AQUIET EVENING OF DANCE - WILLIAM FORSYTHE (Opéra/Ballet) - du lundi 4 novembre 2019 au dimanche 10 novembre 2019 - Théâtre du Chatelet, Paris, 75001 - Toute l'info sur Mr. Forsythe’s evening at the Shed has rigor and charm but not enough transcendence. Credit...Andrea Mohin/The New York TimesOct. 13, 2019One of the pleasures of a life filled with dance is the way, at the end of the day, a performance can force the mind to change course, to quiet down. William Forsythe’s program at the Shed, “A Quiet Evening of Dance,” which opened on Friday, takes that to another Forsythe has created a setting — not completely silent, but nice and hushed — that encourages listening with both the ears and the eyes. The last thing you would want to hear under such conditions? A beep, buzz or, God forbid, the marimba ringtone. Putting our cellphones in airplane mode was the easy part; more difficult was grasping the poetry of this two-act program. And that wasn’t because of the sound or lack of it isn’t completely quiet. The second half features a lively dance set to to Jean-Philippe Rameau, and in the first half, there are bird sounds and a spare composition by Morton Feldman. For the most part, though, it’s up to the dancers to create the score with their steps and breathing, and for the audience to absorb there are moments to admire and respect. “A Quiet Evening” has the rigor that Mr. Forsythe always brings to the stage; there’s just not enough transcendence. In part, that could have been because of an injury to a leading dancer, Christopher Roman. Four others were brought on to fill in; during the curtain call, Mr. Forsythe said that they had learned their parts in three days. But there is also a sameness to the material, and that makes the less experienced dancers stand out in an unfortunate way among the Forsythe veterans.“A Quiet Evening,” with new and reworked choreography by Mr. Forsythe, pays homage to ballet’s European roots while attempting to bring it into the present. Mr. Forsythe is more than qualified for such a choreographic endeavor. An American based for many years in Germany, where he directed Frankfurt Ballet, he did much to guide ballet into a new era with his extreme take on classicism, paired with stark lighting and, frequently, the bold synthesized sounds of the composer Thom Mohin/The New York TimesThe next phase of Mr. Forsythe’s career landed him in a more experimental world of theater and dance; but recently, he’s fallen back in love with ballet. While the Shed program affords the pleasure of becoming lost in his swirling, finely executed steps — how did that hip end up there? — taken as a whole, it starts to feel arid. And at times, the attempt to look at the future of ballet seems more contrived than organic, like the appearances of the street dancer Rauf Yasit. Also known as RubberLegz, he demonstrated the elasticity of his limbs with floor work that knotted him up like a pretzel, but as the night wore on, it seemed like we were seeing the same sequences on birds introduce Act 1, which begins with “Prologue.” Parvaneh Scharafali and Ander Zabala, wearing evening gloves and sneakers covered with socks, perform a crisp, stately duet — it’s a labyrinth of limbs — with joints as loose as soft spaghetti. The socks over the sneakers remind me of the way figure skaters pull their tights over their boots — not my favorite look.More intriguing is “Catalogue,” featuring the velvety dancing of Jill Johnson — formerly a principal dancer with Ballet Frankfurt, she is still astonishing — alongside the newcomer Brit Rodemund. Here, it’s as if they are illustrating the development of ballet starting with simple shapes, some awkward, others pedestrian. This dance is in silence, which begins the moment they each extend an arm and touch palms. At the start, they draw invisible lines along the perimeter of their torsos with their hands. As they increase their force and expand spatially, the dancers’ elbows and shoulders tell a tale of Mr. Forsythe’s intense study of épaulement, or the carriage of the arms. Eventually their isolated movements morph into ballet steps and shapes. When their palms touch in the center once again, and the music — Feldman’s “Nature Pieces From Piano No. 1” — starts, so does “Epilogue,” in which the cast of seven continues the story of some of Mr. Forsythe’s most recognizable contributions to dance his use of torque, speed, articulation and handsome in parts and confounding in others Why include even a second of the ever-popular floss dance? Is it meant to be playful? It feels like a Mohin/The New York Times“Dialogue DUO2015,” the final piece in Act 1, pairs Brigel Gjoka and Riley Watts — an extraordinary dancer with silky athleticism — in a frisky duet of physical reverberations. This and “Catalogue” reveal much about Mr. Forsythe’s lineage and achievements — both spoke of scale and intimacy — but as informative as the first half of “A Quiet Evening” is, it’s also rambling. Steel yourself. If Act 1 is about revealing the raw ingredients that make up Mr. Forsythe’s classicism, Act 2 is the meal in the form of a stand-alone dance “Seventeen/Twenty One,” to Rameau’s “Hippolyte et Aricie Ritournelle” from “Une Symphonie Imaginaire.” It explores ballet’s evolution from the 17th century to the 21st, flooding the previously quiet space with full-bodied dancing and baroque is a dance, charming in moments, that is hungry for movement. By the end, it creates a sweet and simple sense of community — a group of people just dancing together — that comes to a joyful close as they suddenly clasp hands and run to the front of the stage for a bow. But the most consistent pleasure is from one dancer Ms. Johnson brings an unassuming clarity and articulation to Mr. Forsythe’s movement that feels like it comes from the deepest of places. All night long, her quiet radiance was the loudest thing in the Quiet Evening of DanceThrough Oct 25 at the Shed, Manhattan; 646-455-3494,

