thnet widget, quiet, evening, dance, william, forsythe, scène, theatre, contemporain, net, culture, théâtre, spectacle, planches, art, dramatique, comédie Oct 13, 2019. One of the pleasures of a life filled with dance is the way, at the end of the day, a performance can force the mind to change course, to quiet down. William Forsythe’s program saison19.20 de l'opéra de lille a quiet evening of dance : prologue (2018) catalogue (seconde édition 2016–2018) épilogue (2018) dialogue (duo2015–2018) Lecélèbre chorégraphe William Forsythe explore le contrepoint avec ses exceptionnels interprètes qui se glissent dans cette danse mêlant WILLIAM FORSYTHE "A Quiet Evening of Dance" // TEASER on Vimeo AQuiet Evening of Dance – William Forsythe / Sadler’s Wells. Bill Cooper Théâtre de la Sinne, Mulhouse. DANSE (1h40 entracte inclus) 14 sept. 20h 15 sept. 20h. Figure emblématique de la danse contemporaine, William Forsythe fait un retour attendu à la scène, après une pause de quelques années, en créant une soirée intime et pure de kEunaGL. Co-crée avec Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf RubberLegz » Yasit, Ander Zabala avec Cyril Baldy, Roderick George, Brigel Gjoka, Jill Johnson, Brit Rodemund, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz” Yasit chorégraphie William Forsythe, costumes Dorothee Merg, William Forsythe, lumières Tanja Rühl, William Forsythe, création sonore Niels Lanz - Visuels, photo © Bill Cooper. Production Sadler’s Wells London. Coproduction Théâtre de la Ville, Paris ; Théâtre du Châtelet, Paris ; Festival d’Automne à Paris ; Festival Montpellier Danse 2019 ; Les Théâtres de la Ville de Luxembourg ; The Shed, New York ; Onassis Cultural Centre, Athènes. Spectacle lauréat du Prix Fedora – Van Cleef & Arpels pour le Ballet en 2018, ainsi que du trophée de la "Best Modern Choreography" aux Critics' Circle Awards 2020. Création en octobre 2018 à Sadler's Wells London. William Forsythe 1949 has been active in the field of choreography for over 50 years. With an initial focus on the organizational underpinnings of academic ballet, Forsythe’s work has extended his choreographic discourse into the field of visual arts over the last 25 years. His expanded notion of classical ballet practice has been adopted by companies and in educational settings worldwide. BiographyRaised in New York and initially trained in Florida with Nolan Dingman and Christa Long, Forsythe danced with the Joffrey Ballet and later the Stuttgart Ballet, where he was appointed Resident Choreographer in 1976. Over the next seven years, he created new works for the Stuttgart ensemble and ballet companies in Munich, The Hague, London, Basel, Berlin, Frankfurt am Main, Paris, New York, and San Francisco. In 1984, he began a 20-year tenure as director of the Ballet Frankfurt, where he created works such as Artifact 1984, Impressing the Czar 1988, Limb’s Theorem 1990, The Loss of Small Detail 1991, A L I E / N ACTION 1992, EidosTelos 1995, Endless House 1999, Kammer/Kammer 2000, and Decreation 2003.After the closure of the Ballet Frankfurt in 2004, Forsythe established a new ensemble, The Forsythe Company, which he directed from 2005 to 2015. Works produced with this ensemble include Three Atmospheric Studies 2005, You made me a monster 2005, Human Writes 2005, Heterotopia 2006, The Defenders 2007, Yes we can’t 2008/2010, I don’t believe in outer space 2008 and Sider 2011. Forsythe’s works developed during this time were performed exclusively by The Forsythe Company, while his earlier pieces are prominently featured in the repertoire of virtually every major ballet company in the world, including the Mariinsky Ballet, New York City Ballet, San Francisco Ballet, National Ballet of Canada, Semperoper Ballet Dresden, England’s Royal Ballet and the Paris Opera Ballet. More recently Forsythe has created original works for the Paris Opera Ballet Blake Works I, English National Ballet Playlist Track 1,2, Boston Ballet Playlist EP, as well as A Quiet Evening of Dance produced by Sadler’s Wells Theatre London and The Barre Project Blake Works II created for the digital received by Forsythe and his ensembles