William Forsythe's 'A Quiet Evening of Dance'. Photo by Bill Cooper. Arts Centre, Melbourne. 17 October 2018. William Forsythe’s A Quiet Evening of Dance’. Photo by Dorothea Tuch. There are few, if any, other people in dance as bold and electrifying as American-born choreographer William Forsythe. His re-imagining of classical dance since assuming the helm at Stuttgart Ballet in 1976 and later across 20 years with Ballet Frankfurt, has shown us that ballet can be so much more than tutus and nostalgic formalism. However, with A Quiet Evening Of Dance, presented as part of the Melbourne International Arts Festival, Billy’ dissolves the silos and gently reminds us that dance is less about its history and its labels than it is about the body in motion. The delightful irony here is that this return to physical purity is achieved with an act of counter-intuitive cross-breeding. Indeed, Quiet Evening is a graceful, sometimes playful marriage of the refined grammar of ballet and the athletic, almost competitive vigour of hip hop. Throughout, the dancers flip from the grand old stages of aristocratic Europe to the streets of the new world. Yet, rather than being a crude mash-up or an exercise in tick box updating, it reveals, with breathtaking simplicity and extraordinary technique, the universal language of the body. William Forsythe’s A Quiet Evening of Dance’. Photo by Bill Cooper. This is not Forsythe’s most striking choice, though, because for much of the evening, this work is exactly what it says it is quiet. Stripped of the cues of music and the pyrotechnics of production, the dance unfolds largely in near silence and beneath a very simple lighting grid. It is also clear that it’s not about anything. There is no theme being explored. Just bodies moving. Indeed, it is not until the final vignette, after a hundred minutes, that we see more than three dancers on stage. But let’s not give all the credit to Forsythe because the seven dancers of Company Forsythe are simply superb. Their transitions from the lithe and sinewy grace of classical ballet to the angles and isolations of hip hop are seamless. Furthermore, these folks can clearly “count”. Working without sound and light cues, and often not even looking at one another, they move with a surety and fluidity that is never disjointed. In addition, admirers of beautiful lines will find a lot to love in A Quiet Evening Of Dance. William Forsythe’s A Quiet Evening of Dance’. Photo by Dorothea Tuch. The technical rigour and creative elasticity on display here underscores once again why Forsythe is so revered. Quiet Evening is evidently refined, high end art and yet, by fusing it with the muscularity of street dance, it effectively obliterates the distinction. Instead, we have human beings. Whether it’s the palace of Versailles or a sidewalk in The Bronx, bodies move and flow in unison, and the cultural artefact we call dance is shown for what it is — namely, a tribal/ceremonial practise rooted in the unifying, animal fact of flesh and bone. By Paul Ransom of Dance Informa.

Sortir Publié le 01/07/19 mis à jour le 07/12/20 Partager Photo Bill Cooper Le maître américain retrouve des complices de Francfort. Et repousse encore un peu plus les codes du classique, avec la fraîcheur des premiers jours. Une douce soirée de danse… » En baptisant ainsi la première pièce créée avec ses complices d’autrefois depuis l’arrêt de sa célèbre compagnie de Francfort, en 2015, le facétieux William Forsythe fait une belle promesse à son public. Et la tient. Car ce programme divisé en deux actes passe comme un charme. Tout commence par un gazouillis d’oiseaux. Soudain une femme et un homme entrent et furètent. Vêtus de noir, avec des gants leur enrobant les bras jusqu’aux épaules, ils sont assortis mais chacun est à son affaire. Les mains dessinent l’espace et mènent la danse. Ce Prologue, un nouvel opus, annonce le Catalogue suivant, ancienne pièce accomplie avec aisance par deux autres piliers de la Forsythe Company, Jill Johnson et Christopher Roman. Un jeu de mains là encore, virtuose, où chacun balise son propre corps — tête, épaules, buste, ventre… — à l’infini. Puis ils virevoltent, posent leurs bras en couronne, redressent le buste autant de traces des codes du classique dont Forsythe a poussé le langage à l’extrême. Avant de retomber dans une grammaire plus prosaïque fesses bombées vers l’arrière qui fait rire la salle. Johnson et Roman s’écoutent, se devinent, ne démontrent rien. Ils sont libres et presque enfantins. Dans l’Epilogue, nouvelle pièce créée sur les notes de piano de Morton Feldman, Forsythe fait entrer un intrus », le breakdancer Rauf Yasit alias Rubberlegz jambes élastiques » dont les figures serpentines ne déparent en rien l’équilibre du groupe. Le maître américain semble ici aborder le XXIe avec une fraîcheur renouvelée. Dans Dialogue, reprise du Duo2015 offert au spectacle d’adieu de l’étoile Sylvie ­Guillem, les deux interprètes d’origine, Brigel Gjoka et Riley Watts, dansent eux aussi en correspondance. Cha­cun repren­d ou décortique le geste de l’autre, l’attend au tournant. Place, pour la fin, à une musique ­explosive une ritournelle baroque et dansante en diable, extraite d’Hippolyte et Aricie, de Jean-Philippe Rameau. Les sept danseurs en relèvent le défi tous ensemble. Ils clignent de l’œil ­plutôt du pied pointé ! à la belle danse » de cour du roi Louis XIV. On les retrouve alors avec la même écoute, la même gestuelle précise et géométrique. La musique leur va si bien elle se cale sur leur danse et non l’inverse. Ils sont davantage exaltés encore. ­Réjouissant. 