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16. BFI 2019 - EASTMAN, ANTVERP

Kategorija
Muzičko-scenski
Datum
24 mart 2019 20:00
Prostor
Velika dvorana
Telefon
220-60-60
Cena ulaznica: 1700, 1900 i 2300 dinara

Holandski teatar igre

Hag, Holandija

 

Nederlands Dans Theater

The Hague, The Netherlands

   

Nesrećan slučaj/Sad Case

koreografija, scena, kostimi/choreography, set, costumes: Sol León & Paul Lightfoot

muzika/music: Pérez Prado: Mambo no. 8, Muchachita, Always in my heart; Caballo Negro; Alberto Dominguez: Frenesi; Ray Barretto: El Watusi; Trio Los Panchos: Perfidia; Augustin Lara: Maria Bonita

dizajn svetla/lighting design: Tom Bevoort

trajanje/duration: 22’

premijera/premiere: Lucent Danstheater, The Hague, 1998

Kao jedan od glavnih stubova u opusu Leonove i Lajtfuta, ovo delo je nastalo u periodu kada je Sol bila u sedmom mesecu trudnoće sa njihovom ćerkom. Neočekivani i zemaljski pokreti na meksičku mambo muziku ukazuju na stalno osluškivanje tenzije između satiričnih i klasičnih trenutaka.

The work was created when Sol León was seven months pregnant with their daughter, and acts as one of the main pillars of León & Lightfoot’s oeuvre. Surprising and earthly movements on Mexican mambo music show a continual search for the tension between satirical and classic moments.

“Nesrećan slučaj” je prilično srećan slučaj. Lica obojenih u belo i crvenih usana, pet igrača u komadu Lajtfuta i Leon se kreću, uvijaju i njišu poput likova iz crtanog filma uz melanholične melodije i latino bitove, dok se njihovi izrazi pretvaraju u prave hiperbolične ekspresije. Klovnovska lica i suludi gestovi, začinjeni i osvežavajući... Lagano je. Zabavno je.

“Sad Case“ is actually a rather happy case. The five white-faced, red-mouthed dancers in Lightfoot Leon’s creation twitch, curl, and swing cartoonishly to crooner tunes and Latin beats as they contort their faces into hyperbolic expressions. Their clownish faces and manic gestures are spicy and refreshing... It’s light. It’s fun.”

© The Brooklyn Rail

Smešno, teatrelno i nadasve humano!
Funny, theatrical and touchingly human!

© CriticalDance.com

  

Govorimo mračne stvari/Wir sagen uns Dunkles

koreografija, scena, kostimi/choreography, set, costumes: Marco Goecke

muzika/music: Franz Schubert: Trio, Nocturne in e flat, opus 148, D. 897; Placebo: Song to Say Goodbye, Slave to the Wage, Loud like Love; Alfred Schnittke: Piano Quintet, part 2: In tempo di Valse

muzički savetnik/music advisor: Jan Pieter Koch

dizajn svetla/lighting design: Udo Haberland

trajanje/duration: 29’

premijera/premiere: Zuiderstrandtheater, The Hague, 2017

Gekeov novi komad za NDT počinje kroz susrete koreografa i igrača u baletskom studiju. Njihovi sastanci izgledaju nevažni, ali istovremeno su važniji od bilo čega drugog; mladi, nevaljali i zli, razigrani i pankerski. "Danas, moja osećanja pripadaju igračima, više nego ikada ranije", kaže Geke. Treptaj oka, pogled, naizgled kratak gest. Samo trenutak ili priča? Ostaje suza na isčupanoj trepavici. Kako da budemo bliži? Leptir koji zastane na sekund pre nego što odleti. Zvukovi Šuberta i Šnitkea... Pantalone sa zvončićima, i zvuk koji ometa muziku. Geke: "Igrači me odmah razumeju. Ne postoji granica, oni žele izazove." Kreću se brzo, virtuozno, gestikuliraju na specifične načine, nesvesni i samouvereni i – bilo da je solo, duet ili ansambl - komuniciraju na Gekeovom jeziku, kao da nikad nisu učili drugi. Tama izgovorena, bez reči.

