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Nederlands Dans Theater celebrates
Jiří Kylián (b. 1947) Bella Figura, Sleepless, Birth-day [92.00]*
Introductions [36.00]
Nederlands Dans Theater I, II & III
Choreographies by Jiří Kylián
Set Design by Jiří Kylián
Costumes by Joke Visser
Bella Figura directed for TV and Video by
Hans Hulcher, rec. 1998 for NPS television, Sleepless directed
for TV and Video by Hans Hulcher, rec. 2005 for NPS television,
Birth-day directed for TV and Video by Petra Lataster-Czisch
and Peter Lataster, rec. 2004 for Nederlands Dans Theater and Lataster
Films
Picture format: DVD 9/NTSC/Colour/16:9
Sound format: PCM Stereo
Menu languages: English, German, French, Spanish
and Dutch. Subtitles: German, French, Spanish, Italian and Dutch.
Notes in English, Dutch and German
*Full track details at end of review
ARTHAUS
102099
[128.00]
Jiří Kylián
(b. 1947) is an original, talented choreographer, as well as
a dancer and artistic director. He studied first at the Prague
Conservatoire and then at the Royal Ballet school. He joined
the Stuttgart Ballet in 1968 where he became a soloist. He has
worked with the great South African choreographer and ballet
director John Cranko, architect of the Stuttgart Ballet who
recognised Kylián as a major talent.
Kylián’s choreographies
distinguished themselves by the special fluency of movement.
His style combined the precision of classical ballet with the
expression and muscularity of modern dance. The movements and
figures he created, developed in a seamless connection with
the music where the individual dancers appeared as if built
into its patterns, swirling in eloquent, expressive groups and
lyrical, beautifully sculpted pas de deux. His early
works were not in a narrative format but they told of a wide
range of emotions, possibly most noticeable in his Field
Mass (1980) to music from Martinů and Heart’s Labyrinth
1 (1984) to music from Schoenberg, Webern and Dvořák.
In more recent years, Kylián has changed his style. He has deliberately
broken and disrupted his fluency by introducing more angular
movements and abrupt gestures, as well as surreal theatrical
elements to express complex ideas. His ballets are abstract
in the sense that they do not have a narrative structure but
they continue to tell us about emotions, conflict and Kylián’s
own thoughts on topics that have always troubled humans in general,
such as the meaning of life, death, birthdays and relationships.
The ballets presented
on this DVD, as a tribute from the Nederlands Dans Theater (NDT)
to Jiří Kylián, are all fruits of his later style and a
suitable celebration of Kylián’s work, as in later years, he
has almost exclusively choreographed for the NDT and its sister
companies: Nederlands Dans Theater II and III. However, this
does not mean that his creations have remained solely with the
NDT. Many of his works have been taken into the repertoire of
various other companies and are performed all over the world.
The first ballet
Bella Figura, created in 1995, is arguably the one that
marks Jiří Kylián’s change of style and direction though
it still bears some of the liquidity of movement and the perfect
integration of the dancers in the music that marked his earlier
works. The title is interesting, as it is based on the Italian
expression fare una bella figura, which means “to cut
a good figure”, which is what dancers always have to do once
the performance starts and all eyes are on them. Bella Figura
is a virtuosic piece of choreography beautifully executed by
the NDT who, better than any other company, understand the modernistic
streams in dance even if sometimes rooted on classicism. The
movements are fluent, the figures created generally elaborate;
some duets, pas de trois and the ensemble effects are
complex and intricate, and in this ballet Kylián introduces
his new style, i.e. sudden, brusque movements, disrupting the
harmony, announcing conflict, contrast, deep emotion, appearing
sometimes random, surreal, almost giving the impression that
the dancers are unwell and having a kind of nervous attack.
Kylián’s choice of music, using various composers, serves the
choreography well and stresses the importance of dance for dance’s
sake, as the unifying element of very different musical pieces.
Intentionally or not, this creates a certain impression of fusion
between the music and the dancers, which is taken to extreme
by expressing that dance is neither male nor female, is simply
art. Kylián creates this idea intelligently, towards the end
of the ballet, by dressing male and female dancers in the same
bright red, skirt-like trousers and making them all appear topless.