1h20 Du 2 au 5 juillet, Montpellier danse 34, tél. 08 00 60 07 40 ; du 4 au 10 novembre, Festival d’automne, à Paris, tél. 01 53 45 17 17 ballet William Forsythe Partager Contribuer Sur le même thème Postez votre avis Pour soutenir le travail de toute une rédaction, abonnez-vous Pourquoi voyez-vous ce message ? Vous avez choisi de ne pas accepter le dépôt de "cookies" sur votre navigateur, qui permettent notamment d'afficher de la publicité personnalisée. Nous respectons votre choix, et nous y veillerons. Chaque jour, la rédaction et l'ensemble des métiers de Télérama se mobilisent pour vous proposer sur notre site une offre critique complète, un suivi de l'actualité culturelle, des enquêtes, des entretiens, des reportages, des vidéos, des services, des évènements... Qualité, fiabilité et indépendance en sont les maîtres mots. Pour ce faire, le soutien et la fidélité de nos abonnés est essentiel. Nous vous invitons à rejoindre à votre tour cette communauté en vous abonnant à Télérama. Merci, et à bientôt. S’abonner

CultureThis was published 3 years agoThe acclaimed choreographer explores the interplay of music and movement in this year's Melbourne is only after my interview with Bill Forsythe, as I walk back from Sadler's Wells Theatre in London to catch the Tube home, that I realise I have spent at least a quarter of my allotted time with the world's leading ballet choreographer talking about animals. About the bears he avoids by dabbing on cologne before he goes hiking in the woods, about stags that can put a hoof through your skull, about the beavers, the herons, hares the size of dogs that live around his home in the mountains of Vermont. About the barn owl that was waiting on the gate when he and his wife were coming home from dinner, about the coyotes! "When they do a kill and they are all yowling away at night, it's an amazing sound, their singing," he says. Forsythe is very attuned to sound. He says you can learn a good deal about timing – about time, in fact – listening to birdcalls. The roll of the seasons teaches other lessons. "The number of cycles of flowers that come through from the spring to the fall in Vermont is extraordinary and magnificent. It's a composition, really."Choreographer William Forsythe ''You see how music interacts with motion.''CreditDominik MentzosWilliam Forsythe – as he seems to be known by absolutely nobody, but is the name under which he became famous – is a spring-heeled 68. He talks about these wild things in a soft rush of words. Minutes before, he spoke with the same fervour about counterpoint – of which more later – and the long and surprising history of ballet. Do I know a book called Apollo's Angels, by the dance historian Jennifer Homans? Well, it's great, especially the part about the rapid evolution of classical ballet in the 17th century. "You feel like you're reading about your family," he says. "You really do. It's just fantastic."Bill Forsythe's own history is quite fantastic, in fact. He started dancing in clubs, only beginning to study dance formally at 17; he went to the Joffrey Ballet in his native New York and then to Stuttgart. He was only 35 when he took the helm at the Frankfurt Ballet and made innovative, spectacular works such as Artefact and Impressing the Czar on the troupe of exceptionally precise, valiant dancers that gathered around Johnson and Christopher Roman in Catalogue, part of William Forsythe's A Quiet Evening of Bill CooperCritics spoke of William Forsythe as the new George Balanchine, although he thought his work was very different from "Balanchine's way of organising". Anyway, he added, "you can't imitate Balanchine". Meanwhile, his work surged towards the further shores of contemporary practice. In 2004, he left Frankfurt Ballet to form the leaner, boundary-busting Forsythe crunch came 10 years later. In 2015, Forsythe disbanded the company that bore his name, saying they were all burned out. After all those decades in Germany, he went back to the US. Just as remarkably, he went back to making work that was unequivocally ballet, including having dancers en pointe."I don't feel there is any break in the work I have made," he told the Financial Times earlier this year. "But I am back on board with ballet and how I can help valorise this deep, deep knowledge that ballet people have. It's a big historical thing. I am very interested in what will keep it relevant."The break with his European career is not quite as cataclysmic as it sounds. The artistic partnerships endure; some of the dancers presenting A Quiet Night of Dance, the program that has brought him to Sadler's Wells, have worked with him for 25 years. And he continues to work all over the world. When this