Timeless: Dance load for performers and spectators
Reviews
On the edge of physical capacities – Ondřej Vinklát leads the dance The highlight of the evening is surely Sacre du printemps or Rite of Spring by Igor Stravinsky. It is generally known that Stravinsky, unwillingly, brought about the revolution in the world of music and on 29 May 1913 he rewrote the history of artisticconvention with an incredible and unheard-of scandal. The performance of Rite of Spring could not be finished because the spoilt audience, used to Romantic and classicist music aesthetics of the Paris’s Théâtre des Champs Elysées, could not endure the dramatic, ritualistic, rhythmically frenetic blast of the composition subtitled Pictures of Pagan Russia in Two Parts. They didn’t understand at that moment they were listening to a unique and ingenious piece. The production was ‘re-named’ Massacre du printemps (Killing of Spring). Stravinsky got some satisfaction a year later, when his music was performed in concert in L’Opera de Paris, conducted again by Monteux. The ballet, choreographed by Léonid Massine, was presented again in Théâtre des Champs Elysées (the first choreographer had been Vaslav Nijinsky, who suffered from serious mental illness at the time of the second staging). The present premiere in the National Theatre offers a choreographic masterpiece by Glen Tetley from 1974, staged by Bronwen Curry and Alexandra Zaitseva. Glen Tetley also got to dancing rather by chance, when his talent was recognised by the American choreographer Jerome Robbins. Tetley started to study hard – he learned classical dance technique with Antony Tudor and Margaret Craske and modern techniques with Martha Graham and Hanye Holm. His dance background shows in his greatest works and the technique his uses is very challenging. It is in Rite of Spring where the dancers are pushed onto the edge of their physical capacities – in their technique, rotations, jumps and falls, in almost equilibristic partnering. The solo couple – Mother and Father, brilliantly interpreted and acted by Nikola Márová and Michal Štípa (on both premiere nights) – must execute many acrobatic lifts and admirably refined ‘knotted’ positions. Clearly, after many years of dancing together at the professional level, the two dancers are perfectly connected. At the beginning we see the Chosen One (a male dancer in Tetley’s version) who is to be, and will be, sacrificed. In the first cast, Ondřej Vinklát excels with his radiating energy, not mentioning his impeccable technique. It seems like Glen Tetley choreographed the part on him. Forty years after the first premiere of the piece, the character seems fresh and present, as he conveys the futility of any effort, the despair and vulnerability. All the solo parts are full of technical tricks like Graham moves – contractions and spiral rotations, insane jumps and falls - as well as acrobatic features. For example, a group of male dancers catch the Chosen One as he is falling down – seemingly into void and weightlessness! The second cast dancer Youn Sik Kim also tries hard to show his best, but he is not so strong yet. In the first part of the composition, Tetley worked with intentional multiplying of the number of male dancers, adding three every time, and letting them dance the same passage canonically. He applies the same principle to other group passages. The clarity of choreographic composition becomes exemplary to some extent. The gradation of choreographic plan, its complexity, changes of tempo and dynamics, and the work with space are exquisite, not mentioning the perfect harmony with music. The choreography represents a great challenge for the partially renewed ballet company. After the audition, which took place in February this year, the company welcomed fourteen new dancers and was left by some others. Sadly, the professionally structured programme does not give any details about the soloists or newly arrived dancers, just the traditional name lists for each cast. The artists would definitely deserve more attention. Glen Tetley’s Rite of Spring is a real blast and surprising dance load for the performers and spectators alike.
Written from the first and second premiere on 20 and 21 October 2017, in the National Theatre, Prague.
Timeless Serenade
Choreographer: George Balanchine
Music by: Piotr Ilyich Tchaikovsky
Music director: David Švec
Conductor: David Švec, Václav Zahradník
Costume designer: Roman Šolc
Lighting designer:Daniel Tesař Separate Knots
Choreographer: Emanuel Gat
Music by: Frederick Chopin
Costume designer: Emanuel Gat
Lighting designer: Emanuel Gat Rite of Spring
Choreographer: Glen Tetley
Music by: Igor Stravinskij
Music director: David Švec
Conductor: David Švec, Václav Zahradník
Scenography and costume designer: Nadine Baylis
Lighting designer: John B Read First premiere held on 20 October 2017. Second premiere held on 21 October 2017. Translation: Tereza Cigánková
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Josef Bartos
Thank you for your thoughts. One got stuck in my mind – that passion makes us different from AI. Just yesterday I read…I am a dance critic. I am a member of an endangered species