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BFI - Sidnejska kompanija igre

Programs on stage
Date: 04 April 2018 20:00

Venue: Velika dvorana

Cene ulaznica: 1700, 1900 i 2300 dinara

Sidnejska kompanija igre|Sidnej

Sydney Dance Company
Sydney, Australia


Gnu, Gabrijela Nenkajvel
Lux Tenebris, Rafael Bonačela
Pun mesec, Čeng Cung Lung
Sidnejska kompanija igre
Sidnej, Australija


Gnu/Wildebeestsip
koreografija/choreography: Gabrielle Nankivell
kostimi/costumes: Fiona Holley
dizajn svetla/light design: Matthew Marshall
kompozicija i dizajn zvuka/composition and sound design: Luke Smiles / motion laboratories

trajanje/duration: 25’
premijera/premiere: Carriageworks, 2014

Komad "Gnu" je visoko-energetski vrtlog fizikalnosti igrača. Sa glavom vola, zadnjim delom antilope, a grivom i repom konja, gnu se poput animacije lako pretvara iz obične životinje u stvorenje iz mašte. Oluje i predatori instinktivno se okupljaju u stada, dok njihova migracija pokreće drevnu mašineriju. „Gnu“ je zbir telesnih fascinacija igrača - njihova pojedinačna moć i njihova snaga u masi – njihov unutrašnji gnu.
 ”Wildebeest” is a high-energy tour de force of the dancers physicality. With the head of an ox, the hindquarters of an antelope and the mane and tail of a horse, the wildebeest as image morphs easily between living animal and fanciful creature. Storms and predators gather as instinct stirs the herd and migration whirrs into action like an ancient machine. Wildebeest is an assemblage of the dancer’s fascination for physicality - their power as individuals and strength en masse - their wildebeests within.

Gabrijel Nenkivel je australijska rediteljka i izvođač, formativno vezana za Evropu. Upućena na pomalo nomadsku egzistenciju, njen rad karakterišu ideje o prolaznosti. Sa iskustvom utemeljenom na pisanju i improvizaciji, njena hibridna koreografska praksa priziva maštu, biće i čulo memorije, ističući percepciju kao kreativnu i performativnu priliku. Nenkivelova je svoj rad potvrdila kroz brojne koreografske rezidencije, a imala je priliku da kreira u Jermeniji, Belgiji, Portugalu, Singapuru i Sloveniji. Bila je konsultant koreografije i scenskog pokreta u različitim pozorišnim i filmskim produkcijama. U Evropi je nastupala u produkcijama belgijskog umetnika Aleksandera Baervotsa i za trupu Ultima Vez koreografa Vima Vandekejbusa, a sarađivala je i sa Jurijem Konjarom (Slovenija), Raulom Maiom (Portugal) i Tomasom Stijertom (Belgija). Radila je i u Nemačkoj i Danskoj, a u Australiji je sarađivala sa brojnim trupama i umetnicima, među kojima su Australijski plesni teatar, kolektiv Životinjska farma, trupa Chunky Move, Gejvin Veber, Grejson Milvud, kompanije KAGE  i Torque Show... Diplomirana je igračica i magistar književnosti. Njena postavka „Gnu“ nastala za Sidnejsku kompaniju igre, imenovana je od strane australijske kritike za Najbolje ostvarenje 2014. godine.
Gabrielle Nankivell is an Australian director and performer with formative ties to Europe. Informed by a somewhat nomadic existence, her work is concerned with notions of impermanence. Derived primarily from writing and improvisation, her hybrid choreographic practice invokes imagination, creature and sense memory while supporting perception as a creative and performative condition. She has been awarded numerius choreographic residencies, and created works in Armenia, Belgium, Portugal, Singapore and Slovenia. She also provides choreography and movement consultancy across various stage and film productions. In Europe, she was performing for Belgian artists Alexander Baervoets and Ultima Vez/Wim Vandekeybus and collaborating with Jurij Konjar (Slovenia), Raul Maia (Portugal) and Thomas Steyaert (Belgium). She has also lived and worked in Germany and Denmark. Since re-connecting with Australia through her own projects she has worked with Australian Dance Theatre, Animal Farm Collective, Chunky Move, Gavin Webber, Grayson Millwood, KAGE and Torque Show... Nankivell holds a Bachelor of Dance and a Master of Arts in Writing. Her “Wildebeest“ choreographed for Sydney Dance Company, was named in the 2014 Dance Australia Critics Survey for being Best New Work.

