In the context of completing twenty years of its operation, the Higher Professional School of Dance of the National Opera (ELS) will present the anniversary performance “Progress”, today and tomorrow, at 8.30 pm, in the Stavros Niarchos Hall , under artistic. managed by Giorgos Matskaris Director (364 Syggrou Ave., Kallithea).
Students and students have the opportunity to perform excerpts from the classical repertoire and collaborate with renowned choreographers on original contemporary creations. In July, the School will tour Greece and Cyprus, for the first time in its twenty years of operation.
We had the pleasure of speaking with the performers at the ELS School of Dance’s anniversary show.
Giorgos Kontovas (Original music composition, orchestration, performance)
The study of the technique of the great Martha Graham Exceedance, choreographed by the professor of the School of the Greek Orthodox Church Olias Tornaritou, is in your own original musical composition, orchestration and interpretation. Are there particularities in making music for dance? If so, which one?
“Writing music for dance is a very special process. Even more so if it has to serve the Graham technique, which requires that the music has an active role and not a carpet. The purpose of this particular case is accepting the choreography, emphasizing it and giving it another dimension. This particularity has many restrictions, which bind the composer. His inspiration alone is not enough to complete the work. He must also follow certain instructions that have the choreographer “likes”, in terms of form, meter, tempo, style, atmosphere he wants to create, climaxes and silences at certain points in the work, etc. however, the autonomy of the piece of music is necessary to be served, as well as the aesthetics of the composer. In any case, I believe that this marriage of dance and music, to be successful, requires both parties to work together intensively, harmoniously and with mutual concessions, so that the result declares the two equal.”
For this particular composition, what was your inspiration and how was it reflected in the final result?
“Personally, I am very inspired by movement. From the dynamics of the dancers, but also from the inside they bring out. Like the “birth” of the choreography, the musical ideas are also “born” from my side through of improvisation. Later and after a lot of processing, the material reached the final form. Seeing the choreography, the dynamics they brought, I made some musical ideas, which I created in such a way that they clicked as much as possible in the choreography. Always influenced by what I hear and the music that I appreciate and love, I separate myself (as much as possible) and then always consultation with the choreographer Olia Tornaritou, endless phone calls, writings, deletions, transcendences, arrived at the form that we will give you in the next few days.”
Olia Tornaritou (Choreographer)
The students of the School will present the study of the technique of the great Martha Graham “Exceedance”, in your own choreography. What would you like to say to a viewer who comes in contact with the technique of the great choreographer for the first time. Is there any advice you would like to give to your students?
“In the beginning, I will tell the audience that they are going to watch a choreography based on the first modern dance technique, which, although it is more than 100 years since Graham himself did it, even today “evokes” the most intense emotions. He meets the technique that, as the choreographer himself says, “rediscovers what the human body can do”, using the dynamics of movement. , breathing, transformation, as well as gravity and three-dimensional movement.
Respecting the structure and basic principles of Graham’s technique, the audience will see the movement and music in perfect harmony and will be led to experience the dynamics, musicality, theater and drama that the American choreographer through in the multi-year project to him. Our 2nd and 3rd year students of the Higher Professional School of Dance of ELLS interpret this study with the aim, through the highest form, to find freedom of personal movement and expression, which will bring the viewer to it that journey.
My advice to my students is to always be patient, listen and trust their teachers. Dancing takes a lot of effort and what is gained through constant and hard work remains a gift for their entire dancing life, and beyond.”
Fotis Diamantopoulos (Choreographer)
The ELLS School of Dance completed 20 years of operation and for the anniversary performance you presented your own choreography of the emblematic work “Giselle”, based on the choreography of Jean Coralli, Jules Perrault and Marius Petipa. Does the new generation of dancers like classical dance?
“The ballet Giselle is considered one of the masterpieces of romantic ballet. Since its premiere in 1841, it has been performed continuously by all major ballet and opera companies in the world, in many different revivals.
We present excerpts from the ballet tailored to the needs and abilities of our school’s students. Classical dance remains central to the training of young dancers. Its beauty, its difficulty and the discipline required throughout the training and professional practice is and will always be a challenge for every dancer. The new generations, I believe, continue to appreciate and love the value of classical dance even though they have many different possibilities of expression outside of it.
What were the challenges you faced in teaching this particular choreography?
“The main challenge is to adapt the large dance ensembles in the first act to the needs of the departments of our school. Also, to teach the style and aesthetics of the specific work.”
Is there any advice you would like to give to your students?
“The advice without … one found from my experience so far is that insisting on detail and getting to the bottom of what we are dealing with is one of the elements that contributes to our evolution, especially to the people.”
AGAIN
Annual performance of the Higher Professional School of Dance ELS
June 21, 22, 2024
Start time: 20.30
Hall Stavros Niarchos ELS – SNFCC
GISELLE
Choreography: Fotis Diamantopoulos, based on the choreography of Jean Coralli, Jules Perrault and Marius Petipas, with the teaching collaboration of Lydia Kayou, Eleni Kladou, Elizaveta Basova and Vasiliki Spyridonos.
Music: Adolf Adam
Lighting design: Dimitris Koutas