Balanchine and Beyond

by Balanchine, Brown, Van Manen & Frohlich, music by Hindemith, Anderson, Beethoven, & Harrison
June 9, 2016 to June 12, 2016 Merriam Theater

Witness the diversity of human movement in George Balanchine’s The Four Temperaments, a ballet inspired by the medieval belief that human beings are made up of four different humors that determine a person’s temperament. In this ballet set to a score by Paul Hindemith, the dancers fill the stage with a variety of emotions ranging from gloom, to passion, to anger. In Hans Van Manen’s Adagio Hammerklavier, three couples enact a series of encounters which never quite achieve resolution. The dancers perform elaborate choreography alongside a bold score by Ludwig Van Beethoven, constantly disrupting the choreography in a beautiful manner.  Trisha Brown brings two poems to life in O zlozony/O composite, a company premiere for Pennsylvania Ballet. The choreography interweaves movement with verses as the dancers perform with a strange, dream-like quality to Polish recitations of the poems and a score by Laurie Anderson. A recent addition to Balanchine & Beyond is Varied Trio (In Four), by Jean-Pierre Frohlich. First premiered in 2013 by New York City Ballet, Varied Trio features a collection of short dances set to the music of Lou Harrison. 
Trisha Brown: In the New Body has been supported by The Pew Center for Arts & Heritage. 
Saturday, June 11, 2:00 PM
Saturday, June 11, 8:00 PM
Sunday, June 12, 2:00 PM