Goecke's new creation for NDT 2 begins with encounters in the studio between the choreographer and the dancers. Their meetings appear unimportant, yet simultaneously they are more important than anything else; young, naughty and evil, playful and punky. “Today, my feelings belong to the dancers, more than ever before”, says Goecke. A blink of the eye, a glance, a seemingly fleeting gesture. Just a moment or a story? What remains is a tear on an eyelash that is fanned away. How do we get closer? A butterfly that remains a second before it flies away. The sounds of Schubert and Schnittke… Then there are the rattling pants, its sound interfering with the music. Goecke: “The dancers understand me immediately. There is no limit, they want to be challenged.” They move fast, virtuoso, gesticulate in peculiar ways, unconscious yet self-assured, and - whether solo, in a pas de deux or larger group - they communicate in Goecke's language, as if they had never learned another. Darkness Spoken, without words.

Nemac, Marko Geke je 1988. godine završio školovanje na Baletskoj akademiji u Minhenu, a 1995. diplomirao na Kraljevskom konzervatorijumu u Hagu. Bio je angažovan u Državnoj operi Berlina i u Hagen teatru. Od 2005. godine je bio stalni koreograf Štutgart baleta, od 2006. do 2011. godine je radio sa Skapino baletom, a od 2013. je koreograf saradnik Holandskog teatra igre. Tokom 2015. godine, njegov komad "Tanka koža" kreiran za NDT 1, nominovan je za holandsku Nagradu Labud za ‘najimpresivniju koreografiju’.


In 1988, German Marco Goecke has completed his ballet education at the Munich Ballet Academy, and in 1995 he graduated at the Royal Conservatoire in The Hague. Goecke worked together with the Berlin State Opera and the Theater Hagen. Since 2005, Goecke is resident choreographer at the Stuttgart Ballet, between 2006 and 2011 with Scapino Ballet and since 2013 he is associate choreographer with NDT. In 2015, with his piece “Thin Skin” made for NDT 1, he was nominated for a Swan Award for ‘most impressive choreography’.

Srebrne rese koje se njišu sa gotovo svih pantalona, slute na anđeoska krila i pojačavaju opojnu atmosferu.

The silver-colored tassels, waving from almost all pants, refer to angel wings and enhance the intoxicating atmosphere.

© de Volkskrant

Kakav fascinantan komad, ponovo.
What a fascinating piece yet again.

© NRC

Subtle Dust/Suptilna prašina

 

koreografija, dekor/choreography, decor: Sol León & Paul Lightfoot

muzika/music: Johann Sebastian Bach: Cantata #12, Weinen, Klagen, Sorgen, Zagen - BWV 12; Cantata #150, Nach Dir, Herr, Verlanget, Mich - Sinfonia - BWV 150; Toccata in C Minor - BWV 911; Prelude & Fugue in D Minor - BWV 851; arrangement Alexander Raskatov ©Internationale Musikverlage H. Sikorski, Hamburg/ Albersen Verhuur B.V., ’s-Gravenhage; Cantata #152, Tritt Auf Die Glaubensbahn - Concerto - BWV 152; Violin Concerto #2 In E. Adagio - BWV 1042-2; Bach Goldberg Variations Aria - BWV 988; arrangement Victor Kissine Sleep Whales by Nature Sounds

dizajn svetla/lighting design: Tom Bevoort

kostimi/costumes: Joke Visser, Hermien Hollander

video/video work: Sol León, Paul Lightfoot, Rahi Rezvani

trajanje/duration: 28’

premijera/premiere: Zuiderstrandtheater The Hague, 2018

Nećemo odustati od istraživanja. I kraj našeg ukupnog istraživanja biće kada stignemo tamo gde smo počeli i po prvi put upoznali to mesto.

We shall not cease from exploration. And the end of all our exploring will be to arrive where we started and know the place for the first time.

