The year 1 after
July 5, 2005 – a day like any other at the Gulbenkian Ballet. Rehearsals, talks on the corridors, everything going smoothly. Then the news came. The ballet company had ceased to exist a few hours earlier. Suddenly all rehearsals had to end, commissions were suspended (paid for but never premiered), no more tours, no more shows.
Reactions of incredulity came from all over the world.
How could a forty-year project, that had done so much for dance in Portugal, be put to an end? The Calouste Gulbenkian Foundation explained that the decision was part of a larger redefinition of its strategy, intended to improve its support for dance through a more “active and interventionist set of actions, much more vivid“ than the permanence of a resident company. Though it did not come as a total surprise – since the early 1990‘s, with the growth of the dance market, there had been talks about the position of Ballet Gulbenkian in relation to emerging projects and companies, some of which were founded and directed by former Ballet dancers such as Vera Mantero, João Fiadeiro and Olga Roriz. Some believed it could have an important influence on supporting independent projects, new choreographers, ...
Weiterlesen mit dem digitalen Monats-Abo
Sie sind bereits Abonnent von tanz? Loggen Sie sich hier ein
- Alle tanz-Artikel online lesen
- Zugang zum ePaper
- Lesegenuss auf allen Endgeräten
- Zugang zum Onlinearchiv von tanz
Sie können alle Vorteile des Abos
sofort nutzen
Zart schreitet Blanche unter ihrem Florentiner Hut am Arm des Arztes entlang der Bühnenrampe aus dem Haus Kowalski, das ihr so vulgär erscheint. Entzweit mit sich selbst: zwischen dem Triumph, von einem feschen Mann fortgeleitet zu werden, und der Ungewissheit, wohin er sie führt. Unstet ihre Augen, fahrig die Hände. Stanley winkt der Verstoßenen eine Spur zu...
Tango dancers in Europe are a unique breed. Wherever they go – whether on overnight business trips or skiing holidays – they tend to bring their dance shoes along. The uninitiated who land in Berlin and ask local aficionados where they can go dancing are asked to be more specific: what kind of floor, music, style do they like? Do they want to be out late, later, or...
Das Beste zuerst. Halb nackt hebt Cynthia Loemij den Arm, kaum dass Taka Shamoto vorüberhuschend im Dunkel wieder verschwunden ist. Leer ist das Théâtre de la Monnaie. Keine Weintraube scheint zur Hand. Nicht ein einziger Ton erklingt. Und doch ist dieser «Nachmittag eines Fauns», der den «Abend eines Tages» präludiert, erfüllt von einer inneren Musik – und jede...