Artiklar från 2008 – till idag

Artiklar från 2008 – till idag

Denis Savin as Petrushka.Georgy Gusev as Charlatan.Ekaterina Krysanova as Ballerina.Photo by Damir Yusupov/ Bolshoi Theatre.

Denis Savin as Petrushka.Georgy Gusev as Charlatan. Ekaterina Krysanova as Ballerina. Photo Damir Yusupov Bolshoi Theatre

01 jul
2019

New version of Petrushka at Bolshoi–meet choreographer Edward Clug

MOSCOW: A brand new version of the Ballet Russes Petrushka, opened recently at the Bolshoi ballet in Moscow in May 19. This opening evening was broadcast to cinema theaters worldwide.

I would like to point out that, broadcasting of live ballets and operas are excellent opportunities to take part and experience great performances. Imagine, for the cost of a cinema theater ticket, you are transferred to the big scenes, you can listen to comments from the creators and be guided about the performance. You can also enjoy the best view, including close-ups.

EdwardClug

Edward Clug. Photo private

Choreographer Edward Clug.

Edward Clug was born in Romania 1973. He shows an extensive and successful career in Europe and throughout the world since entering the dance world. His dancing career started as a soloist in The Slovene National Theater.

In 1996 he choreographed his first ballet Babylon, followed by Tango, his first full evening ballet. In 2003 Edward Clug was appointed director of the same company in Maribor, Slovenia. The company visited famous festivals all over the world.

The choreographic creativity continued with numerous works around Europe. Among them with the Stuttgart ballet in 2009, and Zürich ballet in 2013. In 2015 he made a successful production at the Netherlands dance theater, Mutual comfort. This ballet was reviewed in March 2018.

Edward Clug has been nominated and received a number of prestigious awards, for example the Benoit Award, for the Handman, made for Netherlands theater 2 in 2017.

We are now going to talk to Mr. Clug, about this performance in particular, and a few other things. I wonder what inspired him to make a new of his own version of Petrushka?
I have a long connection or “addiction”, if you wish, to Stravinsky’s music. This is the third project I create on his music after the Rite of Spring in 2012 for Maribor Ballet and later Zurich ballet and Les Noces in 2013 for the Royal Ballet of Flanders, explains mr. Clug. When I was invited to create a new piece for Bolshoi Ballet, I was happy that they accepted my proposition to do Petrushka!

A scene from the performance.Denis Savin in the title part.Photo by Damir Yusupov/ Bolshoi Theatre.

A scene from the performance. Denis Savin in the title part. Photo Damir Yusupov Bolshoi Theatre

According to Mr. Clug, Ballet Russe represents the milestone in the development of the modern ballet in the 20th century. What is your relation to the Ballet Russe? 
Visionary as Diaghilev and his artists like Nijinsky and Fokin were the pioneers of avant-garde in dance. Nijinsky’s The Rite of Spring is undoubtedly a masterpiece of cult proportions of the 20th century. It does not just represent a turnabout within Stravinsky’s music poetics, but also in history of music.

Furthermore, the entire evolution of the 20th century dance performativity reflects in The Rite, starting with Nijinsky’s staged choreography and onwards, following in Béjart’s majestic aestheticism and Pina Bausch’s unique creativity and lust for life. The original Nijinsky’s production represents an initiation of my own choreography, in respect of its hermetic and ‘disturbing’ avant-gardist character at that time.

A scene from the performance.Photo by Elena Fetisova/ Bolshoi Theatre.

A scene from the performance. Photo Elena Fetisova Bolshoi Theatre

Petrushka is the figure who has some resemblance in his body language to the original choreography, but the doll and the moor are both really moving differently. The doll for instance in soft ballet shoes. Do you have any comment on that?
It is simply an esthetic decision to have the ballerina in soft shoes instead of pointe.

Anton Savichev as Moor.Photo by Elena Fetisova/ Bolshoi Theatre

Anton Savichev as Moor. Photo by Elena Fetisova Bolshoi Theatre

The Charlatan manipulates his dolls in an interesting manner, with sticks, how did you get this idea? Also, the robot-like dolls in the end raises questions?

The idea of dolls came from Mexico where I saw people on streets were dancing with two dolls attached, one in front and one in the back.

The dolls were moving in synchronicity with the person creating a magical dance. I used the same principle except instead of dolls I used dancers.

Therefor in the famous Russian dance where the Charlatan presents his dolls we see “three dolls” attached to two sticks. These sticks become later the Charlatans manipulating instruments and the dolls are struggling to free themselves from them.

