سيدي العربي الشرقاوي
西迪·拉比·切考维
СИДИ ЛАРБИ ШЕРКАУИ

Faun

source: east-manbe

Faun started from a desire to create a performance around dancer James O’Hara. As part of the centenary celebrations of the Ballets Russes, Sadler’s Wells Theatre in London also invited Cherkaoui to work on or draw inspiration from any of the pieces of the repertoire of the legendary company. Cherkaoui chose L’après midi d’un faune, Nijinski’s choreography inspired by Stéphane Mallarmé’s poem and danced on Claude Debussy’s impressionistic music. Nijinski’s version based itself on Greek representations on vases, it was very two dimensional, very classical yet also daring, sexual and quite controversial in it’s time. Cherkaoui tried, while working with James, to focus more on the fact that the Faun is half animal and half man. Its movements are more wild, visceral and carefree. Daisy Phillips enters the stage as a Nymph, deeply rooted in the forest. The interaction of faun and nymph on stage is innocent yet filled with the sexual tension of the original choreography of Nijinski, with playfulness they are like children, yet also archaïc like old souls. To make the music more surprising and contemporary, less cultural and time specific, Cherkaoui asked composer Nitin Sawhney to interrupt Debussy’s composition with his own musical language, making it glide almost unnoticeably from one style and culture to another, from one century to another. Hussein Chalayan takes care of the costumes of these two creatures: he develops something looking natural and organic yet very synthetic as well. They become as much eternal archetypes as creatures of the present..
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source: east-manbe
Sinds het baanbrekende werk van Nijinski zijn er al ettelijke versies van Faun gecreëerd. Deze Faun had een zeer specifiek uitgangspunt: danser James O’Hara. Voor Sidi Larbi Cherkaoui is hij de belichaming van de dualiteit in de mens en geeft hij gestalte aan de confrontatie tussen de menselijke en dierlijke aspecten die eigen zijn aan de menselijke natuur.
In dit korte duet herwerkt Cherkaoui Stéphane Mallarmé’s verhaal van een seksueel ontwaken. Het is een relaas over mannelijke en vrouwelijke energieën die elkaar ontdekken en aanwakkeren, die versmelten tot ze unisono lijken te weerklinken. Hierbij focust Cherkaoui hoofdzakelijk op het animale karakter van deze twee lichamen en op de bevrijdende organische kracht die hen verbindt met het heelal waaruit ze zijn ontsproten.
De persoonlijkheden en aparte bewegingstaal van dansers Daisy Phillips en James O’Hara hebben sterk bijgedragen tot deze Faun. Zij belichamen voor Cherkaoui een nieuwe generatie dansers: klassiek geschoolde, technisch sterke balletdansers, maar met de expressie en het aanpassingsvermogen uit de hedendaags dans. Zowel James als Daisy beheersen beide disciplines op een zeer persoonlijke manier, hij met zijn buitengewone lenigheid en zij met haar betoverende expressie.
Met muziek van Nitin Sawhney en kostuums van Hussein Chalayan lijkt Faun zich aan een lange traditie te onttrekken. Het ontwikkelt zich tot een modern en gelaagd geheel met een eigen beeldspraak. Zo zou in Sidi Larbi Cherkaoui’s mythologie een nimf net zo goed verbeeld kunnen worden als vuurvliegje in de schemering.
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source: east-manbe
Le spectacle Faun a pour point de départ spécifique la volonté de créer une pièce autour du danseur James O’Hara. À l’occasion des célébrations du centenaire des Ballets Russes auxquelles participait le Sadler’s Wells Theatre à Londres, celui-ci a invité Sidi Larbi Cherkaoui à travailler sur des pièces de leur répertoire ou à s’en inspirer. Cherkaoui a opté pour L’après-midi d’un faune, la chorégraphie de Nijinski autour du poème de Stéphane Mallarmé Le prélude à l’après-midi d’un faune, sur une composition impressionniste de Claude Debussy. Nijinski s’est inspiré de figures dessinées sur des vases de l’antiquité grecque. Fortement bidimensionnel, très classique, nonobstant audacieux et à connotation sexuelle, le ballet a provoqué une fameuse controverse à l’époque.
En travaillant avec James O’Hara, Cherkaoui a surtout voulu se concentrer sur le fait que le faune est mi-animal mi-humain. Ses mouvements sont plus sauvages, viscéraux et insouciants. La danseuse Daisy Phillips fait son entrée sur scène telle une nymphe, profondément enracinée dans la forêt. Si l’interaction du faune et de la nymphe est innocente, elle demeure toutefois traversée de la tension sexuelle présente dans la chorégraphie originale de Nijinski : espièglerie enfantine et archaïsme de vieilles âmes se mêlent. Afin de donner à la musique une tonalité inattendue et plus contemporaine, moins déterminée par la culture et l’époque, Cherkaoui a demandé au compositeur Nitin Sawhney d’entrecouper la composition de Debussy de son propre langage musical. Ainsi, la musique glisse de manière quasi imperceptible vers un autre style, une autre culture, un autre siècle. Hussein Chalayan a conçu les costumes de ces deux créatures pour lesquelles il a élaboré des tenues d’apparence naturelle et organique, néanmoins très synthétique, qui en font tant des archétypes éternels que des créatures du présent.
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source: east-manbe

