In step with dance

Belgrade Dance Festival brought a real treat to fans of this kind of art. Aja Jung, a choreographer, who chooses the best repertoire for Belgrade audience year by year, was entrusted with the task. During the festival best of the best performances, plays and companies were presented. This year repertoire was unique, because it moved from Belgrade to the world capitals, opening dance season    

     The eight Belgrade Dance Festival was finished by a ballet performance named “Far” on April 18, by one of the most important British modern dance companies-Wayne McGregor. Since 2003, when the festival was founded, Belgrade has been visited by the most prominent ballet and modern dance companies, famous choreographers and production companies, bringing with them the world ballet spirit and modern dance aspirations. The aim of the festival is popularization of modern dance and creating new, young audience, which will mature with it and follow modern dance happenings, which are presented by the participants, with a tendency to become one more well-known Serbian culture brand worldwide.   

The Royal Flemish Ballet Ensemble showed precisely the magical dance world to the audience by a play “Artifact”, by William Forsythe, a choreographer. This multinational artistic group, a third of which are the Flemish, is the only ballet company which is allowed to perform this play. This play is one of the most demanding modern dance scores and a masterpiece of one of the most important modern choreographers and Frankfurt ballet director, William Forsythe.   

Dance and architecture

Although it came into being 25 years ago, “Artifact” shows how much its creator, who was responsible for set design, costume design and light design, too, was ahead of time. Complexity of the body positions, angles and space, makes this choreography comparable to a work of architecture. There are two narrators who set the scene and who, repeating the same words, confuse viewers and re-examine their perception of everything that is going on, on the stage. As we are told, the author wanted the audience to create its own perception of the play by itself, because it can have a different opinion about each individual. A masterly performance, which consists of dance, gesture, talk and music, is divided into four parts, from a quiet introduction to a total chaos in the third part, where the actors knock down the set design, while a vigorous dance is stopped by sudden curtain drops and raises. Destabilization and deconstruction of the classical ballet canon is so presented in “Artifact”. Forsythe “stretches the limits of the ballet grammar and subverts all kinds of theatre conventions”. The audience in Sava Centre, which was somewhat confused and shocked, but thrilled, anyway, watched this entire magnificent event.

Play “The Cock”, by Barak Marshall from Israel, was performed on April 5 in “Madlenijanum” (a theatre in Belgrade, translator’s note). The company had put on the play in Los Angeles, where it had been awarded, too. The play satirically describes a traditional Jewish wedding, interwoven by typical human flaws. The play of irony, costume design and light, put a viewer in a dilemma about an exact understanding of the play, but, at the same time, the viewer enjoys the humour. Since the dancers on the stage are clashed in typical problems of love and envy, viewers can easily identify with the story, because it happens every day. Costume design is especially funny and interesting. Male dancers clash with the female ones, as in a chicken coop, and they represent present (Jewish) women behaviour and typical clashes.

This is just a part of what Belgrade audience had a chance to see during sixteen days of the dance festival. One of the many unusual plays was “The First Touch” (Primo Toccare), performed by a Torino theatre ballet company. Besides the stunning ballet of Matteo Levaggi, a futuristic atmosphere was completed by the set design, a work of a designer duo named “Corpicrudi”, whose art work was based on cooperation with choreographers, fashion designers and other international artists. Icy beauty, devoid of artificiality and fraud, is full of harmony and classic elegance and, as such, represents a concept that perfectly fits the play that checks the line between sound and silence, a motion and stillness and a body flexibility and stiffness. Sometimes stressed by slow motions, sometimes by quick ones, the dancers’ bodies were the contrast to the still bodies of the models, placed on some kind of a glass cabin, so they stayed permanent in their crystal beauty.    

Corpicrudi

An artistic duo “Corpicrudi” are Samantha Stella and Sergio Frazzingaro, and their aesthetic research they show through the photos, videos and installations, is focused on historical society values. The readers will have a chance to become more familiar with this design duo work, in the Design sector of the June edition of Creative Art Magazine.

