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 WilliamForsythe s’entoure de huit interprètes pour une soirée qui va à l’essentiel: un rigoureux travail de tressage de la danse et de la musique. A Quiet Evening of Dance donne à voir la rigueur incomparable de l’œuvre de l’un des plus grands chorégraphes de sa génération tout en parvenant à créer une conversation inédite entre break et baroque. 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 WilliamForsythe invente encore. Après quelques années de pause, il revient avec une douce soirée de danse. Hommage coloré au classique qui sait assimiler la virtuosité du contemporain, quand elle sert la perfection. A quiet evening of dance est une pureté chorégraphique en deux temps. Une pour le silence, la musicalité des corps et de 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 Vay Nhanh Fast Money. 4 October 2018 - 6 October 2018View HereIn “A Quiet Evening of Dance”, William Forsythe takes the audience on a playful exploration of dance and style with a blend of former pieces and as “a native ballet speaker”, Forsythe demonstrates once a gain his wit in deconstructing its language and gracing it with new accents. While figures of the baroque origin of ballet are combined with the introduction of break-dance on stage; Forsythe brings 17th and 21st century dance together. Bouncing from classical vocabulary to hip-hop, he cleverly choreographs a flickering relationship between them, consisting of echoes, incorporations and even light-hearted confrontations. The theatre’s lights remain on during the first part of the evening, which begins suddenly when two dancers appear on stage. With music sounding like a peaceful afternoon, and lights out only seconds before intermission, the first part recalls a rehearsal where dancers decipher and deconstruct engaging the audience, fundamentals of ballet’s vocabulary are displayed by Jill Johnson and Christopher Roman in Catalogue, second edition two shoulders and a pair of hips draw horizontal, vertical and diagonal lines displaying the basis of ballet’s traditional haut-du-corps work. Yet, the dancers explore beyond the confines of the rules, twisting the lines and unveiling the choreographer’s 40 year-long exploration of movement. His masterful sketching of bodily forms is regularly hinted at by costumes highlighting the dancers’ extremities with bright colours. And once Parvaneh Scharafali gracefully pauses for an attitude, the exceptional fluidity of the movement on display is suddenly and Epilogue, which frame Catalogue, delicately introduce break-dancer Rauf “Rubberlegz” Yasit to the stage who slowly infuses tonight’s new works with hip-hop. Movements of the contemporary style are, at first, softly – and nearly imperceptibly – included in the evening goes from strength to strength with Seventeen/Twenty One, a thrilling and humorous dance delight, which brings a brilliant end to the evening. All dancers show exceptional virtuosity and precision, Rauf “Rubberlegz” Yasit smoothly blending in with Forsythe’s seven long-time collaborators, often bringing the audience to laughter, surprise and awe. The last piece delivers a fascinating chronological mix where styles richly interact with each other, confirming once more William Forsythe’s incredible intelligence and his continued ability to enrich ballet today. Histoire de la danse A Quiet Evening of Dance de William Forsythe à Metz et à Reims 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 américain décompose en les réarticulant principes et bases de la technique classique. Pourtant, rien d’aride dans ce précis de danse, car, impulsant ici une torsion, là une dynamique coulée, là encore un étirement exacerbé, Forsythe et ses interprètes confèrent une vitalité et une séduction contemporaines à la langue ancienne. Point d’orgue d’un divertimento qui opère la synthèse du Grand Siècle et du XXIe siècle, la création Seventeen/Twenty-One, sur une musique de Jean-Philippe Rameau, assemble à petits points danse baroque et evolve, style particulièrement acrobatique du hip hop. Avec cette “tranquille soirée de danse”, claire et complexe, sophistiquée mais compréhensible, raffinée jusqu’à l’instinctif, Forsythe donne en partage la quintessence de son art une “belle danse” toute d’intelligence et de jouissance. Informations pratiques Durée 1h40 Plus d’informations sur les sites suivants La Filature, scène nationale de Mulhouse Charleroi Danse Cité musicale – Metz Manège de Reims Photo Bill Cooper Plasticien autant que chorégraphe – mais on pourrait aussi dire, cinéaste, architecte, scénographe, théoricien du mouvement, concepteur de lumières et homme éclairé –, William Forsythe donne ici sa version de la musique de chambre. Pour cette tranquille soirée de danse », il a réuni quatre pièces, deux anciennes, deux nouvelles, certaines portées par ses collaborateurs de longue date, d’autres par un nouveau venu, Rauf Yasit, alias ’RubberLegz’ jambes en caoutchouc ». On y retrouvera deux perles, emblématiques et rares, intimes et complexes, tirées du répertoire de l’ancien directeur du Ballet de Francfort. Duo, où les danseurs finissent par devenir une horloge qui abolit les limites en retournant à son point de départ », créé en 1996, est devenu DUO2015 grâce à une nouvelle incarnation, cette fois masculine ; Catalogue, d’une complexité presque baroque », sublime la complicité ancienne qui unit ses deux interprètes. Le temps d’une soirée, peut-être moins calme qu’annoncée, souvenirs retrouvés et créations témoignent de l’incroyable vitalité artistique de Forsythe, modeste géant de la danse contemporaine, qui n’hésite pas à revisiter le passé pour se réinventer au présent. 