amistad

“Danse : Julie Nioche fait jaillir l’émotion souterraine des corps”

“Par Rosita Boisseau)

"La chorégraphe et ostéopathe, qui se produit à la Maison des Métallos, invente une danse originale et insolite, à l’écoute des histoires intérieures. (...)” (Lido em:Le Monde 2020-10-28)

“Photographier la danse sans clichés”

“Par Rosita Boisseau” “La majorité des photographes spécialisés dans les prises de vue de spectacles chorégraphiques s’attachent à bousculer les stéréotypes.

Classique, contemporaine, hip-hop… Les images de danse se bousculent sur Instagram. Emportés par ce flux, les photographes spécialistes, peu nombreux sur le secteur du spectacle vivant, de plus en plus présents sur les réseaux depuis la crise sanitaire, tentent de faire exister leur profession et leur identité.

« La danse est un matériau visuel qui excite beaucoup de monde car elle est mystérieuse et difficile à saisir, commente Laurent Philippe, photographe de danse depuis 1987. Malheureusement, on trouve trop souvent des clichés de corps en plein envol faisant appel à un imaginaire relativement convenu. Un seul geste, un saut brillant, par exemple, semble suffire pour parler de la danse mais n’en montre qu’une petite partie. »

Bousculer les stéréotypes devient l’objectif de nombreux photographes dont les univers singuliers renvoient autant de visions miroitantes de la danse et du danseur. De l’œuvre saisie en direct pendant les séances photos qui précèdent généralement la première d’un spectacle aux projections fantasmées élaborées en studio ou en extérieur, photographier la danse génère de multiples aventures visuelles.”                                        (Lido em: Le Monde 2020-08-23)

“Step in time: how to save the legacy of dance from being lost in history”

"Lyndsey Winship”

“While Richard Alston’s company hang up their dance shoes, archivists and choreographers are grasping at ways to immortalise an inherently slippery art form

Earlier this month, Richard Alston’s dance company performed their final shows after more than 25 years. It was a celebratory occasion – and the end of an era. Alston will continue choreographing independently, but with his company he created a significant body of work, defining a lyrical, light-footed style of English contemporary dance. What happens to that work now? Since dance has no product to collect or put in galleries, how do you hold on to this ephemeral art form? (...)”                               (:ido em The Guardian, 2020-03-12)

“'All men for 150 years': women take centre stage at Royal New Zealand Ballet

[Por:)”Charlotte Graham-McLay”

“The national ballet troupe will become the first classical company in the world to perform an entire year of works choreographed by women

It’s an ethereal art form in which dancers, who are overwhelmingly female, strive for unattainable perfection performing works almost always created by men. But in uncompromising world of ballet, where the work of female choreographers is often relegated to one-off showcases while men take the spotlight, a ballet company in New Zealand is making history with a whole year of performances that put women creators centre stage.(...)”(Lido em: The Guardian 2020-02-01)

“The Testaments by Margaret Atwood – read the exclusive first extract”

“Set more than 15 years after The Handmaid’s Tale, Atwood’s Booker prize-shortlisted sequel revisits her dystopian republic Gilead

Part one: The Ardua Hall Holograph

Only dead people are allowed to have statues, but I have been given one while still alive. Already I am petrified.

This statue was a small token of appreciation for my many contributions, said the citation, which was read out by Aunt Vidala. She’d been assigned the task by our superiors, and was far from appreciative. I thanked her with as much modesty as I could summon, then pulled the rope that released the cloth drape shrouding me; it billowed to the ground, and there I stood. We don’t do cheering here at Ardua Hall, but there was some discreet clapping. I inclined my head in a nod.(...)” (Lido em: The Guardian, 2019-09--04)

“The Bolshoi Ballet review – Russian greats are big, bold and bombastic in Brisbane”

[Por:]”Olivia Stewart”

“Lyric Theatre, Queensland Performing Arts Centre
For 51 years, Bolshoi’s take on Spartacus has been considered definitive. It debuted in Brisbane as part of a double-bill that runs until 7 July

The opening of the Bolshoi Ballet’s Spartacus on Thursday will be followed by the debut of Jewels on Saturday. Photograph: Darren Thomas

Greeted ardently by Brisbane audiences in 2013 following a 19-year absence from Australia, the Bolshoi Ballet – the world’s biggest ballet company – is back again, bringing more than 100 company members to Queensland in 2019. And it’s not just in numbers that the Bolshoi reflects the definition of its name: the ballet is big in style, confidence, energy and passion too.

The dual program for QPAC pairs the Brisbane premieres of two complete productions: the legendary spectacle, Yuri Grigorovich’s epic showcase Spartacus; and George Balanchine’s neoclassical Jewels, which makes its Australian debut by the company on Saturday night. Both are from the 1960s, and both are signature pieces from their choreographers. (...)” (Lido em: The Guardian, 2019-06-29)

“Look Out, a Ballet Hurricane Has Made Landfall”

“In her first spring as a soloist at American Ballet Theater, Catherine Hurlin is tearing through roles with effervescent daring.(...)” (Lido em The New York Times 2019-06-24)

“The Mother review – Natalia Osipova dances to hell and back”                   [Por:]”Lyndsey Winship” “Southbank Centre, London
Osipova is elegantly wretched in Arthur Pita’s horror-tinged take on a Hans Christian Andersen tale in which Death claims the life of a baby

Artists often talk about their “dark remakes” of traditional stories, but choreographer Arthur Pita makes everyone else’s idea of dark look like CBeebies. And his source material here is bleak to start with: Hans Christian Andersen’s The Story of a Mother, in which Death comes for a woman’s child and she journeys to beg for her baby’s life. (...)” (Lido em: The Guardian 2919-06-21)