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BFI 2017 - Balet BC, Vankuver

Kategorija
Muzičko-scenski
Datum
24 mart 2017 20:00
Venue
Velika dvorana
Cene ulaznica: 1600, 1900 i 2300 dinara

Balet BC Vankuver, Kanada / Ballet BC Vancouver, Canada

Usamljeni eho/Solo Echo

koreografija/choreography: Crystal Pite

muzika/music: Johannes Brahms: Allegro non troppo: Cello Sonata Op. 38 in e minor, Adagio affettuoso: Cello Sonata Op. 99 in F major|Yo-Yo Ma, cello, Emanuel Ax, piano|Recording used by arrangement with Sony Music Entertainment Canada, Inc.

scena/set design: Jay Gower Taylor

kostimi/costume design: Crystal Pite and Joke Visser

dizajn svetla/lighting design: Tom Visser

postavka/staged by: Eric Beauchesne

trajanje/duration: 22’

premijera/premiere: NDT 1, 2012 | Ballet BC, 2015

Nekoliko Bramsovih sonata za čelo i klavir bili su motiv za ovo delo. Alegro iz opusa 38, napisan na vrhuncu kompozitorove karijere i Adađo iz opusa 39, otprilike 20 godina kasnije. Ove sonate, zapravo dve različite celine, predstavljale su polaznu tačku u brojnim trenucima mog kreativnog života. Prvi pokret je izražen kroz solo deonice i duete, koji su ponekad bujni i strastveni, ponekad nametljivi, nesmotreni, agresivni. To su odlike osobe koja je u najboljim godinama života, a Alegro odjekuje ambicijom i hrabrošću. Istraživala sam fizička stanja brzine i protoka, i energetski konflikt unutar i između ljudskih tela. Drugi deo, postavljala sam na sačuvani, emotivni Adađo. I tada sam se bavila idejom stvaranja jedinstvene celine, sačinjene od sedam igrača; kao kolektivno telo, otkrivene i rušilačke strukture, koje zahteva ogromnu koordinaciju i usaglašenost. Njegovi sastavni delovi su posebne ličnosti, ali u zajedničkom delovanju to je sadržajno i kompleksno biće. Ista žudnja koja karakteriše pojedinačne karaktere, manifestuje se i udružena. Jasno, saradnja je od suštinskog značaja za drugi deo, u kome sam pokušala da kažem nešto o prihvatanju i gubitku. Zbog toga, je bilo potrebno ostaviti konflikt po strani, i isporučiti njegovu suprotnost.

The impetus for this work was a couple of Brahms sonatas for cello and piano. Allegro from Opus 38, written in the prime of Brahms’ life and Adagio from Opus 99, about 20 years later. These sonatas, and these two movements in particular, have been a touchstone for me at various points in my creative life. The first movement is expressed through solos and duets that are sometimes exuberant and passionate, sometimes urgent, reckless, aggressive. These are the states of a person in the prime of life and the Allegro resonates with that ambition and fortitude. I was exploring physical states of speed and flow, and the energizing conflict inside the body and between bodies. The second movement is set to the spare, soulful Adagio. Here I was working on the idea of creating a single entity made of seven dancers; a collective body, with unfolding and collapsing structures that required enormous co-ordination and consonance. Its component parts are individuals, but as a whole it is its own expansive and complex being. The same yearning that is present in the single character is manifested exponentially. Clearly, co-operation is essential to the second movement, in which I was trying to say something about acceptance and loss. For that, I needed to put conflict aside and deliver its opposite.

