#Hans van Manen

[fashionbooksmilano]

Dance in Close Up

Hans Van Manen seen by Erwin Olaf

Hannibal, Veurne 2022, 120 pages, 32x32cm, Linen hardcover with tip-in, ISBN 9789464366273

euro 65,00

email if you want to buy booksinprogressmilano@yahoo.it

Exclusive art project by photographer Erwin Olaf and choreographer Hans van Manen offering a unique view on dance and photography

“Ballet inspires me. Human beings have the capacity to express themselves through many art forms, but when it comes to dance – and especially classical modern ballet – I am always amazed by that unbelievably elevated form of expression. It's so precise and so incredibly skilled; I admire that enormously.” ― Photographer and filmmaker Erwin Olaf

“The fact that the photographer is looking through the camera lens means they have a different perspective from looking directly at the figure. That is voyeuristic. The camera can do something that the audience member can't: zooming in for a close-up.” ― Choreographer Hans van Manen

The grand master of Dutch dance, Hans van Manen, celebrates his 90th birthday this year. That has given rise to international celebrations by leading ballet companies with the Hans van Manen festival from 8 to 29 June 2022, the exclusive publication Dance in Close-Up and the exhibition of the same name in Galerie Ron Mandos in Amsterdam from 19 June to 17 July 2022. From the 1970s to the 1990s, Hans van Manen was not only one of the world's leading choreographers, but also an internationally acclaimed photographer. It was during this period that the then very young photographer Erwin Olaf met the famed artist, who immediately took him under his wing and introduced him to the world of the visual arts and studio photography. This book celebrates their 40 years of friendship, with a photo series in which Van Manen directs moments from his choreographic career, recorded with the utmost precision by Erwin Olaf. With text contributions from the authors Nina Siegal and Michael James Gardner.

04/01/24

[yourdailyqueer]

Hans van Manen

Gender: Male

Sexuality: Gay

DOB: 11 July 1932

Ethnicity: White - Dutch

Occupation: Ballet dancer, choreographer, photographer

[whatevergreen]

Marnixstraat 199, Paul Blanca - Hans van Manen, 1983

1990s postcard from Amsterdam

[gramilano]

[Review] German Cornejo's Tango After Dark: sizzling passion and pyrotechnic lifts

Guest author Matthew Paluch looks at German Cornejo's Tango After Dark at London's Peacock Theatre. A show of 'impeccable standard'.

Tango After Dark, credit Leo Mason Guest author Matthew Paluch looks at German Cornejo’s Tango After Dark at London’s Peacock Theatre TitleTango After DarkCompanyGerman Cornejo Dance CompanyVenuePeacock Theatre, LondonDate11 October 2022ReviewerMatthew Paluch If anyone mentions Astor Piazzolla I’m there in a flash. This has to do partly with wonderful argot memories of dancing Hans Van Manen’s…

[bosguy]

Boston Ballet 2023/24 season

The Boston Ballet 2023 / 2024 season begins next week. Check out their "Fall Experience" which is a collection of 4 moving ballets that will be performed at the Boston Opera House, Oct 5-15, 2023. Tickets are now on sale.

Carmen shown above will be performed in March 2024 The Boston Ballet returns next week with Fall Experience, a program featuring four ballets. Boston Ballet Fall Experience will include Akram Khan’s profound Vertical Road (the first American company to perform this ballet). Additional ballets will include a Boston Ballet premiere from Hans van Manen’s Trois Gnossiennes, Jorma Elo’s Bach Cello…

[arcimboldisworld]

On the Move (van Manen/Stiens/Spuck/Zürich Ballett) - Oper Zürich 29.01.2023

On the Move (van Manen/Stiens/Spuck/Zürich Ballett) - Oper Zürich 29.01.2023 #hansvanmanen #louisstiens #christianspuck #zürichballett #juniorballett #tanz #onthemove #tal #lontano #philharmoniazürich #alvetinaioffe #ballett

Nach 11 sehr produktiven Jahren in Zürich verabschiedet sich CHRISTIAN SPUCK mit einer letzten Choreographie von seinem Publikum, seinem Ensemble, seiner grossartigen Zusammenarbeit mit der Philharmonia Zürich. “On the Move” ist ein treffender Titel für diesen Abend, denn Spuck bricht auf nach Berlin und übernimmt dort die Intendanz des Staatsballetts. “On the Move” ist aber auch die erste der…

[atevegter]

