Program of the Day // 14.7.17
Performances
CENTRE CHORÉGRAPHIQUE NATIONAL – BALLET DE LORRAINE
ROSE-VARIATION by Mathilde Monnier
OPAL LOOP / CLOUD INSTALLATION #72503 by Trisha Brown
SOUNDDANCE by Merce Cunningham
14 & 15.07.2017
KALAMATA DANCE MEGARON - MAIN HALL | 22:00
- Rose-variation 35΄
- Opal Loop 15΄
- Sounddance 18΄
CENTRE CHORÉGRAPHIQUE NATIONAL - BALLET DE LORRAINE
Direction PETTER JACOBSSON
Rose-variation
MATHILDE MONNIER
Intermission
Opal Loop / Cloud Installation #72503
TRISHA BROWN
Pause
Sounddance
MERCE CUNNINGHAM
Rose-variation
Choregraphy Mathilde Monnier
Set Design Annie Tolleter
Lighting Eric Wurtz
Costumes Mathilde Possoz
Assistant to the choreographer Cédric Andrieux
Rehearsal Director Thomas Caley
L.v. Beethoven, Piano Sonata no. 17 in D minor, performed by Tanguy de Williencourt
With 24 dancers
Created in 2001 for the Royal Swedish Ballet.
Recreated in 2014 for the CCN - Ballet de Lorraine - Premiere May 22, 2014 at the Opéra national de Lorraine
Rose was originally created in 2001 for the Royal Swedish Ballet.
The stage from the floor to the flies, the dancers’ bodies and the set, Rose envelopes us in pink. Rose-variation is a piece which deconstructs the classical ballet vocabulary, examining and resetting each figure, each classical step in new variations. The construction of the work is supported by the music, played live on a pink piano and played by a pianist dressed also in pink, who is in direct contact with the dancers. The Beethoven Piano sonata #17 is virtuosic, powerful and luminous, accompanying the dancers’ technical virtuosity while sharing with them the essence of the music. Rose-variation is an exploration of the poetics of ballet vocabulary, revisited by the exceptional contemporary dancers of the CCN - Ballet de Lorraine.
Mathilde Monnier holds an esteemed place within the French and international dance scene. From one piece to another, she defies expectations by presenting work that is constantly renewing itself. Her nomination at the head of the Centre Chorégraphique in Montpellier Languedoc- Roussillon, in 1994, marks the beginning of a series of collaborations with personalities coming from various artistic fields.
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Opal Loop / Cloud Installation #72503
Choregraphy Trisha Brown
Staged by Leah Morrison & Laurel Jenkins Tentindo
Visual Design Fujiko Nakaya
Scenography restaged by John Torres
Sound Environment: water passing through high-pressure nozzles
Costumes Judith Shea
Lighting Beverly Emmons
Rehearsal Director Thomas Caley
With 4 dancers
Premiere June 10, 1980, 55 Crosby Street - New York
Premiered by the CCN Ballet de Lorraine November 12, 2015
at the Opéra national de Lorraine
In Opal Loop / Cloud Installation #72503 (1980), Trisha Brown...began with the idea of an endless movement phrase...[that] required a method for looping movement to return it to the center of the space. The movements’ fluid sequencing, as enhanced by [Fujiko] Nakaya’s shape-changing cloud of water molecules, becomes extremely difficult to see, making for Brown’s most poetic statement on dance as an evanescent art.
SUSAN ROSENBERG
Scholar-in-Residence, Trisha Brown Dance Company
Trisha Brown (Founding Artistic Director and Choreographer) was born and raised in Aberdeen, Washington. After graduating in Oakland, studying with Anna Halprin and teaching at Reed College in Portland, she moved to New York City in 1961. Instantly immersed in what was to become the post-modern phenomena of Judson Dance Theater, her movement investigations found the extraordinary and challenged existing perceptions. In this “hotbed of dance revolution”, Brown, along with like-minded artists, pushed the limits of choreography thereby changing modern dance forever.
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Sounddance
Choregraphy Merce Cunningham
Music David Tudor, Untitled 1975/1994*
Set, Costumes, Lighting Mark Lancaster
Staged by Thomas Caley & Meg Harper
With 10 dancers
Created by the Merce Cunningham Dance Company, March 8, 1975 in Detroit,
Michigan. Entry to the repertory on March 14, 2014 at the Opéra national de Lorraine.
Sounddance (1975) by Merce Cunningham © Merce Cunningham Trust. All rights reserved.
*The original music of Sounddance was David Tudor’s Toneburst. When the piece
was revived in 1994, Tudor rethought the music, calling his new score Untitled 1975/1994.
Sounddance The stage is divided in the middle of its’ depth by a gracefully draped plush gold curtain, designed by artist Mark Lancaster. This division or compressing of the space adds to the overlapping and frenetic choreography, as if we were seeing a miniature dance cosmos through a microscope. The dancers enter the stage as if thrust from the curtain, and at the end of the dance, with their exit, they are swallowed by it, as though they were being sucked into a wind tunnel.