Crystal Pite

Kao igračica, kanađanka Kristal Pajt je bila članica Baleta Britanske Kolumbije i Baleta Frankfurt Vilijama Forsajta. Njen koreografski debi dogodio se 1990. godine, sa Baletom Britanske Kolumbije. Od tada je kreirala preko 40 radova za kompanije kao što su Holandski plesni teatar (NDT 1), Kulberg Balet, Balet Frankfurt, Nacionalni balet Kanade, Veliki kanadski balet iz Montrela, Balet džez Montreal, Cedar Lake balet, kompaniju Luize Lekavalije/Fou Glorieux, i mnoge druge. Istovremeno, sarađivala je sa pozorišnom kompanijom Electric Company i Robertom Lepažom. Pajtova je stalni umetnički saradnik Holandskog plesnog teatra, kanadskog Nacionalnog centra za umetnost, kao i Teatra Sadlers Vels iz Londona. Svoju trupu Kidd Pivot, osnovala je 2002. godine u Vankuveru. Integrišući pokret, originalnu muziku, tekst i bogati vizuelni dizajn, radove ove kompanije karakteriše podjednako puna sloboda i disciplina, odnosno balansirajuće oštra preciznost, u korak sa odsustvom pravila i rizikom. Prepoznatljivi koreografski jezik kompanije – širina pokreta u fuziji sa klasičnim elementima, kompleksnost i sloboda strukturisane improvizacije - obeležen je snažnim pozorišnim senzibilitetom, smislom za humor i inovaciju. Kidd Pivot nastupa u zemlji i svetu, izvodeći svoje tražene, a od kritike hvaljene produkcije: “Tamne materije”, “Izgubljena akcija”, “The You Show”, “The Tempest Replica”... Kontinuirani boravak trupe u frankfurtskom centru Künstlerhaus Mousonturm (2010–2012) pružio je mogućnost stvaranja i kontinuiranog predstavljanja evropskoj publici. Pajtova je dobitnica Kliford E. Li nagrade Banf centra (1995), severnoameričke koreografske nagrade Boni Bird (2004) i Nagrade Isidora (2005). Njeni radovi su zavredeli dve Dora Mavor Mur nagrade (2009 i 2012) i pozorišnu Nagradu Džesi Ričardson (2006). Dobitnica je Nagrade za scenske umetnosti koju dodeljuje guverner Kanade (2008), Nagrade Jacob’s Pillow festivala (2012) i Nagrade Žaklin Lemije koju dodeljuje Kanadski savet (2012). Nagradu Lorens Olivije za izuzetno ostvarenje u oblasti umetničke igre, dobila je 2015. godine.

Canadian choreographer and performer Crystal Pite is a former company member of Ballet British Columbia and William Forsythe’s Ballet Frankfurt. Pite’s professional choreographic debut was in 1990, at Ballet British Columbia. Since then, she has created over 40 works for companies such as NDT 1, Cullberg Ballet, Ballet Frankfurt, National Ballet of Canada, Les Ballets Jazz de Montréal, Cedar Lake Contemporary Ballet, Ballet British Columbia, and Louise Lecavalier/Fou Glorieux. She has also collaborated with Electric Company Theatre and Robert Lepage. Pite is Associate Choreographer of NDT 1, Associate Dance Artist of Canada’s National Arts Centre and Associate Artist at Sadler’s Wells, London. In 2002, she formed Kidd Pivot in Vancouver. Integrating movement, original music, text, and rich visual design, Kidd Pivot’s performance work is assembled with recklessness and rigour, balancing sharp exactitude with irreverence and risk. The company’s distinct choreographic language – a breadth of movement fusing classical elements and the complexity and freedom of structured improvisation – is marked by a strong theatrical sensibility and a keen sense of wit and invention. Kidd Pivot tours nationally and internationally, performing such highly-demanded and critically acclaimed works as “Dark Matters”, “Lost Action”, “The You Show” and “The Tempest Replica”. Kidd Pivot’s residency at the Künstlerhaus Mousonturm in Frankfurt (2010-2012) provided the opportunity of creation and constant presentation of works to European audiences. Pite is the recipient of the Banff Centre’s Clifford E. Lee Award (1995), Bonnie Bird North American Choreography Award (2004), and Isadora Award (2005). Her work has received several Dora Mavor Moore Awards (2009, 2012), and a Jessie Richardson Theatre Award (2006). She is the recipient of the 2008 Governor General of Canada’s Performing Arts Award, the 2011 Jacob’s Pillow Dance Award, the inaugural Lola Award in 2012, and the Canada Council’s 2012 Jacqueline Lemieux Prize. Most recently, she received a Laurence Olivier Award (2015) for Outstanding Achievement in Dance.