Nenkivelova je napravila neosporan hit večeri!
Nankivell, made the undisputed hit of the night!
© The Australian

Svetlost mraka/Lux Tenebris
koreografija/choreography: Rafael Bonachela
muzika/music: Nick Wales
kostimi/costumes: Aleisa Jelbart
dizajn svetla i scene/light and sets design: Benjamin Cisterne
muzički aranžman/music mix: Bob Scott
dizajn zvuka/sound design: Ilia Bezroukov, David Trump
električna violina/electric violin: Veronique Serret
električno čelo/electric cello: Kate Moore
dupli bas/double bass: Maxime Bibeau
dodatne perkusije/additional percussion: Laurence Pike

trajanje/duration: 36’
premijera/premiere: Roslyn Packer Theatre Walsh Bay, 2016      

Svetlost u tami. Ovaj komad je započet, a zatim vođen idejom o tome na koji način muzika treba da zvuči. Radio sam sa Nikom Vejlsom dok je komponovao – uneo sam se u taj proces kako bih dotakao novi smisao… Za mene je pokretačka snaga sadržana u načinu na koji svetlost i tama utiču na nas, na naše raspoloženje, na način na koji prizivaju sećanja na određene periode u našim životima… Fizički smisao svetlosti i tame, obojen emocijama koje prožimaju te kontrastne svetove… Igrači su oduvek moji verni saradnici. Pre nego što bi bilo koji pokret bio usvojen, pozivao sam igrače da kreativno i sasvim slobodno odgovore na numeru. Neki su odgovarali crtežom, neki poezijom, neki prozom. Ti inicijalni odgovori postali su deo procesa i stvaranja. Igrači daju sve svoje lično. Oni svoja iskustva iznose u studiju, a međusobno poverenje ansambla doprinosi našoj autentičnosti i otvorenosti. Zbog toga sam veoma zahvalan.
 
Light in Darkness. This work started and was driven by how the music should sound. I worked with Nick Wales as he composed – I fed into that process to capture an emotional sense… For me, there was a driving force about how light and darkness affects us all, our moods, our memories of specific periods in our lives… The physical sense of light and darkness, overlaid with the emotional connections to those contrasting worlds… The dancers have always been my faithful collaborators. Before any movement came into play, I invited the dancers to creatively respond to the score in whatever way they wanted to. Some responded with drawing, some with poetry, some with prose. These initial responses all became part of the process and creation. The dancers give of themselves personally. They bring their own experiences to the studio, and the trust we have as an ensemble delivers its own authenticity and openness. For that I am very grateful.
Rafael Bonachela


