【The First Day】


【The First Day】

Lives, The Meeting Point of the Neoclassical Ballet and Symphony

In 2014, the new work “The First Day” produced by Neng-Sheng(Allen) Yu. With the new arena of classical ballet performances, to interpret how the human face to “the first day” of the future, and discuss the unpredictability of life. The dancers present the outstanding performances most vividly. we should give most definitely applause. With positive energy that dance and music bring out, can indeed lead people back to see the true self.




The Continuation and Development of Post "symphonic ballet"

In 2014, I am very proud to cooperate with Evergreen Symphony Orchestra under the same basic concept and similar philosophy . And I am extremely grateful  to expect the performance.


Dance needs to be inspired and strengthening by Music, without it, dance is difficult to fully express the feelings. Music can infiltrate people's minds. The audiences often enjoy the music during the performance to experience their inner feelings through the music. The choreographer must has a deeper feeling and understanding for their own creative works with the music certainly, this feeling and understanding to further inspire inner feelings, through the external body movements to present on the stage.

In dance history, the great composer create a truly unique and unforgettable experience for ballet with the music. In the history of dance, many ballet dances became classic masterpieces because of the great composers, whose devotion to ballet helps glorify the value of ballet dances and ballet scores.  For example, the ballet, “Sleeping Beauty,” choreographed by Marius Petipa in the 19th century, has remained as a classic ballet through generations due to itself being a monumental ballet creation, and particularly owing to the ballet suite that accompanies it.

Ever since Petipa died, classic ballet had experienced many tremendous changes .  In the 20th century, George Balanchine’s choreographed ballet works had developed ballet performance into a higher level of wonder.  Actually, the language of ballet dance used nowadays remains the same, but we have added numerous new notes and phrases.  On the one hand, today’s classic ballet has grown more complex, more difficult, and more critical.  On the other hand, in the 21st century, the techniques of dance movements have become even more skillful.  The enhancements in theatrical techniques also help create a dramatic change in the performing form of newly choreographed classic ballet works, so that abundant creativity has been released to contribute to the flourishing development of new ballet forms.

Today, in addition to restaging the classic dances, is there alternative possibility for ballet re-creation based on “these limited sets of suites that were already customized for some specific dances?”. In fact, whether having a subject or not, music can invoke various feelings to every individual listener.  Yet, many listeners will agree on a fact that listening to a music without a given subject or a storyline will better create an endless space for personal fantasy and imagination, in contrast with one already with storyline and subject.

Many compositions still do not have any storyline and subject.  If they can be accompanied to dance, the correspondence between body language and notes will build a rather broad scope of imagination.  The choreographer will be able to include the gorgeous graceful movements, techniques, and forms used in classic ballet, into the choreography. Thus, the dialogue between a dance and a score without a subject will create an expanded context allowed for versatile development in dance.  Ultimately, a brighter future for the advancement of new classic ballet will grow visible when the freshness of the thoughts from the human in the 21st century and the rapid technologies bring stimulation to new classic ballet.

Art Director


Our Team

  Time & Place/


  • Tainan Municipal Cultural Center
  • 2014/8/2 (Sat)   19:30
  • 2014/8/3 (Sun)   15:00


  • Jhihde Hall, Kaohsiung
  • 2014/8/9  (Sat)   19:30
  • 2014/8/10 (Sun) 15:00


  • TaiChung Chung Shan Hall
  • 2014/8/12 (Tue)   19:30


  • The Metropolitan Hall, Taipei
  • 2014/8/15~16 (Fri~Sat) 19:30
  • 2014/8/17            (Sun) 15:00
  • Artistic Director & Choreographer/Neng-Sheng (Allen) Yu
  • Conductor /Jeppe Moulijn (8/12~8/18)
  • Orchestra/EVERGREEN SYMPHONY ORCHESTRA (8/12~8/18)
  • Lighting Design/Jack Liu   (New World Symphony)
  • Lighting Design/Chia-Ying Hsu  (Le Sacre du Printemps)
  • Costume Design/Keith Lin
  • Stage Design/ Shih-Chi Li
  • Stage Manager/Yao-Chung Wang
  • Assistant Rehearsal Master / Yuan-Ting Chuang
  • Graphic Design/Chi-Sheng Chang
  • Photographer/Sandy Ouyang
  • Video Shooting/Ting-Tai Lin、Jih-Chun Huang
  • Video Editing/Neng-Sheng (Allen) Yu 、Alexander Scherpink
  • Performing Equipments arrangement/
  • DA-FU International Entertainment Corporation Limited
  • Recording/Hitech vision Production
  • Piano Accompaniment /Chia-Ching Wu
  • Project manager/Yi-Ling Chen
  • Administrator Assistant /Shih-Wun Luo
  • Custom management/Yang Ya-Lin

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