October 16, 2007 -

OTTAWA -- The spotlight shines on three of Europe's most exciting dance talents – choreographers Saburo Teshigawara, Andonis Foniadakis, and Sidi Larbi Cherkaoui – as their work is performed by Ballet du Grand Théâtre de Genève in the Theatre of the National Arts Centre (NAC) on Tuesday October 30, 2007 at 19:30.

Compelling Contemporary Choreography is a programme of three separate works embodying the visions of three different choreographers. These artists share an aesthetic which includes a significant element of spirituality; all three situate humanity at the centre of their creative process. The programme includes Para-Dice (a meditation on paradise and luck, using 'sculptural dance' in an aerial universe) by Japanese virtuoso Saburo Teshigawara, Selon désir (a struggle between earthbound bodies and heavenly aspirations, a baroque trance set to the soaring music of Bach) by Andonis Foniadakis, and Loin (an exotic cross-cultural study of movement and 17th century music) by one of Ottawa's favourite choreographers, Sidi Larbi Cherkaoui.

Para-Dice, by Saburo Teshigawara, is an exploration of dynamics influenced by the breakneck speed of his most famous pieces and the absolute immobility of his more recent choreographies. The title is a pun, playing on allusions both to Paradise and to games of chance. This work for eight dancers corresponds to Teshigawara's definition of his art: "Dance is a sculpture of air, space and time. I dance to make time disappear, and I dance to create time."

Selon désir, by Andonis Foniadakis, transports fifteen dancers and spectators alike into a maelstrom of Baroque virtuosity, drawing inspiration from the monumental opening choruses of Bach's St. Matthew Passion and St. John Passion. Notions of Heaven and Earth, as well as images of faith, martyrdom, and exaltation in pain, help produce a contrast between elevation to the heavenly Spirit – a synonym for evanescence and floating – and earthly energy, as represented in the dancers' intertwined bodies.

Loin, by Sidi Larbi Cherkaoui, examines the distance between human beings, eras, and cultures. This reflection on identity and prejudice ultimately promises us a human path, warm and on occasion funny. Loin is emotion in its pure state, depicting a brotherly world that is at once distant and surprisingly close. Sets featuring Arab mouchrabiehs (balconies enclosed by carved latticework) and veils, Oriental costumes evocative of the martial arts, and 17th-century European chamber music blend to form a disparate whole, out of which emerges a plea for closer contacts. The dancers' hands and arms intertwine to create new shapes, new bodies. The contours of each body melt together, and even the dancers themselves seem to lose all sense of direction.

"Para-Dice is a paean to air and the eight dancers project this most abstract of concepts …it looks deliriously addictive, like a dream you don't want to wake from.Loin was equally mesmerizing. …feels like a quick lesson in dance evolution, from folk dance to hip-hop. Whereas in Para-Dice the dancers are carried by air currents, in Loin, the unceasing sweep is of the tides."

Janine Parker, The Phoenix.com, 15 August 2007

"In just three years, these Swiss dancers—in fact, they're of every nationality!—have charmed audiences and critics around the world."

Philippe Noisette, Les Échos, February 10–11, 2006

"The Ballet du Grand Théâtre de Genève created one of the most enjoyable evenings of choreography in recent memory…."

Le Nouvel Observateur, January 26, 2006

"A saraband of passion and beauty. The Ballet du Grand Théâtre de Genève was divine…. this Geneva company has definitely established itself as one of the most original and inventive in Europe."

Adel Latrech, La Presse de Tunisie, May 9, 2005

"Wonder of wonders…. A declaration of faith in the power of love and human kindness, Loin was unanimously acclaimed by an enthusiastic audience."

René Sirvin, Le Figaro, April 22, 2005

Para-Dice
CHOREOGRAPHY Saburo Teshigawara
SETTINGS, COSTUMES, and LIGHTS Saburo Teshigawara
SONOROUS CREATION Willi Bopp

Selon désir (2004)
CHOREOGRAPHY Andonis Foniadakis
MUSIC Jean-Sébastien Bach, Opening choruses of the St Matthew Passion and St John Passion
LIGHTS Rémi Nicolas
SOUND CREATION  Julien Tarride
COSTUMES ASSISTANT Marion Schmid

