{"id":1011,"date":"2019-03-29T22:10:08","date_gmt":"2019-03-29T21:10:08","guid":{"rendered":"https:\/\/taniec.blog.polityka.pl\/?p=1011"},"modified":"2019-05-04T22:42:25","modified_gmt":"2019-05-04T20:42:25","slug":"baletowe-must-see-2","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/taniec\/2019\/03\/29\/baletowe-must-see-2\/","title":{"rendered":"Baletowe Must-See"},"content":{"rendered":"<h2>GIRL &#8211;\u00a0w kinach od 22 marca<\/h2>\n<p><!--more--><\/p>\n<p><strong>Re\u017cyseria<\/strong>:\u00a0Lukas Dhont<br \/>\n<strong>Scenariusz<\/strong>:\u00a0Lukas Dhont, Angelo Tijssens<br \/>\n<strong>Choreografia<\/strong>:\u00a0Sidi Larbi Cherkaoui<\/p>\n<blockquote><p>Mitem jest, \u017ce baletnice to delikatne, przewra\u017cliwione na swoim punkcie istoty. To \u017co\u0142nierki. Najbardziej wytrzyma\u0142e, ambitne i konsekwentne osoby, jakie znam. Nie bez powodu tak niewielu ch\u0142opc\u00f3w czy m\u0119\u017cczyzn ta\u0144czy na pointach &#8211; cho\u0107 s\u0105 oczywi\u015bcie szko\u0142y, w kt\u00f3rych tego si\u0119 uczy.<\/p><\/blockquote>\n<p>&#8211; <strong>\u201eKobieco\u015b\u0107 wyta\u0144czona na pointach\u201d &#8211; rozmowa Anny Serdiukow z Victorem Polsterem,<\/strong>\u00a0<a href=\"http:\/\/www.kino.org.pl\">miesi\u0119cznik KINO<\/a>, <strong>marzec 2019<\/strong><\/p>\n<p><iframe loading=\"lazy\" title=\"GIRL by Lukas Dhont (Official International Trailer)\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/Kdzu26tnUTc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h2>THE WHITE CROW (Bia\u0142y kruk) &#8211;\u00a0w kinach od 29 marca<\/h2>\n<p><strong>Re\u017cyseria<\/strong>: Ralph Fiennes<br \/>\n<strong>Scenariusz<\/strong>: David Hare na podstawie \u201eNureyev: A Life\u201d Julie Kavanaugh<br \/>\n<strong>Choreografia i konsultacja scen tanecznych<\/strong>: <a href=\"https:\/\/taniec.blog.polityka.pl\/2018\/12\/02\/zakochal-sie-i-uciekl\/\">Johann Kobborg<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"The White Crow | Official Trailer HD (2019)\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/IUYPHIG8os8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>W obsadzie<\/strong>: <a href=\"https:\/\/kazan-opera.ru\/team\/ballet\/principals\/oleg-ivenko\/\">Oleg Ivenko<\/a> (Rudolf Nuriejew), Ralph Fiennes (Aleksander Puszkin), Czu\u0142pan Chamatowa (Ksenia Puszkin), Rapha\u00ebl Personnaz (Pierre Lacotte), <a href=\"https:\/\/taniec.blog.polityka.pl\/2019\/02\/09\/slynny-fan-wladimira-putina\/\">Siergiej Po\u0142unin<\/a> (Jurij So\u0142owiew), Ad\u00e8le Exarchopoulos (Clara Saint), Anastazja Mieskowa (A\u0142\u0142a Osipienko)<\/p>\n<h2>1 i 12 kwietnia<\/h2>\n<p><a href=\"https:\/\/www.mariinsky.ru\/en\/playbill\/repertoire\/ballet\/giselle\">GISELLE<\/a>, Balet Teatru Maryjskiego, <a href=\"https:\/\/www.mezzo.tv\/fr\/Danse\/Giselle-au-Th\u00e9\u00e2tre-Mariinsky-1875\">Mezzo<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"Diana Vishneva - Giselle\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/YZJ2e071cTc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: Jean Coralli, Jules Perrot, Marius Petipa<br \/>\n<strong>Muzyka<\/strong>: Adolphe Adam<\/p>\n<blockquote><p>Mezzo emituje przedstawienie zarejestrowane w\u00a0Teatrze Maryjskim, w\u00a0jednej z\u00a0najlepszych ze znanych mi inscenizacji, zrealizowane na podstawie wersji Mariusa Petipy z\u00a01884 r. W rolach Giselle i\u00a0Albrechta ta\u0144cz\u0105 Diana Wiszniowa i\u00a0go\u015bcinnie Mathieu Ganio, \u00c9toile Opery Paryskiej. Jako Mirta wyst\u0119puje Jekatierina Iwannikowa, jako Hans \u2013 Igor Kolb. Lepszych wykonawc\u00f3w nie mo\u017cna sobie wymarzy\u0107. Je\u015bli ogl\u0105da\u0107 \u201eGiselle\u201d, to tylko w\u00a0takich obsadach.