In the long ensemble shots it is nearly impossible to say who
is a man and who is a woman, leaving the viewer with an uncomfortable
feeling.
The second piece,
on the DVD, though listed last on the cover, is Birth-day,
created in 2001 for the older dancers in the company. This is
a ballet that I always struggle with, not because I do not like
it but because I cannot see it as a ballet. It has often been
said that this is really meant as homage to Charlie Chaplin
and silent movies, which actually perfectly describes the look
of the piece. Birth-day is a very clever, imaginative
work, full of humour and from the point of view of ballet, modern
or otherwise, completely unconventional. It is set in the eighteenth
century, a fact made obvious by the costumes and wigs used by
the dancers, to the music of Mozart, not one particular piece,
but a selection of parts from very different ones, ranging from
some of his string quartets, to a divertimento and extracts
from three of his operas: Die Entführung aus dem Serail,
Le Nozze di Figaro and Cosě fan tutte. Kylián makes
good use of the dancers’ excellent comic and expressive skills
but there are no steps or dance movements as such. Birth-day
is a clever, original and imaginative sequence of well choreographed
gestures and behaviours that are always in perfect timing with
Mozart’s music. This piece makes use of the illusion that film
and mirrors can help stage, creating some unusual “special”
effects. In some scenes there is a film in the background, cleverly
integrated in the piece by making the dancers on stage leave
and then reappear in the film behind, which was set in a baroque
palace, doing similar gestures to the ones on stage. In some
parts, the camera is speeded up and that is where the illusion
of the silent movie is brought to mind. This is used to great
effect in some of the scenes, particularly the one on the bed,
which is rather funny, almost clown-like, evoking memories of
Chaplin’s movies in the early days of cinema. There is humour
but there is also a tragic side, which is what Kylián, according
to his own words, is trying to express here, i.e. the fact that
with each birthday we come one step closer to death; well put
across in the end when one of the dancers comes up with a cake,
decorated with five burning candles, and the birthday girl disappears
from the stage and blows out her last candle so symbolising
the end of her short life.
The third and final
piece Sleepless, created in 2004 for six very young dancers,
is possibly the strangest of the three and one I find difficult
to appreciate. To begin, there is the music! It is composed
by Dirk Haubrich, a German composer, who studied in England
and in Holland. His piece is apparently based on the Adagio
from Mozart’s Quintet for Glass Harmonica in C minor K617,
a very beautiful piece, composed for an unusual instrument,
of which there are very few left. This was a late composition
by Mozart with a nice story attached to it. Apparently, the
composer heard a young girl, called Marianne Kirchgessner, play
the glass harmonica and was very impressed with her performance.
She was a virtuoso of the instrument but also blind, and Mozart
composed the piece for her. Haubrich strips the piece beyond
recognition, deliberately distorting it and introducing every
day sound effects. If I had been told that he based it on the
daily sounds coming out of his neighbour’s house, I would easily
have believed him. The music is very repetitive, full of surreal
elements and sound experimentations that failed to hold my attention
and made me yawn. To my mind, this impacts the ballet negatively
but, according to Kylián’s words, it complements what he was
trying to achieve, a state where one is neither asleep nor awake.
The set is intriguing. It is a simple, gigantic white plastic
wall, slit at regular intervals, which allows dancers to appear
and disappear unexpectedly, sometimes creating grotesque figures
of heads and hands that obviously do not belong to the same
body. Kylián wants to get people to think about what might be
happening behind the wall, as dancers suddenly emerge, only
to be sucked away again through one of the slices in the plastic.
Finally, the wall rises and what is behind is revealed but there
is nothing new; the ballet ends as it begins with a dancer in
conflict with her own shadow, which also serves as a metaphor
to life’s continuous cycle. Kylián is trying to express a profound,
complex idea of the circle of life: birth, conflict, relationships,
death and the little control we have over it. From this point
of view, his choreography succeeds and the three graphic duets
are exquisitely expressive and difficult, demanding a virtuosic
display from the young dancers. As a whole, the piece failed
to grab me and left me indifferent, possibly because I did not
like the music, finding it intrusive and boring.
