WilliamForsythe A Quiet Evening of Dance, pièce pour 7 danseurs Créé le 4 octobre 2018 au Sadler’s Wells Theatre London En quatre courtes pièces, le chorégraphe William Forsythe éclaire les liens entre le baroque, le ballet classique, le hip-hop et la danse contemporaine. « Une tranquille soirée de danse » : un titre bien modeste pour l’un des plus grands chorégraphes Lisezen plus sur A Quiet Evening of Dance - Trailer par William Forsythe, et découvrez la jaquette, les paroles et des artistes similaires. Lisez-en plus sur A Quiet Evening of Dance - Trailer par William Forsythe, et découvrez la jaquette, les paroles et des artistes similaires. Lecture via Spotify Lecture via YouTube. Options de lecture J'écoute sur Changer d'appareil ★☆☆☆ A Quiet Evening of Dance is William Forsythe’s first full programme of work since he called time on his German dance company in 2015. It’s a mix of creations new and old, and AQuiet Evening of Dance Le célèbre chorégraphe William Forsythe explore le contrepoint avec ses exceptionnels interprètes qui se glissent dans cette danse mêlant précision analytique et liberté baroque, sur des musiques de Morton Feldman et de Jean-Baptiste Rameau. Du 17 au 18 février 2021 Durée: 1h15 Hors les murs - Opéra de Lausanne Danse ANNULÉ Et cerise sur le gâteau, Forsythe présentera à la Maison de la Danse l’une de ses dernières créations, A Quiet Evening of Dance (2018), pièce en deux parties, dont la première nous avait ébloui lors de sa présentation à Paris en 2019. William Forsythe N.N.N.N. par le Ballet de l’Opéra À la Maison de la Danse du mardi 14 au Vay Tiền Trả Góp Theo Tháng Chỉ Cần Cmnd Hỗ Trợ Nợ Xấu. Mr. Forsythe’s evening at the Shed has rigor and charm but not enough transcendence. Credit...Andrea Mohin/The New York TimesOct. 13, 2019One 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 at the Shed, “A Quiet Evening of Dance,” which opened on Friday, takes that to another Forsythe has created a setting — not completely silent, but nice and hushed — that encourages listening with both the ears and the eyes. The last thing you would want to hear under such conditions? A beep, buzz or, God forbid, the marimba ringtone. Putting our cellphones in airplane mode was the easy part; more difficult was grasping the poetry of this two-act program. And that wasn’t because of the sound or lack of it isn’t completely quiet. The second half features a lively dance set to to Jean-Philippe Rameau, and in the first half, there are bird sounds and a spare composition by Morton Feldman. For the most part, though, it’s up to the dancers to create the score with their steps and breathing, and for the audience to absorb there are moments to admire and respect. “A Quiet Evening” has the rigor that Mr. Forsythe always brings to the stage; there’s just not enough transcendence. In part, that could have been because of an injury to a leading dancer, Christopher Roman. Four others were brought on to fill in; during the curtain call, Mr. Forsythe said that they had learned their parts in three days. But there is also a sameness to the material, and that makes the less experienced dancers stand out in an unfortunate way among the Forsythe veterans.“A Quiet Evening,” with new and reworked choreography by Mr. Forsythe, pays homage to ballet’s European roots while attempting to bring it into the present. Mr. Forsythe is more than qualified for such a choreographic endeavor. An American based for many years in Germany, where he directed Frankfurt Ballet, he did much to guide ballet into a new era with his extreme take on classicism, paired with stark lighting and, frequently, the bold synthesized sounds of the composer Thom Mohin/The New York TimesThe next phase of Mr. Forsythe’s career landed him in a more experimental world of theater and dance; but recently, he’s fallen back in love with ballet. While the Shed program affords the pleasure of becoming lost in his swirling, finely executed steps — how did that hip end up there? — taken as a whole, it starts to feel arid. And at times, the attempt to look at the future of ballet seems more contrived than organic, like the appearances of the street dancer Rauf Yasit. Also known as RubberLegz, he demonstrated the elasticity of his limbs with floor work that knotted him up like a pretzel, but as the night wore on, it seemed like we were seeing the same sequences on birds introduce Act 1, which begins with “Prologue.” Parvaneh Scharafali and Ander Zabala, wearing evening gloves and sneakers covered with socks, perform a crisp, stately duet — it’s a labyrinth of limbs — with joints as loose as soft spaghetti. The socks over the sneakers remind me of the way figure skaters pull their tights over their boots — not my favorite look.More intriguing is “Catalogue,” featuring the velvety dancing of Jill Johnson — formerly a principal dancer with Ballet Frankfurt, she is still astonishing — alongside the newcomer Brit Rodemund. Here, it’s as if they are illustrating the development of ballet starting with simple shapes, some awkward, others pedestrian. This dance is in silence, which begins the moment they each extend an arm and touch palms. At the start, they draw invisible lines along the perimeter of their torsos with their hands. As they increase their force and expand spatially, the dancers’ elbows and shoulders tell a tale of Mr. Forsythe’s intense study of épaulement, or the carriage of the arms. Eventually their isolated