<\/p><\/blockquote>\n<p>&#8211; \u00a0<a href=\"https:\/\/taniec.blog.polityka.pl\/2019\/02\/28\/cwiczenia-z-rownowagi\/\">\u0106wiczenia z r\u00f3wnowagi<\/a><\/p>\n<p><strong>Na afiszu <a href=\"https:\/\/www.mariinsky.ru\/en\/playbill\/repertoire\/ballet\/giselle\">teatru<\/a> \u2013 2, 5, 7 kwietnia<\/strong><\/p>\n<h2><a href=\"https:\/\/shop.roh.org.uk\/collections\/recordings-and-books\/products\/akram-khan-s-giselle-dvd\">DVD<\/a> &amp; <a href=\"https:\/\/shop.roh.org.uk\/collections\/recordings-and-books\/products\/akram-khan-s-giselle-blu-ray\">Blu-ray<\/a><\/h2>\n<p><strong>GISELLE<\/strong>, English National Ballet<\/p>\n<p><iframe loading=\"lazy\" title=\"Akram Khan&#039;s Giselle: Trailer | English National Ballet\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/XbTfK-Q_vyM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: Akram Khan<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-1012\" src=\"\/wp-content\/uploads\/2019\/03\/8749adf9c50e4d3ef1346daeba01dcc6_2000x.jpg\" alt=\"\" width=\"1024\" height=\"1024\" srcset=\"\/taniec\/wp-content\/uploads\/2019\/03\/8749adf9c50e4d3ef1346daeba01dcc6_2000x.jpg 1024w, \/taniec\/wp-content\/uploads\/2019\/03\/8749adf9c50e4d3ef1346daeba01dcc6_2000x-150x150.jpg 150w, \/taniec\/wp-content\/uploads\/2019\/03\/8749adf9c50e4d3ef1346daeba01dcc6_2000x-300x300.jpg 300w, \/taniec\/wp-content\/uploads\/2019\/03\/8749adf9c50e4d3ef1346daeba01dcc6_2000x-768x768.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<blockquote><p>Acclaimed dancer-choreographer Akram Khan \u2018speaks tremendously of tremendous things\u2019 (Financial Times) and this new Giselle reimagines the classic narrative ballet for the 21st Century. Giselle had become a former garment factory migrant worker, Albrecht, a member of the wealthy factory-owning class. An abandoned \u2018ghost factory\u2019 haunted by the memory of female migrant workers, many of them victims of industrial accidents, replaces the traditional glade of Act II. There, Giselle\u2019s desire to break the cycle of violence will lead her to reconciliation with Albrecht and his release from the retributive justice of the Wilis.<\/p><\/blockquote>\n<p>&#8211; <a href=\"https:\/\/shop.roh.org.uk\/collections\/recordings-and-books\">ROH<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"Khan \/ Lamagna: Giselle (English National Ballet)\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/JAsRLQYqOm0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h2>4, 22, 26 kwietnia<\/h2>\n<p><a href=\"https:\/\/www.staatsballett-berlin.de\/en\/spielplan\/la-sylphide\/01-03-2019\/827\">SYLFIDA<\/a>, Staatsballett Berlin, Deutsche Oper Berlin<\/p>\n<div id=\"attachment_1002\" style=\"width: 1573px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1002\" class=\"size-full wp-image-1002\" src=\"\/wp-content\/uploads\/2019\/03\/fullsizeoutput_2f.jpeg\" alt=\"Staatsballett Berlin\" width=\"1563\" height=\"1140\" srcset=\"\/taniec\/wp-content\/uploads\/2019\/03\/fullsizeoutput_2f.jpeg 