Choreographer William Forsythe discusses “A Quiet Evening of Dance”, musicless dance, and breaking molds. “A Quiet Evening of Dance” blends existing and new work for a presentation that explores the origins of ballet and the body as music itself.
Credits:
Rehearsal footage: “A Quiet Evening of Dance,” Sadler’s Wells Theatre, London, 2018, rehearsal video and photography. Courtesy Sadler’s Wells.
Performance footage 00:37 - 00:46 : “A Quiet Evening of Dance,” Sadler’s Wells Theatre, London, 2018, performance video. Courtesy Sadler’s Wells.
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Groundbreaking choreographer William Forsythe presents a vivid combination of new and existing work, performed by seven of Forsythe’s most trusted collaborators, in The Shed’s intimate Griffin Theater Oct. 11–25. The intricate phrasing of the dancers’ breath is the primary sound accompanying Forsythe’s choreography, which draws on the geometric origins of classical ballet and ranges from sparse analytic condensation to baroque-inspired counterpoint. The result is a new production that, like an evening of chamber music, feels designed to be listened to. “A Quiet Evening of Dance” includes two newly commissioned works, Epilogue and Seventeen/Twenty-One; two reimagined repertory works, “Dialogue (DUO2015)” and “Catalogue (Second Edition)”; and “Prologue,” an excerpt in Act One of “Seventeen/Twenty One.”
“A Quiet Evening of Dance” is a Sadler’s Wells, London, production co-commissioned by The Shed; Théâtre de la Ville-Paris, Théâtre du Châtelet and Festival d’Automne à Paris; Festival Montpellier Danse 2019; Les Théâtres de la Ville de Luxembourg; Onassis Cultural Centre-Athens; and deSingel international arts campus (Antwerp). Winner of the FEDORA - VAN CLEEF & ARPELS Prize for Ballet 2018. First performed at Sadler’s Wells on October 4, 2018.
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