Podcast appearances and mentions of Sylvie Guillem

durée : 00:19:57 - Les Nuits de France Culture - par : Albane Penaranda - Quel est le lien entre la danse moderne et le cinéma ? En 1992, une série des "Chemins de la connaissance" creuse cette question. Dans le quatrième volet, le cinéaste André S. Labarthe évoque son expérience avec Carolyn Carlson, William Forsythe, Patrick Dupond ou Sylvie Guillem. - réalisation : Virginie Mourthé - invités : André S. Labarthe Critique de cinéma, documentariste et producteur français

Pour commencer l'année en beauté, on vous invite à vous plonger dans cet épisode passionnant en compagnie de la journaliste, autrice et enseignante de yoga Lili Barbery.Deux artistes incroyables sont au coeur de cet épisode, dans lequel elle a choisi d'évoquer l'influence qu'ont eue sur son chemin Sylvie Guillem et Madonna.C'est un vrai vent de liberté qui a soufflé dans notre studio puisqu'en sa compagnie, on a parlé révolution, pop culture, icônes et désirs.Bonne écoute !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

La performance sportive au service de l'art, la plus grande star française de la danse classique se dévoile. En véritable stakhanoviste, elle atteint le sommet de l'un des sports les plus exigeants, où des apprentissages insoupçonnés se révèlent. Dorothée Gilbert avait un objectif : “devenir danseuse étoile pour incarner des personnages qui racontent les histoires.” À 11 ans, elle échoue au concours d'entrée à l'École de Danse de l'Opéra national de Paris, mais ne se laisse pas décourager. L'année suivante, comprenant que son rêve nécessiterait un travail acharné, elle réussit l'examen. Elle finit ensuite parmi les trois candidats retenus sur les 300 initiaux. Dorothée multiplie les cours en dehors du cursus et perfectionne sa technique avec une extrême rigueur. Elle travaille ses personnages et ses interprétations, gravit les échelons jusqu'à la consécration, à 24 ans : Danseuse étoile. Dorothée a aujourd'hui 40 ans, sa carrière touche à sa fin. Elle revient sur : Les moments forts de cette carrière exceptionnelle La vérité derrière les clichés autour de la danse classique Comment concevoir sa vie “après” la retraite ? Le quotidien d'une danseuse étoile La hiérarchie à l'Opéra de Paris Sa blessure et l'impact psychologique Comment continuer à être performant malgré l'âge, ou l'art de faire semblant Rayonnante et inspirante, Dorothée donne envie de croire en son étoile et de suivre ses rêves. Un épisode qui séduira tout autant les amateurs de danse que les néophytes, dont les apprentissages se transposent dans toutes les disciplines et secteurs. Je vous ai négocié le code promo “DOIT” pour bénéficier d'une réduction de 30% sur la première année d'abonnement à la Ballet Masterclass de Dorothée. TIMELINE: 00:00:00 : Qui est Dorothée Gilbert ? 00:09:36 : La rencontre entre performance sportive et artistique 00:15:15 : La naissance d'une étoile et prévalence du travail sur le talent 00:22:32 : Les différences entre les compagnies et les cultures 00:33:42 : De l'école de l'Opéra à danseuse étoile 00:48:31 : Le quotidien de Dorothée 00:54:22 : Le sublime dans la vulnérabilité de l'artiste 01:09:46 : Le fonctionnement de l'Opéra de Paris 01:17:57 : Les équipes aux côtés des danseurs 01:26:37 : Les rituels avant le grand spectacle 01:36:12 : Les relations humaines à l'Opéra, entre jalousie et alchimie 01:43:44 : Le rapport à l'image et à l'imaginaire à l'ère d'internet 01:54:35 : La fin d'une étoile, ses prochains projets 02:04:57 : Le soir de la nomination 02:17:34 : Le statut des danseurs de l'Opéra et l'enjeu de la reconversion 02:27:36 : Et Dorothée devint maman, la mémoire du corps 02:34:07 : S'accepter et mettre en valeurs ses qualités Les anciens épisodes de GDIY mentionnés : #385 - Jessie Inchauspé - Glucose Goddess - Comment ne plus être dominé par le sucre #364 - Jo-Wilfried Tsonga - Tennisman - Le 5ème des Big Four #390 - Marie-Amélie Le Fur - Présidente du Comité Paralympique - "L'amputation a été la solution la plus salvatrice pour moi" #392 - Clémentine Piazza - inmemori - Le business de la mort, un avenir prometteur Nous avons parlé de : Ballet Masterclass de Dorothée Gilbert James Bort, photographe et époux de Dorothée JD galerie Jerome Robbins John Neumeier, Directeur du Ballet de Hambourg Angelin Preljocaj, Chorégraphe Thierry Malandain, Chorégraphe Sylvie Guillem, Danseuse française Dorothée Gilbert dansant la variation de Giselle Dorothée Gilbert dans Manon Zlatan Ibrahimović, footballeur Dorothée Gilbert, variation Gamzatti (La Bayadère) Benjamin Millepied Lomepal, rappeur Jean-Marie Didière, danseur Eric Vu-An, danseur Guillaume Diop, danseur Noëlla Pontois Dirty Dancing, film Thierry Henry chez Diary of a CEO Michael Phelps chez Tim Ferriss Manuel Legris, danseur Les recommandations de lecture : Étoile(s) de Dorothée Gilbert Le pouvoir du moment présent d'Eckhart Tolle Croire en son étoile de Natacha Godeau et Dorothée Gilbert Vous pouvez contacter Dorothée sur Instagram et la retrouver à l'Opéra de Paris. La musique du générique vous plaît ? C'est à Morgan Prudhomme que je la dois ! Contactez-le sur : https://studio-module.com. Vous souhaitez sponsoriser Génération Do It Yourself ou nous proposer un partenariat ? Contactez mon label Orso Media via ce formulaire.

