The artistic path of the emblematic masters of postmodern dance – Merce Cunningham and Trisha Brown – entangled with original scene design by Andy Warhol and Robert Rauschenberg as well as great music from other giants like David Tudor and the contemporary star Clams Casino.
The ONE DANCE WEEK festival of contemporary dance and performance is back and will take place between 9 and 30 of October. Its ninth edition will introduce the work of the newest names on the dance scene, but will also cherish the traditional routes built up by already very well-known choreographers. This year’s selection includes choreographers and dance companies from Spain, Canada, Korea, USA, Taiwan, France, Switzerland, and Czech Republic, which will show the different and varying faces of contemporary dance.
ONE DANCE WEEK 2016 starts on October 9 in Boris Hristov House of Culture with a postmodern breeze from the New York based Stephen Petronio Company. Their latest project BLOODLINES, which will open the festival, pays tribute to the great masters of postmodern dance who profoundly influenced the artistic path of a whole generation of choreographers.
The repertoire, which Stephen Petronio Company will present in Bulgaria, consists of the emblematic shows RainForest and Glacial Decoy by the prominent choreographers Merce Cunningham and Trisha Brown who have created a unique physical language based on distinguished for creating original languages that embody the highest level of artistic excellence displayed through extreme physical and conceptual rigor, and have had a profound impact on Petronio’s own artistic path.
RainForest can be defined as an asphalt jungle, the particular rain forest is metallic and glittering. David Tudor’s electronic music occasionally suggests the clatter of machines in a steel undergrowth, while mechanical bird cries can be heard against what sounds like a hydroelectric waterfall.
Andy Warhol, having had perhaps his best idea since he first looked at those soup cans, has devised a setting of dazzling ease. The stage is strung out with buoyant silver pillows – some of which did show a somewhat recalcitrant wish to join the audience – and these airborne pillows looked like floating pieces of radiant ravioli. It is simple and charming.
Trisha Brown’s succinct masterpiece, Glacial Decoy (1979). One of the peak moments in her long collaboration with artistic luminary Robert Rauschenberg, I see this as a reunion of two of the great minds of our time. As a young dancer in Trisha’s company, this work was brand new, so I was faced with a life-changing experience right out of the gate. I came to love both these artists as family over the years, but Glacial Decoy left an indelible mark on my young dance-maker’s mind.
Един от шедьоврите в кариерата на Триша Браун, хореограф и изпълнител, част от постмодерното американско движение и един от основателите на Джъдсън Данс Тиътър, е спектакълът ЛЕДЕНА ПРИМАМКА, в който тя си партнира с легендата на поп-арта Робърт Раушенберг (сцена, костюми и визуален директор). ЛЕДЕНА ПРИМАМКА е една от големите феминистки творби от минималистичния период в Ню Йорк.
Освен тях в проекта BLOODLINES е включен и авторският спектакъл на Петронио – В ДВИЖЕНИЕ, който отбелязва 30-годишнината от създаването на компанията. Творбата e енергичен и изцяло танцов спектакъл, който поставя акцент върху промяната на състоянията от неподвижност към движение, от бавни протягания към скоростни сблъсъци, всичко това с прекрасното озвучаване от пионера в електронната хип-хоп музика – Кламс Казино.
The visit of Stephen Petronio Company has been made possible with support from the Trust for Mutual Understanding, the Mid Atlantic Arts Foundation through USArtists International in partnership with the National Endowment for the Arts and the Andrew W. Mellon Foundation, with additional support from Rapid Response, a project of American Dance Abroad and the Robert Rauschenberg Foundation.
Tickets via the Eventim network at the price of 10 BGN.