WilliamForsythe tells Sarah Crompton in her program interview that his goal is ‘to make people see ballet better’ but it is immediately apparent in A Quiet Evening of Dance that in order to make us see ballet better he is also making us hear ballet better.The program is divided into two parts, the first of which has four sections and the second just one.

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AQUIET EVENING OF DANCE Spectacle Danse / Gym Mardi 21 Septembre 2021 - 20h00 QUAI 900 Bd Gaston Dumesnil 49000 ANGERS Cet événement n'est plus en vente sur internet, merci de contacter la billetterie au 02 41 22 20 20 (sur notre réseau) WILLIAM FORSYTHE Cndc Il peut rester des places en vente au guichet pour des représentations
They say it’s the quiet ones you have to watch out for. With its bare stage and low-key lighting and sound, with coloured gloves and shoes its sole ostentation, William Forsythe’s A Quiet Evening of Dance even the title feels reticent is the opposite of showy. But pay it close attention and it reveals a kind of introverted virtuosity that leaves you one opens with an intricate duet for Parvaneh Schafarali and Ander Zabala, its small steps and swift swerves as soft, beautiful and exacting as the birdsong on its soundtrack. There follows an astonishing duet by Jill Johnson and Christopher Roman who, accompanied only by the sound of our own hushed coughs and rustles, articulate detailed sequences of moves built on the intersection between the idealised geometries of ballet pointed foot, angled leg and the anatomical realities of the body the pivots, swivels and folds of shoulder, hip, knee or elbow. Undramatised yet utterly fascinating, it feels like a choreographic secret, offered freely, without sound returns, Morton Feldman’s atonal plinks forming a sparse background to more idiosyncratic danced episodes; one solo keeping the arms and hands close to the face, another showing, without fuss or flash, just how extraordinary b-boy Rauf “RubberLegz” Yasit earned his one ends with a reprise of a 2015 duet, to birdsong again, performed by Brigel Gjoka and Riley Watts. Beginning casually enough, it builds towards convoluted-yet-always-clear spins, skitters and knots, the two dancers echoing each other as if giving different expression to the same underlying two is a consummately crafted suite of dances, each ending quietly rather than climactically, and all beautifully phrased to courtly music by Jean-Philippe Rameau. There’s a gentle theatricality. Johnson and Roman come across as a couple, she preoccupied, he rather particular. There’s humour in Yasit’s lock-limbed, floor-bound interruption of an elegantly upright duet; sadness elsewhere, with bodies weighted as if by inner style, staging and effect are now far more conventional, we can almost see through these surfaces to the strange, spare structures of act one, lying beneath like a choreographic skeleton. It has been a rare and revelatory evening. At Sadler’s Wells, London, until 6 October.
WilliamForsythe’s A Quiet Evening of Dance is literally quiet: soundtrack from silence to birdsong, to baroque dances by Rameau. It’s also a very intimate performance, one of

WilliamForsythe’s “A Quiet Evening of Dance”—which I saw at the Venice Biennale earlier this year, and which comes to New York’s

AQuiet Evening of Dance – William Forsythe Figure emblématique de la danse contemporaine, William Forsythe fait un retour attendu à la scène, après une pause de quelques années. En 45 ans de création, il n’a cessé de bousculer notre manière de regarder la danse et malgré cette révolution permanente, il n’a jamais perdu de vue son point de départ : le Ballet.
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william forsythe a quiet evening of dance