T.S.Elliot

Bilo je to 2001. godine kada smo poslednji put radili sa beskrajnom muzikom J.S.Baha. Njegov uticaj na jedan period našeg opusa bio je važan, stoga je naša odluka o povratku tom putovanju bila jasna i svesna. Skoro sva Bahova dela koja smo prikupili za ovaj komad su transkripcije ili tumačenja njegove veličanstvene muzike. Njegov izvor ostao je netaknut, a ipak promenjen, transformisan. Transformacija igra ključnu ulogu u svim našim životima na mnogim nivoima, bilo da je fizička, emocionalna ili duhovna. Naš rad ostaje apstraktan, ipak, nema čistijeg načina upoređivanja naše koreografske dualnosti sa konceptom prirodnog instinkta i intelektualne misli koji mutiraju kako bi se proizveo treći elemenat sastavljan od obe strane. Simbioza. Smatrali smo da ovaj komad treba čvrsto da se drži kvaliteta ovih mladih i talentovanih umetnika. Nadamo se da će im omogućiti da rastu i da se promene kroz vraćanje korenima, plivanje po krugovima, ponovno povezivanje sa prirodom, gde ćemo svi sresti izvor koji strpljivo čeka.

2001 was the last time we worked with the infinitesimal music of J.S.Bach. His influence for a period of our oeuvre was impactful, therefore it was a clear and conscious decision on our part to revisit him now in our journey. Nearly all of the pieces of Bach we have collected for this ballet are transcriptions or interpretations of his magnificent music. His source remaining intact, and yet altered, transformed. Transformation plays a crucial role in all our lives on many levels, be it physical, emotional or spiritual. Our work remains abstract, yet what purer way to compare our choreographic duality to the concept of both manual instinct and intellectual thought transmuting to produce a third element made of both in part. A Symbiosis. We wanted that this work should be firmly about quality with these young and talented artists. To hopefully enable them to grow and change by returning to the roots, swimming with the cycles, reconnecting with nature where we will all encounter the source which is patiently waiting.

Sol León & Paul Lightfoot

Sve je ekstremno vešto, virtuozno i estetično. 

It is all extremely skilled, virtuoso and aesthetic.

© de Volkskrant

Sol Leon (Španija) i Pol Lajtfut (Engleska) počeli su da kreiraju zajedno za Holandski plesni teatar 1989. godine. Od tada su stvorili više od pedeset komada za kompaniju. Godine 2002, imenovani su za stalne koreografe ove trupe. Zajedno su osvojili prestižne nagrade, kao što su Benois de la Danse i Herald Archangel. Sol Leon se pridružila truppi NDT 2 nakon što je diplomirala na Nacionalnoj baletskoj akademiji u Madridu, 1987. Dve godine kasnije nastavlja da igra za NDT 1, i to remek dela Jiržija Kilijana, Hansa van Manena, Matsa Eka i Ohada Naharina. Od 2003. godine se potpuno posvetila koreografiji, a 2012. godine je postala umetnički savetnikHolandskog teatra igre. Pol Lajtfut je studirao na Kraljevskoj baletskoj akademiji u ​​Londonu.  Godine 1985. pridružio se trupi NDT 2, a dve godine kasnije ansamblu NDT 1, gde je igrao do 2008. godine. Tokom igračke karijere, Lajtfut je počeo sa koreografijom, a zajedno sa Leonovom je stvorio brojne komade. Lajtfut je postao umetnički direktor NDT-a 2011. godine.

Sol León (Spain) and Paul Lightfoot (England) started creating as a duo for Nederlands Dans Theater in 1989. Since then they have created more than fifty pieces for the company. In 2002 they were appointed house choreographers for NDT. Together they have won prestigious awards, such as the Benois de la Danse and the Herald Archangel. Sol León joined NDT 2 after graduating from the National Ballet Academy of Madrid in 1987. Two years later she joined NDT 1 and danced masterpieces of Jiří Kylián, Hans van Manen, Mats Ek and Ohad Naharin. She continued to dance up until 2003, when she decided to fully devote herself to choreography. León became Artistic Advisor for NDT in 2012. Paul Lightfoot studied at the Royal Ballet School in London. In 1985 he joined NDT 2 and moved to NDT 1 two years later, where he danced until 2008. During his dancing career, Lightfoot started choreographing and together with Sol León he created many pieces for NDT. Lightfoot became NDT’s Artistic Director in 2011.