Rafael Bonačela je rođen u Barseloni, gde je započeo svoju prvu igračku obuku pre odlaska u London, gde 1992. godine postaje član Rambert kompanije. U toj trupi ostaje kao igrač i asistent koreografa sve do 2006. godine, kada uspešno započinje stvaranje sopstvene trupe (Bonacela Dance Company) koja je uticala na vrtoglav uspon njegove koreografske karijere. Kao koreograf, stvarao je često i za druge svetske renomirane kompanije. Godine 2008., premijerno je izveden njegov prvi celovečernji komad "360°" za Sidnejsku kompaniju igre. Nekoliko meseci kasnije, imenovan je za umetničkog direktora ove trupe, i našao se u centru pažnje svetske kulturne javnosti. Njegova vizija se oslanja na princip po kome repertoar raste dodavanjem naručenih komada koreografa iz Australije, ali i angažovanjem koreografa iz inostranstva. Originalna dela su često na programu, uz Bonačeline kreacije, što obezbeđuje raznolikost programa za publiku, a njegovom izvanrednom ansamblu igrača mogućnost saradnje sa nekim od najtraženijih autora našeg vremena. Bonačelin međunarodno priznat talenat pružio mu je priliku za  rad ne samo u oblasti vrhunske savremene igre, već i za saradnju sa umetnicima iz pop kulture, kao što su Kajli Minog, Tina Tarner, Sara Blasko i Kejti Nunan, kao i sa vodećim modnim dizajnerma Dion Lijem i Tonijem Matičevskim. Ti susreti su se odrazilii na njegovu inspiraciju koju crpi iz kulture sadašnjeg trenutka. Od premijere dela "360°", uradio je nekoliko komada za Sidnejsku kompaniju igre, uključujući "Mi otkrivamo" (2009), "6 udisaja" (2010), "Landforms" (2011), "Jedan drugome" (2012), "Projekat Ramo" (2012), "Uzbuna" (2013), "Iluminacije "(2013), "2 u d-mollu "(2014)," Rasute rime" (2014) i "Okvir uma" (2015). Pored toga, obnovio je izuzetan repertoar koji je stvarao za svoju kompaniju, kao što su naslovi "Soledad i ironija sudbine" (2010) i "Zemlja DA i Zemlja NE" (2011)... Bio je pobednik u kategoriji igre za Umetničku nagradu Australije, 2013. godine, a u jednom  sidnejskom magazinu naveden je na listi najuticajnijih ljudi u 2012. zbog  zasluga u afirmaciji umetničke igre od trenutka preuzimanja funkcije direktora Sidnejske kompanije igre i selektora festivala savremene igre – Spring Dance u sidnejskoj Operi. Godine 2013., Bonačela je ovenčan  Počasnim krstom  za civilne zasluge od strane Nj.V. Kralja Španije. Takođe, dobitnik je mnogih drugih važnih nagrada u Australiji i inostranstvu.

Rafael Bonachela was born in Barcelona where he began his early dance training before moving to London, and in 1992 joined the legendary Rambert Dance Company. He remained with Rambert as a dancer and Associate Choreographer until 2006 at which time he successfully set up the Bonachela Dance Company (BDC) to concentrate on the rapid rise of his choreographic career. As a choreographer, he has been commissioned to make works for Candoco, George Piper Dances, ITDANSA Danza, Contemporanea de Cuba, Transitions Dance Company and Dance Works Rotterdam amongst others. In 2008, he premiered his first full-length work „360°“ for Sydney Dance Company. Few months later, he was appointed Artistic Director making headlines around the dance world. His vision for the Company embraces a guiding principle that has seen the repertoire grow with the addition of commissioned dance works from Australian and visiting international guest choreographers. The premiere works are often programmed alongside Bonachela’s own creations, ensuring diversity for audiences and providing much sought after opportunities for his remarkable ensemble of dancers to be exposed to the work of some of the most in-demand choreographers of our time. Bonachela’s internationally recognised talent has seen him work not only with contemporary dance at the highest level but also with artists from popular culture, such as Kylie Minogue, Tina Turner, Sarah Blasko and Katie Noonan as well as leading fashion designers Dion Lee and Toni Maticevski. Such collaborative efforts reflect the inspiration he finds and utilises from culture today. Since the premiere of “360°“, he has created several pieces for Sydney Dance Company including „we unfold“ (2009), “6 Breaths“ (2010), “LANDforms“ (2011), “2 One Another“ (2012), “Project Rameau“ (2012), “Emergence“ (2013), “Les Illuminations“ (2013), “2 in D Minor“ (2014), “Scattered Rhymes“ (2014) and „Frame of Mind“ (2015). In addition, he has remounted outstanding repertoire from BDC such as “Soledad and Irony of Fate“ (2010) and “The Land of Yes & The Land of No“ (2011)... He was named winner of the dance category for The Monthly’s 2013 Arts Awards and listed as one of the (Sydney) magazine’s Top 100 Most Influential People in 2012 for his efforts to popularise dance since taking on the job of Artistic Director with Sydney Dance Company and as curator of Australia’s international festival of contemporary dance, Spring Dance at the Sydney Opera House. In 2013, Bonachela was honoured with an Officer’s Cross of the Order of Civil Merit by His Majesty the King of Spain. He is also a receipent of numerious other important awards in Australia and abroad.  