run finishes he is off to Antwerp, then to Boston, then to Moscow. And although he lived in Germany, he and his wife Dana Caspersen – once a dancer in his company, now an expert on conflict resolution – have been retreating to Vermont for years. Life goes on much as normal, in fact. "Someone asked 'where do you live most?'," he says. "And I said 'Seat 21 B on Lufthansa'."Jill Johnson and Christopher Roman work from the waist up, touching parts of their bodies that are usually forgotten in Bill CooperMeanwhile, A Quiet Night of Dance moves to Melbourne next week as part of this year's Melbourne Festival. Divided into two very distinct halves, it is indeed quiet some of the dance episodes in the first half, which consists of three prelude pieces culminating in a reworking of the 1996 work Duo, are silent apart from the dancers' set to the muted tweeting of birds, shows a pair of dancers Parvaneh Scharafali and Ander Zabala in an escalating exchange of movements. In Catalogue, a second pair Jill Johnson and Christopher Roman work almost entirely from the waist up as they touch parts of their bodies that are usually forgotten – their ears, for example – without accompaniment. Then comes Epilogue, in which five dancers overturn these individuated experiments to shadow, engage or simply watch each other to the well-spaced piano figures of Morton Feldman and more sounds of Yasit and Parvaneh Scharafali in Seventeen Twenty Bill CooperThis is very much a cerebral investigation, but there is humour, too it is surprising how funny the familiar business of ballet can be. And there is the remarkable hip-hop dancer Rauf "Rubberlegz" Yasit, who scampers on to the stage apparently trying to untangle himself from a skein of his own second half of the program, called Seventeen/Twenty One is a series of short but ravishing duets and trios set to a blast of horn and harpsichord from 18th-century French harpsichord composer Jean-Philippe Rameau, which rises like a shimmering efflorescence of the moves we have seen Roman and Rauf Yasit in A Quiet Evening of Bill CooperI want you to get it. I want you to go I love this'.William ForsytheForsythe's intentions here are gently didactic. He sees the pairs and groups in the first half as ballet masters; in the second, we see what comes of their work. "So after all that demonstration – this prelude where we are preparing you to watch, showing you how to watch – you've been gussied up, a wig has been placed on your head and powder dusted on your face and you're sent off to the ballet, where we put these things in the context of music and watch how they come into another kind of focus the same material, but radically recontextualised," he says."And suddenly you're going 'oh, I get it!'. And I want you to get it. I want you to go 'I love this' but also to know why you love it. Because you see how music interacts with motion, how it underlines things and changes the quality of action of what you see."Rauf Yasit brings a hip-hop vibe to A Quiet Evening of Bill CooperPart of this derives from his engagement with Homans, who has inspired Forsythe to strip back centuries of wallpaper from ballet's classical edifice, looking for origins and identifying passing fashions. In the time of ballet patron Louis XIV, dance was often unaccompanied. Or it might be mapped on to different scores, depending on the whim of the orchestra or dancers, something Forsythe sometimes does himself."There was a lot of improvisation, things weren't glued down," he says. "There was music or there wasn't music ballet was drifting away from music and having its own independent life, you know. So there were all these different periods where it was being pulled one way or the other and we sort of give you all of those in one go."As far as he is concerned, ballet still isn't glued down. The great 19th-century works were contemporary in their own time. "We're talking about social products. Ballet is a language like any other, spoken as it needs to be spoken in any given epoch."To that end, Forsythe has worked consistently with hip-hop dancers; they may not have the same skills as ballet dancers, but they bring others with them."Rauf Yasit is a very skilled composer of abstract breakdance," he says. "We spent a couple of months teaching him all the fundamentals of Catalogue but also of ballet. He's actually been able to acquire quite a bit."Both these varieties of dance, he says, are based on elements that can be recombined and reconfigured. "In the particular kind of work that Rauf does, there is a great deal of complicated enfolding or weaving – threading, it's called. And it turns out that we have also threading in Duo."Counterpoint – a dialogue between choreography and music, or between performers, that maintains the individuality of each element – is central to hip-hop; it is also Forsythe's analytical focus. "You start to see how these things overlap, that one practice can lead easily towards another. They are definitely allies."Younger dancers have a particular musical sensibility, he says, having grown up to a constant soundtrack. "Everyone has a device, everyone has earphones or a