Holandski plesni teatar nastao je 1959. godine, kada je 22 ljudi napustilo Holandski nacionalni balet. Pobunjenici obuzeti plesnom strašću i željom da igri daju lični pečat, pod direkcijom Karela Birnija i Bendžamina Harkarvija, počeli su da grade drugačiji repertoar. Od tada, pa do danas, odnosno više od pedeset godina, Holandski plesni teatar zadržava poziciju jedne od vodećih plesnih kompanija u svetu. Bogat repertoar potpisuju veliki majstori koreografije, Jirži Kilijan i Hans van Manen, kao i stalni koreografi Sol Leon i Pol Lajtfut, gostujući koreograf Kristal Pajt i Johan Inger, i mnogi drugi izuzetni plesni stvaraoci poput Ohada Naharina, Nača Duata i Vilijama Forsajta. Tokom godina, a posebno u periodu kada je Kilijan bio umetnički direktor trupe, NDT je pokrenuo pionirski posao u oblasti savremene igre. Postavke originalno pravljene za ovu trupu i dalje se igraju u celom svetu. Brojni igrači i koreografi koji su karijeru započeli u ovoj trupi, izgradili su svoje kompanije. To je način na koji je Holandski plesni teatar širio svoj uticaj. Pod upravom umetničkih direktora Sol Leon i Pola Lajtfuta, NDT danas nastavlja da niže uspehe širom sveta. Uživajući u svojoj tradiciji, kompanija hrabro korača u budućnost sa svoje dve trupe, odnosno dve generacije igrača.

Holandski plesni teatar 1

Glavna trupa je nastala 1959. godine i broji 30 igrača, starosnog doba između 23 i 42 godine, a svaki igrač poseduje jedinstvene kvalitete i izraziti stil. Ovi fenomenalni umetnici i savršen repertoar koji donose, privlače publiku i pune sale širom sveta.

Holandski plesni teatar 2

Trupa je osnovana 1978. godine, za mlade dolazeće talente, koji več poseduju neverovatnu tehniku, ali  i beskrajnu energiju. Trenutno se sastoji od 16 igrača, do 23 godine starosti. NDT II je revolucionarni rasadnik talenta, trupa koja izvodi repertoar etabliranih, ali i dela novih koreografa.

Nederlands Dans Theater originated in 1959, when 22 people broke free from the Nederlands Ballet. Impassioned by dance and the desire to move away from an omnipresent ballet style, the company took shape under the direction of Carel Birnie and Benjamin Harkarvthey. Steadily, they built a different modern dance repertoire. Fifty years later, NDT has become one of the leading dance companies in the world. A rich repertoire has been established with works from master choreographers Jiří Kylián and Hans van Manen, as well as from resident choreographers Sol León and Paul Lightfoot, associate choreographers Crystal Pite and Johan Inger and many other guest choreographers like Ohad Naharin, Nacho Duato and William Forsythe. Through the years NDT has done pioneering work in contemporary dance. Works originally made for this company are still danced all over the world. Numerous dancers and choreographers that once started with the company have set up their own dance companies world-wide, spreading NDT’s influence spreads further and further. Under the artistic direction of Paul Lightfoot, NDT continues attracting full houses world-wide.

Nederlands Dans Theater 1

NDT 1was founded in 1959 and consist of 30 dancers. They vary in age from 23 to 42, each one of them excelling in their solo qualities. In this company, the dancers get the opportunity to further develop their artistic personalities on the highest possible level.

Nederlands Dans Theater 2

NDT 2 was founded in 1978 for young, upcoming talents with an astonishing technique and currently consists of sixteen dancers up to the age of 23. NDT II is a revolutionary breeding ground for young talent and dances repertoire of established choreographers and new creations by upcoming choreography talents.

 
 

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