Later in the show we also see wooden dolls carried by our three characters that are taking part in the final Masquerade scene. In the moment of Petrushjka’s death one of these dolls appears above him, like his own wooden soul that takes him away.

Denis Savin as Petrushka.Ekaterina Krysanova as Ballerina.Georgy Gusev as Charlatan.Anton Savichev as Moor.Photo by Elena Fetisova/ Bolshoi Theatre.

Denis Savin as Petrushka. Ekaterina Krysanova as Ballerina. Georgy Gusev as Charlatan. Anton Savichev as Moor. Photo Elena Fetisova Bolshoi Theatre

Most of–or almost–the choreography in Petrushka is new. Nevertheless, there is a scent of Russia and some folklore in group dances and in costumes! Did the music influence specially for these dances? Did you enjoy this?
All the elements involved: sets, costumes, choreography and not least the music, are carefully depicting elements arising from the Russian folklore and tradition.

It was probably the most challenging to merge them into a new work that could eventually bring the story of Petrushka back home.

Denis Savin as Petrushka.Ekaterina Krysanova as Ballerina.Georgy Gusev as Charlatan.Photo by Elena Fetisova/ Bolshoi Theatre.

Denis Savin as Petrushka. Ekaterina Krysanova as Ballerina. Georgy Gusev as Charlatan. Photo Elena Fetisova Bolshoi Theatre

Petrushka was made under the tsar era, or at least at the ending of it. What do you think Petrushka as a piece can tell us–the audience of today?
We have to understand the difference between the fairytale of Petrushka, it is deep in the Russians people heart and the original Petrushka ballet that is more like “a la Russe”.

The ballet was born in Paris, faraway from turbulent Russia and depicts with nostalgia the happier times of this nation.

I understand of your repertory that you like Stravinskij, very understandable, his music is really intriguing. It is also very demanding. In his time, he was often questioned, although not nowadays. Is he a favorite of yours for any special reason?
Beside Stravinsky, I work on many different authors. Each of them becomes my “favorites” during the process of a new creation. Swinging between different sounds and esthetics is like tasting deferent kind of foods. That gives you a new experience each time and my approach in my work is directly influenced by that.

On the other side the philosophical aspect of the story has a connotation in every society. I see Petrushka as a wooden doll that wants to overcome its condition to be able to feel, give and receive real emotions. We human take this option for granted and so often we give it away…

PetruschkaSthlm

Royal Swedish Ballet gave Petrushka in the 1970's with Marie Louise Waldenström as the Doll and Verner Klavsen as the Moor, in an original setting from Ballet Russe. Photo EM Rydberg

Some of your works has been done before, by several choreographers, such as Romeo and Juliet, les Noces, Rite of Spring, and of course Petrushka. What is the temptation for making your own versions of this pieces?
Mr. Clug answers simply: I guess I was attracted to these titles, the same as my colleagues before me and after me.

How would you describe your contemporary style, who or what has affected you?
I am figuring out with every new project. It is like a constant journey that has no destination. My nature as a choreographer tends to change with the nature of each ballet. I certainly behave different in deferent topics and one thing I know for sure, that I’m not going to use elements of Russian folklore in my new ballet for NDT1, at least not deliberately.

Marie Louise Waldenström
1 July 2019


  • Matilda Larsson
    Attityder som uppskattades
    I Drottningholmsteaterns déjeunersalong gavs i september in innehållsrik, högklassig presentation av ett forskningsprojekt som genomförs på Kungliga Musikhögskolan och finansieras av Vetenskapsrådet.

  • Kentaro Mitsumori Le Corsaire
    Spot-on Kentaro Mitsumori, dancer with the Royal Swedish Ballet
    Kentaro Mitsumori has been a member of the Royal Swedish Ballet since 2017. We have seen him in many roles, in Swan Lake, Cinderella, Don Quijote, The theme and variation, Gardener in Alice in Wonderl...

  • Kalle Wigle Foto Johan Persson
    Kalle Wigle-Andersson får stipendium från Jubelfonden
    Kalle Wigle-Andersson: Jag är utbildad och diplomerad vid Royal Ballet Upper School, London 2016. Innan dess gick jag på Kungliga Svenska Balettskolan 2006-2014. Sedan min examen har jag varit anställ...

  • Wicked GO Foto Lennart Sjöberg
    Wicked, musikalen om häxorna i Oz
    Göteborgsoperan inleder sin höstsäsong med den mytomspunna succémusikalen Wicked. Exakt tjugo år efter Broadwaypremiären 2003, sätts den nu upp för första gången i Sverige.