headset, so certainly that generation is submerged in music," he says. "That means musical sophistication is more widely spread."Ballet students used to be geared to the piano music they heard all day in the rehearsal room and the great ballet scores."This generation, someone living in Budapest hears the same music as someone living in LA in that age group. It means that people are sharing their sensibilities, which is a very lovely thing right now, and very nice for the choreographers."Forsythe's work has always been resolutely abstract. Talking about dance, he speaks of choreography as "organisation" and dancers as "a medium to work with"; the works themselves are never built around stories or themes, because the striving of mind and body is theme enough."Human beings love to narrate," he says. "I'm not good at explicit narrative … I don't feel any desire to tell a story that could be better written in a book."He has always read a lot of literary fiction, he says. Stories belong elsewhere in his choreography is a narrative in itself movement is played out over a given time. He illustrates this idea by knotting his hands and pulling up his fingers very rapidly in turn; it took him 15 years to master this movement, he says with a grin, but you couldn't watch it for 15 minutes without falling asleep."Why? Because no more information is coming out. It doesn't matter how much effort I've made. But if I go like this" – he sticks out one finger mid-twiddle and holds it aloft – "you snap to attention. Your brain goes 'Oh … anomaly or trend?' That is the beginning of narrative."And thus begins my own education. Forsythe is convinced we can all "get it", that we can learn to see the patterns and disruptions in dance in the same way we can hear key changes in a song. "Everyone is perfectly capable of understanding a narrative in a piece of music – oh yeah, it starts here and changes there, you can get that – and ballet has the exact same properties," he says. "It's just that people listen to music more than they watch ballet. You just need to practise."Not that most people watching A Quiet Night of Dance would realise they were being taught anything; by the end of it, everyone around me was grinning with joy. Besides, it's about then that we start talking about voles and moles, beavers and bears, getting lost in the hills of Vermont. Forsythe glows with renewed interest here we are, bounding into new Quiet Evening of Dance is at the State Theatre, Arts Centre Melbourne, October 17-20, as part of Melbourne Festival. The Age is a festival media Viewed in CultureLoading

04Nov - 10 Nov 2019. Pièce en deux actes et cinq segments, A Quiet Evening of Dance conjugue ballet classique, break dance et belle danse — danses pratiquées à la cour de Louis XIV. Une rencontre savamment orchestrée par William Forsythe, chorégraphe mondialement salué pour sa pratique alliant ballet et contemporain.

Musique Théâtre Danse Autres univers Enfants

Saison19.20 de l'Opéra de LilleA Quiet Evening of Dance :Prologue (2018)Catalogue (Seconde Édition 2016–2018)Épilogue (2018)Dialogue (DUO2015–2018)Seventeen

Plasticien autant que chorégraphe – mais on pourrait aussi dire, cinéaste, architecte, scénographe, théoricien du mouvement, concepteur de lumières et homme éclairé –, William Forsythe donne ici sa version de la musique de chambre. Pour cette tranquille soirée de danse », il a réuni quatre pièces, deux anciennes, deux nouvelles, certaines portées par ses collaborateurs de longue date, d’autres par un nouveau venu, Rauf Yasit, alias ’RubberLegz’ jambes en caoutchouc ». On y retrouvera deux perles, emblématiques et rares, intimes et complexes, tirées du répertoire de l’ancien directeur du Ballet de Francfort. Duo, où les danseurs finissent par devenir une horloge qui abolit les limites en retournant à son point de départ », créé en 1996, est devenu DUO2015 grâce à une nouvelle incarnation, cette fois masculine ; Catalogue, d’une complexité presque baroque », sublime la complicité ancienne qui unit ses deux interprètes. Le temps d’une soirée, peut-être moins calme qu’annoncée, souvenirs retrouvés et créations témoignent de l’incroyable vitalité artistique de Forsythe, modeste géant de la danse contemporaine, qui n’hésite pas à revisiter le passé pour se réinventer au présent. A Quiet Evening of Dance Prologue 2018 Catalogue Seconde Édition 2016–2018 Épilogue 2018 Dialogue DUO2015–2018 Seventeen/Twenty One 2018 Chorégraphie William Forsythe Musique Morton Feldman, Jean-Philippe Rameau Lumières Tanja Rülh, William Forsythe Costumes Dorothée Merg, William Forsythe Son Niels Lanz DistributionBrigel GjokaBrit RodemundRoderick GeorgeParvaneh ScharafaliRiley WattsRauf "RubberLegz" YasitAnder Zabala Créé vec Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz” Yasit et Ander Zabala WilliamForsythe s’entoure de huit interprètes pour une soirée qui va à l’essentiel: un rigoureux travail de tressage de la danse et de la musique. A Quiet Evening of Dance donne à voir la rigueur incomparable de l’œuvre de l’un des plus grands chorégraphes de sa génération tout en parvenant à créer une conversation inédite entre break et baroque.