include the New York Dance and Performance “Bessie” Award 1988, 1998, 2004, 2007 and London’s Laurence Olivier Award 1992, 1999, 2009. Forsythe has been conveyed the title of Commandeur des Arts et Lettres 1999 by the government of France and has received the Hessischer Kulturpreis/ Hessian Culture Award 1995, the German Distinguished Service Cross 1997, the Wexner Prize 2002 the Golden Lion of the Venice Biennale 2010, the Samuel H Scripps / American Dance Festival Award for Lifetime Achievement 2012 and the German Theater Award FAUST for Lifetime Achievement 2020.Forsythe has been commissioned to produce architectural and performance installations by architect-artist Daniel Libeskind Groningen, 1989, ARTANGEL London,1997, Creative Time New York, 2005, and the SKD – Staatliche Kunstsammlungen Dresden 2013, 2014. These Choreographic Objects, as Forsythe calls his installations, include among others White Bouncy Castle 1997, City of Abstracts 2000, Nowhere and Everywhere at the Same Time No. 2 2013, Black Flags 2014, Underall 2017 and Unsustainables 2019. His installation and film works have been presented in numerous museums and exhibitions, including the Whitney Biennial New York, 1997, Louvre Museum 2006, Pinakothek der Moderne in Munich 2006, Tate Modern London, 2009, MoMA New York 2010, Venice Biennale 2005, 2009, 2012, 2014, MMK – Museum für Moderne Kunst Frankfurt, 2015, 20th Biennale of Sydney 2016, ICA Boston 2011, 2018, Museum Folkwang 2019 and the Museum of Fine Arts, Houston 2020.In collaboration with media specialists and educators, Forsythe has developed new approaches to dance documentation, research, and education. His 1994 computer application Improvisation Technologies A Tool for the Analytical Dance Eye, developed with the ZKM / Zentrum für Kunst und Medientechnologie Karlsruhe, is used as a teaching tool by professional companies, dance conservatories, universities, postgraduate architecture programs, and secondary schools worldwide. 2009 marked the launch of Synchronous Objects for One Flat Thing, reproduced, a digital online score developed with The Ohio State University that reveals the organizational principles of the choreography and demonstrates their possible application within other disciplines. Synchronous Objects was the pilot project for Forsythe's Motion Bank, a research platform focused on the creation and research of online digital scores in collaboration with guest an educator, Forsythe is regularly invited to lecture and give workshops at universities and cultural institutions. In 2002, Forsythe was chosen as one the founding Dance Mentor for The Rolex Mentor and Protégé Arts Initiative. Forsythe is an Honorary Fellow at the Laban Centre for Movement and Dance in London and holds an Honorary Doctorate from The Juilliard School in New York. Musique Théâtre Danse Autres univers Enfants If anyone could be described as having “electrified” ballet, as having breathed new life into it and transformed it into a dynamic art-form ready to soar ever higher in the 21st century, that person would be William creates entire worlds using nothing but the human body, space and time, making dance an unprecedented experience for dancers and audience performance, an Onassis Stegi international co-production, includes two new pieces "Epilogue" and "Seventeen/Twenty One", two new versions of older works from Forsythe’s repertoire "Dialogue DUO2015" and "Catalogue Second Edition", plus "Prologue", an extract from "Seventeen/Twenty One".Dancers who have worked with him for many years narrate profoundly communicative stories with their bodies, their breathing the only sound accompanying them. Humour, sensitivity, provocation, response. Guiding them their rhythm and incredible coordination. Like the hands on an invisible clock, they record time, render it visible, expand and contract it by changing space and, ultimately, by opening the secret channel through which we communicate with it.