  • Aalto Ballet percussion__Gerritsen_Hans
    Balettgalan i Villmanstrand är sensommarens succéevenemang
    Balettgalan i Villmanstrand vid Finlands östra gräns gavs i år för 12:e gången och var igen en succé med både nationella och internationella dansare. Galans grundare och eldsjäl Juhani Teräsvuori hade...

  • The One Foto Peter Knutson
    Möte med Fredrik Benke Rydman om ”The One”
    Det är mannen från dansgruppen Bounce, koreograf till egna versioner av Svansjön och Snövit bland mycket annat. Jag träffar Fredrik Benke Rydman på en liten thaikrog mellan repetitionspassen.

  • Manon Kungliga Operan 2023
    “A new look at it” – Lady MacMillan about Manon with the Royal Swedish Ballet
    As part of the 250-year jubilee program of the Royal Swedish Opera and as a tribute to the long-lasting cooperation between the Royal Swedish Ballet and world-renowned English choreographer Sir Kennet...

  • Remachine – Jefta van Dinther
    Urpremiär av episkt dansverk på Norrlandsoperan
    Den 1 september bjuder Norrlandsoperan på säsongsuppstart för dans med urpremiär av den episka föreställningen Remachine signerad koreografen Jefta van Dinther . Ljus, ljud, röst, koreografi och scenog...

  • Contemporary Dance GO
    Contemporary dance av Hofesh Shechter på GöteborgsOperan
    Danskväll med intensiv klubbfeeling, smittande glädje och en upplevelse som börjar redan utanför operahuset.

  • Julia Bengtsson Confidencen
    Julia Bengtsson – internationell barockdansös från Sverige
    Höjdpunkten under årets förnämliga Opera- och musikfestival på Confidencen var iscensättningen av Jean-Philippe Rameaus opera Dardanus . I en annan föreställning, A Baroque Catwalk , gjorde Julia Bengts...

  • Fast Blue by Mikaela Polley - Austen McDonald and George Edwards
    The Royal Ballet School Delights
    Written on the faces of the dancers as they spin and leap in the ecstatic final moments of the Grand Défilé , is the smile that says, ‘I did it’. It’s what I look forward to year after year and it neve...

  • dardanus_Confidencen_foto MartinHellström
    Ett barockt spectacle på Confidencen
    Confidencen Opera & Music Festival inleds den 27 juli med Jean-Philippe Rameaus mästerverk Dardanus, som genom ett gediget arbete får sin nordiska premiär på Sveriges äldsta rokokoteater – 284 år efte...

  • Vivian Assal Koohnavard  1
    Möt Vivian Assal Koohnavard dansare vid Staatsballett Berlin och aktivist
    I Berlin träffade jag och arbetade med Vivian Assal Koohnavard. Vivian fick sin dansarutbildning i Sverige och Tyskland. Hon har varit anställd vid Berlin Staatsballett sedan 2018. Där deltar hon i de...

  • Donizetti KSB
    Peter Bohlin om Kungliga Svenska Balettskolans uppvisningsföreställningar
    Skolårets sista föreställningar på KSB var uppdelade i fyra program. Några koreografier var storartade, andra inte. Här, mot slutet, ett försök att resonera om anledningar till detta.

  • Terpichore
    Dans i Stockholm Early Music Festival
    I 2023 års version av Stockholm Early Music Festival , den tjugoandra i ordningen, ingick två dansföreställningar. I fablernas värld , en kort musikalisk och dansant barockföreställning med Folke Danste...

  • Tallinn Suite en Blanc
    Suite en Blanc av Estoniabaletten med fina danssolister
    Jag hade möjligheten att två gånger se en ny balettafton med två verk. Black/White innehöll “Open Door ” av polskan Katarzyna Kozielska och Serge Lifars kända och genuina Suite en Blanc . Den sistnämnda...

  •  Marie Larsson Sturdy
    Marie Larsson Sturdy Carina Ari Medaljör 2023
    På Carina Ari-dagen 30 maj tilldelades Marie Larsson Sturdy Carina Ari-medaljen för hennes mångåriga och engagerade insatser inom Dans i Nord – en vital verksamhet som under mer än 20 år har främjat m...

  • Manon 1
    Manon: An evening to treasure
    Kenneth MacMillan’s Manon created in 1974, continues to weave its magic providing a slew of dramatic roles against a volatile and violent backdrop. The Royal Swedish Ballet first presented the ballet ...