Tickets Limited tickets may be available via phone at 646 455-3494. “Dance … that leaves audiences elevated, energized, overcome …” “It is the kind of dance we rarely see anymore, one that leaves audiences elevated, energized, overcome by the sheer pleasure of movement and music.” —The New Yorker About this commission Groundbreaking choreographer William Forsythe presents a vivid combination of new and existing work, performed by seven of Forsythe’s most trusted collaborators, in The Shed’s intimate Griffin Theater. The intricate phrasing of the dancers’ breath is the primary sound accompanying Forsythe’s choreography, which draws on the geometric origins of classical ballet and ranges from sparse analytic condensation to baroque-inspired counterpoint. The result is a new production that, like an evening of chamber music, feels designed to be listened to. A Quiet Evening of Dance includes two newly commissioned works, Epilogue and Seventeen/Twenty-One; two reimagined repertory works, Dialogue DUO2015 and Catalogue Second Edition; and Prologue, an excerpt in Act One of Seventeen/Twenty One. A Quiet Evening of Dance is a Sadler’s Wells, London, production co-commissioned by The Shed; Théâtre de la Ville-Paris, Théâtre du Châtelet and Festival d’Automne à Paris; Festival Montpellier Danse 2019; Les Théâtres de la Ville de Luxembourg; Onassis Cultural Centre-Athens; and deSingel international arts campus Antwerp. Winner of the FEDORA - VAN CLEEF & ARPELS Prize for Ballet 2018. First performed at Sadler’s Wells on October 4, 2018. Please note No late seating until intermission, please arrive early. William Forsythe has pushed the boundaries of ballet over the course of a nearly five-decade career. In A Quiet Evening of Dance, the intricate phrasing of the dancers’ breath is the primary sound accompanying Forsythe’s choreography, which draws on the geometric origins of classical ballet. Here, the groundbreaking choreographer describes the innovation specific to the choreography in A Quiet Evening of Dance. What draws you to the variety of sources in your choreography—from classical ballet to hip hop—especially as they shaped A Quiet Evening of Dance? I’m usually drawn to the formal elements of a practice and am interested in underlying, correlative facets that support ostensibly disparate practices. What effect does the minimal musical accompaniment of A Quiet Evening of Dance have on your choreography? What is the origin of the different sounds in this production? I’ve focused on the quality of attention in a number of different works for more than 25 years. In this program, the first act’s subtraction of sound contributes to the construction of a community of sensitive listeners. For myself, I find the sensation of dancing best described as a form of attention most akin to careful listening. As dancing does actually make noise in the process of its production, I find adjusting the levels of those acoustic artifacts modifies the spectator’s sense of proximity to the event at hand. This seems to produce a collective intimacy and focus that is of a different texture than when music is the dominant organizational referent. That does not mean that there is an a-musicality to the events, but rather a recognition arises out of the movements that the body is ultimately the most musical of instruments. The use of birdsong is a reflection on the inherently contrapuntal quality of natural sounds. A Quiet Evening of Dance includes new work but also earlier pieces that you’ve revisited to present in new ways. What interests you in reworking old pieces? The need to work on a piece for 20 years, as in the case of DUO, has to do with the evolution of dancers. Each successive generation bears testament to the culture in which they developed, and constant cultural shift has a wide range of effects on how artists listen to the products of their practice. What role do the dancers play in your process of creating new work? The dancer is absolutely everything. What is shared between dance and other forms of art making? If one understands choreography to be a sophisticated form of concept organization, it then holds the possibility of resonating with organizations of a similar sophistication that utilized a different medium to express their subject. What changes in a dance production when it travels from one venue to another? In my experience dance is always affected by proximity and the proportions of the performing volume. The proportions frame the action very uniquely and can unexpectedly amplify or shrink different facets of a production. This always results in the production team adapting the quantities and qualities to the situation at hand. Creative Team William Forsythe, active in the field of choreography for over 45 years, is acknowledged for migrating the practice of ballet from classical repertoire to a diverse range of discursive platforms. Forsythe’s deep interest in the fundamental principles of composition has led him to produce a wide range of projects including visual arts installations, films, and