2580 Hans van Manen Festival

2580 Hans van Manen Festival

Gisteravond was ik met het uitclubje naar het Muziektheater in Amsterdam, in de volksmond bekend als de Stopera. We gingen naar het Hans van Manen Festival, programma III. Het Hans van Manen Festival is een serie balletten uit het oeuvre van Hans, die opnieuw worden opgevoerd ter gelegenheid van zijn negentigste verjaardag op 11 juli 2022. Omdat er in het uitclubje echte balletliefhebbers zitten…

[vriendenboekjes]

igone de jongh on tv.... i had SUCH a crush on her when i was younger

[ramses-caesar]

Hans van Manen

[swanlake1998]

yuanyuan zhang and riho sakamoto photographed performing in hans van manen’s metaforen by michel schnater and altin kaftira

[gorbigorbi]

Megan Zimny Kaftira and Remi Wörtmeyer,  “Corps”, choreo by Hans van Manen, music by Alban Berg (Concert for violin Dem Andenken eines Engels), costume by Keso Dekker, Het Nationale Ballet / Dutch National Ballet, 2014 Dance Open Ballet Festival, Aleksandrinsky Theatre, Saint Petersburg, Russia (April 27, 2014)

Photographer Irina Tuminene

[eddy25960]

Hans Van Manen photography

[myfathersdaughter1]

Elisa and Friends" Ballet Gala, 2015.

Elisa Carrillo Concert Hall.

“Trois Gnossiemes”- Hans Van Manen.

[ballet-symphonie]

Hi Ale, I know you're very busy right now, so no need to respond. I just wanted to reflect a little on the results of the Moscow IBC 2022. I watched the whole thing live from start to finish, as I was off work sick for 2 weeks - so it was a great way of passing time. It was clear to me early on that Koshkareva would get gold, she stood out in her cohort in terms of artistry and strength. I am beyond delighted for Maria Iliushkina whose individual uniqueness as a dancer was also clear to see, even on the livestream. Her Raymonda was stunning, as was her Odile. Nikita was more mercurial, and I feel his partnering let her down in some places (in others they were simply beautiful together), particularly that late lift in the Legend of Love pas de deux. Long story short: even though Iliushkina was not perfect in all respects, her unique quality shone through. I am really happy that the jury saw that, too, and have awarded her gold accordingly. For me she is a modest dancer with a natural reserve which - and this is the interesting thing - she seems to be able to convert into something ethereal and otherworldly, and yet she is still able to channel the demonic too (her Odile is becoming one of my favourites). Her all-round dancerly intuition is utterly uncanny.

Even with Nikita perhaps not performing to what I think can be his level, I had the impression that this was to some extent down to the competition environment. On the Mariinsky stage, he strikes me as more self-assured (kudos to Iliushkina for getting past that and still managing to channel her uniqueness, what a true artist). But he is (I think) so promising and has more artistry to come. There were moments of real beauty in what he did, too. I was very struck by their partnership in the Hans van Manen piece - it sent out imo a strong impression of what they can become as a pair over time (and perhaps already are in some ballets). Their lines were so beautiful - but what I found fascinating was how they danced eeriness in that piece. They could potentially be brilliant in Giselle.

I am skipping over lots of the other brilliant contestants now because I'm aware that this is a v long message (thank you for bearing with!) - but as much as I am thrilled for both Iliushkina / Korneev, I am most disappointed for Anastasia Smirnova. For me beyond everyone in all categories across both junior and seniors she was the stand-out star, very different to Iliushkina, but with a comparable distinctive artistic uniqueness that is already articulating itself very clearly in such a young dancer. And then: great technique and what a jump. How on earth could the jury have awarded her only a silver (and a shared one at that) on the basis of her performances. She was so consistent across her solos, too (at least that is what my admittedly untrained eye tells me). I am no expert, but I was so confident she would get gold (and a part of me sincerely hoped the jury might even think of her for the Grand Prix). Am I totally on the wrong track here? (I also do not mean to diminish the achievements and talents of everyone else who I am not mentioning here - I was very impressed by the other soloists in the senior women's category, but Smirnova seemed to me to have a considerable edge).

Am I right to be wondering about the composition of the jury? What must it be like for e.g. Fateev to be sitting across from a stage that this major talent, no longer at the Mariinsky, is streaking across? Does this not constitute a conflict of interest? I guess not, because most of the jury would be 'out' if that was the case - it's a small world. But the silver did give me pause for thought, and I wondered what your view was.

Posting this separately because it's so long and detailed!

My thoughts in response:

I agree, Koshkaryeva and Iliushkina unquestionably deserved gold

Iliushkina/Korneyev looked much stronger on the pieces they've been doing for a while (eg SL, Raymonda) compared to the new ones

Nikita had some moments where he was definitely the weaker one in the pair. That Legend of Love is certainly what dropped him down in the prizes but the Grand Pas Classique was also not super clean

I agree that he looked more nervous and less self-assured than I'd been accustomed to seeing from him. Even when he was debuting in a lead role along with someone like Skorik, he had more confidence. I too wondered how much of this had to do with the competitive environment. Perhaps he felt the pressure more here than for normal performance.

