2nd Festival 1992

Main programme


Sonntag 22. Nov. // 19.00 Uhr
Schauspielhaus

Abschlussgala

I. Folkwang Tanzstudio, Essen


»Sanguis«

Tanzstück von Urs Dietrich



Choreografie und Ausstattung:

Urs Dietrich

Musik:

Johann Sebastian Bach – Toccata d-moll,
David Bowie – Unwashed and some what slightly dazed

Musikalische Bearbeitung:

Tonstudio Brinker

Lichtgestaltung:

Wilfried Kresiment

Tänzer:

Regina Advento, Rainer Behr, Daniel Condamines, Daniel Goldin, Nayoung Kim, Daphnis Kokkinos, Amaya Lubeigt, Cristina Numa, Jordi Puigdefabregas, Enrica Salvatori, Rodolfo Seas Araya, Yudistira Syuman, Diana Szeinblum

Die Musik wird eingespielt.



Johann Sebastian Bach's thundering organ music breaks, the existing silence. Sand gushes. In a sharply defined cross of white light grow the movements of women and men to a nightmarish rage. Then, suddenly, dead silence.

»Sanguis« is Latin and stands for »blood«. As far as the choreographer is concerned, it stands for »life itself«.

A man wearing a shirt is dressed by a woman. First she pulls on the stockings, then the trousers, and finally the tie. Suddenly the man collapses. Falling backwards to the floor he contorts and twists on the floor. Near him, reflected by the light, kneel two women heaping and sand in little piles. Contention and sullenness appear to tear the twisting man's body apart until it relaxes in the fetal position.

The choreography fully exploits the enigmatic symbolism of gestures and arrangements. Tenderness becomes a bogus gesture of embarassment and peaks as malice. Just as the harsh facts of life mingle with the hues of the human soul, so change the expressions of dance artistry. Its carousel of jokes and melancholy has many variations; the serious consecration play, society's satire, the psycho drama, the witty comedy.

The troupe plays brilliantly together. The changes from group dances to solo and duo scenes allow the dance characters to retain their individual spaces and with them to develop their powerful originality and technical ability. The troupe's ethnic differences create an additional stimulation.

The Folkwang Tanzstudio grew out of the Essen Folkwang School's dance theatre which was started in 1928 by Kurt Joos. It was here, where realism of theme and of sharp-edged movement language was first developed. The studio's artistic director Pina Bausch carries that tradition into the present.


»›Sanguis'‹ established the young Swiss graduate of the FoIkwang School Urs Dietrich's claim as the great hope of contemporary dance in Germany« (Westdeutsche Allgemeine Zeitung, Essen, 19.02.1991).


Das Gastspiel wurde im Rahmen des Nationalen Performance Netzes durch Digital Equipment ermöglicht – das NPN wird betreut von Joint Adventures, München.



II. Marcia Haydée, Stuttgarter Ballett
John Neumeier, Hamburger Ballett


»Die Stühle«

Ballett von Maurice Béjart nach dem gleichnamigen Einakter von Eugène lonesco



Choreografie:

Maurice Béjart

Text:

Eugène lonesco

Musik:

Richard Wagner, aus »Tristan und Isolde« – Vorspiel und Isoldes Liebestod

Licht:

John van der Heyden

Beleuchtungseinrichtung:

Rolf Warter

Tänzer:

Marcia Haydée, John Neurmeier

Die Musik wird eingespielt.



»An old couple, living alone on an island, proclaims its message to imaginary guests. Only death awaits those aged lovers, those ›Tristan‹ and ›Isolde‹, who as adolescent dotards seem utterly ridiculous with their dreams.« (Maurice Béjart)

Born in Brazil, Marcia Haydée is not only one of the greatest ballerinas but also one of the leading actresses of our times. It was in 1961, when John Cranko first brought her to Stuttgart as first ballerina and it was around her, that he created almost his complete repertoire, such as »Romeo and Julia«, »Onegin« and »Der Widerspenstigen Zähmung«. Maria Haydée inspired such famous choreographers as Kenneth MacMillian, Glen Tetley and Maurice Béjart to create new productions in which she, beside her classical roles as Odette/Odile in »Schwanensee« and Giselle, danced the lead part. John Neumeier specially designed for Mrs. Haydée his full evening-Iong productions of »Endstation Sehnsucht« and »Die Kameliendame«. In 1976, Marcia Haydée became the director of the Stuttgart Ballet, one of the world's leading ballet companies.

Born 1942 in the USA, John Neumeier received his ballet training in various countries and it was John Cranko who hired him 1963 for the Stuttgart Ballet. In 1969 John Neumeier became the director of the Frankfurt/Main Ballet and in 1973 he assumed reins of the Hamburg Ballet which under his directions won international acclaim. Neumeier created captivating innovations of classical productions, such as »Dornröschen«, »Schwanensee« and »Aschenbrödel«. His premieres belong to the most famous productions of contemporary ballet. Above all, the »Sommernachtstraum«, set to music by Felix Mendelssohn Bartholdy und György Ligeti, Bach's »Matthäus-Passion«, as well as several choreographed Mahler symphonies are expressions of his creativity. Neumeier is the present director of Hamburg Staatsoper's new ballet school.

Maurice Béjart is one of the most significant choreographers of present times. Born 1927 in Marseille, he worked many years in Paris. In the, 1960 in Brussels self-created »Ballet of the Twentieth Century«, Béjart embodied his own era of dance. His creations, which range from sensible solo performances to mind-boggling super shows, posses dimensions of inexhaustible variety. To his most famous choreographies belong Stravinsky's »Sacre du Printemps« and Ravel's »Bolero«. Béjart moved 1987 to Lausanne, dissolved there his troupe and then started a multi-divisioned dance school. Since 1992 he's also »Principal Guest Choreographer« at the Deutsche Staatsoper Berlin. 1980 he created his ballet »Die Stühle« (»The chairs«) in Rio de Janeiro. He also danced the male role. His partner was Laura Proença. The European version with Marcia Haydée and John Neumeier has its opening night in Brussels in 1984.


»Great moments exist in this ballet. Moments in which Béjart discovers the meaning of life. Moments of truth, during which Marcia Haydée and John Neumeier break through the illusions of their art and reveal themselves as human beings. Their common exploratory changes from text to dance, from music to mimic, becomes a breathtaking adventure for the spellbound audience. One is a changed person after experiencing ›The chairs‹, more sensitive for the experiences our times« (Stuttgarter Nachrichten, 09.11.1984).


Das Gastspiel erfolgt mit freundlicher Unterstützung durch Soft-Research | München, Berlin, Erfurt, Dresden, Frankfurt/M.