ויליאם פורסיית
ウィリアム·フォーサイス
威廉‧科西
윌리엄 포사이드
УИЛЬЯМ ФОРСАЙТ

the fact of matter

source: carolinebankscouk

Most of us have been on gymnastic rings from childhood days, even if only to swing on them for a while. This installation, recently seen (and experienced) at the Hayward Gallery’s Move exhibition, made me ache for 2 days making it a very memorable piece in a way I hadn’t anticipated.

The choreographer William Forsythe constructed this installation to encourage participants to swing and stretch their way across a defined space. In practice it is an incredibly difficult activity, particularly for adults as you realise how heavy and “clumsy” your body actually is. The space can be crossed without touching the ground but I have to say that I failed miserably along with everyone else there. I’d like to see a trained dancer/athlete complete the journey as I was acutely aware of my body’s limitations. It would be an amazing training facility to have in schools and venues.

It wasn’t only a challenge but was also aesthetically stimulating and inspirational.
.
.
.
.
.
.
.
.
.
.
source: theforsythecompany
Raised in New York and initially trained in Florida with Nolan Dingman and Christa Long, Forsythe danced with the Joffrey Ballet and later the Stuttgart Ballet, where he was appointed Resident Choreographer in 1976. Over the next seven years, he created new works for the Stuttgart ensemble and ballet companies in Munich, The Hague, London, Basel, Berlin, Frankfurt am Main, Paris, New York, and San Francisco. In 1984, he began a 20-year tenure as director of the Ballet Frankfurt, where he created works such as Artifact (1984), Impressing the Czar (1988), Limb’s Theorem (1990), The Loss of Small Detail (1991, in collaboration with composer Thom Willems and designer Issey Miyake), A L I E / N A(C)TION (1992), Eidos:Telos (1995), Endless House (1999), Kammer/Kammer (2000), and Decreation (2003).
After the closure of the Ballet Frankfurt in 2004, Forsythe established a new, more independent ensemble. The Forsythe Company, founded with the support of the states of Saxony and Hesse, the cities of Dresden and Frankfurt am Main, and private sponsors, is based in Dresden and Frankfurt am Main and maintains an extensive international touring schedule. Works produced by the new ensemble include Three Atmospheric Studies (2005), You made me a monster (2005), Human Writes (2005), Heterotopia (2006), The Defenders (2007), Yes we can’t (2008/2010), I don’t believe in outer space (2008), The Returns (2009) and Sider (2011). Forsythe’s most recent works are developed and performed exclusively by The Forsythe Company, while his earlier pieces are prominently featured in the repertoire of virtually every major ballet company in the world, including The Kirov Ballet, The New York City Ballet, The San Francisco Ballet, The National Ballet of Canada, England’s Royal Ballet, and The Paris Opera Ballet.
Awards received by Forsythe and his ensembles include the New York Dance and Performance “Bessie” Award (1988, 1998, 2004, 2007) and London’s Laurence Olivier Award (1992, 1999, 2009). Forsythe has been conveyed the title of Chevalier des Arts et Lettres (1999) by the government of France and has received the German Distinguished Service Cross (1997), the Wexner Prize (2002) the Golden Lion (2010) and the Samuel H Scripps / American Dance Festival Award for Lifetime Achievement (2012) .
Forsythe has been commissioned to produce architectural and performance installations by architect-artist Daniel Libeskind, ARTANGEL (London), Creative Time (New York), and the City of Paris. His installation and film works have been presented in numerous museums and exhibitions, including the Whitney Biennial (New York), the Venice Biennale, the Louvre Museum, and 21_21 Design Sight in Tokyo. His performance, film, and installation works have been featured at the Pinakothek der Moderne in Munich, the Wexner Center for the Arts, Columbus, the Venice Biennale and the Hayward Gallery, London.