ESSENTIEL, le rendez-vous culturel de RCJ présenté par Sandrine Sebbane. Elle reçoit Michel Canesi pour son livre « Le crépuscule d'un Dieu » aux éditions Plon À propos du livre : « Le crépuscule d'un Dieu » paru aux éditions Plon Le récit des dernières années de la vie de Rudolf Noureev, le plus grand danseur classique du XXe siècle, par son médecin et ami, Michel Canesi. Un livre bouleversant de sincérité, de douceur, qui nous fait découvrir l'univers de la danse et dévoile des aspects méconnus de la personnalité de l'ancien directeur de la danse de l'opéra de Paris. " I feel like something's wrong " : c'est par ces mots que Rudolf Noureev se confie à Michel Canesi, son jeune ami médecin, sur sa santé. Quelques jours après, Rudolf apprend qu'il est atteint du sida. Michel l'accompagnera jusqu'au dernier jour. Il aura fallu trente ans à l'auteur de ce livre pour revenir sur cette période de sa vie et raconter cette amitié sincère et profonde avec le " seigneur de la danse ". À côté du transfuge soviétique, symbole du monde libre, du danseur flamboyant et du chorégraphe exigeant, se donne à voir un Noureev intime et drôle, sarcastique, fier et doux. Dans ces pages très personnelles, on redécouvre ses plus grands ballets, ses chorégraphies originales, son goût pour la création contemporaine, son Cendrillon nourri de sa passion pour le cinéma, sa dernière Bayadère, qui vient clore le cycle ouvert par la première, en 1961, mais aussi les grands noms de la danse française : Sylvie Guillem, Manuel Legris, Laurent Hilaire... et ses rapports difficiles avec Béjart. C'est cet autre Noureev, celui qu'aucune biographie et qu'aucun documentaire ne peut restituer, que l'on rencontre ici. Biographie de l'auteur Médecin et romancier, Michel Canesi est l'auteur de sept livres, dont Ultime preuve d'amour (Anne Carrière, 2020), sélectionné sur la liste du jury Goncourt des romans de l'été 2021.

durée : 00:19:57 - Les Nuits de France Culture - par : Albane Penaranda - Quel est le lien entre la danse moderne et le cinéma ? En 1992, une série des "Chemins de la connaissance" creuse cette question. Dans le quatrième volet, le cinéaste André S. Labarthe évoque son expérience avec Carolyn Carlson, William Forsythe, Patrick Dupond ou Sylvie Guillem. - réalisation : Virginie Mourthé - invités : André S. Labarthe Critique de cinéma, documentariste et producteur français

durée : 00:19:55 - Les Nuits de France Culture - par : Philippe Garbit - Quel est le lien entre la danse moderne et le cinéma ? En 1992, une série des "Chemins de la connaissance" creuse cette question. Dans le quatrième volet, le cinéaste André S. Labarthe évoque son expérience avec Carolyn Carlson, William Forsythe, Patrick Dupond ou Sylvie Guillem. - invités : André S. Labarthe Critique de cinéma, documentariste et producteur français

Un día como hoy, 23 de febrero: Nace: 1685: Georg Friedrich Händel, compositor británico de origen alemán (f. 1759). 1878: Kazimir Malevich, pintor ucraniano (f. 1935). 1882: B. Traven, actor y novelista alemán (f. 1969). 1889: Victor Fleming, cineasta estadounidense (f. 1949). 1965: Sylvie Guillem, bailarina y coreógrafa francesa. 1983: Emily Blunt, actriz británica. Fallece: 1821: John Keats, poeta británico (n. 1795). 1934: Edward Elgar, compositor británico (n. 1857). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

