宣传与王子被自己身患绝症的消息彻底击垮从医院回到家里他发现妻子和友

梗概 ThePrincelearnsofhisfatalillness.Thenewscompleyhitsanddevastateshim.AfterreturningfromEveryoneischeerfulandhappy,butthePrinceisuneasy.Somethinghaschangedhim.HewouldliketooverwhelmthePrinceandhesuddenlycollapses.Hismindfindsitselfinanotherdimension.RealityesaInthisdreamthewomentransformintoswans.Eventhedoctor expandsandgainsstrength.Itgetsstrongerandstronger.Thediseasethatdevourshimisadark–Rothbart.He esapartofthePrince,heisinhim.Whoisdancingwithhiswifeinblack?WhoisthePrincehimself?AndwhoisRothbart?Isithisotherself?ThePrinceisconfused,buthefightswiththeill-nessandwiththedarknesswithinhim.Heattemptstolearnandunderstandwhatheseesandfeels.Whatisrealandwhatisamereillusion.Womenandswans,swansandwomen.Thedomofthesebeautifulbirdsfascinateshimandhewantstobeliberatedandbelikethem.Onlythroughthemdoeshefindthestrengthwithintodefeatthedarknessanddisease.AlthoughtheexperiencethatthePrincewentthroughenrichedhimandpushedhimforward,atthesameifitwasatest,whonnedit?Coincidencesafteralldonotexist!Ordothey?Everydayofhislifehewillnowlookinthemirrorandask–whoamIandwhyamIhere?Everydayhewillaskquestionsandthinkofblackandwhite.从《天鹅湖》到《黑与白》FromSwanLaketoBlackand芭蕾作品，简直是芭蕾的代名词。舞者穿上白色舞群，象征翅膀，独舞忠实呈现中的32周挥鞭转。影视频繁应用那熟悉的旋律，成堆的《天在网上唾手可得，有纯正的演绎，也有幽默的速写，还有中志成为专业舞者的年轻们排练着那些不朽的舞步，假想自己就是天鹅。对编舞来说，在于抉择，是经典还是传统。，伴随着彼得•伊里奇•柴可夫斯基的绝妙旋律，《天鹅湖》在莫 剧院首演。有趣的是，当时的编舞VaclavJuliusWentselReisinger却是捷 RiccardoDiago，他对总谱进行了改编。在与编舞MariusPetipa和LevIvanov的大反派Rothbart也会有不同的表现形式。结局的处理引出最大的，即有浪漫的，也有悲惨心酸在众多著名《天鹅湖》中，1976年eier的《幻境——似天鹅湖》这个版本现在依然是汉堡芭蕾舞团、慕尼黑伐利亚国家芭蕾舞团和德累斯顿 是MatsEk的《天鹅湖》，由瑞典库尔伯格芭蕾舞团在 当然，最赫赫有名的当代还要属英国编舞MatthewBourne在伦敦萨德乐威女团和天鹅独主都被彪形大汉们取而代之，首演时引起轰动。这个标新立异达乔夫斯基的版本呢？音乐上，以1895年的总谱为主，在第一幕和了《天鹅湖》的启发，但同样也是在诉说编舞自己的个人经历。他相信用时7SwanLakeistheoneballetthateveryoneknows,hasheardoforseen.Itistheballetofballets,theworld’smostwell-knownballetworkandthesynonymforthewordballet.Dancersdressedinwhitetutus,whosearmsresemblewingsandthesoloistwhofaithfullyturnsthelegendary32fouettés.Themelodiesfromtheballetarefamiliarfromcommercialsandfi .Mountainsofpicturesand SwanLakealsopouroutfromtheinternet,fromgenuine icperformancestohumoroussketchesandacrobats.SwanLakeisaneternaltopic.Everyonewantstoseeit,everyonewantstodanceinitandeveryballet wantstoperformit.Theyounggirlswhodreamof practicetheimmortalchoreography,pretendingtobeswans.Forchoreographersitisachallenge,whethertheywanttocreatea‘classic’versionortheyfeeltheneedtoupdateorcompleychangethework.TheeofSwanLake,withbrilliantmusicbyPyotrIlyichTchaikovsky,wasedon4thMarch1877attheBolshoiTheatreinMoscow.Interestingly,thechoreographerwasaCzech,VaclavJuliusWentselReisinger.Theperformancewasnotwell-receivedandboththechoreographyandTchaikovsky’sscoreweresubjectedtoharshcriticism.AfterTchaikovsky’sdeath,therewerenstorevivetheballetanditwasRiccardoDiago,chiefconductorandcomposeroftheMariinskyTheatreinSt.Petersburg,whorevisedthescore.anditisthisversionthatisthebasis,choreographicallyandmusically,forallclassicalproductionsofSwanLaketoday.Thesubtledifferencesinclassicalproductionsaremainlyinthelibretto,withthemainroleofOdette/Odiledancedbyoneballerinabutsometimestherolesaredivided.ThedarkcharacterofRothbartalsotendstotakeonvariousforms.Alternateendingsoftheballetarethegreatestvariations,rangingfromtheromanticandhappytothetragic.AmongthemostrenownedadaptationsofSwanLakeisJohneier’s1976productionIllusionen–wieSchwanenseewhichlsthetruestoryofKingLudwigIIofBavaria,amaddreamerobsessedwithswans.ThisversionisinthecurrentrepertoireoftheHamburgBallet,BavarianStateBalletinMunichandSemperoperBalletinDresden.ThechoreographyistypicalofEk’sdancevocabularywithgroundedandprolongedmovements.Thenarrativeisnotthetraditionaltaleofgoodversusevilbutratherarealstoryofaboy’srebellionagainstthewBourne’sSwanLakewhichwasfirststagedattheSadler’sWellsTheatreinLondonin1995.ItisthelongestrunningballetproductioninLondon’sWestEndandonBroadway.Thetraditionalfemaletionatthee,thishighlysuccessfulandaward-winningproductionisanoriginal,powerfulandprovocativetaleforourtimes.AndwhataboutMárioRadačovský’sproduction?Musically,itisbasedonthe1895score,whichhadmadesignificantcutstoActIandIII.Ontheotherhand,themusicforActIIandIVremainedvirtuallyuntouched.However,theinterpretationyouwillseehereisinnovativeinallaspectswhetherwearereferringtothemovement,visualsordramatisation.InthetraditionalversionofSwanLake,theballerinaisthedominantfigure,howeverRadačovskýfocusesonthePrince.BlackandWhiteisastoryinspiredSwanLakeaswellasthechoreographer’sownalexperience.Basedonthebeliefthatrelingaclassicalworkinamoderncontextisnotdisrespectfulbutrathereffective,thevalueoftheworkremainsintact.Onlytheinterpretationchangessinceeachperiodintimerequiresanew.8编舞 毕业于布拉迪斯拉发的伊娃•雅绰娃古典舞蹈舞。1992年他受邀前往海牙的荷兰舞蹈剧场与JiříKylián合作演出。括JiříKylián、MatsEk、NachoDuato、OhadNaharin、WilliamForsythe、ÉdouardLock等等，不胜枚举。1999年他又收到一个 年之间担任该团的艺术总监。他2011年创建 布拉迪斯拉发蕾舞团直至2013年，并在2013/14舞季改任捷克布尔诺国家剧院舞，2015年也是在那里，他获得了学士。 (2008)和《珠峰》(2009)。而《单一》(2012)、《 乐剧《玛塔•哈丽》(2013)这三部是他在布拉迪斯拉发芭蕾舞团创作 2016年比尔森J.K.薄纱剧院的《卡门》。他还参与筹备了一些海外首利斯的玛利亚》和2014年拉脱维亚里加国家芭蕾舞团的《理哈兹•杜MárioAftergraduatingfromtheEvaJaczováDanceConservatoryinBra-tislava,RadačovskýjoinedtheBalletoftheSlovakNationalTheatrein1989.WithinashortperiodoftimehebecameaPrincipalDancer.In1992hewasinvitedHowever,beforejoiningNDTheacceptedasix-monthengagementasasoloistattheBalletoftheNationalTheatreBrno.DuringhistimeatNDThehadtheopportunitytoworkwithworld-renownedchoreographersin-ÉdouardLockandmanyothers.In1999heacceptedanotherofferfromoverseasto eaPrincipalDancerofLesGrandBalletsCanadiensinMontreal,Canada.HereturnedtotheBalletoftheSlovakNationalTheatrein2000asaguestsoloistandwasthe icDirectorfrom2006until2010.HewasalsothefounderofBalletBratislava,leadingthefrom2011untilitwasfinishedin2013.Sincethe2013/2014sea-son,hehasbeen icDirectoroftheBalletofNationalTheatreHeiscurrentlystudyingChoreographyattheMusicandDanceFacultyobtainedaBachelor’sDegree(2015).Radačovskýbeganchoreographingin2002withLesGrandBalletsCana-diensinMontreal.HisdebutwasaworkcalledTheLetterandhetochoreographotherworksinMontreal,includingInspiration(2002)andTrainStation(2004).AferreturningtotheBalletoftheSlovakNationalTheatrehecreatedChange(2005),MeetingwithaSwan(2007),Warhol(2007),68(2008)andEverest(2009).ForBalletBratislavahemountedtheHowever,RadačovskýchoreographedthemajorityofhisworksoutsideofSlovakia:inCanadafortheJeuneBalletduQuébecBolero(2006);in(2012)andBeethoven(2015);inSanFranciscoforDiabloBalletCompul-sive(2013).WorksthathehascreatedintheCzechRepublicareTrueLove(2012)fortheBalletoftheNationalTheatreBrno,SlavonicQuartet(2014)forthePragueChamberBalletandCarmen(2016)inJ.K.TylTheatrein esthathehaspreparedabroadarethemusicalMaríadeBuenosAireswiththeNationalOperettaTheatreinBucharest,Romania(2010)andRihardsDubra’sPianoConcertoNo.3(2014)fortheLatvianNationalBalletinRiga.作曲彼得••柴可夫斯基柴可夫斯基曾与音乐学生、小他十岁的安东妮欣赏柴可夫斯基作品的富孀娜婕克夫是，这二人从未见面，却交换了1200多封蕾音乐被评价为“太交响乐化”，就