“A European-oriented American”

William Forsythe was born in New York, 1949. He learned dance at Jacksonville University in Florida, as well as at the school of Joffrey Ballet. In 1973, he became a Stuttgart ballet dancer, where he started practising choreography under the influence of John Cranko. During the following years, he did a lot of dance work not only for the Stuttgart Ballet, but also for other leading companies in Brussels, Frankfurt, Munich, Berlin, as well as at the school of Joffrey Ballet and Netherlands Dance Theatre. He was offered the position of the Frankfurt theatre Ballet Director in 1984, with an idea to create a different repertoire from the classic ballet, which would attract new audience. Since then and during the following 20 years, the most important dance works of the modern dance came into being. Except the work for the Ballet Frankfurt, Forsythe worked for New York City Ballet, The National Ballet of Canada, The Royal Ballet in London and the Paris Opera Ballet. At the end of the theatre season in 2004, a decision about closing the Ballet Frankfurt was made, so Forsythe started his own troupe. The Forsythe Company functions at three art addresses, in Frankfurt, Dresden and Zurich, and performs intensively around the world.   

U korak sa igrom

Beogradski festival igre je ljubiteljima ove vrste umetnosti doneo pravu poslasticu. Zadatak je poveren koreografkinji, Aji Jung, koja iz godine u godinu bira najbolje postavke za beogradsku publiku. U toku festivala predstavljene su najbolje od najboljih predstava, komada i kompanija. Ovogodišnja postavka je jedinstvena, jer se iz Beograda seli u svetske metropole, otvarajući sezonu igre

    Osmi beogradski festival igre okončan je 18. aprila baletskom predstavom pod nazivom „Far“,  jedne od najvažnijih britanskih kompanija moderne igre – Vejn Mekgregor (Wayne McGregor). Od 2003. godine, kada je festival osnovan, Beograd su posećivale najistaknutije baletske i savremene plesne kompanije, poznati koreografi i produkcijske kuće, donoseći sa sobom duh svetske baletske scene i stremljenja savremenog plesa. Cilj ovog festivala jeste popularizacija savremene igre i stvaranje nove, mlade publike, koja će zajedno sa njim sazrevati i pratiti dešavanja savremenih plesnih tokova, koje im prezentuju učesnici, sa tendencijom da postane još jedan prepoznatljiv brend srpske kulturne scene u svetu.

Predstavom „Artifakt“, koreografa Vilijama Forsajta, publiku je na pravi način ansambl Kraljevskog flamanskog baleta uveo u čarobni svet igre. Multinacionalni umetnički sastav, koji trećinom čine Flamanci, jedina je baletska kompanija koja ima pravo na izvođenje ovog komada. Ova izvedba predstavlja jednu od najzahtevnijih partitura savremene igre i remekdelo  jednog od najznačajnijih savremenih koreografa i direktora Frankfurtskog baleta, Vilijama Forsajta.

Ples i arhitektura

Iako je nastao pre 25 godina, „Artifakt“ pokazuje koliko je ispred vremena bio njen tvorac koji je odgovoran i za scenografiju, dizajn kostima i osvetljenja. Kompleksnost pozicija tela, uglova i prostora čine ovu koreografiju uporedivom sa arhitektonskim delom. U priču uvode dva naratora, koji ponavljajući iste reči, zbunjuju posmatrača i preispituju njegovo viđenje onoga što se odigrava pred njim, na pozornici. Kako saznajemo, autor je želeo da pubilika samostalno kreira svoje viđenje predstave, jer ona za svakog pojedinca može imati ražličito značenje. Maestralno izvođenje koje uključuje ples, gest, govor i muziku raspoređeno je u četiri dela, od mirnog uvoda do totalnog haosa u trećem delu, gde akteri ruše scenografiju, dok energični ples prekida iznenadno spuštanje i podizanje zavese. Destabilizacija i dekonstrukcija kanona klasičnog baleta je veoma zastupljena u „Artifaktu“. Forsajt ekstremnim tehnikama „isteže granice baletske gramatike i podriva sve vrste pozorišnih konvencija“. Publika u Sava Centru, koja je bila donekle zbunjena i šokirana, ali svakako oduševljena, uz gromoglasni aplauz i usklike ispratila je ovaj veličanstveni događaj.

