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Workwithinwork. William Forsythe 1998


Workwithinwork. William Forsythe. Assay picture with two dancers
  • Choreography: William Forsythe
  • Music: Luciano Berio Duetti for 2 violins Vol. 1 (1979-83)
  • Sets and Light Design: William Forsythe
  • Costumes: Stephen R. Galloway
  • Staging: Noah D. Gelber
  • World premiere by Frankfurter Ballet in Frankfurt, October 16 th, 1998. Premiered by Compañía Nacional de Danza at Teatro Real de Madrid, May 25th, 2004.

From the opening moments of Workwithinwork a near-ceaseless flow of motion takes on a life of its own, an eddying and ebbing current that appears to shape the trajectories of those onstage to its will, governed by the haunting rhythms of Luciano Berio's "Duetti for two Violins, vol. 1 (1979-83)". Spare and austere in atmosphere, the ballet offers a detailed, musical rendering of apparently infinite extrapolations upon classical technique, while freeing the dancers from its conventional logic. Like many different possible conversations, a succession of beautiful duos forms the heart of the piece. Framed by and emerging from larger ensembles, these encounters are impersonal, but impassioned, an encountering of physical potentiality, movement emerging as if hewn from the air. Melting into and out of the blackness at the back of the stage, their groupings shifting with kaleidoscopic certainty, the dancers might be figments of the creative imagination of an anonymous mind.

The Vile Parody of Address. William Forsythe 1995


The Vile Parody of Address. William Forsythe.  Dancer: Catherine Allard
  • Choreography: William Forsythe
  • Music: Johann Sebastian Bach (El Clave Bien Temperado) interpretado por Glen Gould
  • Sets and Light Design: William Forsythe
  • Text: William Forsythe
  • Staging: Carlos Iturrioz, Michael Schumacher
  • Premiered by Frankfurt Ballet in Frankfurt, November 26th, 1988. Premiered by Compañía Nacional de Danza at Teatro de Madrid, April 14th, 1995.

The Vile Parody of Address is a piece which is fundamentally based on the capacity for improvisation. Improvisation is contained both in the dancing and in the text. Each interpreter's role has a clearly defined personality which is, in turn, contaminated by each dancer’s true identity which, at the same time, gets confused, to a certain degree, with his partner’s role on the stage.

  • Despite what I keep saying
  • it doesn’t have to be this way
  • the doctor and I are fully aware
  • of the precious condition of
  • your other head

Quintett. William Forsythe 1993


  • Quintett. Dancers: Soojee Watman and Clyde Archer(Next translation)
  • Coreografía: William Forsythe en colaboración con Dana Caspersen, Stephen Galloway, Jacopo Godani, Thomas McManus y Jone San Martín
  • Escenografía e Iluminación: William Forsythe
  • Música: Gavin Bryars (Jesus Blood Never Failed Me Yet)
  • Figurines: Stephen Galloway
  • Estreno por el Ballet de Frankfurt en Alemania el 9 de noviembre de 1993.
  • Estreno por la Compañía Nacional de Danza en el Teatro de la Zarzuela, el 21 de marzo de 2008.

En Quintet, dos mujeres y tres hombres se encuentran en un espacio desnudo iluminado por un extraño proyector. Los bailarines se concentran completamente en su búsqueda de posibilidades infinitas de expresión del cuerpo humano. Realizan con precisión académicos tours de force y se pierden en infinitas improvisaciones e intrincados movimientos. El resultado es un huracán de baile aparentemente caótico que, sin embargo, tiene una lógica curiosa que no se debe ignorar. Todo ello enmarcado por una repetición infinita de la letra “la sangre de Jesús nunca me falló aún”, una canción de Gavin Bryars, que actúa como si de un mantra se tratara.

In The Middle, Somewhat Elevated. William Forsythe 1987


In the Middle Somewhat Elevated. Dancer Partners
  • Choreography: William Forsythe
  • Music: Thom Willems
  • Set decoration, costumes and light design: William Forsythe
  • Staging: Glenn Tuggle
  • World premiered by the Ballet de L’Opéra de Paris at the Théâtre National de l’Opéra de Paris, on May 29th, 1987. Premiered by Compañía Nacional de Danza at Teatro de la Zarzuela of Madrid, September 11th, 1992.

The strength of a work is based on its simplicity. In the Middle, lacking in any external effects, is concentrated in the traditional formula theme and variations. The main theme, danced by the ballerina, increases progressively in relation with the number of dancers, until the result of the groupbecomes much more complex variations and pas de deux. The pretended disdain of the dancers contrasts with the strict and severe technical demands. The title of the ballet refers to two golden cherries, which hang above from the centre of the stage, and which lead to a minimal reflexion within the huge interior of l’Opéra de Paris, the space in which this ballet was created.

Thom Willems was born in 1955 in the Netherlands. He studied electronic and instrumental composition at the Koninklijke Conservatorium of music in Den Haag. upto now his work as a composer has been mainly focused on electronic music for the stage. He is a very frequent collaborator with William Forsythe and together they have created more than 25 ballets.

Thom Willems has composed music for other choreographers, including Daniel Ezralow, Daniel Larrieu, Marcia Haydee and Kristina de Chatel. He has also created music for films and TV. His work forms part of the repertory of Frankfurt Ballet, San Francisco Ballet, Ballet de L’Opéra de Paris, New York City Ballet, Hubbard Street Dance Company, National Ballet of Canada, and many others.

Herman Schmerman. William Forsythe 1992


Herman Schmerman. One Dancer
  • Choreography: William Forsythe
  • Music: Just Ducky (1992) by Thom Willems
  • Settings and Light Design: William Forsythe
  • Costumes: William Forsythe and Gianni Versace
  • Staging: Kathryn Bennetts
  • World Premiered by New York City Ballet, Diamond Project, New York State Theater on May 28th, 1992. Premiered by Compañía Nacional de Danza at Teatro de la Zarzuela, Madrid, November 8th, 1996.

In conversation about Herman Schmerman, Mr. Forsythe has said, "I first heard that phrase ("Herman Schmerman") used by Steve Martin in the film Dead Men Don't Wear Plaid. I think it's a lovely title that means nothing. The ballet means nothing, either. It's a piece about dancing that will be a lot of fun. It's just five talented dancers dancing around--and that's good, isn't it?" This ballet is Mr. Forsythe´s third work in the repertoire of Compañía Nacional de Danza and the second with music by composer Thom Willems.

Thom Willems was born in Arnhem, Netherlands, and studied electronic and instrumental composition at the Royal Conservatory, The Hague. Mr. Willems has composed works for European television, radio, and movies. Mr. Willems' work has been performed by The Frankfurt Ballet, L'Opéra de Paris, the San Francisco Ballet, Les Ballets de Monte Carlo, the Royal Danish Ballet, and the Nederlands Dans Theatre.

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  • Project Coordination: Maite Villanueva (CND)
  • Texts: CND