Neočekivan napad, izdržljivost za divljenje i silna tehnika.
Feisty attack, admirable stamina and formidable technique.
© Sydney Morning Herald
Visceralna, ćudljiva eksplozija kretanja i moći.
A visceral, moody explosion of movement and power.
© The Daily Telegraph
Za ljubitelje savremene igre “Lux Tenebris” je poslastica, komad koji slavi ljudsko telo kroz tečan pokret i uzbudljiv sadržaj ...
For lovers of contemporary dance “Lux Tenebris“ is a treat, celebrating the human body through ever flowing movement and dramatic configuration...
© The Daily Telegraph
Igra je zapanjujuća. Svi igrači su u svom punom vrhuncu, telesno i emocionalno, potpuno posvećeni delu i osnaženi  smelom i inovativnom koreografijom.
The dancing is astonishing. All the dancers are at their absolute peak, physically and emotionally, totally committed to the work and empowered by this daring, edgy piece of choreography.
© ArtsHub


Pun mesec/Full Moon
koreografija/choreography: Cheng Tsung Lung
muzika/music: Lim Giong
kostimi/costumes: Fan Huai-Chih
dizajn svetla/light design: Damien Cooper

trajanje/duration: 40’
premijera/premiere: Sydney Opera House, 2017


Živeći u našem savremenom svetu, izražajna svetla grada su me beskrajno fascinirala i zauzimala međuprostore u mom pogledu i osećanjima tokom noći. Nasuprot tome, mesec, prirodni simbol lepote, isijava svetlost u moje oči i pomaže mi da otkrijem tajne nesvesnog sveta koji ne poznajem, ali osećam da postoji.

Living in our modern world, the vibrant city lights have endlessly fascinated me and occupied the interspaces of my sight and feelings at night. On the contrary, the moon, nature’s symbolic beauty of night, shines light into my eyes and helps me uncover the mysteries of the unconscious world which I do not know, yet I feel exist.
Cheng Tsung-Lung


Koreograf i igrač, Čeng Cung-Lung na mestu je umetničkog direktora kompanije Cloud Gate 2 od 2014. godine. Njegova porodica poseduje fabriku papuča. Prodaja papuča na trotoaru odredila je deo njegovog detinjstva i odrastanja. Dinamika uličnog života i ponašanje običnih ljudi, postali su njegova umetnička inspiracija. Po sticanju diplome na Odseku umetničke igre Nacionalnog univerziteta umetnosti u Tajpeju, Čeng Cung-Lung je nastupao širom sveta sa tajvanskom trupom Cloud Gate. Radio je kao stalni koreograf kompanije Cloud Gate 2 od 2006-2010. godine. Pobednik je koreografskog takmičenja No Ballet u Nemačkoj (2006), Koreografskog takmičenja Premio Roma u Italiji (2008), Masdanza koreografskog takmičenja u Španiji (2011) i dobitnik Taišin nagrade za umetnost (2012) - najprestižnije umetničke nagrade Tajvana. Cung-Lung je proglašen Umetnikom 2011. godine od strane Kritike scenskih umetnosti Tajvana, i nagrađen umetničkom stipendijom Saveta za kulturu Azije koja mu je obezbedila da provede 10 meseci u Njujorku, 2012. godine. Radio je koreografije i obnovio komade za londonsku kompaniju Transitions u Laban centru; kompaniju Expressions iz Brizbejna; Akademiju scenskih umetnosti iz Hongkonga i tajvansku trupu Focus Dance. Njegove produkcije sa Cloud Gate 2 uključuju komade: "Dostojanstvena šala", "Promena", "Zid", "Sreća i muzika", "Pukotina", "Tužni čas", "Dorijan Grej", i "Dozivanje". Godine 2016, njegov komad "13 jezika" rađen za tajvanski Festival umetnosti, premijerno je izvela kompanija Cloud Gate 2 u Nacionalnom teatru Centra za scenske umetnosti u Tajpeju.

