Monday, November 1, at 18:00, at Cinema Peasant Museum the first screening of the second episode of the documentary takes place ,,Choreographic legacies”, entitled “Avant-garde”. It will be followed by two more screenings, one on November 4, at 18:00, at Cervantes Institute and another, on November 7, at 5:00 p.m., at GreenTea teahouse.
Associated with the first two views of the documentary will be the photo exhibition Choreographic Heritage: The Avant-Garde. Making Of, which contains photos from the project, taken by photographer Valentin Zaharia. After the screenings at the Cinema, the Peasant Museum and the Cervantes Institute will be followed by discussions with guests, personalities from the world of dance, moderated by Gina Șerbănescu, critic of the performing arts. For the events at the Cervantes Institute and the GreenTea teahouse, we are waiting for registrations at [email protected]
“Choreographic legacies: The avant-garde” presents the activity of another generation of Romanian dancers and choreographers from the 20th century who contributed to the configuration of Romanian dance, as well as Lizica Codreanu, Iris Barbura, Trixy Checais, Gabriel Negry and Vera Proca Ciortea.
Lizica Codreanu (1901–1993)
Lizica Codreanu developed her own artistic vision, focused on bodily expression, on improvisation. Free spirit, he stood out for his originality and did not join any dance company, his creations being appreciated on various stages of the Parisian avant-garde, as well as in the studio of the sculptor Constantin Brâncuși or the French artist Sonia Delaunay. After a short career as a dancer, she followed the connection with the oriental world, where she discovered the practice of hatha yoga, to which she will dedicate herself until the end of her life. He opened the first yoga studio in Europe in Paris, attended by personalities such as conductor Charles Munch, actor and writer Peter Ustinov, Princess Grace of Monaco, Duke and Duchess of Windsor, writer Eugen Ionescu, Count and Countess of Paris, Ricci family, Coco Chanel and others.
Iris Barbura (1912–1969)
Iris Barbura is considered one of the great artists of the Romanian school of modern dance, her dance style being strongly influenced by German expressionism. Sergiu Celibidache’s stage and life partner for a decade, she made her debut in recitals on the big Bucharest stages. She taught dance classes, being also a ballet teacher and choreographer at the National Theater in Bucharest. She settled for a time in Berlin, where she was wounded by a shrapnel at the end of the war, which affected her career as a dancer. Forced by circumstances, she immigrated to Ithaca, USA, where she focused mainly on pedagogy, forming several artistic personalities, active even today, such as Beth Soll and Hannah Kahn.
Trixy Checais (1914–1990)
Renowned for his extraordinary bodily expressiveness, Trixy Checais was a soloist at the Romanian Opera in Bucharest, where he offered the danced roles a special interpretive nature. He gave recitals on the big stages in Bucharest and in the country, for which he created his own choreography and costumes. A graduate in fine arts, he presented his works in several exhibitions, the last being the one in Constanța, inspired by the poems of Omar Khayyam. The last part of his artistic activity took place almost anonymously at the Musical Theater in Galați, where he was “exiled” after a sentence of forced labor on the Danube-Black Sea Canal. Here he appeared on the posters of no less than 43 shows, as a choreographer, director, set designer, costume designer and sometimes as a performer.
Gabriel Negry (1910-2000)
Gabriel Negry stood out in the Romanian cult dance landscape as a dancer, choreographer and theorist. She studied theater directing at the Conservatory of Dramatic Art in Bucharest, during which time she also discovered dance, attending the classes of Floria Capsali, who would later become her partner. He worked for a time at the International Dance Archives in Paris, an institution that later rewarded him for his work. After the establishment of communism, he entered a shadow cone and returned to the drama theater, working as a director at the Youth Theater in Piatra Neamț. Over time, he has published a number of works dedicated to dance, including Dance – the origin, folk art and contemporary dance, The memory of the dance I and Codex Choreic.
Vera Proca Ciortea (1912 – 2002)
Vera Proca Ciortea created a new style – Romanian rhythmic dance. Over time, he founded several dance groups, including Grup 14 (1935), Miorița (1957), Gymnasion (1974) and Columna (1982). He was the first ethnochoreological specialist in the country. Together with his team from the Institute of Ethnography and Folklore, he created a dance notation system (Ronotaţia), with the help of which he managed to score 6,600 Romanian folk dances. She has chaired the Ethnochoreology Study Group for two decades and is an active member of the UNESCO International Dance Council. His pedagogical activity spanned three decades, contributing to the training of several generations of actors at UNATC and athletes at UNEFS.
The project ,,Choreographic legacies”Is initiated by DS Projects Lab and started from the desire to contribute to increasing the interest in knowing the memory of dance and the Romanian artistic identity.
Admission to all screenings is free.
According to the sanitary measures imposed by the authorities, applied in the context of the COVID-19 pandemic, the access to the events will be made on the basis of the green certificate, with the obligation to wear a protective mask.
Partners: “Nae Leonard” National Opera and Operetta Theater, “Floria Capsali” High School of Choreography, Cărturești, Peasant Museum Cinema, Cervantes Institute, Green Tea Tea House.
Media partners: Radio Romania Cultural, Ballet Magazine, Scena9, Dobrogea TV, Days and Nights, Urban.ro, Positive Romania, Munteanu Recommends, Psychologies, IQads, Aarc, 4 arts.
Cultural project co-financed by the National Cultural Fund Administration (AFCN).
The project does not necessarily represent the position of the National Cultural Fund Administration. AFCN is not responsible for the content of the project or how the project results can be used. These are entirely the responsibility of the beneficiary of the funding.
Source: IQads by www.iqads.ro.
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