The opening guest in the new series of Why Dance Matters is a star among contemporary dance artists. Akram Khan is a dancer, choreographer, director and dreamer, whose work has shaped the international landscape of dance. He came to attention early as a virtuoso in kathak, the Indian classical dance form, and at 13 appeared in Peter Brook's landmark Mahabharata. His own work explores kathak, contemporary dance and increasingly classical ballet, driving deep roots into myth and his own personal story – and our conversation is heartfelt and thoughtful, spiralling off in unexpected directions. About Akram Khan Akram Khan is one of today's most celebrated dance artists, his imaginative and highly accessible productions including XENOS, Until the Lions, DESH, Vertical Road, Gnosis and zero degrees. A magnet to world-class artists from other cultures and disciplines, he has collaborated with the National Ballet of China, Juliette Binoche, Sylvie Guillem, Kylie Minogue, Florence and the Machine, visual artists Anish Kapoor and Antony Gormley, and composers Steve Reich, Nitin Sawhney and Jocelyn Pook. He created a section of the London 2012 Olympic Games Opening Ceremony, and has developed a close collaboration with English National Ballet. He was awarded an MBE in 2005. Find out more about the work of the RAD Follow the RAD on social media, and join the conversation with host David JaysInstagram @royalacademyofdanceFacebook @RoyalAcademyofDanceTwitter @RADheadquartersYouTube / royalacademydanceDavid Jays @mrdavidjays Sign up to our mailing list RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or make a donation. Explore Akram's work and find where Jungle Book Reimagined and Outwitting the Devil are touring at https://www.akramkhancompany.net/whats-on/ Creature premieres at the London Film Festival on 15 October and will be released in cinemas in the UK and Ireland on 24 February 2023. https://www.ballet.org.uk/onscreen/creature-film/ Hosted on Acast. See acast.com/privacy for more information.

Happy Birthday Elizabeth Streb, Sybil Shearer, Akaji Maro, Peter Anastos, Sylvie Guillem! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

XTG extends a big Bienvenue to 2 Quebec artists, Robert Lepage and Lyndz Dantiste. If you're into theatre, film, circus or opera, chances are you've heard of Robert Lepage, artistic director of Le Diamant, Ex Machina, and one of the world's most celebrated living director/writer/performers. His groundbreaking vision and technical wizardry are what inspired Rick to do what he does and he's fortunate to have worked with him on many productions earlier in his career. Robert is joined by Lyndz Dantiste, an up-and-coming young actor and dancer, onstage and onscreen, who is also the co-founder and co-artistic director of Théâtre de la Sentinelle in Montreal. Together, they talk about "La Sentinelle" ("Ghost Light" in English), staging the classics in Creole, different identities in different languages, BIPOC representation onstage, the absence of memory, learning from older generations & giving younger generations a chance, Jean-Paul Riopelle & Joni Mitchell, tapping into the universal, killing the father, transforming the “Self”, engaging the “Other”, and dancing with Sylvie Guillem. (Robert) “Each leg is insured for 6 million dollars, so when she runs at you and you have to catch her in mid-air, that's what you think about.”Break a leg? Or not. #BuildBridgesNotWallsXingTheGap.comBoomTheShow.comRickMiller.ca@rickmilleractor@xingthegap@lediamant_qc@exmachina.ca@lyndzdantiste@sentinelletheatre

Tino Sehgal talks to Ben Luke about his unique work, which transforms the space in which it is shown through the power of movement and sound. Sehgal, who is based in Berlin, moved to art from dance after studying choreography alongside economics. His latest show, at Blenheim Palace, commissioned by the Blenheim Art Foundation, features his work from the last 20 years staged amid the Baroque palace and its gardens. It features interpreters or participants who enact "constructed situations" ranging from group work, where they sing in unison or move in formation, veering from slow controlled movement to dance or even game-playing, to more intimate pieces involving individuals or duos—but always directly engaging the viewer as a participant. Sehgal discusses the structures that underpin his work, making art that exists only in the moment or memory rather than as an object or through documentation, and why he sees it more in the tradition of sculpture and installation than performance art. He reflects on his early encounters with the art of Joseph Beuys and Yves Klein, his interest in the work of Antoine Watteau, the powerful effect of the works of radical theatre director Christoph Schlingensief and choreographer Felix Ruckert, how he regularly returns to William Forsythe's work In the Middle, Somewhat Elevated, and his response to the Belgian producers Soulwax and their 2manydjs project. And he responds to the questions we ask all our guests, including the ultimate question: what is art for? This episode is sponsored by ARTIKA.Links for this episode:Tino Sehgal at Blenheim Art FoundationBlenheim PalaceTino Sehgal at Globart Art Academy, Melk AbbeyJoseph Beuys's 7000 Oaks in KasselYves Klein ArchivesJean-Antoine Watteau's paintings in the LouvreAuguste Rodin's The KissXavier Le Roy, Product of Circumstances and context at tate.org.ukChristoph SchlingshiefFelix Ruckert and a performance of Hautnah (1995)Excerpt from In the Middle, Somewhat Elevated by William Forsythe from its original performance in 1987, featuring Fanny Gaïda and Sylvie Guillem, Opéra National de ParisJohn Maynard Keynes, Economic Possibilities for our GrandchildrenMargaret MeadJohn Kenneth Galbreath's The Affluent Society2manydjs: Soulwax's official YouTube channelOde to Joy, Friedrich Schiller poem The Robots on Kraftwerk's YouTube channelSock It to Me on Missy Elliot's YouTube channel See acast.com/privacy for privacy and opt-out information.