A choreographer and a dancer, Cheng Tsung-Lung has served as the Artistic Director for Cloud Gate 2 since 2014. His family owns a slipper factory. Hawking slippers on the sidewalk was part of his childhood and adolescent life. The dynamics of street life and pedestrians’ behaviour later became the inspiration for his choreography. After graduating from the Dance Department of Taipei National University of the Arts, Cheng performed internationally with Cloud Gate Dance Theatre of Taiwan from 2002 to 2004. He served as the Resident Choreographer for Cloud Gate 2 from 2006 to 2010. He is the winner of the No Ballet International Choreography Competition, Germany (2006), the Premio Roma Danza Choreography Competition in Italy (2008), the 16th Masdanza Choreography Competition in Spain (2011), and the Taishin Arts Award (2012) – the most prestigious arts prize in Taiwan. Tsung-Lung was honoured as “Artist of 2011“ by the Performing Arts Reviews, Taiwan, and awarded the Arts Fellowship by the Asian Cultural Council to spend 10 months in New York in 2012. Cheng has choreographed and restaged works for Transitions Dance Company at the Laban Centre, London; Expressions Dance Company, Brisbane; the Hong Kong Academy for Performing Arts; and Focus Dance Company, Taiwan. His productions with Cloud Gate 2 include “A Dignified Joke“, “Change“, “The Wall“, “Happiness and Music“, “Crack“, “Blue Hour“, “Dorian Gray“, and “Beckoning“. In 2016, his work “13 Tongues“, commissioned by Taiwan Festival of Arts, was premiered by Cloud Gate 2 at the National Theater, the National Performing Arts Center in Taipei.


U Čeng Cung-Lungovom sjajnom "Punom mesecu" postoji dubok osećaj beskarjnog pokreta, i to ne  samo zbog toga što njegov rukopis poseduje uzbudljive erupcije i obuzimajuće vrtloge. Neumoran život tutnji čak i u onim trenucima koji se učine kao potpuni mir.
In Cheng Tsung-Lung’s luminous “Full Moon“ there is a profound sense of eternal motion, and not only because his piece has thrilling eruptions of speed and fullbodied swirls. There is vivid life even in moments of what appears to be complete stillness.
© The Australian
Sjajan praznik za oči i uši sa prelepim lepršavim kostimima, blistavo komponovanom muzikom i magičnim osvetljenjem.
A splendid feast for eyes and ears with gorgeously flowing costumes, gleaming commissioned score and magical lighting.
© The Australian

Svetska klasa...iskustvo toliko uživajuće i mistično kolko i sam mesec.
World class... an experience as enjoyable and enigmatic as the full moon.
© Daily Telegraph