Merce Cunningham Born in Centralia, Washington on April 16, 1919. The most famous and controversial of these dealt with the relationship between dance and music, able to co-exist in the same space and time but needing to be conceived independently of each other. Cunningham continued to experiment and innovate throughout his life, and he was one of the first to use new technologies in his own art form. He choreographed and taught almost until the day he died, July 26, 2009, and received many awards and accolades.
Centre Choregraphique National - Ballet de Lorraine One of the most important companies working in Europe, performing contemporary creations while retaining and programming a rich and extensive repertory, spanning our modern history, made up of works by some of our generations most highly regarded choreographers. The CCN functions as an art center and venue for multiple possibilities in the fields of research, experimentation and artistic creation. It is a platform open to many different disciplines, a space where the many visions of contemporary dance may meet. In these artistic pursuits, he is joined by Thomas Caley, choreographer and coordinator of research.
Εducational activities
The Revolutionary Dances of Isadora Duncan
Dance Seminar by Barbara Kane with Françoise Rageau and Sandra Voulgari
14.07.2017
| MESSENIA ARCHAEOLOGICAL MUSEUM | 10:00-12:00 (seminar)
Kalamata Castle | 19:30-21:00 (seminar)
15-18.07.2017
| MESSENIA ARCHAEOLOGICAL MUSEUM | 10:00-12:00 (seminar)
Zoumbouleio Megaron | 17:00-19:00 (seminar)
19.07.2017
| MESSENIA ARCHAEOLOGICAL MUSEUM | 9:30-11:30 (seminar)
Kalamata Castle | 19:30-21:30 (seminar)
20.7 Κalamata Castle (21:00) Public Presentation of B. Kane’s Evening Seminar.
21.7 Archaeological Museum of Messenia, Kalamata, The Museum is dancing,
Touring-Presentation of B. Kane’s Day Seminar.
The Revolutionary Dances of Isadora Duncan
throughout her creative and meaningful life
Barbara Kane's Dance Seminar
with Françoise Rageau and Sandra Voulgari
Ιn collaboration with the Ephorate of Antiquities of Messenia, Greek Ministry of Culture and Sports
(General Co-ordinator and Management: Dr. Evangelia Militsi-Kechagia, Archaeologist, Director of the Ephorate of Antiquities of Messenia, Scientific Curator: Maria Tsoulakou, MSc Archaeologist, Ephorate of Antiquities of Messenia)
Isadora Duncan was born with a purpose and thinking to express change in life and to challenge the norms of the 1900’s in Western thought. The philosophy of Ancient Greece informed her dance creations. As early as 1903 Isadora Duncan began creating dances that reflected societal conflict; she wanted the creation of a new world free of exploitation, poverty and war.
She danced the Revolution of a new age free from bodily restraint, dances that expressed sorrow and joy, dances that explored resistance and hope.
Barbara Kane's Seminar with Françoise Rageau and Sandra Voulgari will explore these dances from the early works about the sea/water to the later works about the people who become aware of their oppression and fought for their freedom. Themes that will be presented at the Archaeological Museum of Messenia, Kalamata: Water and our respect and how over many centuries the sea has destroyed
so many lives / given also toο many tο our lives. Themes for the Castle presentation reflect revolt, awareness of the oppression of life, combined with hope and a vision that we carry on into the 21st Century. Dances of Revolt and Hope, strength and sorrow, hope and confidence combined in movement expression via the Dance and technique of Isadora Duncan.
Οpen to dance students (7 years old and up) and dancers. Also available for anyone at any age (no dance experience needed).
Limit of participants: 18 people
Barbara Kane studied with pupils of Irma and Anna Duncan, Lillian Rosenberg (1969-1974), Julia Levien (1976-1998) and Hortense Kooluris (1976-1991). Performing with the Isadora Duncan Centenary Dance Company 1976 to 1979. In 1979 Barbara moved to England and in 1985 set up the Isadora Duncan Dance Group based in Gent, Belgium, Paris and London with the support of Jetty Roels and Françoise Rageau. Barbara had a curiosity for all Duncan Dance developments in Europe and sought out and took classes with pupils of Lisa Duncan (Madeleine Lytton and Odile Pyros), with pupils of the Elizabeth Duncan School and of the Duncan School in Moscow. Barbara has always felt that Duncan Dance belongs in the community and throughout her career has included Duncan classes for adults, children and elderly people with and without disabilities. Barbara has retired as a performer but continues to teach the Duncan Dance.
Participation fee: 70 €
Down payment: 20 €
Registration & Information: Sandra Voulgari
+30 6973 077 158
mail @ kalamatadancefestival.gr
* Reservation +30 6931 512 683