This conversation with Shockwave is deep and very important to listen about the expectations that we have as humans in which we have the power to improve in society. In this episode you will learn about:Where your street dance movements come from.The importance of you knowing where styles originated.How you can improve society expectations by being yourself and not following the leader.How some trends become toxic instead of creating unity.How artists can create more money by working together to create a better financial industry. Favorite Quote: “The great thinker talks about ideas, the average thinker talks about events, the small thinker talks about people .” Shockwave has experience learning from freestyle popping legends and he is able to teach where those movements come from. About Shockwave:Shockwave is a  Los Angeles born dancer who expresses through physical and spiritual energy with respect to tradition. He strives to instill belief in one’s self and unlock creativity while preserving the culture of art forms.Through foundation, perspective and vision, he looks to inspire others to feel what can’t be expressed through words and be more than what society dictates, for the new generation, and to those who dance for a lifetime. Follow Shockwave:Instagram Facebook Shockwave - Soul Levels (by Beatslaya) Text: ANNIVERSARY to (323) 524-9857 to view our WATCH PARTY for our 20th Anniversary Maxt Out Dance Competition online! Follow us:Learn more: Dance Your LifeLearn more: Maxt Out Dance CompetitionInstagram @maxtoutdanceMaxt Out on FacebookTikTok @maxtoutdanceSign-up for our FREE Maxt Out at Home Dance Classes!Follow Joanna:Learn more The Get Up GirlJoanna Vargas on InstagramJoanna Vargas on FacebookTikTok @joannavargasofficialOperation Underground Railroad – OURRescue.org

Un día como hoy, 23 de febrero: Nace: 1685: Georg Friedrich Händel, compositor británico de origen alemán (f. 1759). 1878: Kazimir Malevich, pintor ucraniano (f. 1935). 1882: B. Traven, actor y novelista alemán (f. 1969). 1889: Victor Fleming, cineasta estadounidense (f. 1949). 1965: Sylvie Guillem, bailarina y coreógrafa francesa. 1983: Emily Blunt, actriz británica. Fallece: 1821: John Keats, poeta británico (n. 1795). 1934: Edward Elgar, compositor británico (n. 1857). Una producción de Sala Prisma Podcast. 2021