《睡美人》（1890年）和《胡桃》（1892年），所有的这些作品都不是俄罗斯的。如和《叶涅金》对于俄罗斯的意义就像贝多芬的第九交响曲对德国的意义漫主义创作回到了芭蕾舞语言中。《两次到访布拉格，第一次执棒《叶甫根尼涅金》在俄罗斯以外的演出。他与安东宁沃夏的生平创作了优秀的《乐圣柴可夫斯基》。其中包括布拉格国家剧院的莱博•凡库里克。PyotrIlyichTchaikovskyVotkinsk,hewasthesecondeldestofsixchildren.Hebeganpianolessonsattheageoffourandbytheageofsix,havingatalentforlanguages,hecouldreadandwritefluentlyinFrenchandGerman.Whenhewastenyearsold,hisparentssenthimtotheImperialSchoolofJurisprudenceforthelessernobilityinSt.Petersburginorderto servant.Afterhismotherdiedofcholerain1854,hewasdevastatedandhislossledhimtofindconsolationinhismusic.In1859wasappointedasaclerktotheMinistryofJustice,wherehewasverysuccessful,beingpromotedthreetimeswithineightmonths.Justbeforehegraduatedin1862,heabandonedhislawstudiesandfollowedhispianoteachertothenewlyopenedSt.PetersburgConservatory.Aftermakingthedecisiontodedicatehislifetomusic,thefollowingyearheresigned

fromtheMinistryofJusticetostudyfull-timeattheConservatory.AfterfouryearsofstudyingseveralmusicaldisciplinesattheConservatory,helefttowhereheworkedfortwelveyearsanddevotedhimselftocomposition.Afterthefiascoofhisbriefmarriagewhichlastedstudenttenyearsyoungerthanhim,hesufferedanervousbreakdownandfledabroad,leavinghiswifeforever.Thankstotheemotionalandfinancialsupportofthewealthypatroness,NadezhdavonMeckwhoadmiredhiswork,Tchaikovskyfullyrecoveredandforthenextthirteenyearsshepro-himtoresignfromtheConservatoryandfocushistimeonwritingmusic.HetravelledacrossEuropewhereheconductedperformancesofhisworks.Interestingly,theynevermeteachother,howevertheyexchangedabout1200lettersovertheyears.ThankstoTchaikovsky,thestatusofballetmusicwaselevatedtoapreviouslyunknowndistinction.However,suchafundamentalchangedidnothap-penimmediay.Duringhislifetime,Tchaikovsky’sballetmusicwasconsideredtoo‘symphonic’,justastoday’scriticsconsiderhisworkstobetooTchaikovsky’smusiccoversawidestylisticandemotionalrange,saturatedwithpoeticexpression,melody,lyricismandsentimentality,aswellasdra-maanduttertragedy.Tchaikovskyexcelledprimarilyasamasterofinstrumentalmusicwithsympho-nies,pianoconcertos,violinconcertos,overtures,symphonies,suitesandcantatas.Healsocomposedmanyvocalensembles,ballads,operas,balletsandstylizeddancecompositions.TheOprichnik,VakulatheSmith,TheFancySlippers,EugeneOnegin,TheMaidofOrleans,Mazepa,TheEnchantress,TheQueenofSpadesandIolanta.Healsocomposedthreespectacularballets:SwanLake(1877),TheSleeBeauty(1890)andTheRussiantheme.Itishardtoimaginetodayanyballetsintheirrepertoire.Togetherwiththeoperaven’sSymphonyNo.9istotheGermansandwhattotheCzechs.symphonicmusic.Hisscoreswereinventive,withtalentorifitwasspontaneousatthatpointintime.Heintroducedintotheballetstheorderandtechniquesthatalreadyexistedinoperaticworks,enablingthedanceandcharacterstobelinkedtothestory.Themusicbecameanintegralpartoftheperformance,often ingthedrivingforthechoreography.Thealmostforgottenromanticinnovationreturnedtoballetli TheSleeBeautyandTheNutcrackeraccountfortherevolutionandturningpointinmusicalscoresforballet.Althoughthescoreswerewrittennumberswithdivertissementsandthechoreog-rapher’swishes,Tchaikovsky’smusicalgeniusandhisdeeprelationshipwithballetenabledhim,evenincludingtwovisitstoPraguein1888whenhecon-ductedthefirststagingofEugeneOneginoutside

