Falling angels
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Festival Ljubljana- Trg francoske revolucije 1, 1000 Ljubljana
LEFT RIGHT LEFT RIGHT
Choreography: Alexander Ekman
Music: Mikael Karlsson
Placement: Fernando Troya
Video: Alexander Ekman
Light design: Tom Visser
Costume design: Alexander Ekman
Set design: Alexander Ekman
SNG Maribor Choreographer assistant: Sergiu Moga
HANDMAN
Choreography: Edward Clug
Music: Milko Lazar: Piano and Drums (2015); Justin Hurwitz & Tim Simonec: Dismissed in Drum & Drone
Placement: Aya Misaki
Set design and costume design: Edward Clug
Light design: Tom Visser
SNG Maribor Choreographer assistant: Matjaž Marin
FALLING ANGELS
Choreography: Jiři Kylián
Music: Steve Reich: Drumming I., 1970/1971
Placement: Roslyn Anderson
Music production: Michael de Roo
Costume design: Joke Visser
Stage concept: Jiři Kylián
Light design: Jiři Kylián (zasnova) Joop Caboort (izvedba)
Set design and costume design: Joost Biegelaar
SNG Maribor Choreographer assistant: Sergiu Moga
All three of these contemporary ballet pieces are externally playful, yet the internal mechanism that drives them is sophisticated and functions with almost military precision. The challenge faced by the dancers when performing these virtuoso pieces demands a breathtaking level of synchronised cooperation that creates the sensation of a light and attractive game. All three pieces, created in different eras, were originally commissioned by the Netherlands Dance Theatre (NDT).
One of the most interesting choreographers of his generation, Swedish trailblazer Alexander Ekman likes to explore existential questions that are symptomatic of contemporary human life. Left Right Left Right is thus a unique study of human movement imbued with a refined irony. A similar impression is created by Edward Clug’s Handman, a piece notable for its humorous innovativeness and detailed honing of the entire constellation of movement that earned him a nomination for the prestigious Prix Benois de la Danse in 2017. Jiří Kylián’s piece Falling Angels uses minimalist music by Steve Reich, created on the basis of the composer’s own impressions of ritual music from Ghana.