Jorma Elo
Some years ago, Finnish artist Jorma Elo was a dancer at the Nederlands Dans Theater in Den Haag. He was happy and motivated, working with Jirí Kylián. But Elo’s creative talent was growing and he wanted to break through as a choreographer. When his 12th workshop choreography was ready, he found Mikko Nissinen, director of the Boston Ballet and his old classmate from the Helsinki and Leningrad Ballet Schools, was interested in giving him a new opportunity to apply his talent to both dancing and choreographing. Elo stopped dancing and concentrated his skills on creating new worlds.
The new situation doubled his opportunities for working as a choreographer, and soon he was working for several dance companies.
The high-point of his nearly 6-year creative journey was making a commissioned work for one of the world’s top groups, The New York City Ballet. Since this was staged, on June 16th, some other companies, including American Ballet Theater and London’s Royal Ballet, have entered into negotiations with Jorma Elo. His next work will probably be staged in October.
Weiterlesen mit dem digitalen Monats-Abo
Sie sind bereits Abonnent von tanz? Loggen Sie sich hier ein
- Alle tanz-Artikel online lesen
- Zugang zum ePaper
- Lesegenuss auf allen Endgeräten
- Zugang zum Onlinearchiv von tanz
Sie können alle Vorteile des Abos
sofort nutzen
This spring, prima ballerina Anik Bissonnette, a fixture at Les Grands Ballets Canadiens de Montréal for the last 17 years, announced she is on the move. She is retiring from Montreal’s top-drawer ballet troupe next season, the company’s 50th anniversary. It’s a sad moment for Bissonnette and her fans, but one of excitement too. “Ready for new adventures,” she’s...
«wenn mein arm auf dem tisch ruht, werde ich nie auf den gedanken kommen zu sagen, er liege neben dem aschenbecher, so wie der aschenbecher neben dem telefon steht.»1
gibt es einen außenraum ohne einen innenraum? geht beides auseinander hervor? wären raumvorstellungen ohne unsere praktische räumliche erfahrung vorstellbar? wohl kaum. merleau-ponty: «der raum wie...
She was dressed in a pink top and puffed skirt with round port holes in a pool of light, on a stage covered with white dawn feathers. She stood still, and I mean very, very still, yet somehow seemed relaxed and quite comfortable. As time passed and the sound of a revving motorbike’s engine didn’t produce any more action, a few audience members signaled their...