web-based knowledge creation. He was appointed resident choreographer of the Stuttgart Ballet in 1976. In 1984, he began a 20-year tenure as director of the Ballet Frankfurt after which he founded and directed the Forsythe Company until 2015. While his balletic works are featured in the repertoire of every major ballet company in the world, he consistently focuses on works of varying scale that model his continued interest in the economies of public presentation. Tanja Rühl is a freelance lighting designer and lighting supervisor. She was born and resides in Germany. In 1999, she began her theatrical engineering apprenticeship at Frankfurt Opera House. In 2002, after completion of the apprenticeship with distinction, Rühl joined Ballet Frankfurt under the artistic direction of William Forsythe as assistant to the lighting supervisor. She was then appointed lighting supervisor with the newly founded Forsythe Company in 2005. In 2006, she completed her master of theatrical engineering majoring in lighting. Since 2007, Rühl has acted as the company’s lighting designer, mostly with her mentor Forsythe as well as with her colleague in the company’s lighting department. As a member of Forsythe Productions, Rühl acts as technical and design consultant, collaborating with ballet and dance companies in matters of Forsythe works. Since 2014, she has worked as a full-time freelance lighting designer, collaborating with choreographers, companies, and artists around the globe. As a designer she is also still working with Forsythe on his new works and on recreations of his existing repertoire. Productions for which she has created the original design have been performed at Palais Garnier, Paris; Brooklyn Academy of Music, New York; Tate Modern, London; Kawasaki Arts Center, Japan; Ruhrtriennale Jahrunderthalle, Bochum; and Taichung National Theater, Taiwan. Dorothee Merg was born in Frankfurt, Germany. She started her tailoring apprenticeship in 1985. After successfully completing the apprenticeship in 1988, she began to work for film and television. Merg joined the Ballet Frankfurt, led by William Forsythe, in 1989. In 2005, she joined The Forsythe Company as head of costume, during which time she completed several designs for Forsythe’s works. She has also designed costumes for numerous independent ballet and theater projects. In 1992, Niels Lanz joined the sound department of Ballet Frankfurt as a company member and had the opportunity to further develop his skills under William Forsythe on several productions, including Eidos Telos, Endless House, Kammer/Kammer, and Decreation. In the late 90s, he began to create electronic music for dance, producing the music for David Dawson’s The Grey Area and 0000 for Dutch National Ballet. Since 2004, he has worked as sound and video designer for The Forsythe Company and won the renowned New York Bessie Award for the composition of Three Atmospheric Studies in 2007. Since 2012, he has worked as a freelance sound designer for various theater productions. Brigel Gjoka, born and trained in Albania, pursued his studies in Cannes, France, working as a choreographer, dance teacher, and professional stage dancer. Since 2014, he is artistic director of Art Factory International Contemporary Dance Platform based in Bologna, Italy. He has worked with the Ballet du Rhin, Staats Theater Mainz, Netherlands Dance Theater, and the Forsythe Company. For the last decade, he has traveled around the globe performing in renowned dance festivals, creating new projects for dance companies and festivals, and teaching dance workshops. In 2016, he was part of the farewell world tour of Sylvie Guillem, performing DUO2015 by William Forsythe, with whom he has collaborated closely for nine years. Gjoka is currently working on a new production co-choreographed with Rauf Rubberlegz’ Yasit, in collaboration with Forsythe, which will premiere in November 2019. A 34-year veteran of the dance field, Jill Johnson choreographs for film, television, and stage. Johnson has danced in over 50 tours on five continents, was a soloist with the National Ballet of Canada, and principal dancer in William Forsythe’s Ballet Frankfurt. For two decades, Johnson has staged Forsythe’s work with dance companies worldwide. She has served on the faculty and choreographed work for Princeton University, Columbia University, the New School, the Juilliard School, and NYU. Currently, she is director of dance, faculty, and founder/artistic director of the Harvard Dance Project at Harvard University where she has created 11 original works. Recent projects include giving the commencement address at Canada’s National Ballet School, and collaborations with Eve Ensler/American Repertory Theater, PBS Poetry in America, and the Louvre Musee des Arts Decoratif in Paris. Christopher Roman began his formal training at the School of Cleveland Ballet, where he also danced as an apprentice, and later studied at the School of American Ballet in New York City. He joined the ranks of the Pacific Northwest Ballet in Seattle and has worked as a