Loin (2005)
CHOREOGRAPHY Sidi Larbi Cherkaoui
MUSIC Heinrich Ignaz Franz Biber, extracts from the Mystery Sonatas
SCENOGRAPHY and LIGHTS Wim Van de Cappelle
COSTUMES Isabelle Lhoas
ASSISTANTS TO THE CHOREOGRAPHER Nicolas Vladyslav and Damien Jalet

Ballet du Grand Théâtre de Genève perform Compelling Contemporary Choreography: Para-Dice, Selon désir, and Loin in the Theatre of the National Arts Centre on Tuesday October 30, 2007 at 19:30. Tickets are $46, $42, and $34 for adults and $24.25, $22.25, and $18.25 for students (upon presentation of a valid student ID card). Tickets are available at the NAC Box Office (in person) and through Ticketmaster (with surcharges) at 613-755-1111; Ticketmaster may also be accessed through the NAC's website at www.nac-cna.ca. Same-day Live Rush tickets (subject to availability) for full-time students (aged 13-29) are $10 at the NAC Box Office or online at www.nac-cna.ca between 14:00 and 18:00 on the day of performance only, upon presentation of a valid 'Live Rush' card. Groups of 10 or more save 15% to 20% off regular ticket prices to all NAC Music, Theatre and Dance performances; to reserve your seats, call 613-947-7000 ext. 384 or e-mail grp@nac-cna.ca.

Photos for all dance events can be viewed and downloaded at: www.nac-cna.ca/media/

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Information:
Gerald Morris, Marketing and Media Relations,
NAC Dance Programming
(613) 947-7000, ext. 249
gmorris@nac-cna.ca

BALLET DU GRAND THÉÂTRE DE GENÈVE
At the turn of the 20th century, the Grand Théâtre de Genève presented some of the most illustrious dancers and companies of the day, notably Isadora Duncan and Nijinski with the Ballets Russes. However, it wasn't until the Grand Théâtre reopened in 1962 (after extensive renovations following a fire) that it established its own resident company, placed under the artistic direction successively of Janine Charrat, Serge Golovine, Patricia Neary, Peter van Dyck, Oscar Araiz, Gradimir Pankov, François Passard, Giorgio Mancini, and currently Philippe Cohen. From the very beginning the company has explored the stylistic plurality of 20th century dance, working with such leading artists as George Balanchine (who served as Artistic Consultant, 1970–1978), Mikhail Baryshnikov, Rudolf Nureyev, Ji?í Kylián, Ohad Naharin, William Forsythe, and Lucinda Childs. Today, the Ballet du Grand Théâtre features 22 classically trained dancers of diverse nationalities who are equally at ease with neo-classic and contemporary choreographies. A typical Ballet du Grand Théâtre season includes two new works, favourites from the company's repertoire, touring shows, education activities in schools, and professional development workshops for dancers and choreographers.

SABURO TESHIGAWARA began his career in 1981 in his native Tokyo after studying plastic arts and classical ballet. In 1985, he formed KARAS (with Kei Miyata) and began creating group choreographies. KARAS has performed annually in major European cities, the United States, and Canada. Teshigawara's keenly honed sculptural sensibilities and powerful sense of composition, command of space, and decisive dance movements all fuse to create a unique world that is his alone. He has choreographed work for Ballett Frankfurt at the invitation of William Forsythe in 1994-95, Le Sacre du Printemps for the Bayern National Ballet in 1999, for Nederland Dance Theater I in 2000, and for Paris Opera in 2003. Teshigawara is also noted for his art exhibitions, films, and videos as well as for the scenography, lighting and costume design for all his performances. His interest in music and space have led him to create site-specific works, and to collaborations with various types of musicians. Apart from workshops held at the KARAS Studio in Tokyo, a joint educational project called 'S.T.E.P.' (Saburo Teshigawara Education Project) was initiated in 1995 with partners in the UK. At Opéra de Lille in 2004, he created Prelude for Dawn, a performance evolving from a year-long workshop with visibly disabled students. Also in that year, he was nominated as dance mentor for the Rolex Mentor and Protege Arts Initiative, to work for one year with a chosen protege. Since 2006, he has been a professor at St. Paul's (Rikkyo) University in Japan, where he teaches movement theory and conducts workshops. Through these workshops and education projects, he continues to encourage and inspire many young dancers.