In collaboration with media specialists and educators, Forsythe has developed new approaches to dance documentation, research, and education. His 1994 computer application Improvisation Technologies: A Tool for the Analytical Dance Eye, developed with the Zentrum für Kunst und Medientechnologie, is used as a teaching tool by professional companies, dance conservatories, universities, postgraduate architecture programs, and secondary schools worldwide. 2009 marked the launch of Synchronous Objects for One Flat Thing, reproduced, a digital online score developed with The Ohio State University that reveals the organisational principles of the choreography and demonstrates their possible application within other disciplines. Synchronous Objects is the pilot project for Forsythe’s Motion Bank, a research platform focused on the creation and research of online digital scores in collaboration with guest choreographers.
As an educator, Forsythe is regularly invited to lecture and give workshops at universities and cultural institutions. In 2002, Forsythe was chosen as one the founding Dance Mentor for The Rolex Mentor and Protégé Arts Initiative. Forsythe is an Honorary Fellow at the Laban Centre for Movement and Dance in London and holds an Honorary Doctorate from The Juilliard School in New York. Forsythe is also a current A.D. White Professor-at-Large at Cornell University (2009-2015).
.
.
.
.
.
.
.
source: forumklassikaru
Современный балет развивает традиции, заложенные выдающимися новаторами второй половины ХХ в., которыми в первую очередь были Джордж Баланчин, Морис Бежар, Борис Эйфман, Леонид Якобсон и др. Уильям Форсайт в этом ряду занимает особое место. Он родился в 1949 в Нью-Йорке. Учился хореографии во Флориде и в 1973 начал свою работу в Штутгартском балете. Сначала как танцовщик, а позднее как хореограф Его первой композицией стал дуэт “Urlicht” на музыку Густава Малера. Первые постановки Форсайта были созданы для балета Штутгарта. Позднее он продолжил работу с коллективами балета Базеля, Мюнхена, Берлина. Нидерландов. В 1984 он становится директором балетной труппы во Франкфурте. Вместе с тем продолжает ставить свои композиции со многими самыми известными труппами мира – в Нью-Йорке, Ковент Гардане, Париже, Канаде. Наконец, последней труппой с которой хореограф осуществил свои последние композиций, была труппа Мариинского театра в СПб, всемирно знаменитый Kirov Ballet.
Сегодня Уильяма Форсайта называют “ангелом-разрушителем классического танца”. Так ли это? А может быть его композиции это как раз то, что достойно называться “неоклассикой”? На эту мысль наводят прошедшие гастроли труппы Мариинского театра в Лондоне, где Kirov Ballet предстал в двух ипостасях. В первой, как хранители классического наследия Мариуса Петипа -”Лебединого” и “Баядерки”. Однако, главным событием лондонского сезона стали не эти шедевры, а программа хореографических композиций Форсайта, Счастливчики, что пришли в театр, лицезрели сочетание великолепной классической школы с полным пониманием новых тенденций. Kirov привнес в них классическую манеру исполнения, и последняя идеально вписалась в концепцию Форсайта. “Балетная труппа, которую знают и почитают как истинного хранителя традиций XIX в., вдруг превратилась в труппу танцовщиков XXI столетия с сексуальной и темпераментной манерой исполнения” (Таймс).А “Гардиан” писала: – “Вы ни за что бы не поверили, что это труппа Kirov. Но все же это она”.
.
.
.
.
.
.
.
source: cafedaumnet
뉴욕 출생. 1969년에 조프리 발레학교를 졸업하고 조프리 발레단(1971-73)을 거쳐 유럽으로 건너가 슈투트가르트 발레단으로
이적하여 1981년까지 활동하였다. 1976년에 첫 안무작 [Urlicht]를 슈투르가르트 발레단에서 올렸으며 [Love Songs] 등의
작품을 안무하며 81년까지 상임안무가로 활동하였다. 또한, 한스 베르너 헨제, 에드워드 본드, 리처드 크레이건과 공동 제작한
[Orpheus]로 국제적인 안무가로 성공하였다.
이후 유럽 무대를 중심으로 프리랜서로서 활동을 시작한 그는 1982년에 프랑크푸르트 발레단의 안무가로 부임하여 1984년에
단장 겸 수석 안무가가 되었다. 2004년에 프랑크푸르트 발레단을 탈단하고 자신의 발레단을 창단하였다.
그는 고전 발레의 정형적 움직임에서 탈피하여 내면에 잠재되어 있는 폭발, 엇나간 균형감, 직선적이고 각진 움직임 구사하며
1980년대 모던 발레의 새로운 주류를 창조하였다.
기존의 무용 기법을 뒤집는 한편, 무용과 연극의 전통적 요소 안에서 무질서 상태를 이끌어 내려고 하였다. 즉 신체가 하나의
선으로 자연스레 흐르는 것을 거부하고 신체 각 부위가 독립적으로 움직이는 형태를 극단적으로 추구하였으며, 허무주의나
초현실주의적 성향을 덧붙였다. 그가 구성한 작품 중 두 무용수간의 파드 되는 상호 교감보다는 팽팽한 긴장감을 일으키게
한다. 또한, 소재의 폭을 확대하거나 무대장치와 조명의 가능성을 최대한 활용하는 점에서 실험성이 강하였다.
프랑크푸르크 발레단에서 독창적인 많은 작품들을 올렸으며 더 나아가 파리오페라 발레단, 로열 발레단, 베를린 슈타츠오퍼 발레
단을 비롯해 고전 발레의 본고장인 마린스키 발레단, 볼쇼이 발레단 등 세계 주요 발레단들이 그의 작품을 지속적으로 올리고
있다. 현시대를 살아가는 발레 무용수들에게 있어 포사이드의 작품은 당연히 거쳐야 할 관문이라고해도 과언이 아님을 증명하고
있는 것이다.