Martin Schläpfer: verwundert seyn – zu sehn | Marcos Menha, Chidozie Nzerem | © Gert Weigelt
Moves / Jerome Robbins
ein Wald, ein See / Martin Schläpfer
Theater Duisburg
Friday, 23. January 2015
19:30 - 22:00 hours
/ Premiere

Duration b.22: approx. 3 hours, two hours
18,10 - 62,80 € Abo. P
Further Dates And Events
Opernhaus Düsseldorf
May 2015
Sa  |  30.05.  | 19:30  Abo. 24 Online Tickets: 14,50 - 67,50 €
June 2015
We  |  03.06.  | 19:30  Abo. 4 Online Tickets: 14,50 - 67,50 €
Sa  |  06.06.  | 19:30  Abo. 23 Online Tickets: 14,50 - 67,50 €
Tu  |  23.06.  | 19:30  Abo. 50 Online Tickets: 14,50 - 67,50 €

Duration b.22: approx. 3 hours, two hours
verwundert seyn – zu sehn (Uraufführung)
Martin Schläpfer
Alexander Scriabin and Franz Liszt – for Martin Schläpfer these are both brilliant and yet isolated and lonely figures in musical history, as pianists and as composers but also as original thinkers ahead of their time. Now for the first time Martin Schläpfer will create a ballet to the music of these two sonic geniuses.

For the 2014/15 season under the title “verwundert seyn – zu sehn” he has selected Scriabin‘s sixth and tenth sonatas for piano, written in the years 1911 and 1913, a time of artistic experiments, upheavals and utopias. Between these two single movement pieces, we will hear Franz Liszt’s virtuoso “Grande Valse di bravura”, a brilliant piano composition from the year 1836, which Liszt also referred to as “Le bal de Berne”. “I’m not looking for a break”, Martin Schläpfer comments on his choice of music, “but rather a bright and cheerful yet very powerful upper valley which has to lie green and luscious between Scriabin’s twin moonlit peaks surrounded by clouds.”

Scriabin himself never played his Sonata no. 6 in public. He found his own composition too “nightmarish, inscrutable, unclean and underhand,” though he did not withdraw it. The notes are spiked with playing instructions which indicate Scriabin’s ambivalent feelings about this work: the sonata begins “strangely” and “mysteriously”, “Fear bubbles up”, in one passage, an “increasingly pulsating” passage follows “in confusion” and “in rapture” until it collapses. According to Scriabin, Sonata no. 10 deals with insects which were “born out of the sun” as “sun kisses”. With impressionistic and enigmatic sounds Scriabin articulates his vision of a modern music detaching itself from tonal structures.

As a musical partner Martin Schläpfer has once again been able to secure the services of Denys Proshayev, who has already thrilled audiences as the soloist in the “Third Piano Concerto”. The Belarussian pianist, 1st prizewinner in the famous ARD competition in Munich, can be heard regularly as a concert pianist and a chamber musician in Europe’s leading concert halls. “I had to ask Proshayev”, says Martin Schläpfer, “he has an ability to strike the keys with such magic and mystery, that worlds open up.”
VERWUNDERT SEYN – ZU SEHN (World premiere)
Martin Schläpfer

MUSIC Sonatas for Piano No. 6 and No. 10 by Alexander Scriabin and „Grande Valse di bravura ‚Le bal de Berne‘“ (First Version) S 209 by Franz Liszt

Choreographie Martin Schläpfer
Bühne und Kostüme Keso Dekker
Licht Franz-Xaver Schaffer
Videotechnik Christoph Schödel
Klavier Denys Proshayev
Tänzerinnen Ann-Kathrin Adam, Camille Andriot, Sabrina Delafield, Sonia Dvorak, Christine Jaroszewski, Helen Clare Kinney, Anne Marchand, Louisa Rachedi, Aryanne Raymundo, Elisabeta Stanculescu
Tänzer Philip Handschin, Richard Jones, Marcos Menha, Chidozie Nzerem
Jerome Robbins
A piece without music and yet anything but a silent piece: Jerome Robbins’ “Moves” is an anomaly in the work of the American choreographer. This choreography created in 1959 for his company at the time Ballets USA has no musical structure, underscore or contrast. The only sounds which can be heard in “Moves” are those made by the dancers themselves. The banging and sliding of pointe shoes on the stage floor and the slapping of hands on thighs create their own soundtrack. Their virtuoso movements create audible traces.

