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Tribute to a dance legend

"in the end, it always comes only to me," replied Marco Goecke recently at the "ballet talk" at the Opera house on the question of what inspired him in his

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Tribute to a dance legend

"in the end, it always comes only to me," replied Marco Goecke recently at the "ballet talk" at the Opera house on the question of what inspired him in his choreography about the life of dance legend Vaslav Nijinsky (CA. 1889-1950). The German star choreographer flirting: Sure, a sensitive artist always acting out of itself, but Goeckes "Vaslav Nijinsky" is based also surprisingly accurate to the biography of the Russian dancer, to the smallest elements of movement echoed.

The 2016 of Gauthier Dance in Stuttgart premiered the success of the piece celebrated its Zurich Premiere, for the first time to live music: The Swiss Pianist Adrian Oetiker and the Philharmonia Zurich played under the leadership of the Bulgarian Pavel Baleff Chopin's piano concertos No. 1 and 2, as well as Debussy's "Prélude à l'après-midi d'un faune" – in addition, Vaslav Nijinsky in 1912 his first own choreography had to be developed. It was his first ballet scandal.

Vaslav Nijinsky was not only an outstanding and extraordinarily charismatic dancer, he was also a seeker, an innovator, whose overtly erotic movements, the audience divided. At the world premiere of his "rite of spring" to music by Igor Stravinsky, so much so that it came to blows during the Premiere in the parquet.

Acoustic paintings

An innovator of the dance you can only meet by saying, even after a New search, Marco Goecke. Well, that's still a lot of well-Known remained. Goeckes great musicality, for example, which grows in the Interaction with the high-sensitive Interpretation of the pianist and the orchestra for the acoustic paintings, in which familiar works unfold a new drama. You seem to be specifically composed to meet Nijinski's also a dramatic life.

Marco Goeckes fahrige and at the same time so exact language of movement is still the same: The nervous fluttering hands, the helpless in a circular arms, the restless, twitching shoulders of these-driven Design to create a harried, oppressive atmosphere. As mentioned earlier, but much louder Goecke allows its dancers to breathe, hiss, laugh or even cry. And the dancers Mark Geilings whispers to the main stations from Nijinski's biography into a microphone.

In ten pictures, we know of these stations. The evening of the ballet school in St. Petersburg about the great career up to Nijinski's liaisons, his marriage, and finally, deep in the madness, loneliness and death. Here, the dancer is always in the center, and often alone on the stage. Jan Casier that was in the short term, substituting for the injured Esteban Berlanga, mastered the title role brilliantly.

torture and hug

unlike Marco Goeckes so far in Zurich, shown pieces of the solos, and dance dialogues dominate. Show Nijinski's close and at the same time of discipline and obedience-influenced relationship with the mother (Irmina Kopaczyska), Bittencourt his friendship Isaev (Yannick) and, above all, the love-hate relationship to the great Impresario Sergei Diaghilev (William Moore), who was its discoverer, Mentor, and lover. And after Nijinski's surprising marriage to Romola de Pulszky (Mélanie Borel) be disappointed, bitter enemy.

Marco Goecke it is not live data, but a parable, and feeling. Since the heights of success are less important than the inconceivable notion of creativity, represented by Katja wishes as Terpsichore. Or, the Janus face of delusion (Elena Vostro Tina), the frightened with its tangled darkness, but at the same time to home.

This double-sightedness in every scene of the approximately 80-minute piece of felt. Quite wonderful, if, for example, the arms of the dancer colleagues to mutate ballet bars, where the daily Training to the torture, but also to the loving embrace. Art and creativity can inspire – but they leach their Creator. And if the title character boots towards the end in the Golden cowboy and the galloping beat of the music on the stage tippelt, to hear the legendary phrase, the Nijinski exactly one hundred years ago in his last stage appearance in St. Moritz is alleged to have said: "The horse is tired." The audience is not there and gives enthusiastic applause.

information about the piece and the next few performances you can find here. (editor-in-Tamedia)

Created: 11.03.2019, 10:04 PM

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