…toliko oštar da je ostavio premijernu publiku u tišini nekoliko trenutaka pre nego što se prolomio aplauz…

 ...so poignant it left the audience on opening night in silence for several moments before breaking into applause…

© The Georgia Straight

 

 

Bil/Bill

koreografija, dizajn kostima/choreography, costume design: Sharon Eyal, Gai Behar

muzika i dizajn zvuka/music and sound design: Ori Lichtik

dizajn svetla/lighting design: Omer Sheizaf

postavka/staged by: Osnat Kelner

trajanje/duration: 26’

premijera/premiere: Batsheva Dance Company, 2010 | Ballet BC, 2016

Karakterističan stil Ejalove, i odvažni, senzualni koreografski jezik, zahteva od igrača posvećen i precizan izraz. Radeći kontinuirano sa umetnicima Gajem Beharom i Orijem Lihtikom, koreografkinja u ovom komadu kombinuje igru, muziku i dizajn, u momentalno prepoznatljivu sirovu celinu neočekivane lepote, nastale od jednakih delova plime i oseke.

Eyal’s signature style and daring, sensual language requires of dancers an intricate and precise expression of the body. Working with frequent collaborators Gai Behar and Ori Lichtik, in “Bill”, Eyal combines dance, music and design into an instantly recognizable whole of raw, unexpected beauty created with equal parts ebb and flow.

Igračica i koreografkinja Šaron Ejal je rođena u Jerusalimu. Igrala je sa Kompanijom Batševa od 1990- 2008. godine, i počela da stvara koreografije u okviru kompanijskog projekta “Batševini igrači kreiraju”. Radila je kao saradnik umetničkog direktora ove trupe, u periodu 2003-2004. godine, i kao stalni koreograf kompanije od 2005-2012. godine. Tokom 2009. godine, počela je da stvara komade za druge plesne kompanije, širom sveta: “Killer Pig” (2009) i “Corps de Walk” (2011) za Carte Blanche iz Norveške; “Too Beaucoup” (2011) za Hubbard Street Dance iz Čikaga, “Plafona” (2012) za nemačku Plesnu kompaniju Oldenburga, “Crno bez naslova” (2015) za Plesnu kompaniju Opere Geteborga... Godine 2013., osnovala je trupu L-E-V, zajedno sa svojim dugogodišnjim saradnikom Gajom Beharom. Ejalova je dobitnica mnogih priznanja, uključujući i Nagradu Ministarstva kulture Izraela (2004) za mlade stvaraoce, i Landau nagradu za scenske umetnosti (2009). Godine 2008., ponela je titulu Izabranog umetnika Fondacije za kulturnu izuzetnost Izraela.

Sharon Eyal was born in Jerusalem. She danced with the Batsheva Dance Company from 1990 until 2008, and began choreographing within the framework of the company’s “Batsheva Dancers Create” project. Eyal served as Associate Artistic Director of Batsheva, between 2003-2004, and House Choreographer of the company between 2005-2012. In 2009 Eyal began creating pieces for other dance companies in the world: “Killer Pig” (2009) and “Corps de Walk” (2011) for Norway’s Carte Blanche; “Too Beaucoup” (2011) for Hubbard Street Dance Chicago, “Plafona” (2012) for Tanzcompagnie Oldenburg, “Untitled Black” (2015) for Goteborg’s Opera Dance Company… In 2013, Eyal launches L-E-V with her long-time collaborator Gai Behar. Eyal is the recipient of numerous awards, including the 2004 Ministry of Culture Award for young dance creators and the 2009 Landau Prize for the Performing Arts in the dance category. In 2008, she was named a Chosen Artist of the Israel Cultural Excellence Foundation.

Gaj Behar je imao značajnu ulogu u kreiranju noćnog života Tel Aviva, takođe kao kurator multidisciplinarnih umetničkih događaja, u periodu od 1999-2005. godine. Sa Ejalovom je prvi put sarađivao na predstavi “Bertolina” (2005), i od tada neprekidno deluju zajedno.

