturing, cultivating, and growing her crops for the future of Australian society. She needed to water the plants, and water is a scarce and valuable resource - as is money for the arts funding. Her story contrasted the freedom we have in Australia compared to Nazi Germany. In fact, her story paid homage to all totalitarian regimes of the past, present and future. Tammy Anderson also stripped. She moaned and groaned as she made her way around the entire stage to ensure that everyone in the audience could see her nakedness. She mixed powder with the water, and then smeared herself in white paint ceremoniously. She seemed to be providing sexual favours for her art. Nothing is new about the casting couch with the "Me Too" movement. She provides Daniel Schlusser with the table-cloth to cover his wet body both as a towel and with the toga image from the Roman Forum. Remember we are attending a forum and now gaining insight into the five characters via their monologues. Interestingly, the costume design included only one pair of coloured shoes. These were the red shoes worn by Niharika Senapati. The red shoes stood out as both power dressing, and also referencing the fantasy of Dorothy from "The Wizard of Oz" and wanting to go home to Kansas. This was a clever piece of subtle costume design as there was a theme of homeland throughout. The red shoes created a message of hope for the future. Niharika Senapati began as if Ellen DeGeneres interviewing audience members about "do you like audience participation?" She would kneel before or sit on the knee of an audience member. She went to each of the four sides of the theatre. Then she proceeded into more audience participation with different dance moves for the four sides of the theatre. We even were instructed in a Mexican wave arm movement. She ran around the theatre first clockwise and then counter-clockwise to see the audience demonstrate this wave of movement. She proceeded to dance until three actors entered and restrained her. They held her down that produced a magical moment of cause and consequences. My favourite image of the show was when Niharika Senapati was restrained by the three actors. The three actors bound her feet into the ends of a thick rope. The three actors pulled the three ropes to the section of rope with an obvious knot to ensure they did not lose their grip. They then hoisted her upside down. Niharika Senapati was lifted off the ground feet first as if an aerialist. The image reminded me of an upside version of a physical reckoning from "The Handmaid's Tale". More so, this image reminded me of how these theatre companies are being strung up financially and artistically. It made me question "who is pulling the strings here?" and "which of the three people has the most influence in funding, cultural and artistic decisions?" This scene was where the censorship theme was strongest as we saw the consequences of non-compliance or non-conformity. I yearned for more of these type of succinct and powerful resonating messages as per this simple scene. The five extended monologues were at times, as if they were all vying for their voice to be heard. It was a competition for who had the most sensational or depraved story to lure us into potentially gain our empathy. After chaos the five returned as if at the end of the debate. The forum was concluded and left more questions unanswered for the audience to ponder. This ending was an academic approach to leaving a question for the future. The show rammed messages down our throats. It was didactic and too long. In fact it was ten minutes longer than the ninety minutes that was originally advertised on the Malthouse Theatre website. The whole theme of censorship did not discuss enough about freedom of speech or freedom of thought. It did not expose the elitism of some artists and arts boards or bodies with their own in-house censorship. Will "Trustees" survive for another two hundred years as a work of literature or a piece of theatre? No, it will be revamped into another format by new artists thinking that they are being innovative. "Trustees" begs the question of whether this is theatre for