【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.
Symphony No. 9 in E Minor " From the New World ", works 95 for the Czech composer Dvorak (Antonin Dvorak) in 1893 in the United States when the write. Since Dvorak composed this symphony in time is the number of American Negro melodies as a basis, it is generally known as the " Symphony from the New World "(New World Symphony). Dvorak wrote this music in New York in 1893. He in 1892-1895 , was invited from Bohemia to serve as the president of the Academy of Music (New York City). It means, he wrote this work just few months after arrival in New York.
Many people supposed, this work is the product because of the homesick of Dvorak. This symphony is made when Dvorak in the United States. He expected the best to this country. It appeared to the symphony named "New World." When Europeans heard this song was yearning for beautiful new land, it directly or indirectly encouraged the people of Europe immigrated to the United States. At the time, this emigration wave even were positive confirmed by many European churches. This presented the affects that music to the Christians and church.
This as a starting point for people to start a new life after the first day, showing brave, courageous spirit to face challenges of the future!
Valentin Stoica、Cristina Alexandra Dijmaru
Yi-Hsuan Liao、Shih-Tzu Chao、Manami Kojima、Hsin-Yu Nien、Yu-Yuan Huang、Bogdan Stefan Canila、Ting-Chen Chang、Wei-Da Chen、Jun-Cheng Pan、Kuang-Hsuan Chen、Cheng-Hao Ching
Li-Ru Chen、Sih-Jie Zeng、Shu-Ting Chen、Pin-Wen Ko、Sin-Min Ke、Chih-Hsien Chiang、Hui-Yi Wen、Yi-Lun Huang、Hsiao-Ting Huang、Andrew Lo、Zheng-Yen Huang、Wei-Po Hsu、Chien-Yi Tseng
The Rite of Spring, commonly referred to by its original French title, Le Sacre du Printemps is a ballet with music by the Russian composer Igor Stravinsky. After composing The Firebird for Sergei Diaghilev, Stravinsky's earliest conception of The Rite of Spring was in the spring of 1910, in the form of a dream: "... the wise elders are seated in a circle and are observing the dance before death of the girl whom they are offering as a sacrifice to the god of Spring in order to gain his benevolence".
The Rite of Spring is original choreography by Vaslav Nijinsky, and original set design and costumes by archaeologist and painter Nicholas Roerich, all under impresario Serge Diaghilev. The music's innovative complex rhythmic structures, timbres, and use of dissonance have made it a seminal 20th century composition. The scandal of a riot at its 1913 premiere made it one of the most internationally well-known and controversial works in performance history.
The intensely rhythmic score and primitive scenario of The Rite of Spring was a provocation to the European cultural tradition in the 19th century. Art history still has the need to be stimulated in the end; otherwise, the so-called "tradition" will be dead. Today, this significant work has been as a classical work of modernism in the art history, even it was a simple idea from a composer. "... the wise elders are seated in a circle and are observing the dance before death of the girl whom they are offering as a sacrifice to the god of Spring in order to gain his benevolence," said Stravinsky. This vivid picture of the prehistoric Russia tribal ritual was finally composed to a tense, fiery and exciting ballet by Stravinsky.
Today, the high tech in the 21st century, this music with modern ballet expression, presents the unpredictable first day that people pursue.
Bogdan Stefan Canila
Valentin Stoica、Cristina Alexandra Dijmaru
Yi-Hsuan Liao、Shih-Tzu Chao、Manami Kojima、Hui-Yi Wen、Sin-Min Ke、Ting-Chen Chang、Wei-Da Chen、Kuang-Hsuan Chen、Jun-Cheng Pan、Yi-Lun Huang
Hsin-Yu Nien、Yu-Yuan Huang、Cheng-Hao Ching、Hsiao-Ting Huang、Andrew Lo、Zheng-Yen Huang、Wei-Po Hsu、Chien-Yi Tseng
New World Symphony
Le Sacre du Printemps
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.
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