movements morph into ballet steps and shapes. When their palms touch in the center once again, and the music — Feldman’s “Nature Pieces From Piano No. 1” — starts, so does “Epilogue,” in which the cast of seven continues the story of some of Mr. Forsythe’s most recognizable contributions to dance his use of torque, speed, articulation and handsome in parts and confounding in others Why include even a second of the ever-popular floss dance? Is it meant to be playful? It feels like a Mohin/The New York Times“Dialogue DUO2015,” the final piece in Act 1, pairs Brigel Gjoka and Riley Watts — an extraordinary dancer with silky athleticism — in a frisky duet of physical reverberations. This and “Catalogue” reveal much about Mr. Forsythe’s lineage and achievements — both spoke of scale and intimacy — but as informative as the first half of “A Quiet Evening” is, it’s also rambling. Steel yourself. If Act 1 is about revealing the raw ingredients that make up Mr. Forsythe’s classicism, Act 2 is the meal in the form of a stand-alone dance “Seventeen/Twenty One,” to Rameau’s “Hippolyte et Aricie Ritournelle” from “Une Symphonie Imaginaire.” It explores ballet’s evolution from the 17th century to the 21st, flooding the previously quiet space with full-bodied dancing and baroque is a dance, charming in moments, that is hungry for movement. By the end, it creates a sweet and simple sense of community — a group of people just dancing together — that comes to a joyful close as they suddenly clasp hands and run to the front of the stage for a bow. But the most consistent pleasure is from one dancer Ms. Johnson brings an unassuming clarity and articulation to Mr. Forsythe’s movement that feels like it comes from the deepest of places. All night long, her quiet radiance was the loudest thing in the Quiet Evening of DanceThrough Oct 25 at the Shed, Manhattan; 646-455-3494, They say it’s the quiet ones you have to watch out for. With its bare stage and low-key lighting and sound, with coloured gloves and shoes its sole ostentation, William Forsythe’s A Quiet Evening of Dance even the title feels reticent is the opposite of showy. But pay it close attention and it reveals a kind of introverted virtuosity that leaves you one opens with an intricate duet for Parvaneh Schafarali and Ander Zabala, its small steps and swift swerves as soft, beautiful and exacting as the birdsong on its soundtrack. There follows an astonishing duet by Jill Johnson and Christopher Roman who, accompanied only by the sound of our own hushed coughs and rustles, articulate detailed sequences of moves built on the intersection between the idealised geometries of ballet pointed foot, angled leg and the anatomical realities of the body the pivots, swivels and folds of shoulder, hip, knee or elbow. Undramatised yet utterly fascinating, it feels like a choreographic secret, offered freely, without sound returns, Morton Feldman’s atonal plinks forming a sparse background to more idiosyncratic danced episodes; one solo keeping the arms and hands close to the face, another showing, without fuss or flash, just how extraordinary b-boy Rauf “RubberLegz” Yasit earned his one ends with a reprise of a 2015 duet, to birdsong again, performed by Brigel Gjoka and Riley Watts. Beginning casually enough, it builds towards convoluted-yet-always-clear spins, skitters and knots, the two dancers echoing each other as if giving different expression to the same underlying two is a consummately crafted suite of dances, each ending quietly rather than climactically, and all beautifully phrased to courtly music by Jean-Philippe Rameau. There’s a gentle theatricality. Johnson and Roman come across as a couple, she preoccupied, he rather particular. There’s humour in Yasit’s lock-limbed, floor-bound interruption of an elegantly upright duet; sadness elsewhere, with bodies weighted as if by inner style, staging and effect are now far more conventional, we can almost see through these surfaces to the strange, spare structures of act one, lying beneath like a choreographic skeleton. It has been a rare and revelatory evening. At Sadler’s Wells, London, until 6 October. If anyone could be described as having “electrified” ballet, as having breathed new life into it and transformed it into a dynamic art-form ready to soar ever higher in the 21st century, that person would be William creates entire worlds using nothing but the human body, space and time, making dance an unprecedented experience for dancers and audience performance, an Onassis Stegi international co-production, includes two new pieces "Epilogue" and "Seventeen/Twenty One", two new versions of older works from Forsythe’s repertoire "Dialogue DUO2015" and "Catalogue Second Edition", plus "Prologue", an extract from "Seventeen/Twenty One".Dancers who have worked with him for many years narrate profoundly communicative stories with their bodies, their breathing the only sound accompanying them. Humour, sensitivity, provocation, response. Guiding them their rhythm and incredible coordination. Like the hands on an invisible clock, they record time, render it visible, expand and contract it by changing space and, ultimately, by opening the secret channel through which we communicate with it.