Sidnejska kompanija igre je poznata sila australijske savremene scene. Njihovi nastupi se odigravaju na velikim scenama širom sveta, od Opere u Sidneju do Džojs teatra u Njujorku, od šangajskog Grand teatra do Teatra Stanislavski u Moskvi. Igrači ove trupe ostavili su publiku bez daha, predstavljajući  australijsku umetnost svetu, i dovodeći svet u Australiju. Umetnička igra u Australiji bila bi nezamisliva bez ove kompanije. Aktivno kreirajući i predstavljajući na turnejama nove komade, pod umetničkom direkcijom Rafaela Bonačele, kompanija poseduje ansambl od 16 izuzetnih igrača. Program obuhvata postavke samog Bonačele kao i gostujućih koreografa, uključujući Jakopa Godanija, Aleksandera Ekmana i Gideona Obarzenika, kao i saradnje sa australijskim Kamernim orkestrom i sidnejskim Simfonijskim orkestrom, ali i kompozitorima 48nord i Ecijom Bosom. Sidnejska kompanija igre je nastala od trupe koju je 1969. godine osnovala igračica Suzan Musić. Poznata kao Kompanija igre, od 1975-1976. trupu je bila predvođena od strane holandskog koreografa Japa Fliera, pre imenovanja njegovog australijskog kolege Grejma Marfija. Marfi i njegova partnerka Dženet Vernon, promenili su ime trupi u Sidnejska kompanija igre, 1979. godine, i nastavili da je vode punih 30 godina. Zajedno sa svojim saradnicima, Marfi je postavljao radove koji su opčinili publiku u Australiji i na velikim međunarodnim turnejama, uključujući i to da su se nametnuli kao prva zapadna kompanija savremene igre koja je redovno nastupila u Kini. Sidnejsku kompaniju igre od 2009. godine vodi Rafael Bonačela. Tokom proteklih godina kompanija je učvrstila reputaciju kreativnog giganta, sa priznatim umetničkim timom, predstavljajući Bonačeline nove komade, ali i naslove koje potpusuju drugi koreografi, dizajneri, kompozitori i muzičari. Od 1985. godine kompanija deluje u nekoliko namenskih studija u Vorfu u Sidnej Velš Beju koji se nalaze nedaleko od čuvenog mosta i zgrade Opere. Njihove baletske sale nude brojne časove umetničke igre australijskoj javnosti, i beleže skoro 80.000 polaznika godišnje.    

Sydney Dance Company is a legendary force in Australian contemporary dance. Its performances have appeared on the great dance stages of the world, from Sydney Opera House to Joyce Theatre in New York, Grand in Shanghai and Stanislavsky in Moscow. Its dancers have left audiences breathless, it has presented Australian art to the world, and brought the world to Australia. Dance in Australia would be inconceivable without it. Actively creating and touring new work under the artistic directorship of Rafael Bonachela, the Company maintains an ensemble of 16 exceptional dancers. Programs of dance include works by Bonachela and by guest choreographers including Jacopo Godani, Alexander Ekman and Gideon Obarzanek, as well as collaborations with the Australian Chamber Orchestra and the Sydney Symphony Orchestra and with composers 48nord and Ezio Bosso. Sydney Dance Company has its origins in a group founded in 1969 by dancer Suzanne Musitz. Soon known as The Dance Company (NSW), from 1975-1976 the Company was directed by Dutch choreographer Jaap Flier, before the appointment of Australian choreographer Graeme Murphy in 1976. In 1979 Murphy and his partner Janet Vernon instituted the defining name change to Sydney Dance Company and proceeded to lead it for a remarkable 30 years. Murphy and his collaborators created work that enthralled audiences in Australia and in extensive international touring, including being the first western contemporary dance company to perform in China. Sydney Dance Company has been led since 2009 by Rafael Bonachela. Over the past years the Company has cemented its reputation as a creative powerhouse, with an acclaimed group of dancers presenting new work by Bonachela and other choreographers, designers, composers and musicians. Since 1985 the Company has been a resident of the purpose-built studios at The Wharf in Sydney’s Walsh Bay, minutes from the city’s famed Bridge and Opera House. Its studios offer the largest public dance classes in Australia, with nearly 80.000 attendances annually.

 

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