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Dance October-December 2015 ATERBALLETTOTEMPESTA / THE SPIRITS CoreograPHY Cristina Rizzo Idea and costumes Cristina Rizzo Music Autori Vari Sound advice... William Forsythe and Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz” Yasit, Ander Zabala Sadler’s Wells 4–6 October 2018 William Forsythe can still surprise his faithful audience—after some forty-five years in the choreography business. When he labels something A Quiet Evening of Dance, one imagines a chamber evening, delicate, elegant—it is that as well—but literally quiet, no music for forty-five minutes? Jean-Philippe Rameau comes as manna from heaven in the second half. Act 1 Prologue / Catalogue / Epilogue and Dialogue this last one formerly known as DUO2015 tests us, primes us for the thirty-five minute Act 2 Seventeen / Twenty One. And what a joy, what a relief that music is, there’s a release of held breath in the audience, and the applause comes hard, fast and frequent. No sound, imagine three quarters of an hour with only the breathing of the dancers—as well as the inevitable coughing, seats squeaking and phones vibrating. Lights stay up, dimmed but up, we are exposed in this lecture hall. A seminar for the avid dancer or committed dance fan; for the general public I’m not so sure. A sense of discomfort—no one dares to clap till the end, and there are in essence four linked pieces in this first half. Forsythe doesn't make it easy the evening is a vigorous disquisition on classical ballet. But stay with it and all is revealed. Moves that looked dry and academic without sound are transformed by added music. Merce Cunningham, naturally, springs to mind. It is all of a piece, but we don't know this until the second act, when the ballet mécanique of the first becomes the courtly dance of the seventeenth century transcribed into the twenty-first hence the title. Heads, shoulders, knees and toes—no not really—but that’s what this playful Prologue / Catalogue / Epilogue is. In long evening gloves the better to see the arm parabolas and casual rehearsal clothes, couples demonstrate and point to body parts, their synchronised and sequential moves creating a rhythmic visual music of their own. Arms semaphore, a catalogue of moves builds up, could be calisthenics, hips move, bodies tilt, heads nod I think sacrilegiously of toy nodding dogs, backs arch so this is where Wayne McGregor found his vocabulary?. Timing and coordination shifts, feet point, ronde de jambe, arms curve, wrists flick, and so on. A deconstructed classical ballet vocabulary builds. Moves speed up, claps are introduced—there’s something music hall about it. This could be fun. We could all do this if we tried. See. Not really—these dancers are drilled to the nth degree. With the seamless introduction of supple hip-hop dancer, Rauf “RubberLegz” Yasit, who “learnt the rudiments of ballet in five weeks” Sarah Crompton’s invaluable programme interview with Forsythe into the mix, is Forsythe showing dance’s evolution or that all dance is codified from an original matrix? And where did this matrix come from? Why the court of Louis XIV Jennifer Homans’s book Apollo’s Angels Forsythe’s challenge and inspiration. Bathed in Rameau’s music, those isolated and isolating moves of act I are a revelation. Music is the symbiotic soul of dance, its carriage and its air. Forsythe has played his audience well, joyfully, wittily. Look again; see better. The baroque is still with us—gestures and poses, etiquette and sign language—be it in street dance or classical ballet. Space, timing, nuance, structure, organisation… The body as a vessel of beauty, metaphor, expression, pleasure, and the rest of it… solos, duets, sparring, tying themselves in knots. Experimenting. Yasit certainly adds much to the mix, his floor work something else, but the whole cast is impeccable. The seven dancers, listed as equal collaborators, are pinpoint perfect, their contact work superb, their musicality and timing faultless. The audience is delighted cheers and a standing ovation for these demonstrative crotchets and quavers. Forsythe’s career is heavily award-laden—his latest is the Fedora-Van Cleef & Arpels Prize for Ballet 2018. October sees A Quiet Evening of Dance in Belgium and Australia, next February in Athens, April in Luxembourg.

a quiet evening of dance william forsythe