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It is also important to remember his was the 1 st oeuvre we saw in its entirety in contemporary Western dance. The rest we usually experienced in extracts and pieces. No fixed points has decided to pay homage to this fantastically creative couple's artistic journey, and to thank them for the pleasure they have given us. Photo courtesy of Stephanie Berger. Niklas and Mats Ek, their mother's sons: Birgitt Culberg. Even if Mats Ek was born into an artistic family, he came to Dance relatively late.
Not only is Birgit Culberg Mats Ek's mother, she has practically mothered contemporary dance in Sweden. Then, in , she founded her own troupe, the Cullberg Ballet , beginning only with eight dancers. They were all soloists and received equal salary. In , 64 years after its premiere, the piece became part of Opera de Paris' repertoire. Ek's father, Andres Ek, was also a famous Swedish artist, though he had little to do with choreography. Andres was a famous stage actor for the Royal Dramatic Theatre, who also often worked for Bergman in his films. Birgit Cullberg - Mats Ek's mother.
Anders Ek - Mats Ek's father. With such a wonderful gene pool it would almost have been impossible for Mats Ek not to become famous. His brother, Niklas Ek , followed his mother's steps, becoming a famous dancer, whereas his twin sister — Malin Ek , became a stage actress, as Mats continued to shift and hesitate between the two artistic expressions.
Neither dance nor theatre satisfied him completely.
He later admitted: "I wanted the choice to really be mine. I did not want to imitate my mother. Later she moved to Stockholm to work for the Royal Dramatic theatre where she met Bergman and subsequently collaborated with him for many years. Despite all this, neither his mother Brigit Culberg nor Donya Foyer succeeded in attracting the young Mats to dance, so once his drama education was completed, Mats began working in a Marionette Theatre.
Only at 27 years of age, in , he finally gives in to dance and joins the Cullberg troupe. First success. His 1 st real success however, was without a doubt "The House of Bernard Alba": an adaptation of Federico Garcia Lorca's drama of the same name. That is when Ek's style — a mixture of Kurt Joos' biting caricature and Martha Graham's thoughtful movement, proved itself so evidently.
"ek ödeme" English translation
Bernarda Alba's role, a powerful mad mother of four daughters, having not only buried her husband, but also the possibility to marry her younger daughters with the promulgation of his will, was written for a male dancer. Mourning her husband for 8 years, Bernarda Alba embroils her daughters in her grieving at a time when they should be falling in love and discovering the world.
The only time a male figure appears in the house is as feet of a dresser, shaped like vulgar soldier boots. Bernarda is as unwavering in character as in the choreographic notes, where she is described as taut and only allows herself to relax in the final moment, when alone on stage.
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Even after her daughter's suicide finally comes to light, Bernarda does not react, unable to let any emotions out. This is one of the only ballets of Mats Ek's where the 1 st role was not given to his main muse, Ana Laguna. Though this ballet along with many others, will be taken off repertoires including from Opera de Paris where it has always been brilliantly performed , we do still have its official recording with the performance by the Cullberg Ballet. New wine in old wineskins.
Having become artistic director for the Cullberg Ballet in , Mats Ek starts his brilliant series of adaptations of the classical heritage. In truth, who has not become tired of witnessing our young country girl Giselle's trouble or the well-known tale of sleeping beauty still after years? Or Swan Lake for the matter, which Ek also reworked then. Mats Ek, with his unmistakable humour and intellect, dusts off old themes and re expresses them, transposing them into 20 th century mundanity.
What seemed the most important was the well-overdue psychoanalysis of these well-known stories. Albert is not a count, but a real city dandy. The backdrops do not need to be tested for posterity: mountains become women's breasts, and the psychiatric hospital decor gives off a feeling of dissection. Giselle does not die at the end of act one, but as would be expected, loses her mind. Still, Mats Ek decides not to change the moral of the story: Giselle, with a wrapped head, opens a new world for Albert and enriches his spoiled soul.
Unfortunately, there is no happy ending here either. His final nakedness is not Ek's surprise effect, but a way of showing Albert's complete rebirth and the refusal of his past life. Finally, Ilarion covers him with a plaid; what becomes of him we can decide for ourselves, Ek leaves the ending open to interpretation. Whether with happy endings or tragic ones, Freudian analysis has been used in this case practically from the start.
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But Ek is capable of surprising us here again. If other choreographers apart from possibly Matthew Bourne , have usually been inspired by the swans living on water, elegant and refined, what seems more interesting to Mats Ek is showing them on land: clumsy, crooked-legged, and hissing annoyingly. In every woman an ideal princess and a real human coexist, the question is how harmoniously we get on with each of them.
Let's not forget that Ziegfried is completely under his powerful mother's heel, a detail which has prompted numerous international critics to write in depth about the Oedipus complex. We have become accustomed to the loud beauty with rouge and curls around her temples, to the passionate seductress, taking static poses for powerful photographs.
Mats Ek's Carmen changes partners as she likes, since she works in a tobacco factory and is independent. On the contrary, Jose as the narrator, wants what a woman usually desires: a ring on his finger, a family, some simple wholesome happiness. By inverting their roles, Ek explores the contemporary woman as well. She is hard to please and even harder to fool with the ghostly promise of family hearth, what is definitely almost impossible is to satisfy her sexual appetite.
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His work is brilliant not only as choreographer, but also as marketer. If the theatre seeks to attract young audiences, it needs to amuse them with something. Not with Disney-like stories of eternal love, but with something that can be understood by new generations. This is why Ek's new readings attract young audiences. Spoiled young girls who think they are old enough to exist without parents, but who end up caught up in a net of abuse and drug trafficking. Here she is, the sleeping beauty of the 20 th century.
The wicked fairy godmother Carabosse will shoot up in the vein. This dream: an existence addicted to heroin from which even the beautiful prince will not be capable of rescuing her.
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