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Contado en Rojo. Nicolo Fonte 2000

CND ARCHIVE REPERTOIRE 90/10. GUEST CHOREOGRAPHERS

Contado en Rojo. Pareja en escena
  • Choreography: Nicolo Fonte
  • Music: Michael Gordon and Giovanni Sollima
  • Staging: Nicolo Fonte
  • Costumes: Nicolo Fonte and Ismael Aznar
  • Light Design: Nicolás Fischtel (A.A.I.)
  • World premiere by Compañía Nacional de Danza at Teatro de Madrid, March 30th, 2000

Fonte draws his inspiration directly from affective relationships, from the absence of communication. The ballet tries to be an exploration to come to a concrete dialogue that never takes place. It is through a language so particular and abstract as that of movement, that this communication is finally produced, thus solving a long-lasting conflict. Fonte penetrates the world of colour, of plasticity of textures, to express a stream of energy, using red to represent the life force. Red/blood, red/passion, red/volcanic explosion, telluric nucleus that emerges with violence, with anxiety, as a liberation...

Fonte dedicates Contado En Rojo to his father.

GUSTAVO RAMÍREZ BIOGRAPHY

CND ARCHIVE REPERTOIRE 90/10. GUEST CHOREOGRAPHERS

Escena de Danza con Dimo KirilovHe was born in San Fulgencio, Alicante, in 1978. He began his dance training at the Josetta García de Almoradí Dance School, then continuing his studies at the Institut del Teatre in Barcelona with instruction by Karemia Moreno, Guillermina Coll and Jose María Escudero, among others.

He has performed as a member of such companies as Hubbard Street Chicago, Nederlands Dans Theater 2, Ballet de la Comunidad de Madrid or Ballet Contemporáneo de Barcelona, working with such choreographers as Jacopo Godani, Hans van Manen, Jiri Kylian, Lionel Hoche, Ohad Naharin, Johan Inger, Paul Lightffot, Margarita Donlon, Víctor Ullate, Philippe Trehet, Shusaku Takeuchi, Rui Horta, David Parsons, Ramón Oller and Jim Vincent, among others. At present, his performing talents have been assigned exclusively to the Titoyaya Project.

The prizes he has earned over his career as a choreographer are as follows: Prize for the Best Choreographic Direction and Prize for the Best Dance Spectacle of Prizes in the Scenic Arts of the Region of Valencia 2005, Les Etoiles de Ballet prize 2000, Cannes, edition 2004; Prix Dom Perignon 2001, Hamburg; Premi Ricard Moragas 1997, Barcelona.

More than 25 of his works are part of the repertory of: Gyori Ballet (Hungary), Nederlands Dans Theaater 2 (Holland), IT danza Jove Companyia de L’Institut del Teatre (Barcelona), Ballet de Teatres de la Generalitat Valenciana, Ballet Junior og Geneve (Switzerland), Budapest Dance Theater (Hungary), Dominic Walsh Dance Theater (USA), Luna Negra Dance Theater (USA), Hamburg Ballet (Germany), Ballet Met (USA), Passarelles (Belgium), ABC Dance Company (Austria), Ballet de Carmen Roche (Madrid), Patas Arriba (Alicante).

Gustavo Ramírez has been chosen by the Magazine POR LA DANZA, on its 15th anniversary, as one o the 15 outstanding names to watch on the international dance scene. He is a Professor at the MiguelHernándezUniversity and High Conservatory of Valencia. Artistic Director of proyecto titoyaya (a dance company based in Valencia).

  • The shows by the company are: 
  • Portrait DE OSCAR WILDE,
  • MANERA Y MONIQUILLA Y
  • EL LADRON DE RISAS.
  • http://www.titoyaya.com/

Chapter 10. Gustavo Ramírez 2009

CND ARCHIVE REPERTOIRE 90/10. GUEST CHOREOGRAPHERS

Escena de Chapter 10 con Dimo Kirilov
  • Choreography: Gustavo Ramírez
  • Music: George Ivánovich Gurdjeff (Les Cercles, Quarante Attitudes), Johan Johansson (The Sun's Gone Dim and the Sky's Turned Black, Passacaglia) and Eugène Ysaÿe (Sonates pour violon solo, Sonata No.2 in A minor, Malinconia)
  • Sets: Luis Crespo
  • Costumes: David Delfín
  • Lighting Design: Nicolás Fischtel (A.A.I.)
  • Premiered by the Compañía Nacional de Danza at the Palacio de Festivales de Cantabria, Santander, on 29th April 2009.

"Confidence, like art, never comes from having all the answers; it comes from being open to all the questions." Stevens, E.W.

A Mario Zambrano.

Quartet# nº8. Örjan Andersson 2003

CND ARCHIVE REPERTOIRE 90/10. GUEST CHOREOGRAPHERS

Cuarteto nº 8. Bailarina: Marina Jiménez
  • Choreography: Örjan Andersson
  • Music: DmitryShostakovich
  • Sets and Lights Design: Jens Sethzman
  • Costumes: Joke Visser
  • World premiere by Nederlands Dance Theater in September 2001. Premiere by Compañía Nacional de Danza at Teatro de la Zarzuela, Madrid, October 16th, 2003.

Quartet #8 also called Röd, (Red) was premièred in September 2001 with the Netherlands Dance Theatre 1. The press on Andersson's work: “indisputably a great talent” (the Telegraaf). Örjan has since then been reshaping the work in different versions with from 4 upto the original 14 dancers and with different dance companies such as the Skånes Danstheatre in Sweden, and his own company Andersson Dance Company.

Quartet #8 is choreographed in close relationship with Dmitri Shostakovich¹s Chamber Symphony in C-Minor, Op. 110 (arranged by Barschai from the String Quartet #8). Another influence is a painting “Red on Marron” by the American abstract expressionist Mark Rothko. Andersson has continued to work with Shostakovich with the choreography Quartet #10, which premièred in March 2003 at the NDT1.

Archs of Frost. Örjan Andersson 2005

CND ARCHIVE REPERTOIRE 90/10. GUEST CHOREOGRAPHERS

Arcos de Escarcha. Bailarina: Luisa María Arias
  • Choreography: Örjan Andersson
  • Music:Ghislain Poirier, Blir and Steinbrüchel
  • Sets and Light Desing: Jens Sethzman
  • Costumes: Magdalena Åberg
  • World premiere by Compañía Nacional de Danza at Teatro de la Zarzuela (Madrid), October 28th 2005.

The starting point for Arches of Frost was the idea of a construction reminiscent of something familiar both in terms of spatiality and choreography, something that changes its direction or position regularly, often alternating between two extremes. A set-upreflecting the influence of gravity. These ideas are well known working tools in choreograpy and also present in different shapes in this piece. The situation could remind you of a ritual in a ¨house¨, which progress into a trancelike state in a moving space.

There´s two main elements in Arches of Frost which is a recurring theme in Ö. Andersson´s work with movements: Force and Gravitation, or to use a definition of gravity: the mutual force of attraction between all particles or bodies that have mass. This definition might sound technical but there´s more to it than what it seems. Force, Attraction, Mass; defining words for the choreographic world of Ö. Andersson.

Force and Mass is very present in the physicality of the movements, both for the individual and the group, and Attraction is what lies beneath the sensuality that somehow seeps through the precise musicality that dominate Ö. Andersson´s choreographic structure. In Arches of Frost the design, by Jens Sethzman a long time collaborator, is also verging towards gravity in its simplest form and juxtaposes the physicality of the dancers, and to a certain extent the choreographic dramaturgy, which works in the format of short red episodes.

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