now or the future. This production is a contemporary piece of theatre with a limited life. The arguments for funding and censorship will regurgitate throughout history and will create an opportunity for some playwright to create a timeless work. With some refinement "Trustees" could be more cohesive and provide more articulate messages. The arguments for funding and censorship have been around since nearly the beginning of performances. What stood out is that we are lucky in Australia that artists are able to voice their work compared to other countries. "Trustees" will make a good festival touring project to justify the Australian taxpayer's contribution to the arts. "Trustees" received a generous 7/10 from both my partner and I. Note the following postscript is from my memories of seeing shows and interviews Postscript - historical memories The play "Trustees" opened up my memory vault to write this post script. Hence in the back of my mind I had reservations about the production. The production made me think of the cyclical nature of censorship and how lucky we are in Australia to be able to debate these issues, compared to some countries where you would be jailed or sentenced to death for debating let alone presenting a controversial work. There have been many plays and works of art that have caused controversy and campaigns or protests for censorship in Australia. These include "Corpus Christi" was presented at The Athenaeum Theatre in January 2001 where Jesus Christ was portrayed as a homosexual. Protests occurred outside the theatre at every performance. I do not think this play would have been presented after September 11th 2001. As such, it is amazing what a date can do to change perspective of a controversy and censorship. Tivoli Theatre Melbourne where the topless ladies had to stand perfectly still or would be arrested by the Victoria Police Vice Squad. "Hair" both in Sydney and Melbourne, "Oh Calcutta", "Let My People Come", and "The Boys In the Band" all had the Victoria Police Vice Squad watching carefully to ensure that no breaches occurred. The news of "Oh Calcutta" being banned by order of the Supreme Court of Victoria hit the New York Times in 1970. The New Theatre in NSW even has a history of censorship. The financial gains for a controversial work "American Hurrah" by Jean Claude van Italie are also given in this link to the New Theatre. There are many articles about censorship in the arts in Australia. Sir Robert Helpmann even commented about the nude dancing in a ballet with two famous quotes "The trouble with nude dancing is that not everything stops when the music stops." "I think you can be contemporary without taking your clothes off." Even amateur shows copped censorship with the following "Thurber's Carnival" by James Thurber was presented with caution, as it was nearly banned, at the 20th Wagga Wagga School of Arts Drama Festival in 1974. The play was controversial as the work was deemed inappropriate and lewd for the youth performing the work from Canberra Youth Theatre. "The Serpent", also by Jean Claude van Italie was banned in Adelaide at a drama competition, and also was banned at the Kyneton Festival of One Act Plays in 1973. An article written for The Age had the title "Hasn't Wagga Changed" by a journalist who did not see the play at Wagga Wagga. The Age article alerted the Adelaide committee to a potential controversy. In Adelaide, the director Norman Sotherby had also directed "Ritual For Dolls" by George MacEwan Green and said to the adjudicator that "this play was more offensive" and yet was allowed to be performed. In Kyneton the committee had a similar reaction. The committee relented and allowed "The Serpent" to compete but was only allowed to be performed in front of the adjudicator, Simon Hopkinson, with no audience present. Marketing leverage Some works of art have successfully leveraged off their controversy and potentially crossing censorship boundaries. These include "Chloe" at Young and Jackson's Hotel in Melbourne where many articles were written about covering the painting over. The famous "David" statue by Michelangelo and many other