Each ballet is introduced
by the choreographer and he attempts to explain the reasons
behind his creation, its meanings and what he was trying to
tell the audience. Though Jiří Kylián’s work does not tell
a story, it is generally emotional although he sometimes tries
to create movement just for the beauty of its shape rather than
express emotion. The interviews with Kylián about each of the
works presented in this DVD are informative and the choreographer
is an interesting speaker, with unusual, very personal ideas,
pleasant to listen to, as he has a calm, serene, rather soothing
voice and manner.
The sets are usually
good and always done to enhance the choreography. Jiří
Kylián created these for two of the pieces, Bella Figura
and Sleepless, thus demonstrating another talent beyond
his choreographic skill. The lighting is very effective in all
three pieces, showing the movements and the dancers to best
effect.
This DVD is an excellent
display of the amazing array of talented dancers that the Nederlands
Dans Theater has in its ranks and also a fitting celebration of
Jiří Kylián’s work, showing him for what he is: a visionary,
revolutionary artist who continues to contribute greatly to contemporary
ballet, extending our understanding of dance as an art form. To
my mind, however, for it to be a true tribute, some of Kylián’s
master pieces from earlier days should also have been included,
thus demonstrating his versatility and differences in style.
Margarida Mota-Bull
Full Track Details: Lukas FOSS(b. 1922) Salomon
Rossi Suite: Lento and Andante (1975), Amsterdam Bach Soloists
/ Roy Goodman Giovanni Battista PERGOLESI (1710-1736)
Stabat Mater: Stabat Mater Dolorosa and Quando Corpus Marietur
(1736), Catherine Bott (soprano), Christopher Robson (counter
tenor), Amsterdam Bach Soloits / Roy Goodman Alessandro MARCELLO (1669-1747)
Oboe Concerto in D minor: Adagio (early 1700s), Heinz Holliger
(Oboe), Staatskapelle Dresden / Vittorio Negri Antonio VIVALDI(1678-1741) Concerto for Two Mandolines and Strings
RV 532: Andante (before 1742), I Musici, Gino del Vescovo,
Tommaso Ruta (soloists) Giuseppe TORELLI (1658-1709) Concerto Grosso No. 6 in G Minor: Grave (1709), I Musici Bella Figura [29:36] Megumi Nakamura, Elke Schepers, Cors Bos-Kroese,
Brigitte Marin, Lorraine Blouin, Johan Inber, Ken Ossola, Joeri
de Korte, Stefan Zeromski (dancers), choreography by Jiří
Kylián, Nederlands Dans Theater I, set design and stage light
by Jiří Kylián, costume designer Joke Visser, directed by
Hans Hulscher
rec. 1998 for NPS television, Nederlands Dans Theater, NHK-Tokyo
and RM Arts Wolfgang Amadeus MOZART (1756-1791)
Extracts from: String Quartet No. 19 in C Major K465 (1785),
Symphony No. 33 in B Flat Major K319 (1779), Quartet
for Flute and Strings No. 1 in D Major K285 (1777), Overture
to Die Entführung aus dem Serail K384 (1782), Adagio and
Allegro in F minor for mechanical organK594 (1790),
Overture to Le Nozze di Figaro K492 (1786) and Terzettino
from Cosě fan tutte K588 (1789) Birth-day[35.26]
Gioconda Barbuto, David Krügel, Sabine Kupferberg, Gérard Lemaďtre,
Egon Madsen (dancers), choreography by Jiří Kylián, Nederlands
Dans Theater III, Costumes by Joke Visser, Light by Melanie Tack,
director of photography Peter Lataster, film directors and producers
Petra Lataster-Czisch and Peter Lataster, creative supervision
by Jiří Kylián, rec. 2004 for NDT and Lataster Films Dirk HAUBRICH (no date of
birth found) based on a composition by Wolfgang
Amadeus MOZART(1756-1791)
Adagio from Quintet for Glass Harmonica in C minor K617
(1791) Sleepless[23.55]
Aurelie Cayla, Alexander Ekman, Andrea Schermoly, Alejandro Cerrudo,
Nina Botkay, Kenta Kojiri (dancers), choreography by Jiří Kylián,
Nederlands Dans Theater II, Set Design by Jiří Kylián, Costumers
by Joke Visser, Light Design by Kees Tjebbes, directed for TV and
video by Hans Hulscher, rec. 2005 for NPS Television and NDT II.
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