soloist and principal with Edward Villella’s Miami City Ballet, Les Grands Ballets Canadiens, the Pennsylvania Ballet, and Ballet Frankfurt, where he began his long-term artistic relationship with William Forsythe. He stages and is a choreographic assistant for the works of Forsythe, was associate artistic director of the Forsythe Company, and is a trustee for the Foundation Forsythe. From 2015 to 2018, he was a dancer and artistic director of the Dance on Ensemble, First Edition. He received the 2009 DER FAUST Theaterpreis for Best Dance Performer and is curator and organizer of the Hollins University MFA in Dance’s European Study Program, based in Berlin. In 2019, Roman founded the SALTco. with the mission to illuminate the worth, contribution, and role of the dancer. Parvaneh Scharafali received her formal training in classical ballet and contemporary dance at the school of the Hamburg Ballet. At the age of 17 she became a member of the Hamburg Ballet John Neumeier. In 2001, she joined Netherlands Dance Theater 2, and was invited to join Netherlands Dance Theater 1, where she collaborated and performed as a principal in important choreographic works, most notably in Jiri Kylian’s Tar and Feathers, 27’52, and works by Crystal Pite, Ohad Naharin, Hans van Manen, amongst others. In 2006, Scharafali won the Golden Swan for best dancer. She was also nominated for a Golden Swan for her performance in William Forsythe’s DUO. In 2008, she became a member of the Forsythe Company where she worked closely with Forsythe. Scharafali is now working as a freelance performer and teacher worldwide. Riley Watts is a dance artist based in Portland, Maine. He began his training in competitive gymnastics in Bangor and later in classical ballet at Thomas School of Dance under Ivy Forrest. He studied dance at the Walnut Hill School for the Arts and received a BFA in dance from the Juilliard School where he won a Princess Grace Award. He has danced with NDT2, Bern Ballet, Cedar Lake, and with William Forsythe since 2010. In 2015, he performed Forsythe’s DUO2015 with Brigel Gjoka on Sylvie Guillem’s Life in Progress tour, for which they were named contemporary dancers of the year by the Leonide Massine-Positano Prize, Italy. In addition to teaching, choreographing, and creating sculpture- and video-based performance art, Watts is an advocate for the arts in Maine where he is the creator of Portland Dance Month. Rauf RubberLegz’ Yasit is a Los Angeles-based dancer and visual artist with Kurdish roots who was born and raised in Celle, Germany. He has worked with William Forsythe, Arashi, Red Bull, National Opera of Paris, LACMA, Flying Steps, Moderat, Sonos, Seat, Tumi, Sony, WAD, HP, Pandora, and others. RubberLegz has a style that defies categorization. He has created his own unique movement language taken from b-boying that he has developed over a number of years. He received his diploma in 3-D visualization and animation in Switzerland and has years of experience working in professional design agencies as a visual artist. Ander Zabala began his dance education in Spain with Ion Beitia, continuing at Maurice Bejart’s school and John Neumeier’s school before finishing his studies at Rosella Hightower’s school in Cannes, where he was awarded the Prix Serge Lifar 1991. He danced as a soloist with the CCNT-Jean Christophe Maillot, the Birmingham Royal Ballet, and as a principal dancer with the Ballet Frankfurt and the Forsythe Company, performing worldwide. He has worked closely with William Forsythe since 1992, participating in the creation of many works. He stages and is a choreographic assistant for the works of Forsythe. From 2015 until 2018, Zabala worked as a ballet master with the Netherlands Dance Theater, assisting choreographers Crystal Pite and Marco Goecke. He teaches ballet, improvisation technologies, seminars, and master classes internationally including at Roehampton University, Frankfurt University of Performing Arts, and the Goethe University for Sport Science. Location and dates This event takes place in The Griffin Theater. Tuesday – Saturday at 730 pm Sunday at 3 pm Please note There is no performance on October 17. Details Running time 1 hour 40 minutes No late seating until intermission, please arrive early Thank you to our partners Support for A Quiet Evening of Dance is provided in part by

WilliamForsythe | A Quiet Evening of dance. 10 décembre 2021 à 20h00 « Ziferte Productions | _Jeanne_Darc_ La Chair du monde | Désirer tant » 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

