under the detailed programmes
To share a love and adoration for something special makes a real connection between people. To watch together with enthusiasm, understand, discuss and analyse a play –– is simply splendid. We here at Trafó would like for contemporary dance to be at the forefront of attention and enthusiasm once again. We would like to create a firm interested, open and committed medium, milieu. To attain this sometimes requires a large-scale, internationally known and recognised dance performance – alongside, but not instead of, experimental, genre-border crossing productions.
In our series called 200% dance, we bring the performances of world-renowned choreographers: performances dominated not by experiment, but by movement and pure beauty. By excellent composition, streamlined scenography, the dynamics of movement, the atmosphere-creating power of music, the comprehensible, thought-through form. These are productions to be watched with an open mind and wonder – an experience for those who have never seen contemporary dance, and an equally valuable experience for professionals.
Let us admit, this is a rare treasure, so it is a particular joy for us too, when from time to time, we can get an important company and performance to come to Budapest.
Akram Khan and the Chinese National Ballet’s collaborative production, Tthe piece of Andersson Dance (S), or the new choreography of Emanuel Gat (IL, F) provide exactly this: clear, real, 200% dance. Dance events unlike any other, but Dance and Event with Capital letters!
We hope to see you there!
P R O G R A M M E:
16-17 September 2009, 8pm
Akram Khan Company/National Ballet of China (UK): bahok / dance
It is almost inevitable that a collaboration between Akram Khan and the National Ballet of China should be about crossing cultures. The eight dancers in Bahok embody a vivid palette of styles and traditions: modern and classical, Asian and western. As a choreographer, Khan's preoccupation has long been with the nature of identity in a migrating world.
"Poignant production." (The New York Times)
13-14 November 2009, 8pm
Andersson Dance (S): Ready to Explode / dance
Örjan Andersson studied classical ballett and after graduation began his professional career in Sweden where he worked with Birgit Cullberg and Jiri Kylian. Batsheva Dance Company was the next stop in his carreer where he danced in works by Ohad Naharin, Angelin Preljocaj, Jiri Kylian, Herve Robbe and Mark Morris. In 1993 he returned to Sweden and soon started his own company. He was commissioned by the Cullberg Ballet and many of Europe’s leading dance companies whilst creating a large body of work for Andersson Dance.
12-13 March 2009, 8pm
Emanuel Gat Dance (IL, F): Winter Variations / dance
“...incredible originality, clear articulation, robust physicality, and sophisticated intelligence.” (The Berkshire Living Magazine about Emanuel Gat’s pieces)
Emanuel Gat studied music at the Tel Aviv Academy. His first encounter with dance was at a workshop for amateurs led by Israeli choreographer Nir Ben Gal. Six months later, at age 23, Gat joined the Liat Dror Nir Ben Gal Company with whom he toured in Israel and around the world. After two years with the company, Gat began working as an independent choreographer, creating his first solo piece “Four Dances” in 1994 to music by Bach.
