#sofiane sylve

[dozydawn]

[magicalcrystalsproject]

A Bela Adormecida (ballet)

Olá Meus Amores!! Aqui está um dos contos que me inspirou na estetica e e em alguns aspectos da Minha Historia em breve postarei os outros contos que me inspiraram!!

A Bela Adormecida é um balé de um prólogo e três atos do compositor russo Piotr Ilitch Tchaikovski, o libreto de Marius Petipa e Ivan Vsevolojsky, e coreografia de Marius Petipa baseado no contos de fadas do escritor francês Charles Perrault. Sua estreia ocorreu no Teatro Mariinski em São Petersburgo no dia 5 de Janeiro de 1890. Tchaikovski a escreveu no período do ano de 1888 a 1889.

Prólogo - O Batizado

O rei Florestan e a rainha convidaram todas as fadas para serem as madrinhas do batizado de sua filha recém-nascida, Aurora. Enquanto as fadas oferecem seus presentes ao bebê, um trovão anuncia a chegada da terrível fada Carabosse, que o mestre de cerimônias esqueceu de incluir na lista de convidados. Ultrajada, Carabosse anuncia que também dará um presente à bebê: quando Aurora completar 16 anos, ela irá se picar com uma agulha no dedo e então mergulhará num sono eterno. Felizmente uma das fadas madrinhas ainda não havia dado o seu presente, e então contraria Carabosse, prometendo que Aurora não mergulhará num sono eterno, e sim, cairá num sono que durará até que um príncipe a desperte com um beijo. Como precaução, o rei proíbe todos os objetos aguçados no seu reino.

Ato I - O Feitiço

Aurora completou 16 anos. Quatro príncipes vieram pedir a sua mão em casamento. A corte reúne-se nos jardins e os camponeses e crianças dançam com as grinaldas de flores. A princesa dança com os seus pretendentes. Entra em cena uma velha que lhe oferece um ramo de rosas. Aurora aceita o presente e encontra uma agulha entre as rosas, um objeto que nunca havia visto. Segura na mão e, durante a dança acidentalmente, fura-se num dedo. Parece desmaiar, mas depois recompõe-se. A dança torna-se vertiginosa e Aurora desmaia de vez. Neste momento, a velha tira o seu disfarce e se revela Carabosse, exultante por ter se cumprido o seu feitiço. Mas de imediato surge a fada lilás para reafirmar também a sua promessa. Um véu cai sobre a cena e cresce uma floresta mágica para esconder o castelo, o reino e todos os seus arredores.

Ato II - A visão

Passaram-se 100 anos. O príncipe Désiré caça na floresta mágica. Num momento em que se afasta do seu grupo, a fada Lilás, que também é sua madrinha, mostra-lhe a imagem da princesa. Désiré implora à fada Lilás que o leve para junto de Aurora, assim os dois viajam num barco encantado até ao palácio. Seguindo a fada, Desiré entra no quarto onde dorme Aurora, no meio da corte enfeitiçada. Desperta-a com um beijo e todos acordam de volta à vida. Désiré pede a mão de Aurora em casamento e o rei Florestan e a rainha concedem-na com alegria.

Ato III - O Casamento

A princesa casa-se com o príncipe e vivem felizes para sempre.

Maiores Inspirações:(Adptações)

A Bela Adormecida (Alla Sizova e Yuri Solovyov - The Kirov Ballet, 1964)

A Bela Adormecida (Veronica Tennant e Rudolf Nureyev - The National Ballet of Canada, 1972)

A Bela Adormecida (Aurélie Dupont e Manuel Legris - Ópera de Paris, 2000)

A Bela Adormecida (Sofiane Sylve e Gaël Lambiotte - The Dutch National Ballet, 2003)

Sleeping Beauty (bra/prt: A Bela Adormecida)[1][4] é um filme animado norte-americano de 1959, do gênero drama romântico-fantástico, dirigido por Clyde Geronimi, Eric Larson, Wolfgang Reitherman e Les Clark, com roteiro baseado no conto de fadas A Bela Adormecida, de Charles Perrault.[5] Produzido por Walt Disney

[galina-ulanova]

Sofiane Sylve in Nureyev’s Raymonda Act III (San Francisco Ballet)

[books0977]

Sofiane Sylve in Forsythe’s Pas/Parts, San Francisco Ballet, January 2016. © Erik Tomasson.