ContreCourant est une expérience. Le partage d’un regard sur la nature et la société actuelle, une démarche artistique en quête d’alternatives … PRESENTATION ContreCourant est un spectacle déambulatoire [...] Lire la suite Venez ! On vous dit tout… Pour découvrir notre saison 22/23 dans les moindres détails, rendez-vous mardi 20 septembre à 19h au Théâtre d’Orléans. Profitez d’un moment convivial avec notre équipe et [...] Lire la suite Ce grand rendez-vous artistique et poétique, proposé par l’équipe du Théâtre de la Tête Noire avec le soutien de la Ville de Saran, fête cette année sa 17e édition. Spectacles en extérieur et intérieur, [...] Lire la suite À l’origine de ce projet, le simple rêve d’une communauté d’artistes qui chantent et dansent en enjambant les clôtures connues entre ces disciplines, à la fois sœurs et rivales. Le chorégraphe et performeur François [...] Lire la suite Nouveau spectacle de danse orientale par l’association Takassime chorégraphié et mis en scène par Nadjah Takassime , écrit par Myriam Fotabong. Ce spectacle est un hommage à la femme, aux femmes. A ce qu’elles [...] Lire la suite La compagnie K622, héritière du répertoire de Mié Coquempot, nous fait traverser six pièces de la chorégraphe, tissant des liens entre danse et musique. Adresse 47 Rue du Sergent Leclerc 37000 Tours Date Le [...] Lire la suite Anne-Sophie Lancelin signe avec Persona sa première pièce au sein de sa compagnie. Composé en huit tableaux, ce solo fait apparaître des êtres singuliers qui cherchent une issue aux contraintes qui les ont vu naître [...] Lire la suite Cette pièce à la composition suprématiste, redéfinissant la forme et la couleur à travers un questionnement sur le blanc, est une suite de tentatives pour recouvrer les sens comme on recouvre la vue. Adresse 47 [...] Lire la suite BÊTES DE SCÈNE, version masculine et féminine, consacrées à des questions existentielles liées à la scène, rassemblent des artistes d’exception, fières de leurs expériences et de leur rapport au temps qui passe. [...] Lire la suite BOU 11 juin 2022 Bal folk et stage de chants à danser Le 40ème bal folk de La Fraternelle de Bou a lieu le samedi 11 juin à 21h à la salle des Fêtes communale, 8 rue du Puits de l’Orme. En début de soirée les [...] Lire la suite En s’inspirant de La Vie des Insectes de René Magritte, Carole Perdereau met en mouvement la peinture afin que passé et futur comblent ce qui n’est pas visible. Adresse 47 Rue du Sergent Leclerc 37000 Tours [...] Lire la suite Emmanuel Eggermont déploie pour cinq interprètes une réflexion subtile sur le motif, inspiré des célèbres nymphéas de Monet. Adresse 7 Rue de Luce, 37000 Tours Date Le samedi 11 juin 2022 20H00 > THÉÂTRE [...] Lire la suite Spécialement conçue pour des espaces non scéniques, la performance Passages pour cinq interprètes de Noé Soulier est à découvrir dans le magnifique édifice du Prieuré Saint-Cosme. Adresse rue Ronsard, La Riche, [...] Lire la suite Moment de rencontre et de partage, cette soirée dédiée aux pratiques amateurs témoigne à travers deux projets chorégraphiques, suivis de la présentation d’une courte pièce de Thomas Lebrun interprétée par Emmanuelle [...] Lire la suite Avec une énergie communicative, les danseurs de la formation Coline nous invitent à découvrir trois créations de chorégraphes de renom Thomas Lebrun, Christian Ubl et Joanne Leighton, pour des pièces spécialement [...] Lire la suite La danseuse et chorégraphe japonaise Kaori Ito nous emmène, en présence de son père, dans un autoportrait intime parlé et dansé. Adresse 154 Rue de la Mairie, 37520 La Riche Date Le jeudi 09 juin 2022 09/06/2022 [...] Lire la suite La chorégraphe et danseuse Cécile Loyer présente Villes de papier, pour dire ceux qui sont rayés des cartes aujourd’hui les migrants. Adresse 47 Rue du Sergent Leclerc 37000 Tours Date Le mercredi 08 juin 2022 [...] Lire la suite BÊTES DE SCÈNE, version masculine et féminine, consacrées à des questions existentielles liées à la scène, rassemblent des artistes d’exception, fières de leurs expériences et de leur rapport au temps qui passe. Une [...] Lire la suite Abderzak Houmi ouvre le festival avec Landing, un duo pour un danseur et un circassien et Dhakir, un nouveau solo interprété par le chorégraphe, créé spécialement pour Tours d’Horizons. Adresse 47 Rue du Sergent [...] Lire la suite Venez fêter la fin du festival ! Au programme Let’s Dance, une invitation sans détour pour se mettre en action et DJ Moulinex qui enflammera par sa présence le dancefloor. Adresse 47 Rue du Sergent Leclerc 37000 [...] Lire la suite Mélange des styles pour une création sans pareille. Spectacle célébration, Singulis et Simul de Frédéric Nauczyciel et Studio House of HMU, investit les esthétiques et les codes stylistiques des cultures [...] Lire la suite Avec la présence de deux performeurs-danseurs, Dioscures, questionne la gémellité et la masculinité à partir de figures mythologiques telles que Castor et Pollux ou les Titans. Marta Izquierdo Muñoz s’est souvent [...] Lire la suite Heddy est marseillais, il aime la boxe, le rap, le foot. Sur scène, il raconte sa vie en dansant grâce à la complicité de Mickaël Phelippeau – chorégraphe. Un portrait touchant que vous pourrez retrouver samedi 28 [...] Lire la suite En clin d’œil aux 20 ans de sa compagnie, Thomas Lebrun nous offre une épopée chorégraphique avec 20 danseurs. Sorte de marathon des sensations, Mille et une danses est emmené par des interprètes de tous âges et [...] Lire la suite

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a quiet evening of dance william forsythe