ANDONIS FONIADAKIS trained as a dancer at the National School of Dance in Athens (1988-1990) and at the Rudra Béjart in Lausanne (1990-1992). He performed numerous roles with Béjart Ballet Lausanne as well as with Lyon Opera Ballet (1996-2002). He took part in the creation of Kazahana by Saburo Teshigawara's KARAS in 2004. His choreographic career began in 1994 with In Between, followed in 1996 by Court Métrage for Béjart Ballet Lausanne. He created Fila Filon at the Dance Festival of Cannes (1997), Aurore Boréale at the International Festival of Copenhagen and Lava Nama for Lyon Opéra Ballet (1999). He created Pénombre at the International Festival of Copenhagen and In Memoriam Suberbiae at the OMMA Concert Hall of Athens in 2001 and, in 2002, Pièce inconnue at the Conservatoire National Supérieur de Danse in Lyon and Handle With Care for the National Theatre of Northern Greece. As a guest choreographer, he created Xe Symphonie for Ballet National du Rhin, choreography for Les Boréades by Jean-Philippe Rameau for Opéra National du Rhin, …and they had hair as the hair of women and their teeth were as teeth of lions for Washington Ballet, Phrases now for the Benjamin Millepied Dance Project USA, and Again n' again for the Nomadic Project Tokyo. In 2004, Andonis Foniadaki creates Use for his young company, the Apotosma Dance Company, during the 11th Biennale de la Danse in Lyon. Selon désir for Ballet du Grand Théâtre de Genève received its world premiere in February 2004.

SIDI LARBI CHERKAOUI studied at P.A.R.T.S. (Performing Arts Research and Training Studios) in Brussels, the contemporary dance school directed by Anne Teresa de Keersmaeker. There he was mostly influenced by the dance technique courses of William Forsythe (taught by Elisabeth Corbett and Thomas McManus), Pina Bausch (Dominique Dusjinski) and Trisha Brown (Lance Gries), as well as by theatre classes (Damiaan De Schrijver/STAN), sociology (Rudi Laermans), the history of dance, and, of course, by the Rosas repertoire. In 1995, he received the first prize for the Best Belgian Dance Solo in Ghent, in a competition launched by Alain Platel, founder of Les Ballets C. de la B. Alain then invited him to take part in Iets op Bach (1997-1998), a dance-theatre piece which toured the world. Rien de rien (2000), his first choreography as a member of the artistic core of Les Ballets C. de la B., toured throughout Europe (London, Paris, Copenhagen, Porto), winning the Special Prize in Belgrade at the BITEF festival in 2001. In Rien de rien, he worked closely with the Flemish cello player Roel Dieltiens (on music by Kodaly, Ligeti, and Gubaidulina), who shared the stage with the dancers. In this piece, Cherkaoui also worked with Damien Jalet, singer/dancer with Les Ballets C. de la B., who initiated him in the use of traditional Italian songs (and the ethno-musicology work of Giovanna Marini). In July 2002, he took part in the 'Vif du Sujet' at the Festival d'Avignon with his solo it (2002), directed by Wim Vandekeybus, with whom he worked closely on the choreography. In September 2002, he co-directed with Damien Jalet, Luc Dunberry and Juan Kruz Diaz de Garaio Esnaola (dancers/singers with Sasha Waltz), the choreography for D'avant (2002) for the Schaubühne am Lehniner Platz in Berlin. This piece combines song (medieval songs from the 13th century) with contemporary dance, and was the first step towards Foi. In March 2003, Sidi Larbi Cherkaoui showed his next choreography for Les Ballets C. de la B., Foi, a project that pursued the symbiosis between live music (14th century medieval music and traditional peasant songs) and contemporary dance and theatre. His musical partners were Dirk Snellings and his Capilla Flamenca (for the period music of Ars Nova) and Christine Leboutte (who has worked with Giovanna Marini) for the traditional Italian songs. In May 2004, Foi was awarded the prize for best choreography at the Movimentos Awards in Wolfsburg, Germany. Sidi Larbi Cherkaoui also choreographed and directed Tempus fugit for Les Ballets C. de la B. in 2004. With equally prominent collaborators -- choreographer-dancer Akram Khan, composer Nitin Sawhney, and sculptor Antony Gormley -- Larbi created and performed in zero degrees (2005) around the world.