Gai Behar was taking a big part of Tel Aviv nightlife scene as well as a curator of multidisciplinary art events from 1999 till 2005. He joined Eyal in co-creating “Bertolina” (2005), and has collaborated on her creations ever since.

“Bil” Šaron Ejal nije samo još jedan dobro koreografisan komad, već upravo prekretnica, značajna i čudesna kreacija vešte i zrele umetnice koja se ne plaši složenosti.

Sharon Eyal’s “Bill” is not just another well choreographed piece, but rather a milestone, a significant and wondrous creation by a skilled and mature artist who is not afraid of complexity.

© Ynet

Osnovana 1986. godine, Balet BC je međunarodno priznata trupa, zasnovana na principima saradnje i kreacije, a danas je pravi predvodnik umetničkog stvaranja, produkcije i obrazovanja u oblasti savremene igre u Kanadi. Igrači Baleta BC su umetnici otvorenog i promišljenog uma, jedinstveni u svom dinamičnom pokretu, dok istovremeno dele intuitivnu strast za igrom. Balet BC je posvećen svojoj ulozi vodeće snage u društvu, kroz otvorenu mogućnost edukacije igrača, stalno osluškivanje publike i zajednice, kao i aktivnosti profesionalnog razvoja. Kompanija predstavlja raznovrsan repertoar kanadskih i međunarodnih koreografskih radova sa kraja XX i početka XXI veka, i predstavlja centar kreacije i otkrivanja novih naslova. Od 2009. godine, trupa je razvila repertoar koji čini više od 35 novih radova priznatih koreografa, kao što su: Vilijam Forsajt, Icik Galili, Jorma Elo, Kajetano Soto, Kristal Pajt, Johan Inger, Valter Mateini, Gustavo Ramirez Sansano, Jakopo Godani, Emili Molnar, Nikolo Fonte, Ven Vei Vang, Medi Valerski, Fernando Hernando Magadan... Od 2009. godine, pod umetničkim vođstvom Emili Molnar, bivše članice Nacionalnog baleta Kanade, Baleta BC i Baleta Frankfurt, kompanija aktivno neguje saradnje koje podjednako podržavaju umetnike, koreografe i publiku, šireći na taj način granice savremene igre.

Founded in 1986, Ballet BC is an internationally acclaimed collaborative and creation-based contemporary ballet company that is a leader and resource in the creation, production and education of contemporary dance in Canada. Bold and innovative, the Company’s distinctive style and approach has helped it make a unique and valuable contribution to the development of dance in Canada. Ballet BC’s dancers are a group of open-minded and deep-thinking artists, each unique for their dynamic movement while sharing an intuitive passion for dance. Ballet BC is committed to its role as a leader in the community through dancer training opportunities, community and audience outreach and professional development activities. The Company presents a diverse repertoire of Canadian and international work from the late 20th and early 21st centuries, and is a hotbed for the creation and performance of new titles. Since 2009, the company has developed a repertoire of more than 35 new works by acclaimed Canadian and international choreographers including: William Forsythe, Itzik Galili, Jorma Elo, Cayetano Soto, Crystal Pite, Johan Inger, Walter Matteini, Gustavo Ramirez Sansano, Jacopo Godani, Emily Molnar, Nicolo Fonte, Lesley Telford, Wen Wei Wang, Medhi Walerski, Fernando Hernando Magadan, among others. Since 2009., under the artistic direction of Emily Molnar, former member of the National Ballet of Canada, Ballet BC and Frankfurt Ballet, the company actively fosters collaborations that support artists, choreographers and audiences alike, furthering the boundaries of contemporary dance.

igrači/dancers: Emily Chessa, Livona Ellis, Alexis Fletcher, Rachel Meyer, Racheal Prince, Nicole Ward, Kirsten Wicklund, Brandon Alley, Andrew Bartee, Scott Fowler, Justin Rapaport, Gilbert Small, Peter Smida, Christoph von Riedemann

 

 
 

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