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Staatsballett Berlin encounters Stravinsky Staatsballett Berlin’s designated new Artistic Director Christian Spuck headlines his foreword to the new season 2023/24 with the words: Rethinking Ballet and dance The focus for next season is clearly on less classical, more neoclasssical and contemporary dance. As a bridge between the past and this promising new chapter for the company, Staatsballett Berlin (SBB) presented the long awaited production of a „Stravinsky“-Ballet evening. I was lucky to catch a ticket for the sold-out Premiere. First piece of the evening was Petrushka by Marco Goecke, created in 2016 for Ballet Zurich. Ballet lovers surely know the story behind, and Goecke certainly leans on the original story. However, his focus is more on the mental state of Petrushka alone, rather than on the fight between Petrushka and the „Rival“ (as this role was called here) over the Ballerina. Goecke’s focus is on Petrushka’s outsider status. Marco Goecke’s unique dance language is a „love-it –or -hate-it“ art, in my opinion. I am always fascinated by his work, where „the story behind“ is something that should not be forgotten, but put aside. How to translate intense feelings? Via intense, weird, rapid, vibrating movements maybe, that is his way to work. Here in Petrushka, the fluttering movements play around the stage as a symbol for Petrushka’s happysad character. Alexandre Cagnat did an impressive job in the title role. At times, I even saw a kind of Charlie Chaplin moves. Maybe Goecke also had in mind that the original Petrushka in the Ballet Russe version, Vaslav Nijinsky, also had mental troubles and that his intention to develop a modern dance language was often misunderstood. The dancers impersonating other people on the vanity fair, like couples, the charlatan, rival and the ballerina, didn’t make a big impact on me. Of course they were neccessary for the story. We saw a precise dancing by David Soares as the Rival, Alizee Sicre as the doll-like Ballerina and Federico Spallita as a very convincing charlatan. In the end, how I see it, Petrushka looses his soul and returns to the stage as a ghost puppet, no longer able to communicate with feelings as a „person“. As a symbol, he rapidly opens and closes a wooden mouth. It was heartbreaking. During the intermission, it was very interesting to see how the stage was prepared for Pina Bausch’s „Rite of Spring“. The floor was covered with fresh turf from the North of Germany. Then, the lights went down and – the Rite of Spring began. I mus admit I have difficulties to describe with words what I saw. The story is well-known, so I spare the details here. But HOW Pina Bausch brought this ancient rite on stage, is literally breathtaking, for dancers AND for the audience. It leaves you speechless. A belief in the rite of spring, so deeply routed in the group that they follow this rite with all brutality, violence and ultimative dedication til death. I can just share the most impressive moments: The group of women, trembling with fear to be the Chosen One. The melting of bodies with the soil and thus with the spirit of earth. The merciless dragging of the Chosen One (Clotilde Tran) across the stage. Her giving-in, her dance, half concious half unconcious, til death. It was disturbing, heartbreaking. Especially because this topic of violence against women is still so up-to-date (on several levels across the globe, of course) although the piece is almost 50 years old. A standing ovation from first curtain call is rare in Berlin. But there was no question, the audience jumped from their seats. A BIG HEARTFELT BRAVO TO ALL DANCERS. Side note: this is an ensemble piece. The Chosen One has the final solo, sure, but I cannot say less about the other dancers. Among them Polina Semionova (Principal), or Alexei Orlenco, Arshak Galumyan (First Soloists). It really didn’t matter. I left the theatre unable to speak or collect my thoughts, and walked a bit aimless, not in direct route, back home. A MASTERPIECE. Christiane Theobald, the leaving interim AD, had worked for a long time to get the rights from the Pina Bausch foundation for this piece for StaatsballettBerlin. I am beyond grateful that finally, she was successful. Sadly, and that’s really a very sad fact, both pieces are not part of the new season 2023/24. All performances are sold out.

This wonderful-looking mixed bill opens tonight. All discussion here please.

"Three iconic stories and three bold works on and by women. Broken Wings Iconic painter Frida Kahlo is the heroine of Annabelle Lopez Ochoa’s Broken Wings, a colourful ballet full of warmth and passion. Based on Kahlo’s life and art, it is “a marvellous image of creativity and power” (The Independent). Nora Stina Quagebeur, First Artist of the Company, choreographs her first work for the main stage. Nora is inspired by the lead character in Henrik Ibsen’s play A Doll’s House, a woman on the path to independence. Le Sacre du printemps (The Rite of Spring) Pina Bausch’s unforgettable production features 13 male and 13 female dancers on a stage covered in soil. Dancing the selection and sacrifice of a terrified victim, it is as gut-wrenching and galvanising as Stravinsky’s score, performed live by English National Ballet Philharmonic. Le Sacre du printemps returns following sold out performances in 2017". Out of interest I emailed ENB to ask if Francesca Velicu will be reprising her award-winning role as the Chosen One in Le Sacre du printemps, and if so on what dates. I had a very speedy reply, albeit of limited assistance, since historically it seems the way it works with the Pina Bausch Foundation is that the role of the Chosen One is never announced in advance, and is decided upon shortly before curtain-up; whilst it is hoped that Francesca Velicu will repeat her role they cannot be specific about which dates she will appear. I suppose there is some sort of dramatic logic in having the dancer playing the sacrificial "Chosen One" chosen herself, at short notice, in this way! But it does not help booking choices for anyone wanting to see a particular dancer...

Gutted not to have been able to make this performance tonight, but I hope others will comment.

According to the Daily Telegraph article provided in today's Links http://www.telegraph.co.uk/news/bbc/12009837/Male-ballet-dancers-are-now-centre-stage-says-Darcey-Bussell.html, "The programme [Darcey's Ballet Heroes] is intended to be broadcast at the end of the BBC's Year of Song and Dance, and will be joined by documentaries about Nureyev, Acosta, and Pina Bausch." Can't say I'd been particularly aware of the "Year of Song and Dance", but there you are.

Foteini Christofilopoulou was at the dress rehearsal at Sadlers Wells, for Auf dem Gebirge hat man ein Geschrei gehört by Tanztheater Wuppertal Pina Bausch. Here are a few photos: Tanztheater Wuppertal Pina Bausch © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr Tanztheater Wuppertal Pina Bausch © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Tanztheater Wuppertal Pina Bausch - Auf dem Gebirge hat man ein Geschrei gehört Courtesy of DanceTabs / Flickr

The dance performances for the EIF 2014 are listed at http://www.eif.co.uk/dance Includes Pina Bausch, and a new work from Mark Baldwin. This features dancers from the Royal Ballet and Rambert with music performed live by Ladysmith Black Mambazo.

This afternoon at 4 pm, Deborah Bull presents a half-hour programme on Pina Bausch: http://www.bbc.co.uk/programmes/b01jgglg Presumably available on iPlayer after the event.

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