今天为大家介绍的，这是林怀民的《跟云门去流浪》。林怀民和云门舞集非常重要的成就就在于创造了这个世界上，过去以西方为主导的现代舞当中，从来没有见过的一种身体的语汇。所以他们到欧洲去巡演，到任何其他的地方，都会让当地的观众感觉到有一种新鲜的情况，然后甚至让他们感动于“原来身体可以这样用” 、“原来舞蹈可以用这种方式产生他们过去无法感受到的一种美”。 在这本书里面，他又记录了Ludwigshafen（路德维希港）——在德国的一次的演出。演出完了之后，一个年长的芭蕾教师跑到后台来，她的眼睛哭得红红的。她说“从来没有这么感动过，从来没有看到过这么诚恳，这么诚实的演出。”舞者不是为观众演出，只是全身的舞动，让人不由自主地跟着他们呼吸，整个剧场进入到一种全体一致的呼吸的韵律里面。正因为这是一位年长的芭蕾老师，她说：”芭蕾老师总是要教人家要呼吸、要怎么呼吸。她说，其实很难呼吸，因为穿着束胸的马甲叫人怎么呼吸。“ 于是林怀民也就想到了Sylvie Guillem（西薇·姬兰），他的一位国际的舞者的好朋友，也就曾经跟他说——因为她年轻的时候也是先学芭蕾舞，后来才转成跳现代舞——然后她就说：“我们一直憋着气，背着观众的时候偷偷吸一口气，到了后台，才能够大口大口的喘气，才开始吸一点气。” 那么她就问说：“你注意到没有？所以芭蕾舞双人物的片段都很短，因为你没有办法憋气憋那么久去跳舞，你需要赶快结束到后台才能够呼吸”。 可是云门的舞，尤其是像《水月》这种舞，呼吸是非常自然、非常悠长的。所以悉尼的一位资深舞评家也对林怀民说：全世界只有云门这样跳舞，全神贯注，全然没有自我。西方艺术家强调自我，舞者最大的动力来自于不安的经历，自我不可以崩盘，身心紧绷、做最大的投射。 最不安、最神经质的舞是Martha Graham（玛莎·葛兰姆），这也是林怀民到纽约他最早接触到的，他去学的。可他很快就知道学这样的舞对他来讲不太对劲。非常庆幸、非常幸运的，他又同时在纽约接触到了Merce Cunningham（摩斯·康宁汉）。康宁汉跳舞的方式，他编舞以及他对于到底什么叫做舞蹈的概念，跟玛莎·葛兰姆完全不一样。 玛莎·葛兰姆的舞蹈在台上燃烧得最耀眼，最扣人心弦。可是林怀民他在云门舞集当中所创造出来的，是一种“无我”的舞蹈。这种无我的舞蹈来自于传统肢体的训练，紧绷是偶发的，松才是常态。不管是拳术或者是太极导引：虚、含、敛，都是老师们经常提示的字眼。 内观是必须要经常维持的精神状态，内敛因而神聚。专气，也就是专心在呼吸上，所以你会自由。你是忙着跟自己对话，你就不可能像西方舞者，举手投足全是“看我！看我！”的呼唤。 行家对阵是沉气对峙，伺机出招。大家如果看过，王家卫导的《一代宗师》。那《一代宗师》当中最精彩的一段武打其实没有太多的动作，就是一种沉寂对峙、伺机出招的最高的境界。云门舞者外扬的动作都只是一瞬间，外扬之际，仍然守内。所以它是有一个非常清楚的舞蹈背后的美学，更重要的是，美学的背后是有一套思想跟一套哲学的。 西方舞蹈把肌肉骨骼做机械性的力学运作，“我”命令身体动作。但是当一切如果都是源自于丹田，以气引体，那“我”就是身体，舞蹈就是身体和动作，没有“我”夹在舞蹈和观众之间。因为纯粹，所以感染力特别地来劲；因为虚、松、内观，观众很容易被吸引到舞台上。云门演出之际，剧场因而变得特别的沉静，像那位芭蕾老师说的，全体呼吸一致。 林怀民说：”我希望云门之舞能够引发观众的生理反应，而不只是视觉性的耳目之娱。功夫是本事也是时间，云门舞者功夫浅薄，花拳绣腿，但因熊卫老师、徐纪老师多年耐心调教，在舞蹈的世界才能独树一帜。我要藉这个机会向两位老师深深致谢。我喜欢看云门舞者在排练场里垂手而立，静静聆听老师们长达二三十分钟的教诲。那是训练的一部分。“ 玛莎·葛兰姆说得好：“自由来自百分之百的纪律。”不过倒过来，林怀民还是曾经作为一个小说家，作为一个观察者，还有对人生的那样一种跳达的认识跟理解。他就补了另外这样一段话，他说：”我也喜欢看到舞者们像寻常年轻人在阳光普照的大街上边走边舔手上的冰淇淋，或在意大利餐厅里嬉笑闹成一团。“ 这是相当程度上面说明了云门舞集是什么，以及云门舞集的变化。林怀民在1973年成立了云门舞集，相当程度上是因为他意识到他必须要好好学编舞。可是编舞这件事情在创作上是跟其他的创作形式都不一样。 包括林怀民自己以前写小说非常简单，一张稿纸，一支笔，顶多有一盏灯，然后一张桌子坐下来，他就可以开始创作，基本上是一个人可以完成的。即使是作曲家，就算他写的是千军万马的交响曲，基本上他大概也可以在一个人面对一架钢琴的情况底下，就可以把乐曲写下来，把脑子里面他自己在脑子所想象、所听到的声音，把它化成音符写在纸上，但是舞蹈就不是这么一回事。 因为，舞蹈的动作太复杂，而且它在时间的韵律上面比音乐更困难，那个变化比音乐更多。所以舞蹈的舞谱一直都不是完整的，一个舞蹈家真的要认真编舞，你不能够在自己的脑子里面，你必须要有身体在你的眼前。 这就说明了为什么1973年莫名其妙的，这样的一个二十六岁的青年，他竟然去成立了一个职业的舞团。职业舞团最早进来的这些团员是他在体专所教的一些学生，他们就这样开始了这个舞团。 为什么他需要一个舞团？因为他太认真，他对于要把一件事情怎么做好，他非常非常讲究他的方法。他知道如果没有舞者，他没有办法编舞。到哪里可以有舞者来，到哪里有可以信任的、随时可以跟着你一起编舞，然后最后把这个编出来的舞在台上演出呢？除非这是一个职业的舞团。 从这里开始，林怀民就走上了这样的一条不归路。因为有职业舞团，所以职业舞团就必须要付薪水，要付薪水，就只能够有演出，然后要把票卖掉。 当然因为开始的时候，台湾当时对于这样的一个口号的热情的回应以及热情的拥抱，所以云门的门票没有那么难卖。说到这整件事情不断地缠绻，因此他变成了一个在自己都没有准备的情况底下，在台湾的这个社会，其实完全没有现代舞的基础的情况底下，他成立了职业现代舞团。 这个职业现代舞团，正因为他不是这样从西方的现代舞的传统当中历练，然后科班出身，因而就产生了另外一件非常神奇的效果。那就是他编出来的不是那么样的正统。不管从哪一个“正统”，不管从哪个角度来看，都不是西方正统的现代舞。 刚开始的时候，林怀民动用了他自己过去的重要的背景，那是写小说。所以他刚开始他所编的舞都有非常强烈的故事性，例如说《白蛇传》、例如说《红楼梦》。 再下来，因为当时有俞大纲先生给他的不断的提示，要求他如果你要挑自己的舞，你必须在相当的程度上对于中国的传统要有所认知，要有所理解。所以更进一步的，他去学习了京剧，他把京剧里面的许多的成分放进到他的现代舞蹈里，像他的《白蛇传》，那就是基本上把大量的京剧的动作，甚至京剧表现戏剧这些甚至京剧表现故事的手法都放进到他的现代舞里面。 因为这样的一种结合，所以让人有亲切感。也因为这样的结合，让那个表面上看起来那么样抽象，让人家觉得望而生畏的高级的身体艺术，在台湾慢慢能够生根。 当然一旦生根了，舞团的经营，所有的相关的事物都到了林怀民的肩上，都到了他的背上。而如果大家读《跟着云门去流浪》，你就会了解，他是一个无所不在的，对于所有一切的细节都认真要求的一个完美主义者。这样的一个完美主义者，他才能够带领着舞团把每一个细节通通都拴紧，拴紧之后所形成的这些舞作不止感动了台湾人。 接下来，从1976年舞团成立三年之后，这些舞蹈就跟着到了国际上。到了国际上，他们那样的一种非常特殊的风格，吸引了越来越多的重视跟注意。所以从1976年到现在四十几年的时间当中，云门走了非常非常多的地方，而也用这种方式，他们建立了一种新的现代舞的风格。同时让许许多多人看见台湾，知道云门，了解了、听到了、知道了林怀民这个名字。 这本书非常的难得，因为是2007年带着舞团去进行了七周八城的欧洲巡演，林怀民在那样的环境底下，他所写出来的每一天的日记，可以读到很多的东西，得到很深的感动。 注：“杨照书话”系列节目由杨照和方所联合制作。本音频和文字稿由方所剪辑和编写而成，版权所有。若需转载，请注明来源及出处。

