Holistic Strata and Accumulated Layout
S20- HIROAKI UMEDA (Japan)
Sunday 29th April | 8.30 pm | Al-Madina Theatre
Duration: 25 minutes- Break- 25 mn
About the choreographer
Hiroaki Umeda is a pluridisciplinary artist: choreographer, dancer, sound, image and lighting designer. His work combines minimal and radical, subtle and violent, and very much in touch with his contemporary Japanese roots.
In 2000 Hiroaki Umeda founded his company S20 and has performed many of his dance pieces throughout the world.
Hiroaki Umeda currently lives and works in Tokyo.
About the performance
The artist plays with the spectator’s perceptions. Leaving aside video and working exclusively with light, he sculpts the space and controls the spectator’s perceptions.
By alternating between low and bright lights and suddenly changing the light’s sources, he creates special conditions of perception and it is the accumulation of these various states of perception, fragmented and multiple, which gives shape to the work.
Cast & Credits
Choreographer: Hiroaki Umeda
Dancer: Hiroaki Umeda
Visual Creation: S20
Production: Théâtre National de Chaillot and S20, avec le soutien de La Chaufferie, Saint-Denis
Associate production: Sarah Ford / Quaternaire (Tour Management: Aïcha Boutella – Administration: Renaud Mesini – Coordination: Joanna Rieussec)
This piece focuses on visual recognition and dance.
The choreography and dance movement have been inspired by simple physical motion and how to use natural forces in the body to form dance movements.
By researching into physical laws, physics formulas and non-linear science, the space becomes dynamic and organic with the human body as the object.
Cast & Credits
Concept: Hiroaki Umeda
Choreography, dance: Hiroaki Umeda
Mandated by: YCAM (Yamaguchi Center for Arts and Media)
Co-developped with: YCAM InterLab
Sound: YCAM, S20
Visual programming: YCAM, S20
Production: YCAM, S20
Associate production: Quaternaire - Sarah Ford (Tour Management : Aïcha Boutella – Administration : Renaud Mesini – Coordination : Joanna Rieussec)
S20 is supported by EU Japan Fest
WebsiteReblogged from: bipod2012+6 notesyoungHiroaki UmedaJapantheatrechoreographerChaillotrainlights
Anne Teresa De Keersmaeker - Keeping Still part 1Reblogged from: theyvisitedtwice+8 notesAnne Teresa de Keersmaekerhandgesturechoreographyjeansstillsolo
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Scattered combines our trademark highly physical dance theatre and mesmerizing aerial imagery with film and graphics, to create a unique visual production. Performed on a huge curved floor (think of a skateboard half pipe), which disappears skywards, Scattered creates a world in which the dancers move in, on and through the image.
Scattered delves into the majesty and savagery of water, a fundamental force in our lives. 7 dancers plunge into an ocean, tumble down a waterfall, gasp with thirst under a scorching sun and slide on an avalanche to a frozen landscape of arctic beauty. A meteor shower of unlikely moments!
We recently toured Scattered in America and China, If you have had the chance to see Scattered share your thoughts with us! :)Reblogged from: motionhouse+35 noteschinaamerican dancewateryoung choreographerfun
1st MarchReblogged from: tri-ciclo+77 notestrisha brown1973Black and Whiteladderwomanvintagereference
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Margaret Severin-Hansen as the Angel in Weiss’ “Messiah.”
Photo by Tim Lytvinenko, 2013.Reblogged from: somedanceblog+86 notesangelmessiahtim LytvinenkoMargaret Severin-Hansenballet2013
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I saw Einstein on the Beach tonight for the second time and quite possibly the last. I never thought I would be so lucky to see it at all and now I can say that I’ve seen it twice.
Both performances brought me to tears. The complexity and simplicity working hand in hand is unreal. I am in awe of the endurance and dedication of each performer and how perfectly in sync every element of the performance was. The Opera is four and a half hours long and somehow it ends with me wishing it would go on and on..
There is so much power in this kind of creation and it leaves me incredibly inspired and overwhelmed with emotion.“
Two lovers sat on a park bench, with their bodies touching each other, holding hands in the moonlight.
There was silence between them. So profound was their love for each other, they needed no words to express it. And so they sat in silence, on a park bench, with their bodies touching, holding hands in the moonlight.
Finally she spoke. “Do you love me, John?” she asked. “You know I love you, darling,” he replied. “I love you more than tongue can tell. You are the light of my life, my sun, moon and stars. You are my everything. Without you I have no reason for being.”
Again there was silence as the two lovers sat on a park bench, their bodies touching, holding hands in the moonlight. Once more she spoke. “How much do you love me, John?” she asked. He answered: “How much do I love you? Count the stars in the sky. Measure the waters of the oceans with a teaspoon. Number the grains of sand on the sea shore. Impossible, you say.”
”Yes and it is just as impossible for me to say how much I love you.”
”My love for you is higher than the heavens, deeper than Hades, and broader than the earth. It has no limits, no bounds. Everything must have an ending except my love for you.”
There was more of silence as the two lovers sat on a park bench with their bodies touching, holding hands in the moonlight.
Once more her voice was heard. “Kiss me, John,” she implored. And leaning over, he pressed his lips warmly to hers in fervent osculation.”
— (Samuel Johnson, excerpt from “Lovers on a Park Bench”, written for “Knee Play 5”, Einstein on the Beach)Reblogged from: stadiumsix+8 notesLucinda ChildsPhilip GlassRobert Wilsoneinsteinlightsduocouplesilhouettesopera
24th FebruaryReblogged from: randombeautysls+258 notesMaurice BéjartBolerovishnevaballerinasoloBlack and Whiteclassic
"Since I come from classical ballet, I have a lot of people telling me, “Classical is better.” Some others, though, say, “Contemporary is much better.” But classical is a discipline, a part of history; it has that quality. Contemporary dance should use that, not discard it, because it’s a springboard from which a choreographer can learn how to do things and produce things. It’s about keeping the best of what you have."
- Sylvie Guillem x
(Source: aurelie-dupont)Reblogged from: lovingdancer+336 notesSylvie Guillemballerinasolowhitelong hairstagequoteContemporarychoreographer
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