tonínDvořákwhomheinvitedin1890toperforminMoscowandStPetersburg.LesswellknownisthechoralworkHymninHonourofSaintsCyrilandMethodiustothetuneandRussiantranslationofatraditionalCzechsacredsong.catedlife,richinnerworldandworkshaveinspired s.Primarily,thereisagreat1970BritishfilmdirectedbyKenRussell,TheMusicLovers,basedonthelifeandcareerofTchaikovsky.ThecharacterofTchaikovskyhasbeenbroughttothestagebyseveralchoreographers,includingUnfortunayintheballetworldtherehavebeenworksthathavetaintedanddegradedhislife,hisprivaterelationships.Testimoniesofalityandcharacterarediverse.Theyimplyontheonehandthathewasself-indulgentandapopularcompanion,whileontheotherhandtheysuggestthathewasdepressedandmelancholic,sufferingfromangerandanxietyattacksandunabletosolvehis alproblems.Therehasoftenbeenwidediscussionanddebateonandsuddendeathisstillapointofinteresttoday,speculatingwhetherhisdeathwasattributedtocholeraorifhecommittedsuicide.舞台设计Set霍利1998年毕业于布拉迪斯拉演艺术学院舞台和服装设计专业。洛伐克、捷克、罗马尼亚、立陶宛和等专业公司的工作。他参与的霍利曾为30多部戏剧、歌剧、芭蕾舞和音乐剧作品进行舞台和服装设计。他同时也进行了大量的电视 设计工作，为 设计了10多目他曾事过 设他斯伐内其国行数部 片设。同也一术海设。多年来，霍利一直与马里奥•拉达乔夫斯基一起合作。他们共同《珠穆朗玛》《皇后》《真爱》和《三次见面》等作品Marekinstageandcostumedesign.DuringhisstudieshecompletedspecialistinternshipsinTheNetherlandsandGreatBritain.Aftergraduating,hecollaboratedwithprofessionalcompaniesinSlovakia,CzechRepublic,designerhavebeensuccessfullypresent-edatmanyinternationalshowsandfestivals.drama,opera,balletandmusicals.Asignificantpartofhisworkiscreatingdesignsfor evisionprogrammesandstudios.Hehascreatedmorethan100projectsfor evision.Inthepasthealsodevotedhistimetoadvertisingdesigns.Asan hehasrecordedtwodozencommercials sbothinSlovakiaandabroad.Heisalsoengagedingraphicandposterdesign.Everest,Queen,TrueLoveandThreeMeetings.服装设计Costume帕特丽夏帕特丽夏•巴克是 演，也曾在多部乔治•巴兰钦的新古典作品中表演。她也曾出演肯特•斯托威尔、格伦•作品。她在肯特•斯托威尔编舞的《胡桃 目前，巴克是密歇根大急流城芭蕾舞团的艺术总监。职业背景使得她向舞蹈服装设计PatriciaPatriciaBarkerisbelievedtobeamongthemostnotabledancersoftheAmericanballetsceneattheendofthe20thcentury.BorninRichland,WashingtonintheUSA,shespentherentirecareerwiththePacificNorthwestBalletinSeattlewhereshewasaPrincipalDancer.Shehasdancedmanyofthegreatclassicalrolesfromtheballetrepertoire,aswellasnumerousneoclassicalballetschoreographedbyGeorgeBalanchine.ShehasalsoperformedmanyworksbyrenownedchoreographersincludingKentStowell,GlennTetley,JoséLimón,RudivanDantzig,LarLubovitchandWilliamForsythe.ShedancedtheleadroleofClarainKentStowell’sNutcrackertheMotionPictureandappearedasTitaniainBalanchine’sAMidsummerNight’sDreamfilmedbytheBBCattheSadler’sWellsTheatreinLondon.Currently,BarkeristheicDirectoroftheGrandRapidsBalletinMichigan.Hermoveintodancecostumedesignwaslogicalandsmoothasaconsequenceofherprofession.Shehasdesignedcostumesforawiderangeofproductionsandhasworkedasadesignerforinterna-intothefashionindustry,creatingcostumesfortheGrammy 2017中国—中东欧国家文化季简介：2017-CEECCultural2017中国-中东欧国家文化2017-CEECCultural大剧拥有一个开阔明亮的大厅。四周被玻璃环绕,随的星空蓝,顶面以天池为造型,四周墙面设计簧式地板,最大程度的保护演员的膝盖和颈椎。