Robbins comment on dance in general is particularly true of “Moves”: “Dance is about relationships.” Without musical events as a basis for the choreography the interactions and relationships between the dancers assume the foreground. As a result, “Moves” demands absolute concentration from them and a constant awareness of each other. Gestures are picked up, varied and developed further. On stage these abstract relationships are also always combined with emotional moments. The question of belonging to a group is raised repeatedly, people are excluded only to become part of a formation again a moment later. Here Robbins uses a dance vocabulary he learned from his mentor George Balanchine, but expands it with everyday movements and theatrical gestures. In this way he successfully integrates qualities of modern dance into his choreography without having to forgo the virtuosity and technique of classical ballet.

For his 66 ballets and for his work on Broadway, Jerome Robbins is regarded as one of the most significant American choreographers of the 20th century. Appointed by George Balanchine as Associate Artistic Director of the New York City Ballet in 1949, he stayed with the company for over 40 years and many of the ballets he choreographed remain in its repertoire today. “Moves” continues the Ballett am Rhein’s investigation of Robbins’ choreographic oeuvre which began with “Afternoon of a Faun”.
Jerome Robbins © The Robbins Rights Trust

Choreographie Jerome Robbins
Kostümrealisation Gabriela Oehmchen
Licht Jennifer Tipton
Choreographische Einstudierung Ben Huys
Tänzerinnen Mariana Dias, Nathalie Guth, Alexandra Inculet, So-Yeon Kim, Claudine Schoch, Julie Thirault
Tänzer Jackson Carroll, Paul Calderone, Michael Foster, Bruno Narnhammer, Sonny Locsin, Alexandre Simões
ein Wald, ein See
Martin Schläpfer
Like waves mis-shapen metal bars swing through the space: a forest, a lake. But also an abstract “landscape”, a visual atmosphere, purely suggested, hardly fixed. The substance and rigour of a strong presence and at the same time a field open to associations, full of darkness and poetic images.

“A forest, a lake: both are surfaces, horizons seen front-on. Both are quiet, strong, wild – light on the outside, dark inside. Areas which are used and exploited by people – but which they ultimately cannot inhabit. Symbols of other worlds – and at the same time we feel attracted to them”, Martin Schläpfer remarked about the dance piece he created in 2006 for ballettmainz, which can now be seen in a new production with the Ballett am Rhein.

Just like individual “tree trunks” dancers repeatedly protrude from group formations and set themselves apart from the synchronic mass. The atmosphere is erotically charged with an alien power between tenderness and brutality, kissing and strangling ... glimpses of a thoroughly real world, which is, however, inhabited by people who are alien not only to us but to themselves – an unknown tribe perhaps, with rituals all of its own. Archaic, potent, extreme.

The ear glides through the musical images of a sonic landscape like a panorama. “The edge of a forest (entrance and exit)“, “in the forest, fear, reaching panic”, “a lake”, “a clearing (but also enlightenment)”, “abandonment” are headings to individual sections of the score commissioned by Martin Schläpfer from composer Paul Pavey – an exceptional musician who reveals a remarkably sensitive empathy for the dancing body and the dancing person, always entering into a direct interaction with these, also in his live performances and creating ballet music in its best sense.
Martin Schläpfer

MUSIC Paul Pavey

Choreographie Martin Schläpfer
Bühne Thomas Ziegler
Kostüme Catherine Voeffray
Licht Franz-Xaver Schaffer
Live-Musik Paul Pavey
Tänzerinnen Sachika Abe, Ann-Kathrin Adam, Doris Becker, Wun Sze Chan, Feline van Dijken, Nathalie Guth, Yuko Kato, Virginia Segarra Vidal, Julie Thirault, Irene Vaqueiro
Tänzer Rashaen Arts, Andriy Boyetskyy, Jackson Carroll, Odsuren Dagva, Michael Foster, Sonny Locsin, Alexander McKinnon, Friedrich Pohl, Boris Randzio



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