Pas/Parts suffers from the ill that besets many similarly made works: the movement feels really good to the dancers, but flatlines visually because of overly repetitive phrases and motifs. However eye-catching at the onset of a work, and Pas/Parts opens by slapping you in the face with Sofiane Sylve alone and at her most serpentine, symmetry eventually tires the eye.

[balletroyale]

Sofiane Sylve in Serenade (San Francisco Ballet)

[miss-m-calling]

David Dawson’s Anima Animus (San Francisco Ballet)

[ele-bee]

Can we talk about Sofiane Sylve for a moment? Sometimes I forget about her until I remember her again and I think "I wish there were more videos of her." Such an amazing dancer. She makes this difficult variation look so flawless.

[tanaquilleclercq]

Sofiane Sylve in Balanchine works.

[tybe]

SF Ballet 2016-2017 Season

I haven’t been blogging or doing much writing in months, much less about ballet -- and a consequence that I’ve noticed is that the dances, one of the most ephemeral works of all art, have generally faded from my memory, and not necessarily because the performances were forgettable, but because my mind has become so much more sieve-like because of the increased commitments of my life. So consider this my effort to recapture the emotional aroma of the past season.

Program 1: Haffner Symphony / Fragile Vessels / In the Countenance of Kings

I don’t remember much of Helgi Tomasson’s “Haffner Symphony” -- I’m assuming it was mostly neo-classical, though. "Fragile Vessels” (by Jiří Bubeníček (or Jiri Bubenicek, for an easier search)), though, was a season-highlight, as it’s in the same athletic contemporary vein as Ashley Page’s “Guide to Strange Places.” That night, Sofiane Sylve was featured, and I was overwhelmingly smitten with her extensions and the exquisite delicacy of her port de bras -- she’s quickly become my favorite dancer. I was disappointed with Justin Peck’s “In the Countenance of Kings,” in part because of the Sufjan soundtrack (I swear I heard parts that sounded like they were from Seven Swans, so either it was a mixed soundtrack or Sufjan’s been repeating himself). However, one passage moved me in which the female dancers were redirected in mid-jump by their male partners. I’m at a loss to explain why I found it so breathtaking -- maybe it was the pure physicality of the maneuver. 

Program 3: Frankenstein

Loud and brash as it is, I haven’t had much difficulty remembering Liam Scarlett’s “Frankenstein,” which was also the first full-length ballet that I’ve seen (full-length ballets tend to be from the classical era, which, no thanks). The first act is the least of its three, since it focuses on Victor, who is such a joyless wet blanket that I had little sympathy for his early travails. “Frankenstein” doesn’t come alive until the Creature does (see what I did there?), right at the end of Act 1, and on through the rest of the ballet. The Creature has all the exhilarating, virtuosic solos, and the night that I saw it, Wei Wang performed the part, which he devoured. I’ve been told on more than one occasion that SF Ballet separates itself from other American ballet companies by how much it showcases its male dancers -- a notion I finally understood thanks to Wei’s voracious performance. A more thorough review here.

Program 5: Fusion / Salome / Fearful Symmetries

Of the programs that I went to this season, program 5 was easily my least favorite. I was drawn to this program by the description of Arthur Pita as the “David Lynch of dance” -- self-described, natch. His retelling of “Salome” formally emulates Lynch -- inscrutable voyeurs, tawdry wealth, mysterious forested setting, limos -- but with little of Lynch’s subterranean bourgeois dread  that erupts with sudden paroxysms of horror. An empty shell of unease, in short.

“Fusion” was too genteel for me (and the specter of Orientalism hung in my mind the moment I saw the dervishes), and the only thing I took from “Fearful Symmetries” is that it was the first time I liked a John Adams composition.