“A Quiet Evening of Dance”Image1/4Photo © Carl FoxFriday 8 FebruaryAfter performance talk with dancers Cyril Baldy, Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf RubberLegz’ YasitChaired by Tassos Koukoutas, Dance TheoristCREDITSChoreographyWilliam Forsythe and Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz“ Yasit and Ander ZabalaThe dancers areCyril Baldry, Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf RubberLegz’ YasitComposer/MusicMorton Feldman, Nature Pieces for Piano No 1’, from First Recordings 1950s – The Turfan Ensemble, Philipp Vandré © Mode for Epilogue’Composer/MusicJean‐Philippe Rameau, Hippolyte et Aricie Ritournelle, from Une Symphonie Imaginaire, Marc Minkowski & Les Musiciens du Louvre © 2005 Deutsche Grammophon GmbH, Berlin for Seventeen/ Twenty-One’LightingTanja Rühl & William ForsytheCostumesDorothee Merg & William ForsytheProductionSadler’s Wells LondonCo-produced withThéâtre de la Ville-Paris, le Théâtre du Châtelet and Festival d’Automne à Paris; Festival Montpellier Danse 2019; Les Théâtres de la Ville de Luxembourg; The Shed, New York; Onassis Stegi; deSingel international arts campus AntwerpTechniciansDirector of technical ProductionsAdam CarréeProduction Company Stage ManagerBob BagleyElectrician/RelighterGerald McDermottFor Sadler’s WellsChief Executive & Artistic DirectorAlistair Spalding CBEExecutive ProducerSuzanne WalkerHead of Producing & TouringBia OliveiraTour ProducerAristea CharalampidouProducing & Touring CoordinatorFlorent TriouxMarketing ManagerDaniel KingSenior Press ManagerCaroline AnsdellWardrobe SupervisorMiwa MitsuhashiFirst performed at Sadler’s Wells London on 4 October of the FEDORA - VAN CLEEF & ARPELS Prize for Ballet 2018William Forsythe has been choreographing for 45 years now. He has redefined ballet, transforming it from an art-form obsessed with repertoire into a dynamic, creative art free of all limitations. He is considered the most important choreographer of his evening’s seven dancers are among Forsythe’s closest and most trusted associates. Ideal performers, they can provide us with a profound, insider perspective on the physical work of ballet and shed light on Forsythe's life's work. The program is an international Onassis Stegi co-production.“Catalogue” was created for two ex-Forsythe dancers, Jill Johnson and Christopher Roman, who created their own company, the DANCE ON ENSEMBLE. Forsythe describes the project as "complex, almost Baroque". In this updated version, it becomes a trio with the addition of the talented Brit Rodemund, who is collaborating with Forsythe for the first time.“DUO2015” was originally created in 1996 for two dancers who would only use the front part of the stage. Today, it is danced by two male new version was premièred in 2015 and was subsequently included by Sylvie Guillem in her farewell programme. Guillem collaborated with Forsythe at a historic moment of his career on “In the middle somewhat elevated”, which he created in 1987 for the Paris Opera Ballet, then under the direction of Rudolf Nureyev. With its electrifying atmosphere and eccentric equilibria, its pulse and constantly shifting relationships, the choreography would change the course of dance forever and turn both the choreographer and his dancers Sylvie Guillem, Laurent Hilaire, Isabelle Guérin and Manuel Legris into instantly-recognizable mediaIf you want to enjoy embedded rich media, please customize your cookie settings to allow for Performance and Targeting cookies. Your data may be transferred to third-party services such as YouTube, Vimeo, SoundCloud and Cookies William Forsythe is undoubtedly one of the foremost choreographers of his generation. For this unusual configuration of new and existing work, Forsythe has imagined something akin to an evening of chamber music, designed to be listened to. The works range from sparse analytic condensation to baroque inspired counterpoint. The intricate phrasing of the dancers’ breath is the primary accompaniment for a distillation of the geometric origins of classical ballet. The evening is performed by seven 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 work to this task. The evening 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 work to this task. The programme includes two new pieces, Epilogue and Seventeen/Twenty One; two reimagined repertory works, Dialogue DUO2015 and Catalogue Second Edition, as well as Prologue, an excerpt of Seventeen/Twenty One. This production has won the following prestigious awards Winner of Best Modern Choreography Award at The Critics’ Circle Awards 2020. Winner of the FEDORA – VAN CLEEF & ARPELS Prize for Ballet 2018. View 5 images Gallery A rare and revelatory evening ★★★★★ THE GUARDIAN Quiet it may be, but William Forsythe’s latest evening of dance at Sadler’s Wells resounds with an extraordinary cerebral and imaginative force. ★★★★★ THE STAGE A richly satisfying programme witty, unpredictable, superlatively danced. ★★★★★ THE FINANCIAL TIMES Seventeen/Twenty One’ is a humdinger of a work THE NEW YORK TIMES By William Forsythe and Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz” Yasit and Ander Zabala. Co-produced with Théâtre de la Ville, Paris; Théâtre du Châtelet, Paris; Festival d’Automne à Paris; Festival Montpellier Danse 2019; Les Théâtres de la Ville de Luxembourg; The Shed, New York; Onassis Cultural Centre, Athens; deSingel international arts campus, Antwerp. First performed at Sadler’s Wells London on 4 October 2018. Winner of Best Modern Choreography Award at The Critics’ Circle Awards 2020 Winner of the FEDORA – VAN CLEEF & ARPELS Prize for Ballet 2018.

william forsythe a quiet evening of dance