“A Quiet Evening of Dance”Image1/4Photo © Carl FoxFriday 8 FebruaryAfter performance talk with dancers Cyril Baldy, Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf RubberLegz’ YasitChaired by Tassos Koukoutas, Dance TheoristCREDITSChoreographyWilliam Forsythe and Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz“ Yasit and Ander ZabalaThe dancers areCyril Baldry, Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf RubberLegz’ YasitComposer/MusicMorton Feldman, Nature Pieces for Piano No 1’, from First Recordings 1950s – The Turfan Ensemble, Philipp Vandré © Mode for Epilogue’Composer/MusicJean‐Philippe Rameau, Hippolyte et Aricie Ritournelle, from Une Symphonie Imaginaire, Marc Minkowski & Les Musiciens du Louvre © 2005 Deutsche Grammophon GmbH, Berlin for Seventeen/ Twenty-One’LightingTanja Rühl & William ForsytheCostumesDorothee Merg & William ForsytheProductionSadler’s Wells LondonCo-produced withThéâtre de la Ville-Paris, le Théâtre du Châtelet and Festival d’Automne à Paris; Festival Montpellier Danse 2019; Les Théâtres de la Ville de Luxembourg; The Shed, New York; Onassis Stegi; deSingel international arts campus AntwerpTechniciansDirector of technical ProductionsAdam CarréeProduction Company Stage ManagerBob BagleyElectrician/RelighterGerald McDermottFor Sadler’s WellsChief Executive & Artistic DirectorAlistair Spalding CBEExecutive ProducerSuzanne WalkerHead of Producing & TouringBia OliveiraTour ProducerAristea CharalampidouProducing & Touring CoordinatorFlorent TriouxMarketing ManagerDaniel KingSenior Press ManagerCaroline AnsdellWardrobe SupervisorMiwa MitsuhashiFirst performed at Sadler’s Wells London on 4 October of the FEDORA - VAN CLEEF & ARPELS Prize for Ballet 2018William Forsythe has been choreographing for 45 years now. He has redefined ballet, transforming it from an art-form obsessed with repertoire into a dynamic, creative art free of all limitations. He is considered the most important choreographer of his evening’s seven dancers are among Forsythe’s closest and most trusted associates. Ideal performers, they can provide us with a profound, insider perspective on the physical work of ballet and shed light on Forsythe's life's work. The program is an international Onassis Stegi co-production.“Catalogue” was created for two ex-Forsythe dancers, Jill Johnson and Christopher Roman, who created their own company, the DANCE ON ENSEMBLE. Forsythe describes the project as "complex, almost Baroque". In this updated version, it becomes a trio with the addition of the talented Brit Rodemund, who is collaborating with Forsythe for the first time.“DUO2015” was originally created in 1996 for two dancers who would only use the front part of the stage. Today, it is danced by two male new version was premièred in 2015 and was subsequently included by Sylvie Guillem in her farewell programme. Guillem collaborated with Forsythe at a historic moment of his career on “In the middle somewhat elevated”, which he created in 1987 for the Paris Opera Ballet, then under the direction of Rudolf Nureyev. With its electrifying atmosphere and eccentric equilibria, its pulse and constantly shifting relationships, the choreography would change the course of dance forever and turn both the choreographer and his dancers Sylvie Guillem, Laurent Hilaire, Isabelle Guérin and Manuel Legris into instantly-recognizable mediaIf you want to enjoy embedded rich media, please customize your cookie settings to allow for Performance and Targeting cookies. Your data may be transferred to third-party services such as YouTube, Vimeo, SoundCloud and Cookies You don’t expect one of the dance world’s most revered choreographers to wax lyrical about an early career in bump’n’grind, yet here we are. I’ve heard, I tell William Forsythe, that he did a stint as a... club dancer? “I worked as a stripper,” he beams. “Why not? It’s great money.”Forsythe’s work is as sophisticated as it gets, steeped in dance history but bristlingly contemporary, a brainbox head with a beatbox heart. He’s a byword for seriousness, so the stripping news is, I admit, a bit of a surprise. He was at college in Florida and had only just started dance classes when a roommate suggested this sideline.“It was fun... on a table, it wasn’t even on stage. It was super-shabby.” He was

a quiet evening of dance william forsythe