The Girl and the Knife Thrower / AfterLight / Las Hermanas

Das Mädchen und der Messerwerfer. Ensemble. ©Wilfried Hösl Broken Fall. Ekaterina Petina, Erik Murzagaliyev, Marlon Dino. ©Wilfried Hösl Las Hermanas. Monika Hejduková, Roberta Fernandes, Mia Rudic, Lucia Lacarra. ©Wilfried Hösl
Ballets by Simone Sandroni, Russell Maliphant und Kenneth MacMillan
Music by 48nord, Eric Satie and Frank Martin

Simone Sandroni is a freelance contemporary choreographer, like Sidi Larbi Cherkaoui and Russell Maliphant, who also creates works for classical ballet ensembles. Sandroni's movement language is physically strenuous, extremely fast paced and often inspired by martial arts. A central theme in his choreography is the concept of action versus reaction. Sandroni's dancers are constantly in a state of alertness, which requires high concentration and an enormous amount of energy. The movement philosophy compliments the theme of a cycle of poems by Wolf Wondratschek, The Girl and the Knife Thrower written in 1997. The poems revolve around a young girl, who is lost and homeless, yet confident and proud. She entrusts her life to the man who throws knives at her every night. In light of the danger she faces, her emotions and thoughts intensify. 

English choreographer Russell Maliphant, born in Canada in 1961, completed his classical ballet training at the Royal Ballet School in London before continuing on to pursue contemporary dance. As a dancer, he has worked for some of the most avant-garde ensembles of the British contemporary dance scene, for example DV8 Physical Theatre, Michael Clark Company and Laurie Booth. Other projects include Lyon Opera Ballet and the Batsheva Dance Company of Tel Aviv. In 2003, he started collaborating with world-renowned ballerina, Sylvie Guillem. Together, they created several successful solos and duets. Mr. Maliphant might be considered a typical choreographer of contemporary London, who merges tradition and innovation and is constantly searching to reinvent his practice. This evening will feature one of Maliphant’s solos inspired by the Ballets Russes, in particular Nijinsky’s time at the Sadler's Wells.

Young Kenneth MacMillan's masterstroke is a 25-minute choreographic interpretation of Lorca's Bernada Albas Haus from 1963. The music score by Frank Martin seems to compliment the structure of MacMillan's piece effortlessly. The English choreographer expands the movement vocabulary and artistic qualities of classical ballet. Boldly, he tells the story of oppression that culminates in disaster – A masterpiece of the 20th century.

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