From dance to prayer, servants to scientists, knees ups to being on our knees - Matthew Sweet talks to art critic Louisa Buck, historian and New Generation Thinker Joe Moshenska, author Tracy Chevalier and dancer and choreographer Russell Maliphant. Tracy Chevalier's novels include A Single Thread - a novel depicting the work of "broderers" creating cushions and kneelers for Winchester Cathedral in the 1930s. Russell Maliphant formed Russell Maliphant Company in 1996 and has worked with companies and artists including Sylvie Guillem, Robert Lepage, Isaac Julian, Balletboyz and Lyon Opera Ballet. He created Broken Fall for Sylvie Guillem and Balletboyz which premiered at the Royal Opera House and received an Olivier award for best new dance production. Producer: Paula McGinley If you are interested in craft you might like our discussion on the joy of sewing with Clare Hunter and Jade Halbert https://www.bbc.co.uk/programmes/m0002mk2 or The Woolly episode https://www.bbc.co.uk/programmes/m0009bw4 with Esther Rutter & Alex Harris or Darian Leader and Seb Falk join Lisa Le Feuvre and Thrishantha Nanayakkara to look at Hands with Matthew Sweet https://www.bbc.co.uk/programmes/p03z2nbj

In this podcast, we'll be hearing from ex-ballet dancer, choreographer and composer Kasper Cornish, who enjoyed success as a professional dancer for many years. We'll hear about some of his career highlights and his passion for ballet and music (he considered being a professional musician before making the decision to become a dancer). But we'll be mainly focusing on Kasper's work in music composition, which he has concentrated more on since retiring from professional performing. Kasper talks lucidly about his creative and research methods when writing for dance as opposed to abstract music. And he explains some of the challenges when working with musicians in a class setting, as well as the invaluable opportunity a dance class presents for a composer to trial new material. Many thanks to Kasper for kindly taking the time out of his day to talk to me before teaching at The Place! Published on 7th February 2020; recorded at Sadler's Wells on 15th January 2020. Kasper Cornish began his dance training at the age of 10 with Sara Phillips in 1984 and graduated from Central School of Ballet in 1993 after which he joined Ballet Wales, touring the UK in productions of The Swan and Cinderella. Performing work ranged from Ballet Dancer to Wrestler for the BAFTA award-winning Channel 4 series Faking It to creating the title role in The Snowman (Birmingham Repertory Theatre, West End and BBC film of the stage show). Other credits include The Phantom of The Opera feature film and dancing the role of "Slavemaster" for the national tour of the stage show. He played the Prince of Transylvania in the National Theatre production of My Fair Lady at Theatre Royal, Drury Lane, was a founding member of Just Desert Dance Co. and as a freelance principal artist danced popular ballet pas de deux as far afield as Japan. He was principal ballet dancer at Glyndebourne in 1996 as well as understudy to Zoltan Solymosi and toured France and Switzerland in Maurice Bejart's Bolero with Sylvie Guillem. He has taught Classical Ballet and Pas de Deux since 1997 for performing arts colleges, international summer schools, dance companies and open classes. Choreographic work includes The Classical Brits, Comedy Shuffle (BBC3), "Canvas Bag" for Tim Minchin, The Terence Higgins Trust, Nickleodeon TV, movement for actors in feature films and "Degas – A Passion for Perfection" (Exhibition on Screen). Kasper's music compositions include six ballet class albums, music for dance, a brass quintet, clarinet sonata, Oratorio for Baritone - choir & string orchestra, Christmas carols, string quartet, song cycles and works for solo piano. www.kaspercornish.bandcamp.com