works of art have had articles written about it and covering up the genitalia with a fig leaf. The famous controversy in Australia with the Bill Henson photographs, as well as the "Piss Christ" by Andres Serrano controversy where it was vandalised as a result of being offensive and sacrilegious. As such these controversial works create marketing opportunities for organisations to leverage and cash in on their notoriety. "The Blue Room" play by David Hare was produced both in Australia and overseas. Nicole Kidman starred in the London production and is an example of the sensationalism of the nude scenes for marketing and publicity, which increased sales. "Equus" by Peter Shaffer was another play that successfully used its controversial content and nude scene, with the stabbing and blinding of the horses. This play received an "R" restricted rating in some cities in Australia. There is a book called "Banned Plays" by Dawn B. Sova that outlines 125 banned plays through history. She gives examples going back to 411 BC and even includes the Melbourne controversy of "The Boys In The Band". Trigger warnings Trigger warnings are occurring more in schools, universities and the media. Trigger warnings are used for many reasons to alert students, patrons or viewers of any potentially distressing material or scenes - such as violence, sexual material, loud noise, cigarette smoking etc. I understand also the medical consequences that strobe lighting, loud noises or smoke can affect some people. I understand why trigger warnings are being used, but this made me think that the trigger warnings can be an example of censorship - by preparing audiences for a possible event that can dilute the impact of any message. However the trigger warning signs prior to entry at "Song for a Weary Throat" were not successful as they should have made a vocal announcement before the show to allow patrons to obtain a set of headphones to muffle the loud crashes. Many patrons covered their ears. After the show a few people asked where we obtained the headphones, and they were shocked as they did not see the trigger warning sign before entering the theatre. 6 – 10 Φεβρουαρίου 2019 Κενρική κηνή 2030 – Έναρξη προπώληη Κυριακή 13 Ιανουαρίου, 1200 Ένα ήυχο βράδυ η έγη. αν η μουική κλείνει, η έγη ου Ιδρύμαο νάη χορεύει. Ο William Forsythe, ο Αμερικαν χορογράφο που ηλέκριε ο μπαλέο, ξεπερνά ον εαυ ου και δημιουργεί κμου με μοναδικά μέα ο ανθρώπινο ώμα, ον χώρο και ον χρνο. έερα έργα ου μεγάλου χορογράφου υνθέουν μια βραδιά απλαυη, καθώ ην άδεια κηνή και χρί άλλο ήχο, α ώμαα εξαιρεικών χορευών υνονίζοναι, πεούν, ξαναβρίκοναι – με άλλα λγια, χορεύουν. Ο χορ εμπειρία. Αναμφιβήηα, αν υπάρχει ένα άνθρπο που ηλέκριε» ο μπαλέο, που ου έδε νέα πνοή και ο έκανε μια δυναμική έχνη έοιμη να εκοξευεί ον 21ο αιώνα, αυ είναι ο Ουίλλιαμ Φραϊθ. Ο Αμερικαν χορογράφο δημιουργεί κμου ολκληρου με μοναδικά μέα ο ανθρώπινο ώμα, ον χώρο και ον χρνο, μεαβάλλονα ον χορ ε μια πργνρη εμπειρία, ο για ου χορευέ ο και για ο κοιν ου. Αυ ιχύει και για α έερα έργα που υνθέουν ο Α Quiet Evening of Dance – δύο αναβιώει παλαιερν έργν και δύο νέε δημιουργίε που παρουιάζοναι ην Κενρική κηνή η έγη ου Ιδρύμαο νάη απ 6 έ 10 Φεβρουαρίου. Χορευέ που έχουν υνεργαεί μαζί ου για πολλά χρνια αφηγούναι με α ώμαά ου ιορίε βαθιά επικοιννία, με μοναδικ ήχο ην αναπνοή ου. Χιούμορ, ευαιθηία, πρκληη, απκριη. Οδηγ ου ο ρυθμ και ο απίευο υνονιμ ου. αν ου δείκε εν αραου ρολογιού, κααγράφουν ον χρνο, ον κάνουν ορα, ον επιμηκύνουν και ον υρρικνώνουν, αλλάζονα ον χώρο και, ενέλει, ανοίγονα η μυική δίοδο η δική μα επικοιννία μαζί ου. Η παράαη είναι μια διεθνή υμπαραγγή η έγη ου Ιδρύμαο νάη, περιλαμβάνει δύο νέα κομμάια “Epilogue” και “Seventeen/Twenty One”, δύο νέε εκδοχέ παλαιερν έργν ου ρεπερορίου ου, ο “Dialogue DUO2015” και ο “Catalogue Second Edition”, καθώ και ο “Prologue”, ένα αππαμα ου “Seventeen/Twenty One”. To A Quiet Evening of Dance φιγουράρει ην κορυφή ν 10 καλύερν παραάεν χορού ην Αγγλία για ο 2018, ύμφνα με ι κριικού χορού Judith Mackrell και Lyndsey Winship η εφημερίδα The Guardian. Μια αίθηη θορυβώδου street ενέργεια διαπνέει ο A Quiet Evening of Dance, ένα εράπυχο πργραμμα