Spectral Evidence | La Stravaganza
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Spectral Evidence | La Stravaganza

Ballet Preljocaj

The New York Pieces

SPECTRAL EVIDENCE

2013 CREATION
Piece for 8 dancers
Duration 30 minutes

Choreography Angelin Preljocaj
Music John Cage
Costumes Olivier Theyskens
Lighting Mark Stanley

In early June 2013, Angelin Preljocaj flew to New York for two weeks to begin work on the new ballet with the Company (New York City Ballet), which was created in fall 2013. For classically trained dancers, “It’s completely the opposite of what we do every day,” “Angelin is very specific about the shapes he wants to see,” a ballet for eight dancers set to several pieces of music by John Cage.

A friend recently gave him a CD of a vocal composition by Cage that the choreographer had never heard before. “I always thought that I knew the works of Cage very well,” says Preljocaj, who has set several ballets to music by the experimental composer. “But this piece surprised me. It was not in the same mood or style of the Cage I knew.” A passage in the composition filled with nothing but the sound of breathing fired Preljocaj’s imagination. “I wanted to find in the movement what is heard in the breathing,” he says. Such pieces he has described as “fundamental research” dealing with concepts such as weight, energy, dynamics and space.

Ballet’s ambience was influenced by a powerful historical incident—namely, the 1692 Salem witch trials where spectral evidence, gleaned in the dreams of the accusers, resulted in the death of innocent women. “When I heard the Cage music, my imagination went to that strange moment in time,” Preljocaj says.

LA STRAGAVANZA

1997 CREATION
Piece for 12 dancers
Duration 30 minutes
Choreography Angelin Preljocaj

Music Antonio Vivaldi (Concerto n°8, RV249, excerpts from Dixit Dominus, Laudate Pueri Dominum), Evelyn Ficarra (Source of Uncertainty), Serge Morand (Naïves), Robert Normandeau (Eclats de voix), Åke Parmerud (Les objets obscurs)

Scenography Maya Schweizer
Costumes Hervé Pierre
Lighting Marc Stanley

I created La Stravaganza somehow instinctively in 1997, after Peter Martins commissioned the work for the New York City Ballet. At first, I didn’t have a precise theme, nor a definite choice of music. I flew to New York in order to meet the dancers. An immigrant’s son myself, this city had always been mythical for me. A symbol of immigration for those who journey towards new commencements, the notion of “new continent” appeared to me significantly during the creation process. On the one side, was an Easterner with his ancestral culture, his traditions, and on the other side stood America, Broadway and Balanchine.

I wanted to present a story from the past that returns like a boomerang. People rising from dust and bringing novelty. At the beginning of the piece, one hears a young girl saying “I remember”. The past bursts into the future. As if time was a loop, an eternity. The choice of music was made in this regard. Vivaldi’s expert and elaborate music is confronted to more organic sounds. Created 17 years ago, it feels like I am about to meet a grown-up child again. I have always been attached to repertoire notion. Pieces need to be read again and reinterpreted. I am impatient to discover how the dancers will embody this piece with their own identity.
Angelin Preljocaj

PRESS QUOTES

SPECTRAL EVIDENCE

Feathery, like a dream upon waking
“It envisions the spectral as an evanescent, whispering sort of sensuality within and around us like air. (...) I have rarely seen lifts so vibrant on both dancers’ part. (...) Spectral Evidence amounts to a visitation from another world.”
The Financial Times, 23 September, 2013

Phenomenal Spectral Evidence
“Preljocaj likened his dancers to characters in Gothic novels. And just as the authors of these tales revealed the darker, supernatural side of their characters, so too does Preljocaj show that beauty does not equate to innocence. (...) While a Cage sound score of animalistic swallowing, breathing, and sniffing noises plays, the four couples each dance a tense pas de deux in which it’s unclear which partner is going to be the other’s victim. (...) It’s no secret that artistic culture is fascinated by the unreal, and by combining 19th-century visual imagery with 20th-century music and 21st-century technology, Preljocaj uses the vehicle of concert dance to his advantage to present an entrancing, and frankly frightening.”
Point of Contact, 04 February, 2014

Season of the witch
“Spectral Evidence is allegorical, a story of fear and desire combusting into the question of who possesses whom.”
The New Criterion, April, 2014


LA STRAVAGANZA

An alternating luminous and dark beauty
“Electrifying virtuosity, exceedingly well rendered with high-voltage speed, is set against weighted gesture and athletic blocks of bravura. (...) It has an artistic wholeness that rings true, and that is why the choreography is fascinating to watch.”
The New York Times, 24 May, 1997

An imaginative challenge to the dancers
“This could be a coy little drama about dancers meeting across time. But actually Preljocaj makes us think about what it means for modern artists to perform to music from another age. (...) The dance is haunted by all that we cannot know or accommodate from another culture, and it makes us hear the music in subtly different ways.”
The Guardian, 03 September, 2001

“Cultural clashes, confronting eras... (...) Angelin Preljocaj signs a splendid extravagance, both poetic and dynamic.”
L’Est Républicain, 14 May, 2004

A final work brilliantly crafted by Preljocaj
“The tribal conflicts and clashes between past and present, Old World and New World, entrenched social classes and free individuals was portrayed with intelligence, theatrical ingenuity, organic and musically sensitive use of choreographic devices and seamless transitions that could only be crafted by a master.”
www.ballet.co.uk, May, 2006

PARTNEREK


The Ballet Preljocaj,
National Choreographic Centre


anyagilag támogatja:
Kulturális és Kommunikációs Minisztérium – DRAC PACA,
Provence-Alpes-Côte d’Azur Region,
Département of the Bouches du Rhône,
Communauté of the Pays d’Aix,
Aix-en-Provence város


támogatja:
Groupe Partouche – Casino Municipal d’Aix-Thermal,
Total Corporate Foundation,
Egyének és vállalatok, a Carré and Cercle des Mécènes tagjai.


Fényképek:  © Paul Kolnik / Jean-Claude Carbonne


BALLET PRELJOCAJ - PAVILLON NOIR
National Choreographic Center
530 avenue Mozart CS 30824
13627 Aix-en-Provence - Cedex 01 - France
www.preljocaj.org

Az előadást, a 2016-os Budapest Táncfesztivál részeként támogatják:

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