  • En slags Berlin 
    Instudering av Mats Eks ”En slags” med Staatsballett Berlin
    I april 2022 reser Koreografen Mats Ek och jag till Berlin för att hålla audition med dansarna vid Staatsballett Berlin på Deutsche Oper. Vi ska välja dansare till verket ”En slags” av Mats Ek. Premiä...

  • Peter Pan & Wendy
    Marianne Mörck berättar sagan om Peter Pan med Svenska Balettskolan
    Till vårens uppsättning av Peter Pan och Wendy på Lorensbergsteatern är en av gästartisterna ingen mindre än Marianne Mörck . Efter första repetitionen tillsammans med baletteleverna på svenska baletts...

  • Grand Hotel GöteborgsOperan 
    Det var en gång på Grand Hôtel, musikalen som återupptäckts
    Göteborgsoperan avslutar sin vårsäsong med premiär den 22 april på Paul Abrahams musikal Det var en gång på Grand Hôtel. Musikalen som legat gömd fram till 2017. En föreställning fylld av dans och mus...

  • Virpi Pakkinen trio
    Virpi Pahkinen: "Precision möter osäkerhet, matematik möter mystik"
    Change – den nya dansföreställningen av och med Virpi Pahkinen – är uppbyggd enligt principen 5 + 5 + 5, dvs koreografi/ljus/musik. Strax före fredagskvällens premiär på Kulturhuset Stadsteatern fick ...

  • ProDance 2023
    För dansens skull dansas Pro Dance galan
    Den anrika Aleksandersteatern fylldes åter av dansfolket som ville stödja dansen och dess utövare via föreningen Pro Dance med att köpa biljetter till den årliga galaföreställningen. Artisterna uppträ...

  • Julia & Romeo 1
    Anthony Lomuljo – om hur det är att igen dansa Romeo – 10 år senare
    10 år har gått sedan urpremiären av Mats Eks Julia & Romeo på Kungliga Operan i Stockholm. Då liksom nu dansar Anthony Lomuljo rollen som Romeo. När Dansportalen några dagar innan premiären träffar An...

  • Touched GO 1
    Hur bygger vi upp oss själva igen när allt är förstört–Johan Inger om Dust and Disquiet på Göteborgsoperan
    Danskvällen Touched visar två världspremiärer på Göteborgsoperan, Dust and Disquiet av Johan Inger och To Kingdom Come av det nederländska syskonparet Imre och Marne Van Opstal . Naturkatastrofer runt ...

  • OBK Mats Ek
    Mats Ek om Mats Eks Julia & Romeo
    Operans Balettklubb gästades lördag 25 mars av koreografen Mats Ek och dansare inför nypremiären av ”Julia & Romeo” på Kungliga Operan. Verket uppfördes på teatern för första gången 2013. Det har ocks...

  • PrixduNord2023
    Nordens största danstävling lockade 44 dansare
    Äntligen! Det är vad de flesta kände när tävlingen Prix du Nord genomfördes på Kronhuset i Göteborg.

  • Affinity Operan
    Young choreographers en bra plattform för nya idéer
    En alldeles särskild glädje med workshopartade föreställningar är att man får se dansarna på riktigt nära håll. Så var fallet på Operans Rotunda 16 och 18 mars, i ett program med sju koreografer och 3...

  • Defile Hommage a Patrick Dupond
    Gala till minne av den lysande dansaren Patrick Dupond
    Under februari var det tre utsålda galor på Palais Garnier i Paris, till minne av dansaren och balettchefen Patrick Dupond . För programmet på galan, se nedan!

  • Svansjön Helsingfors M Onne
    Madeleine Onne: Man får slåss för sin konstart
    Madeleine Onne har varit balettchef i Stockholm, Hongkong och Helsingfors. Dansportalen har pratat med Madeleine om bland annat tiden i Hongkong, Helsingfors och om Stockholm 59°North. Men på vår förs...

ANNONS

Dansmuseet
Transit

Ur Dansportalens arkiv

  • En svensk dröm tar form
    STOCKHOLM: Den 17 april 2015 var det urpremiär på Kungliga Operan för Alexander Ekmans Midsommarnattsdröm. Vid en träff med vänföreningen Operans Balettklubb 2015 berätta...

ANNONS

Dansmuseet
Nötknäpparen

Redaktion

dansportalen@gmail.com

Annonsera

dansportalen@gmail.com

Grundad 1995. Est. 1995

Powered by

SiteVision

Uppil