ου χορογράφου, που ξεκίνηε αν ένα πνευμαώδε αλφαβηάρι η κλαική φρμα και γραμμή για να εξελιχθεί ε ένα λαμπερ κράμα, που η ελευθερία ου μεαμονερνιμού υνανά ον δυναμιμ ου μπαλέου. Οι χορευέ που ο ερμηνεύουν είναι απ ου πιο παλιού υνεργάε ου Φραϊθ, με ην εκπληκική προθήκη ου ιδιοφυού b-boy, Rauf “RubberLegz” Yasit. Η παράαη αυή ήαν υπέροχη χι μνο για η υγκλονιική ακρίβεια με ην οποία είχε φιαχεί, αλλά και για ον θαυμάιο ρπο που φώιζε ην ιδιαιερηα και ην ιδιοφυία ου καθεν απ ου επά χορευέ ου.» υνελεέ Χορογραφία William Forsythe και για ο ρίο “Second Edition” Χορογραφία William Forsythe, ε καλλιεχνική υνεργαία με ου Jill Johnson, Brit Rodemund και Christopher Roman Φιμοί Tanja Rühl Κοούμια Dorothee Merg εχνικοί Διεύθυνη Παραγγή Περιοδεία Philip Connolly Ηλεκρολγο Παραγγή Will Frost Υπεύθυνο Ήχου Simon Lambert Υπεύθυνη Παραγγή Bia Oliveira υνονιμ Παραγγή Περιοδεία Florent Trioux Οι χορευέ είναι Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf RubberLegz’ Yasit, Ander Zabala Ανικααάε χορευέ Cyril Baldy, Brit Rodemund Μια παραγγή ου Sadler’s Wells ου Λονδίνου. ε υμπαραγγή με α Théâtre de la Ville-Paris, le Théâtre du Châtelet και Festival d’Automne Παρίι, Festival Montpellier Danse 2019 Μονπελιέ, Les Théâtres de la Ville de Luxembourg Λουξεμβούργο, The Shed Νέα Υρκη, έγη Ιδρύμαο νάη Αθήνα, deSingel international arts campus Αμβέρα. Πρώη παρουίαη ο Sadler’s Wells ου Λονδίνου ι 4 Οκβρίου 2018. Η παράαη απέπαε ο Βραβείο FEDORA – VAN CLEEF & ARPELS για Μπαλέο ου 2018 Διαβάε περιερα Ο Ουίλλιαμ Φραϊθ χορογραφεί εδώ και 45 χρνια και θερείαι ο πιο ημανικ χορογράφο η γενιά ου. Επαναπροδιριε ο μπαλέο, μεαμορφώνονά ο απ μια έχνη προκολλημένη ο ρεπερριο ε μια δυναμική και δημιουργική καλλιεχνική έκφραη άνευ ορίν. Οι επά χορευέ η παράαη είναι απ ου πιο ενού και έμπιου υνεργάε ου Φραϊθ. Ιδανικοί ερμηνευέ, προφέρουν μια βαθιά εκ ν έ οπική η μαική δουλειά ου μπαλέου και αναδεικνύουν ο έργο ζή ου Φραϊθ. ο πργραμμα είναι μια διεθνή υμπαραγγή η έγη. ο έργο “Catalogue” δημιουργήθηκε για δύο πρώην χορευέ ου Φραϊθ, ην Jill Johnson και ον Christopher Roman, που έχουν δημιουργήει η δική ου ομάδα, Dance On Ensemble. Ο Φραϊθ χαρακηρίζει αυ ο έργο περίπλοκο, χεδν μπαρκ». η νέα ου εκδοχή μεαρέπεαι ε ρίο, εμπλέκονα και ον αλανούχο Brit Rodemund, ο οποίο δουλεύει για πρώη φορά με ον Φραϊθ. ο “DUO2015” δημιουργήθηκε ο 1996, αρχικά για δύο χορεύριε, που θα χρηιμοποιούαν μνο ο προκήνιο. ήμερα, ο χορεύουν δύο άνδρε χορευέ. ο 2015 έκανε πρεμιέρα η νέα ου εκδοχή, ην οποία περιέλαβε ο αποχαιρειήριο πργραμμά η η Sylvie Guillem, υνεργάιδα ου Φραϊθ ε μια ιορική ιγμή η καριέρα ου, ο “In the Middle Somewhat Elevated”, που δημιουργήθηκε ο 1987 για ο Μπαλέο η περα ου Παριιού υπ η διεύθυνη ου Ρούνολφ Νουρέγιεφ. Εκείνη η χορογραφία, με ην ηλεκριμένη η αμφαιρα, ι έκκενρε ιορροπίε η, ον παλμ η και ι διαρκώ μεαβαλλμενε χέει η άλλαξε μια για πάνα ην ιορία ου χορού και έκανε αναγνρίιμου αρ χορογράφο και χορευέ Sylvie Guillem, Laurent Hilaire, Isabelle Guérin και Manuel Legris. Κριικέ για ην παράαη Μια βραδιά πάνια και αποκαλυπική.» The Guardian Μια πραγμαικά απολαυική παράαη ευφυή, απρβλεπη, εξαιρεικά δουλεμένη.» Financial Times Αν και ιλοφορείαι quiet, η ελευαία χορευική βραδιά ου Ουίλλιαμ Φραϊθ ο Sadler’s Wells διακρίνεαι απ εκπληκική πνευμαική και ευρημαική ορμή.» The Stage Μια εγκεφαλική, ενίοε αεία βραδιά. Ο Φραϊθ απουναρμολογεί ο μπαλέο με ρυφερηα, ώε να αποκαλύψει και να παίξει με ου μηχανιμού ου.» Independent Κάθε κίνηη μοιάζει υπολογιμένη ο χιλιο και οι χορευέ μεακινούναι με απλυη αρμονία απ ην αυνομη η υγχρονιμένη κίνηη.» Time Out Melbourne Πληροφορίε έγη Ιδρύμαο νάη υγγρού 107 6 – 10 Φεβρουαρίου 2019 Κενρική κηνή 2030 Ειιήρια Έναρξη γενική προπώληη 13 Ιανουαρίου 2019, 1200 Κανονικ 7, 15, 18, 28 € Μειμένο, Φίλο, Παρέα 5-9 άομα 6, 12, 14, 22 € Παρέα 10+ άομα 5, 11, 13, 20 € Κάοικο Γειονιά 7 € ΑμεΑ, Ανεργία 5 € υνοδ ΑμεA 7, 10 € Ομαδικέ κραήει ο [email protected] Με ην υποήριξη ΗΛΕΚΡΟΝΙΚΗ ΠΛΗΗ ΕΙΙΗΡΙΝ Η υπηρεία e-ticket / [email protected] είναι διαθέιμη για ι online αγορέ ειιηρίν. Ανοίξε ο pdf η smart υκευή α ή υπώε ο ειιήρι α απ που κι αν βρίκεε και μπείε με αυ απευθεία ην αίθουα. 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