多功能艺术空拥有一个座席数多达1078座ShanghaiInternationalDanceCenterTheatreisaperformance.Ithasagrandtheatrewith1078seats,andanexperimentaltheatrewith291seats.国际舞蹈中心实验剧场,简称为小剧场,与大外观小剧场显得棱角分明。大片的落地玻璃给剧场内外带来不同的感受。从广场凝视小剧场能看出创新的作品。观众席座椅采用清新的抹茶绿,GrandCenterGrandTheatrehasaspaciousandbrightthatitwillpresentdifferentimpressionstovisitorsastwospiralstairslocatedontwosidesofthelobby,oneinmodernstyleandtheotherinclassicstyle.Theyaddicfeelingtotheinteriordesign.TheGrandtheatrehas1078seats.Theoverallstyleofthenightblueandthecelling’sstructureisinspiredarebuiltintheformofripples.Thedomelightcanchangetheircolorstocreatedifferentatmosphere.Thestageisspeciallydesignedfordancingperfor-mances,with“springfloor”toprotectperformers’kneeandcervicalvertebrae.Allthelampsforthe

levelperformances.ExperimentalShanghaiInternationalDanceCenterExperimen-talTheatreislocatedattheothersideofsquarefountainandoppositetotheGrandTheatre.TheExperimentalTheatreismorean-gularcomparedtotheGrandTheatre’sinsideandoutside.LookingattheExperimentalTheatrefromthesquare,one

glasswall.TomaketheExperimen-talTheatreliveuptoitsname,thestagehereisdesignedexactlythesamelikethegrandtheatre.ExperimentalTheatreisdevotedinhelyoung stocreatemoreinnovativeprograms.Theseatsareinmatchagreen,whichbringsyoungvigourtotheauditorium.Theauditoriumisverysteeptobe“experimen-tal”,sothattheperformanceonstagecanbeobservedinalldifferentangles. 国际舞蹈中心的功能定位为“三个“一个”“一个平台”：即舞蹈艺术人才培养 际舞蹈中心管委会、理事会，由市分管副发起组建国际舞蹈中心发展，由

务、筹 资助舞蹈艺术活动与创作等工作 蕾舞比赛”、“中国舞蹈‘荷花奖’舞剧•舞蹈 at1650HongqiaoRoad.Covering39,100m2,withatotalbuilt-upareaof85,000m2,itisoneofthekeyculturalfacilitiesinShanghai’s12thFive-yearn.TheShanghaiInternationalDanceCenterisdesignedto“combinecultureandeducation”.Theprojectbe-ganonSeptember28,2012andnowtheCenterhasbeenopentothepublicsinceOctober1,2016.TheShanghaiInternationalDanceCenterisopenhereareShanghaiBallet,ShanghaiDanceTheatre,DanceCollegeofShanghaiTheatreAcademyandtheandsixvintagebuildings.cetotrainyoungdancers,choreographnewperformances.TheCenterispresentedtobe topdanceartbasewithagrowinginternationallishedtocoordinateonimportantissues.Meanwhile,mentFoundation,initiatedbytheShanghaiBallet,ShanghaiDanceTheatre,DanceCollegeofShanghaiwillbeinchargeofcommunicationsandfund-raisingforthefuturedevelopmentofdancearts.TheShanghaiInternationalDanceCenterconductsthecreativereformsandinnovationsonits

tionalmechanisminaccordancewiththeroutinesofart,therulesofeducationandth