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Sunday, October 23, 2016

“Heaven’s gate” appeared in the “Moscow city Council”

Most popular Asian dance Theatre of Taiwan Cloud Gate (Taipei) comes to Moscow on tour for the seventh time. In Russia, the group is famous due to the Chekhov festival, which was organized tour at this time. Tour of the famous troupe began in St. Petersburg, after Moscow, the dancers will travel to Ekaterinburg. The program is everywhere the same: “cloud gate” represents in Russia the last Prime Minister of the founder of the collective, the world famous choreographer Lin Hwai-min is the diptych “White water” — “the Ashes”.

A scene from the ballet “the Ashes” to the music of Shostakovich. Photo: press service of the Chekhov festival.

The two parts of the play, “White water” to the music of Erik Satie and other composers and “ashes” on the string Quartet No. 8 in C minor Shostakovich — represent a kind of diptych with a developed thesis and antithesis. As if the choreographer confronts two parts, two essential elements: the element of water and not even the element of fire, and what he leaves behind — of the ashes.

However, in the new his work is always so kind, no one else like the choreographer is not fueled by traditional practices and national folklore, and to a much greater extent than ever before, focuses on European modern dance in the ballet is especially felt the impact of European choreographers from Martha Graham, Jiri Kylian. However, plastic his dancers is still unique, giving their bodies a dance unique charm.

So, first, 50‑minute parts, which by the very name “White water” adjusts to a state of serenity and relaxation, the viewer turns the flow of the river. At first quite slowly, then more and more bubbling up, forming whirlpools and waterfalls, a boiling white foam, and sometimes even fading, only to be covered with sparkling ripples. Depending on the mood of the music changes the state of the river. The only time — at a time when tons of water on the back of steady flow plunge from the heights into the abyss, forming a huge waterfall on the music of Satie “Gnossienne No. 7”, — there is a sensual male duet. Its a fantastic dancer, two actors of the troupe “cloud gate” Chen Tsung-Chao and HOU Tang-Li. Basically this is a solo that blends in ensembles. In the ballet before the audience rushes stunning majestic stream of being and nothingness, life and death.

The second part is built as the antithesis of the first. She set to music by string Quartet of Shostakovich, written as a Requiem for destroyed in the bombing of Dresden. If the distinctive feature of the first part, in addition to the mass of the scenes are solo performances, choreographed the second part of the impersonal, of the body blend into a single human mass. Dancers, smeared with soot (to enhance the effect artist costume designer MA Ke two months “kept” costumes in the ground), make their way through the smoke, stumbling, falling, crawling across the stage, gathering in groups, where one black wave of bodies gives way to another, breaking up into separate parts. If water is the element of life, the ashes symbolize death. This ballet, originally conceived as the nucleus of a future two-part compositions, the choreographer likens adopted in Buddhism the ceremony of burning human bodies, unfolding in a terrible and fascinating sight.

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