Postavka „Pevac“, kompanije Baraka Maršala iz Izraela, održana je 5. aprila u „Madlenijanumu“. Kompanija je komad izvela u Los Anđelesu, gde je i nagrađena. Komad satirično predstavlja tradicionalnu jevrejsku svadbu, protkanu tipičnim ljudskim manama. Igra ironije, kostimografije i svetla uvodi posmatrača u dilemu da pravilno razume predstavljeno, ali i da uživa u komičnosti. Kako su plesači na sceni sukobljeni u tipičnim boljkama ljubavi i zavisti, gledalac lako može da se poistoveti sa pričom, jer se svakodnevno susreće sa njom. Koreografija je posebno zabavna i zanimljiva. Plesači se sukobljavaju sa plesačicama kao u kokošinjcu, a plesačice predstavljaju današnje (jevrejsko) ponašanje žena i tipične sukobe.

Ovo je samo deo onoga što je beogradska publika imala prilike da vidi tokom šesnaest dana festivala igre. Jedna od mnoštva nesvakidašnjih, bila je i predstava „Prvi dodir“ (Primo Toccare), koju je izvodila baletska kompanija teatra u Torinu. Pored zadivljujućeg baleta Matea Levađija, futurističku atmosferu upotpunila je scenografija, rad dizajnerskog dvojca pod imenom „Korpikrudi“ (Corpicrudi), čija se umetnička praksa zasniva na saradnji sa koreografima, modnim dizajnerima i drugim internacionalnim umetnicima. Ledena lepota, lišena izveštačenosti i prevare, odiše harmonijom i klasičnom elegancijom i, kao takva, predstavlja koncept koji se savršeno uklapa u predstavu koja ispituje nepremostivu granicu između zvuka i tišine, pokreta i mirovanja i elastičnosti i krutosti tela. Ponekad naglašena usporenim, ponekad žustrim, pokretima tela igrača, isticala su kontrast naspram nepomičnih tela manekenki, smeštenih na nekoj vrsti kabine od stakla, te su tako ostale konstantne u svojoj kristalizovanoj lepoti.

Igra ironije, kostimografije i svetla uvodi posmatrača u dilemu da pravilno razume predstavljeno, ali i da uživa u komičnosti.

Korpikrudi

Umetnički tandem „Corpicrudi“ čine Samanta Stela i Serđo Francinđaro, a njihovo estetsko istraživanje koje ispoljavaju kroz fotografije, video radove i instalacije, fokusirano je na istorijskim vrednostima društva. Čitaoci će imati prilike da se detaljnije upoznaju sa radom ovog dizajnerskog dvojca u rubrici Dizajn, u junskom broju Creative Art magazina.

„Evropski-orjentisani“ Amerikanac

Vilijam Forsajt je rođen u Njujorku 1949. godine. Igru je učio na Univerzitetu Džeksonvil na Floridi i u školi Džofri baleta. Godine 1973. postaje igrač Štutgart baleta, gde otpočinje i svoje bavljanje koreografijom po uticajem Džona Kranka. Tokom narednih godina kreirao je mnoge naslove za Štutgart balet, ali i za druge vodeće kompanije poput baleta u Briselu, Frankfurt baleta, Baleta u Minhenu, Berlin baleta, Džofri baleta i Holandskog plesnog teatra. Na mesto umetničkog direktora Frankfurt baleta postavljen je 1984. godine, sa idejom da kreira repertoar pomeren u odnosu na klasičan balet, koji će osvajati novu publiku. Od tog trenutka i tokom narednih 20 godina, nastala su ključna dela savremene igre. Osim naslova za balet Fankfurt, Forsajt je radio za „New York City Ballet“, Nacionalni balet Kanade, londonski Kraljevski balet i Balet pariske Opere. Na kraju  pozorišne sezone, 2004. godine, doneta je odluka o zatvaranju baletske kompanije u Frankfurtu, pa Forsajt osniva svoju privatnu trupu. Forsajt kompanija danas funkcioniše na tri umetničke adrese, u Frankfurtu, Drezdenu i Cirihu, i intezivno nastupa po celom svetu.

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Autori: Aleksandra Janković & Bobana Jovanović