I too think that Smirnova was robbed, she really was head and shoulders above everyone. Each time she stepped on stage I was wowed. . But perhaps there were simply too many people against her politically for her to prevail...

I know she was never in consideration for the Grand Prix. There was talk that it was going to be given to Iliushkina but that was impossible after their poor LOL.

About the conflicts of interest. At some competitions, most notably YAGP and PDL, teachers/directors can not judge their own students, their scores will be thrown out. (Bo Spassoff famously will give his students ridiculously impossible scores as a joke, he awarded Issac Hernandez 500/100 points at the YAGP finals)

However, I think everyone judged everyone here, simply because the background of the judges is too narrow, there's so much overlap. For example, Tsiskaridze, Zakharova, Fayteev, Eifman, Elvira Mnatsakanyan, Vadim Pisarev, Valentin Yelizariev, and even Yuri Grigorovich have too much history and connections to judge any competitor from VBA or MT totally 'objectively.' If I were to list the BT/ MRAX people... there's almost as many, and tons of overlap between the two. So where do you draw the line? Because that's essentially half the jury!! You can't have them all sitting out because then that totally imbalances the voices of those who don't have all the connections (ex those from non-soviet countries). Considering the egos and tempers of the most powerful people on the panel.....they're going to want their opinions taken into consideration for everything.

[ilovetheater-nl]

Second life een poging tot gelaagdheid

Recensie: Mieke van der Raay Namens SHIFFT Utrecht en Stadsschouwburg Utrecht, was ik uitgenodigd voor de feestelijke première van Second Life op 7 april om 20:30 uur in de Blauwe zaal van de Stadsschouwburg Utrecht.  Over Second Life Een gelaagd en intiem duet, geïnspireerd op beroemde choreografie van Hans van Manen (Live, 1979). Ruim veertig jaar later kiest choreograaf van Jasper van Luijk…

[lamilanomagazine]

Il Teatro alla Scala e il suo Corpo di Ballo piangono la scomparsa di Bruno Vescovo

Il Teatro alla Scala e il suo Corpo di Ballo piangono la scomparsa di Bruno Vescovo. Il Teatro alla Scala e il suo Corpo di Ballo piangono la scomparsa di Bruno Vescovo, che alla Scala ha iniziato e sviluppato la sua lunga carriera artistica, da allievo della Scuola di Ballo, dove si è e diplomato nel 1968, per poi entrare subito, all'età di diciannove anni, nel Corpo di Ballo, in breve tempo diventandone solista e poi primo ballerino. Una carriera intensa in anni storici per il balletto scaligero, per il grande repertorio e per la presenza di prestigiose firme coreografiche del panorama moderno e contemporaneo internazionale e anche italiano, che lo hanno visto protagonista in innumerevoli ruoli classici e moderni nei balletti di Rudolf Nureyev (Don Chisciotte, Romeo e Giulietta, Lo schiaccianoci, La Bella addormentata nel Bosco, Il lago dei cigni), John Cranko (Jeux de Cartes, The Lady and the Fool, Bisbetica Domata, Romeo e Giulietta), Maurice Béjart (L'uccello di fuoco, Nona Sinfonia) George Balanchine, (I Quattro Temperamenti, Serenade, Allegro Brillante, Cajkovskij Pas de Deux) Aurel Milloss, Hans Van Manen (Adagio Hammerklavier), Roberto Fascilla, David Lichine, Amedeo Amodio, Félix Blaska, Mario Pistoni, Flemming Flindt, Paolo Bortoluzzi (Cenerentola), Erik Bruhn, Jiří Kylián (Sinfonia in Re), Enrique Martinez (Coppélia), Léonid Massine (Tricorno e Pulcinella), Lorca Massine, Dell'Ara (Excelsior) e tanti altri. Con la Scala ha partecipato a numerose importanti tournée, danzando come principal al Metropolitan di New York, a Buenos Aires, San Paolo, Rio de Janeiro, Ottawa, San Francisco, Saint Louis e Atlanta; alla Scala è stato anche assistente alla coreografia e, tra il 1994 e il 1996, Maître e Professeur. L'ultimo ruolo da Primo ballerino alla Scala è stato Rothbart nel Lago dei cigni di Rudolf Nureyev nel 1994, ma non ha mai smesso di frequentare il Teatro, sempre presente ad assistere con entusiasmo agli spettacoli del Corpo di Ballo.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article