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FAUSTIN LINYEKULA with Ballet Lorraine at Theatre de la Ville




La Creation Du Monde, costume by Fernand Léger.

Faschinating ballet by FAUSTIN LINYEKULA with Ballet de Lorraine.

Review by Henning Høholt,
PARIS: The world premiere at Theatre de la Ville, Paris, wednesday evening, became a faschinating experience in the main first part, where the choreographer, FAUSTIN LINYEKULA,  has arranged the show with the companys 24 dancers in an innteresting way
. Without touching each other for nearly all the first part of the performance, he managed to let the groups show inteesting formations, without telling any history, each of the audience made their own history in their mind from what they attended
.

THE CREATION OF THE WORLD 1923-2012

Created under the sign of the confrontation which looks Faustin Linyekula dream since reading From black negro Sylvie Chalaye, where he discovered the existence of the first ballet-inspired negro, The Creation of the world.
It all startedwith the 25th participant in the performance, inclusive one male, which was not a dancer in the performance, and the only one black in the performance, which was passing at the front of the stage, with his backside to the audience, Mowing his tail in a musically sexy way
. At the same time back on the stage all the 24 dancers found each their seat on a long bench, dressed up in their training jogging suits.

This opening part was followed by some interesting solos  and group parts first by some of the dancers, and in a while up with all 24 in action, in interesting movements, shaking, running, jumping, rolling, screaming, all the way without touching eachother.  I had the clear feeling to be attending african dance out in the suburbs in an african country, that i couldnt place with its name, but as I in the program has read about the link to the Swedish Ballet, and its Negro Ballet from 1923, I understod the direction.

Applause for La Creation de Monde 1923-2012. Foto Henning Høholt

Swedish Ballet in Paris, which leader was -Rolf de Maré betwee 1920-1925. presented the first black ballet in 1923 at Theatre des Champs Elysees, based on Blaise Cendrars‘ Negro Anthology.  It was not really a ballet at all, but a theatre piece

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. William Saroyan, called it a “balletplay”. The music was as mentioned Darius Milhaud´s “La creation du Monde”, composed originally for Rolf de Maré´s Swedish Ballet in 1923

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. – Then I knew that the production team was thinking of Congo. In the version we enjoys here it is for me an old fashon  ballet, functioning well, and amusing.

The dancers took of their training joggings. And became a beautiful young group of dancers in delicious whole body covering tights, in modern shining stretch materials
. Costumes by XULY.Bët/ ag Brok. Which underlined the nice bodies. But still the dance, and group movements was without any touching of eachother. Except for one detail, where three dancers was forming another male dancer in a perfect classical positure, helping him down in a spagat and moving him over the stage in that classical positur, – as they were trying to tell us, that we do know how the classical balle is being done, but that is not what we are going to show to night in this performance, where it is barefood dance it is all about. A lot of the group movements was made on a kind of slowmotion, in beautiful contrast to the very active shaking and running parts.i knew that they were thinking of Congo. I got that feeling. I noticed movement ideas, that i have not seen in dancecombinations earlier and it was an extraordinary good and faschinating  feeling.

La Creation Du Monde, Ballet Lorraine, applaus, foto Henning Høholt

For me i didn´t find any reemarkable soloparts in the choreography, and as there were no touching for a very long periode of the ballet, no pas de deux. Then a change came, with an interesting pas de deux between two male dancers, but their pas de deux was formed around the touching of eachother all over the body with two fingers on each hand, movements togetherr, lifts, but allways two fingers in use on each hand, fascinating.  This was followed up by other couples moving together in interesting combinations.

At the same time i heard an interesting music, by Fabrizio Cassol, for me giving a kind of a classical music feeling, which was in contrast to the dance, with piano, bass, violin, cello, and other instruments, and honestly i was happy for this music, which gave a calm, good atmosphae surrounding and a lot  of the time contrasting to the choreography.

After app one hour, the sceneryw changed to a historical part reproduced with the reproduction of a 20 minutes part from 1923 of Rolf le Marres ballet from the Ballet Suedoise’s first black ballet inspired by negros from Congo, which at that time, as far as i know, was a Belgian colony. This has never been done before. Interesting and very well done with copying the original costume concept, and the costumes and scenographic paintings by FernandLegér, recreated in 2000 by Kenneth Archer, to music by Darius Milhaud.  it is performed as a fantasy “négricocubiste”.

This reconstruction was very well , choreographed in 2000 after Jean Börlin by Millicent Hodson.

The last part of the ballet, and the less succesfully was the only blackdancer, who has been as a handyman on the stage during all the performance should present himself and he background for the performance, as we could read in the program. This part became wrong for me, as it changed the visual beauty in to a part, which didn’t belong to what we have seen in the beginning. And it all ended up with that the 24 dancers came on stage in the trainng joggings.

Furthermore, I din´t really understand the combination between the new choreography by Faustin Linyekula and the old choreography by Jean Börlin, other than the last one has been an inspiration and idea background for Linyekula, which is also ok, but when it then ended up with a theatrical explanation part, i became strange.

Co-production with Theatre de la Ville de Paris and Brussels Kunstenfestivaldesarts 
With the collaboration of the Foundation and Fluxum Theatre Gerard Philippe Frouard (54) 
With the support of the KVS Brussels Theater. 

A fascinating meeting with an interesting company.

http://www.ballet-de-lorraine.eu/saison-2011-2012

 

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