Sidi Larbi Cherkaoui’s debut as a choreographer was in 1999 with Andrew Wale’s ‘contemporary musical’, Anonymous Society. Since then he has made more than 20 full-fledged choreographic pieces and picked up a slew of awards, including the Fringe First award in Edinburgh, the special prize at the BITEF Festival in Belgrade, the promising choreographer prize at the Nijinsky Awards in Monte Carlo, the Movimentos award in Germany and the Helpmann award from Australia in 2007. In 2008 Sadler’s Wells named him an Associate Artist and in 2009 the Alfred Toëpfer Stiftung conferred its Kairos prize to him in recognition of his artistic philosophy and his quest for cultural dialogue. In 2008 and 2011 he was declared Choreographer of the Year by the dance magazine Tanz.
While Cherkaoui’s initial pieces were made as a core member of the Belgian collective, Les Ballets C. de la B. – Rien de Rien (2000), Foi (2003) and Tempus Fugit (2004) – he also undertook parallel projects that both expanded and consolidated his artistic vision. Ook (2000) was born from a workshop for mentally disabled actors held by Theater Stap in Turnhout with choreographer Nienke Reehorst; D’avant (2002) from an encounter with longstanding artistic partner Damien Jalet, Juan Kruz Diaz de Garaio Esnaola and Luc Dunberry of Sasha Waltz & Guests company; and zero degrees (2005) with friend and choreographer Akram Khan. He has worked with a variety of theatres, opera houses and ballet companies, but from 2004–2009 Cherkaoui was based in Antwerp where he was artist in residence at Toneelhuis, the theatre that produced Myth (2007) and Origine (2008).
In 2008 Cherkaoui premiered Sutra at Sadler’s Wells. This award-winning collaboration with Antony Gormley and the Shaolin monks continues to tour the world to great critical acclaim. After his first commissioned piece in North America, Orbo Novo (for Cedar Lake Contemporary Ballet) and a series of duets such as Faun (which premiered at Sadler’s Wells as part of In the Spirit of Diaghilev) and Dunas with flamenco danseuse María Pagés (both in October 2009), he launched his new company Eastman in 2010, resident at deSingel International Arts Campus.
Spring 2010 saw him reunited with co-choreographer Damien Jalet and Antony Gormley to make Babel(words), the third part of a triptych that began with Foi and Myth. That same year he created Rein, a duet featuring Guro Nagelhus Schia and Vebjørn Sundby, as well as Play, a duet with kuchipudi danseuse Shantala Shivalingappa and Bound, a duet for Shanell Winlock and Gregory Maqoma as part of Southern Bound Comfort. Babel(words) triumphed at the 2011 Laurence Olivier Awards, winning best new dance production and outstanding achievement in dance for Antony Gormley.
2011 saw the creation of TeZukA, a new piece for 15 performers about the works of the master of Japanese manga, Osamu Tezuka. Cherkaoui also created Labyrinth for Dutch National Ballet.
In 2012 he created Puz/zle with 11 dancers and the Corsican men’s choir A Filetta, Lebanese singer Fadia Tomb El-Hage and Japanese musician Kazunari Abe. He also helmed the choreography for Anna Karenina, the film by Joe Wright, featuring ao Keira Knightley and Jude Law.
During the spring of 2013 Cherkaoui made several pieces: 4D for Eastman, Boléro (in collaboration with Damien Jalet and Marina Abramovic) for the Paris Opera Ballet and m¡longa, a tango performance, for Sadler’s Wells. Autumn 2013 saw the premiere of 生长genesis, a new Eastman production,in Beijing.
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source: art-movieru

Бельгиец марокканского происхождения родился в 1976 г. в Антверпене. Обучался contemporary dance в брюссельской школе Анны-Терезы де Кеерсмакер (Anne Teresa De Keersmaeker), а параллельно также хип-хопу и джаз-танцу. В 1995 г. получил приз на конкурсе Dance Solo в Генте, после чего был приглашен знаменитым Аленом Плателем (Alain Platel) в Современный балет Бельгии (Les ballets C de la B) в качество танцовщика. Хореограф и режиссер предложил молодому ученику принять участие в постановке своего спектакля “Фрагменты Баха” (Lets of Bach), объехавшего с гастролями весь свет. В 1999 г. Шеркауи стал хореографом прошедшего с успехом мюзикла “Anonymous Society”, посвящённого жизни и творчеству Жака Бреля (Jacques Brel). Ставил спектакли на сценах Балета Монте-Карло, женевской Grand Theatre, датского Кульберг-балет, бельгийского Les ballets C de la B. Хореограф является создателем нового танцевального стиля и новых форм в искусстве хореографии. В последние годы он стал одним из самых оригинальных европейских постановщиков и самым непредсказуемым хореографом мира. Обладатель множества международных призов и наград, среди которых “Total Theatre Award” Эдинбургского фестиваля, престижный приз Нижинского (Nijinski Awards) Монако-Данс-Форума.