Dans le cadre du 4e Smmmile Vegan Pop Festival, Tsugi Radio a organisé un atelier à Little Villette pour faire découvrir la radio et ses métiers aux enfants. Avec Yemima à la technique et Angèle, Garence, Sacha, Luciano, Pénélope, Célia et Camille au micro pour interviewer : Sylvie Guillem, Lamya Essemlali, Loane et Dominique de l'association L214.

Dans le cadre du 4e Smmmile Vegan Pop Festival, Tsugi Radio a organisé un atelier à Little Villette pour faire découvrir la radio et ses métiers aux enfants. Avec Yemima à la technique et Angèle, Garence, Sacha, Luciano, Pénélope, Célia et Camille au micro pour interviewer : Sylvie Guillem, Lamya Essemlali, Loane et Dominique de l'association L214.

Dancer/choreographer Akram Khan appeared in the West Coast premiere of XENOS, a Cal Performances co-commission, in Zellerbach Hall on March 2-3, 2019. Khan, who is of British and Bangladeshi descent, is celebrated for physically demanding, visually arresting solo productions that combine Indian kathak with contemporary dance to tell stories through movement. Khan’s full length solo performances of XENOS conjure the despair and alienation suffered by an Indian soldier recruited to fight for the British Crown in the trenches of World War I.As an instinctive and natural collaborator, Khan has been a magnet for world-class artists from other cultures and disciplines. His previous collaborators include the National Ballet of China, actress Juliette Binoche, ballerina Sylvie Guillem, singer Kylie Minogue, writer Hanif Kureishi and composer Steve Reich.In this talk, Akram Khan speaks with Cal Performances’ interim artistic director Rob Bailis in the weekly open session of the Arts + Design course Creativity, Migration, Transformation held at the Berkeley Art Museum and Pacific Film Archive on Feb. 28, 2019. The event was free and open to the public.More information about the class can be found on Berkeley Arts and Design's website.Listen and read the transcript on Berkeley News. See acast.com/privacy for privacy and opt-out information.

For more than three decades the ballet dancer Sylvie Guillem has performed as principal dancer at most leading ballet establishments, redrawing the boundaries of the genre. But at the end of this year she will be giving her last performance in a worldwide farewell tour. She will undoubtedly go down in ballet history as one of the greatest dancers of all time - but she is famously been dubbed 'Mademoiselle Non' for being too assertive. Zeinab Badawi speaks to her about that as well as the poisonous rivalries in the world of ballet and her activism to save the planet.(Photo: Prima ballet dancer Sylvie Guillem of France delivers a speech at a press conference in Tokyo. Credit: TOSHIFUMI KITAMURA/AFP/Getty Images)

This year Daniel Craig was back as James Bond for the fourth time in Spectre, Lenny Henry wrote a television drama based on his own teenage years, and Tracy Emin remade her bed. Director Rupert Goold and actor Juliette Binoche put a modern spin on ancient Greek drama, rapper Abd al Malik was influenced by Zola, while author Paula Hawkins's new book The Girl on the Train ended the year as a bestseller around the world. Composer Philip Glass and pianist James Rhodes wrote memoirs on the role of music in their lives, while singer Jess Glynne and actor Bradley Cooper suffered for their art. Finally, ballet dancers Carlos Acosta and Sylvie Guillem bowed out while still at the top of their game. Tomorrow Ai Weiwei, Keith Richards and Anthony Hopkins, among others, share their stories. Presenter: John Wilson Producer: Angie Nehring Image (L-R): Jess Glynne, Daniel Craig and Sylvie Guillem (Credit: Bill Cooper).

