3/13/2023 0 Comments Sacred fire kino macgregor amazonThe ballet can be viewed online from Oct. A rehearsal will be streamed live on World Ballet Day on Oct. which set Instagram on fire and even featured a special Sleepless Night. “We think about our bodies in a different way now, as a battleground of space and touch.” But by the end of the piece, he added, “we have come a very long way from abandoned hope.” We dont have to go to Church to be in touch with the Sacred or the Divine. “It’s fascinating to me that the horrific things inflicted on the body in ‘Inferno’ have in many ways happened to people who had Covid. “The dancers have spent so many months not touching each other, not being onstage, it’s a reminder we took all this for granted,” McGregor said. “You allow it to breathe it’s a very graceful thing to do as a composer, to go in one direction as long as you like.” Besides, he added, “the dancers have to get across the stage and back.”Īt the rehearsal, the dancers, dressed in Dean’s chalk-sprayed unitards (“the first time I’ve designed costumes,” she said, “not a place of safety!”) were doing just that, sketching out their steps, getting a sense of the space. “There is a fluidity, more connection, we are not machines I had to find a music that thinks like a body, not a mind,” he said. Writing music for dance, he said, had made him aware that while the mind can move “in mercurial, intellectual directions,” the body is very different. ![]() Expectations, already high, have been amplified by the multiple cancellations and reschedulings since its May 2020 premiere was swept aside by the pandemic. With a new score by Thomas Adès and design by Dean - two of the most important artists of their generation - it is among the Royal Ballet’s most significant commissions in recent years, as well as its first coproduction with the Paris Opera Ballet. The dancers were incarnating the tormented souls of “Inferno,” the opening section of the full-length “Dante Project,” which had its premiere on Thursday. “Gorgeous!” he said, moving off to talk to a stagehand who was adjusting the artist Tacita Dean’s huge monochrome backdrop, used in the first part of McGregor’s new and long-awaited “ Dante Project.” McGregor, the resident choreographer at the Royal Ballet, laughed. Then as one, they practiced being like jellyfish. The dancers on the darkened stage of the Royal Opera House on a recent afternoon looked at him for a moment. LONDON - “Be like a jellyfish,” Wayne McGregor said, undulating his upper body expressively.
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