Balanchine, Brown, Van Manen & Frohlich

Born on January 22, 1904, in St. Petersburg, Russia, George Balanchine studied ballet and music in Russia before making his way to America. He gained notoriety as a young choreographer and co-founded the American Ballet. Balanchine was the co-founder, artistic director and chief choreographer of the New York City Ballet, and nearly every ballet company in the world has performed his work. He died in New York City in 1983.
George Balanchine began his training at the Mariinsky Theatre’s ballet school and after graduating he attended the Petrograd State Conservatory of Music. In 1922, George Balanchine married a 15-year-old ballet student named Tamara Gevergeyeva. This was the first of four separate marriages to dancers, and for each of his wives, Balanchine would make a ballet.
In 1924, Balanchine was invited to tour Germany as part of the Soviet State Dancers. A year later, the young choreographer joined Serge Diaghilev's Ballet Russes. At just 21 years old, Balanchine took over as choreographer for the group, one of the most renowned ballet companies in the world.
After the Ballet Russes collapsed, Balanchine created the company Les Ballets in 1933. Following a performance, American dance aficionado Lincoln Kirstein approached Balanchine about collaboration and the two began a 50-year creative partnership, co-founding the School of American Ballet in 1934. The following year, the professional company known as the American Ballet emerged, becoming the official company of New York's Metropolitan Opera until 1936.
In 1946, Kirstein and Balanchine co-founded a company that would become the New York City Ballet. Balanchine served as artistic director of the company, based out of New York State Theater at Lincoln Center. He produced more than 150 works for the company, including "The Nutcracker." While money was tight, Balanchine presented the dancers in practice clothes instead of ornate costumes.
In addition to ballet, George Balanchine choreographed Hollywood movies and Broadway musicals. He is known for his connection to Igor Stravinsky; Balanchine created many ballets to his work, some in collaboration with the composer. He made more than 465 works, which have been performed by nearly every ballet company in the world.
Balanchine created plotless ballets, where the dancing upstaged glitz and storytelling. His work never featured a star, as he believed the performance should outshine the individual. He is credited with developing the neo-classical style distinct to the 20th century. Balanchine served as the artistic director of the New York City Ballet until his death, on April 30, 1983, in New York City. 
George Balanchine. (2015). The website. Retrieved 10:56, Aug 03, 2015, from edits made.
Hans van Manen began his ballet career in 1951 as a member of Sonia Gaskell’s Ballet Recital. In 1952 he joined the Nederlandse Opera Ballet, directed by Francoise Adret, where he created his first ballet, Feestgericht, in 1957.  He later joined Roland Petit’s company in Paris. He began to work with Nederlands Dans Theater in 1960, as dancer (until 1963), and choreographer, and from 1961 until 1971 also as artistic director. For the following two years he worked as a freelance choreographer, until his appointment, in 1973, as choreographer/regisseur to Het Nationale Ballet in Amsterdam.
In addition to American Ballet  Theatre, he has staged his  ballets for the Stuttgart Ballet,  Bayerisches Staatsballett  Munchen, Berlin Opera,  Houston Ballet, the National  Ballet of Canada, Pennsylvania  Ballet, the Royal Ballet, the  Royal Danish Ballet, the State  Opera in Vienna, Tanzforum  in Cologne and for Alvin  Ailey.
In September 1988 Hans van Manen rejoined Nederlands  Dans Theater as resident  choreographer. In the meantime he has created over forty choreographies for this company. Hans van Manen is also a photographer and his work can be admired in exhibitions all over the world.
In 1993 Hans van Manen was awarded the German Dance Prize, for his influence in the German dance-world over the past twenty years.  
Credited to edits made.
Born in New York, Mr. Frohlich trained at the School of American Ballet. As a child he danced the role of the Prince in George Balanchine’s Nutcracker for three successive seasons and in 1965 Balanchine created a role for him in Don Quixote. In 1972, while a student, he appeared in the premiere of Jerome Robbins’s Watermill, later that same year he joined the New York City Ballet and in 1979 was promoted to the rank of Soloist. His repertory included A Midsummer Night’s Dream (Puck), Symphony in Three Movement, Mozartiana, Western Symphony, Union Jack, Danses Concertantes, Don Quixote, La Somnambula, Chaconne, Stars and Stripes, Valse Fantaisie, Apollo, Symphony in C, La Valse… He danced leading roles in Robbins’s Dances at a Gathering, The Goldberg Variations, Interplay, The Four Seasons, Fancy Free, Afternoon of a Faun, The Concert and Piano Pieces.
Mr. Frohlich has been seen nationally on such television program as the “Live From Lincoln Center” broadcast of A Midsummer Nights Dream, the “Great Performances: Dance in America” broadcast of Choreography By Jerome Robbins With The New York City Ballet and the 1987 ASCAP Celebration telecast, live from Wolftrap.
Mr. Frohlich became a Ballet Master in 1990 and one of his primary responsibilities in this capacity was to assist Mr. Robbins in staging many of his ballets and is now over seeing his repertoire at the New York City Ballet. Also upon Mr. Robbins death he appointed Mr. Frohlich to be a committee member for the Robbins Rights Trust in which he is serving. He has stage works for Australian Ballet, Ballet Frankfurt, National Ballet of Canada, Paris Opera Ballet, The Royal Ballet, The Birmingham Royal Ballet, San Francisco Ballet, Stuttgart Ballet, Ballet Geneva, Vienna Opera, Chicago Joffrey Ballet, Hamburg Ballet, Boston Ballet and Dutch National Ballet. In 1998 and in 2006 Mr. Frohlich received The Isadora Duncan Dance Award (Izzies) for the best stage ballets in the San Francisco bay area.
In 2011 Mr. Frohlich was appointed Artistic Administrator/Director of the newly formed New City Ballet’s “MOVES” touring company and has choreographed several works for the School of American Ballet and the New York City Ballet workshops. Recently his dance for two, Varied Trio (in four), had its New York premier at Lincoln Center with the New York City Ballet in 2014 and in 2015, Mr Frohlich choreographed and directed HOME (revisited) a short dance narrative film.
In 2015 Mr. Frohlich was awarded Officier des Arts et Lettre from the French Government’s Ministry of Culture.
                                                                                                                                                                                                                                                                                                                               Credited to Mr. Jean-Pierre Frohlich. 
After graduating from Mills College in Oakland, California, studying with Anna Halprin and teaching at Reed College in Portland, Oregon, Trisha Brown moved to New York City in 1961. Instantly immersed in what was to become the post-modern phenomena of Judson Dance Theater, her movement investigations found the extraordinary in the everyday and challenged existing perceptions of what constitutes performance. In this “hot-bed of dance revolution”, Brown, along with like-minded artists, pushed the limits of choreography thereby changing modern dance forever.
In 1970, Brown formed her company and explored varying cycles. The now iconic Set and Reset (1983) completed Brown’s first fully developed cycle of work, Unstable Molecular Structure. This cycle epitomized the fluid yet unpredictably geometric style that remains a hallmark of her work. Brown then began her relentlessly athletic Valiant Series, including Newark (1987) and Astral Convertible (1989), that pushed her dancers to their physical limits and exploring gender-specific movement. Next came the elegant and mysterious Back to Zero cycle in which investigated unconscious movement, works including Foray Forêt (1990), and For M.G.: The Movie (1991). Brown collaborated for the final time with Rauschenberg to create If you couldn’t see me (1994), in which she danced entirely with her back to the audience.
Brown turned her attention to classical music and opera production, initiating what is known as her Music cycle. During this cycle Brown created choreography set to J.S. Bach for Musical Offering, M.O. (1995) as well as Carmen (1986) set to the opera. Since then, Brown has gone on to direct four more operas, including, Luci Mie Traditrici (2001), Winterreise (2002), and Da Gelo a Gelo (2006) and most recently, Pygmalion (2010).
Continuing to venture into new terrain, Brown created O zlożony/O composite (2004) for three étoiles of the Paris Opera Ballet. Forays into new technology created the witty and sophisticated I love my robots (2007), with Japanese artist and robotics designer Kenjiro Okazaki.
Trisha Brown has created over 100 dance works since 1961, and was the first woman choreographer to receive the coveted MacArthur Foundation Fellowship “Genius Award.” She has been awarded many other honors and her success and contribution to the dance world has been tremendous.
Credited to edits made.