Akram Khan is hardly ever still; an international star, he spins around the world with his dance company - just this last month he's been performing in Santa Barbara, Corby, Moscow, Seattle, Spain, Austria... Born in London, the son of a Bangladeshi restaurant owner, Khan was talent-spotted at the age of 13 by director Peter Brook, who cast him in the RSC production of the Mahabharata - which led to his first international tour on stage. Now just into his forties, Akram Khan has won numerous international dance awards, including the Olivier. In 2012 he choreographed and danced in the opening ceremony of the London Olympics. He's collaborated with prima ballerina Sylvie Guillem, with sculptor Anthony Gormley, and worked with the National Ballet of China. And he's choreographed for Kylie Minogue. He says 'The reason I dance - is because of music!' In Private Passions, Akram Khan tells Michael Berkeley about his childhood, when his aunties would gather and sing till 3am, and require the exhausted young Akram to accompany them on the tabla drums. He reveals why he decided to become a dancer, not a musician. And he talks frankly about trying to be a good father to his two young children now, and how they have transformed his life. Musical choices include Mussorgsky, Stravinsky's Rite of Spring, performance poetry by Kate Tempest, and a Flamenco protest song from the Spanish Civil War. Produced by Elizabeth Burke A Loftus production for BBC Radio 3.

For more than three decades the ballet dancer Sylvie Guillem has performed as principal dancer at most leading ballet establishments, redrawing the boundaries of the genre. But at the end of this year she will be giving her last performance in a worldwide farewell tour. She will undoubtedly go down in ballet history as one of the greatest dancers of all time - but she is famously been dubbed 'Mademoiselle Non' for being too assertive. Hardtalk speaks to her about that as well as the poisonous rivalries in the world of ballet and her activism to save the planet.(Photo: Sylvie Guillem. Credit: Getty Images)

Dansaren och koreografen Akram Khan besökte Dansens hus i Stockholm i april med sitt verk “Torobaka” (en blanding av flamenco och indisk kathak-dans). Jag fick, efter en del krångel, en intervju med honom och eftersom han var sugen på thaimat satte vi oss på en slamrig men gemytlig thai-restaurang och spelade in. Akram Khan är bland de största namnen på den internationella moderna dansscenen i dag tillsammans med bland andra Mats Ek, Sylvie Guillem, William Forsythe och Russel Maliphant.

As pop star Swift, 24, takes a stand against Spotify and dancer Guillem, 49, announces her retirement, Peter Aspden reflects on two very different divas See acast.com/privacy for privacy and opt-out information.

In this second episode, Akram Khan describes his fascination with learning about the science of movement and the similarities and contradictions of ballet, contemporary dance and kathak. This exploration leads to the development of his signature style and the creation of a short solo followed by a more substantial piece that attract media and public attention. Akram comments on his jewel relationship with Farooq Chaudhry, producer and co-founder of Akram Khan Company, and his collaborations with Sidi Larbi Cherkaoui, Israel Galván, Juliette Binoche and Sylvie Guillem.

This morning, we’ll be talking about PUSH, a breathtaking, multi-award-winning collaboration between two of contemporary dance’s brightest stars – Sylvie Guillem and Russell Maliphant. PUSH presents four dance works by acclaimed UK choreographer, Russell Maliphant, across three solos and one duet. Read our writers' reviews and join the discussion around PUSH on this website.

Spanish ballerina Tamara Rojo is Artistic Director and Principal Dancer at English National Ballet. She talks to John Wilson about her favourite ballet The House of Bernarda by Mats Ek. The interview is accompanied by selected clips from the BBC archive: Sylvie Guillem on Mat Ek's Carmen; Deborah Bull and Fiona Shaw on Pina Bausch; Darcey Bussell on the physical strain of being a ballerina; Darcey Bussell on life at the Royal Ballet School; Deborah Bull on Mats Ek's Sleeping Beauty Full details of each clip is available at http://www.bbc.co.uk/programmes/p016p5mb/profiles/tamara-rojo

Kirsty Young's castaway is the dancer and choreographer Akram Khan.A child of Bengali immigrants, he started learning Indian dance almost as soon as he could walk. Talent-spotted in his teens, he went on to spend two years touring the world with Peter Brook's Mahabharata. A keen collaborator, he's worked with everyone from prima ballerina Sylvie Guillem to disco queen Kylie Minogue. He says he was a shy boy and dance allowed him to communicate properly for the first time: "It was like being allowed to speak - and people taking notice of that and that's another problem because then you want people's attention all the time, so, every dinner party we went to, I said, Mum, are they going to ask me to dance? It became an addiction." Producer: Leanne Buckle.

Kirsty Young's castaway is the dancer and choreographer Akram Khan. A child of Bengali immigrants, he started learning Indian dance almost as soon as he could walk. Talent-spotted in his teens, he went on to spend two years touring the world with Peter Brook's Mahabharata. A keen collaborator, he's worked with everyone from prima ballerina Sylvie Guillem to disco queen Kylie Minogue. He says he was a shy boy and dance allowed him to communicate properly for the first time: "It was like being allowed to speak - and people taking notice of that and that's another problem because then you want people's attention all the time, so, every dinner party we went to, I said, Mum, are they going to ask me to dance? It became an addiction." Producer: Leanne Buckle.