Tyll* is an affectionate commentary on the classic ballet where Alexander Ekman explores what ballet is and where it comes from. Ekman also decided to call himself as a “baleographer” since it was not his own steps. Choreographing ballet is more of a puzzle then creating new steps. The music is electronically processed by the New York based composer Mikael Karlsson. This is Ekman’s first piece working with point shoes and the first piece where he used the classical ballet vocabulary as a base for the choreography.
* © Stepping Grounds
Andrey Kaidanovskiy loudly declared himself in 2016, presenting to the public and critics his work Tea or Coffee? within the Stanislavsky and Nemirovich-Danchenko Music Theatre’s project The Intersection Point. The production immediately gained great success, was repeatedly resumed on the Small Stage, and the choreographer himself began to regularly collaborate with the Theatre – in 2018 the Pajama Party entered the repertoire, and in 2019 he created a short dance number to Tchaikovsky’s music for the Theatre’s 100th anniversary. Now the artistic director of the Stanislavsky Ballet Laurent Hilaire has decided to show it on the Main Stage, framing it with opuses by Alexander Ekman and Ohad Naharin.
Ohad Naharin’s ballets are loved by both public and dancers all over the world. In Minus 16 he destroys the border between the stage and the audience and makes us not only spectators but also participants of the performance. Preparing for the first production of Naharin’s creation in Russia, the dancers had a great interest in mastering the Gaga dance language developed by the Israeli choreographer. Now they are ready to share the joy of this discovery with the Moscow’s audeince.
Golden Mask Award
Ohad Naharin's Minus 16 is a laureate of the Award in the nomination:
«Contemporary Dance Performance»