Program 7: Trio / Ghost in the Machine / Within the Golden Hour

My favorite program in quite some time. Tomasson’s “Trio” has classical settings, costumes, and orchestration (Tchaikovsky!), but with distinctly contemporary movement (bent knees, flexed feet). The ensemble work was notably sharp this entire night, but the first and last movements of “Trio” were the most uniform. The second movement is mostly a pas de deux (this night featuring Sarah Van Patten, she of the most crystalline blue eyes, with Tiit Helimets), and I surprised myself by embracing its overt romanticism. Was I in a sentimental mood that night? Or was chemistry between the two dancers that potent? The introduction of the third partner (Death, according to the program notes) was less effective, Interrupting the beautiful coziness between the couple (as Death is wont to do), Death’s impersonal and cold partnering with Sarah was less dynamic than the partnering between her and Tiit. Surely that’s the point, but this characterization felt more academic than artistic. 

The third movement showed off the men -- Angelo Greco particularly impressed -- but the solos were less of a success. I did appreciate the use of negative space in the music during Maria Kochetkova’s solo, namely the use of the 8s (or 6s if the music was in waltz time) to prepare for the next phrase.

Finally (and I’m still talking about “Trio”!), I have to mention Lorena Feijoo, who is retiring after this season. Her bows at the end were clearly deeply felt -- she received a long standing ovation -- and her visible emotion filled the entire house. This memory I won’t want to forget.

Myles Thatcher’s “Ghost in the Machine” starts in a diegetically confrontational move, and the lustiness with which the dancers attacked the choreography throughout immediately drew me in. In one of the early passages, (I don’t think I’ve seen so many hunched shoulders in a ballet before, but, hey, contemporary.) Thatcher even quotes Jerome Robbins’ “Glass Pieces” with a line of disinterested dancers-cum-pedestrians crossing the stage (a staging for which I’ll always be a sucker) and around the actual dancing. Sasha De Sola is featured -- one of the most lasting images is when she stands at the center of a veritable pieta of hugs which unfurls into a tableau of Botticelli’s Venus -- but for me the star was Dores Andre. She commanded the stage the sheer intensity of her will, and managed to wring a few tears out of me in the process.

Thatcher breaks the aggression of the piece with one quick sketch that brings levity, culminating with two dancers rearranging their ragdoll compatriots to slump against each other.

The finale, alas, lacks the urgency of the preceding choreography. It ends on what I took to be an overly optimistic note that also was tinged with triumphalism (rarely a good thing, in my estimation), but as a whole, “Ghost in the Machine” marked a point where I realized that my love for contemporary ballet comes from its sensuality -- not in the pedestrian, sexy sense, but in the palpability of the partnering (a vestige of my lindy hop days?). (”Trio” also is a fine example of tactile partnering.) I remember Sonya Tayeh saying that she loves seeing bodies dancing against each other, and that’s probably a more direct way of putting it.

I was probably crashing from the adrenaline rush of “Ghost” when “Within the Golden Hour” began, and I couldn’t appreciate Wheeldon’s sedate, markedly less pyrotechnic choreography,  But God! That closing image! 

[choreographique]

Odile Sofiane Sylve Prince Vito Mazzeo

[gorbigorbi]

Sofiane Sylve and Aaron Robison in "UnSaid" (San Francisco Ballet)

Photographer Erik Tomasson

[galina-ulanova]

Yuan Yuan Tan [1], Vito Mazzeo [1], Sofiane Sylve [2] and Tiit Helimets [2] in Edwaard Liang’s Symphonic Dances (San Francisco Ballet, 2012)

[books0977]

Sofiane Sylve and Carlo Di Lanno in Forsythe’s Pas/Parts, San Francisco Ballet, January 2016. © Erik Tomasson.

Sofiane Sylve and soloist Carlo Di Lanno performed a moody four-minute adagio of inverted extensions, intertwined partnering and color-block Lycra.

[balletroyale]

Sofiane Sylve in Symphony in C (San Francisco Ballet)

[experienced12]

(via https://www.youtube.com/watch?v=2BYjRDh8K58)

[iwontdancenetwork]

SF Ballet's Unbound On Screen Presents "The Collective Agreement"

"The Collective Agreement" is an original short film for the world premiere production of Alonzo King's ballet of the same name, made for San Francisco Ballet's Unbound: A Festival of New Works. 

 Director: Kate Duhamel | Choreographer: Alonzo King 

Dancers: Sofiane Sylve, Tiit Helimets, Max Cauthorn, Jahna Frantziskonis, James Sofranko, Anna Sophia Scheler, Solomon Golding