1563w, \/taniec\/wp-content\/uploads\/2019\/03\/fullsizeoutput_2f-300x219.jpeg 300w, \/taniec\/wp-content\/uploads\/2019\/03\/fullsizeoutput_2f-768x560.jpeg 768w, \/taniec\/wp-content\/uploads\/2019\/03\/fullsizeoutput_2f-1024x747.jpeg 1024w\" sizes=\"(max-width: 1563px) 100vw, 1563px\" \/><p id=\"caption-attachment-1002\" class=\"wp-caption-text\">Staatsballett Berlin<\/p><\/div>\n<p><strong>Choreografia<\/strong>: August Bournonville (wersja z\u00a01836 r. zrealizowana przez Franka Andersena)<br \/>\n<strong>Muzyka<\/strong>: Herman L\u00f8venskiold<br \/>\n<strong>Scenografia i\u00a0kostiumy<\/strong>: Marie i\u00a0Dali<br \/>\n<strong>Re\u017cyseria \u015bwiat\u0142a<\/strong>: Ellen Ruge<\/p>\n<blockquote><p>Klucz do sukcesu le\u017cy w\u00a0dobrym wystawieniu. Du\u0144czycy nie musz\u0105 si\u0119 tym martwi\u0107. \u201eSylfida\u201d nigdy nie wypad\u0142a z\u00a0ich repertuaru. Rekonstrukcja nie jest wi\u0119c konieczna, choreografia jest po prostu \u2013 zgodnie z\u00a0tradycj\u0105 \u2013 przekazywana z\u00a0pokolenia na pokolenie. Mi\u0119dzy innymi przez Franka Andersena, w\u00a0latach 1985-1994 i\u00a02002-2008 dyrektora artystycznego Kr\u00f3lewskiego Baletu Du\u0144skiego, wybitnego specjalist\u0119 od balet\u00f3w Augusta Bournonville\u2019a. To on pracowa\u0142 ze Staatsballett Berlin i\u00a0zagwarantowa\u0142 powodzenie przedsi\u0119wzi\u0119cia.<\/p><\/blockquote>\n<p>&#8211; <a href=\"https:\/\/taniec.blog.polityka.pl\/2019\/03\/26\/berlinska-sylfida\/\">Berli\u0144ska \u201eSylfida<\/a>\u201d<\/p>\n<p><iframe loading=\"lazy\" title=\"LA SYLPHIDE | Behind the Scenes #1 | Staatsballett Berlin\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/kOQY6eWf2uU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h2>4 &#8211; 24 kwietnia<\/h2>\n<p><a href=\"https:\/\/www.operadeparis.fr\/saison-18-19\/ballet\/rosas\">ROSAS<\/a> \u2013 Les Six Concertos Brandebourgeois, Balet Opery Paryskiej\/ Palais Garnier, <a href=\"https:\/\/www.mezzo.tv\/en\/Dance\/Les-Six-concertos-brandebourgeois-by-Anna-Teresa-de-Keersmaeker-at-the-Palais-Garnier-2090\">Mezzo\u00a0i Mezzo Live HD<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"Les Six concertos brandebourgeois par la compagnie Rosas (Anne Teresa de Keersmaeker) - Teaser\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/n4qZa7VcezA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: Anne Teresa De Keersmaeker<br \/>\n<strong>Muzyka<\/strong>: Jan Sebastian Bach<\/p>\n<h2>6 kwietnia<\/h2>\n<p><a href=\"https:\/\/teatrwielki.pl\/repertuar\/kalendarium\/2018-2019\/fredriana\/termin\/2019-04-06_19-00\/\">FREDRIANA<\/a>, <strong>PREMIERA<\/strong>, Polski Balet Narodowy, Teatr Wielki &#8211; Opera Narodowa<\/p>\n<div id=\"attachment_1014\" style=\"width: 843px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1014\" class=\"size-full wp-image-1014\" src=\"\/wp-content\/uploads\/2019\/03\/Fredriana.-Plakat-Adam-\u017bebrowski.jpeg\" alt=\"Fredriana. Plakat Adam \u017bebrowski\" width=\"833\" height=\"1200\" srcset=\"\/taniec\/wp-content\/uploads\/2019\/03\/Fredriana.-Plakat-Adam-\u017bebrowski.jpeg 833w, \/taniec\/wp-content\/uploads\/2019\/03\/Fredriana.-Plakat-Adam-\u017bebrowski-208x300.jpeg 208w, \/taniec\/wp-content\/uploads\/2019\/03\/Fredriana.-Plakat-Adam-\u017bebrowski-768x1106.jpeg 768w, \/taniec\/wp-content\/uploads\/2019\/03\/Fredriana.-Plakat-Adam-\u017bebrowski-711x1024.jpeg 711w\" sizes=\"(max-width: 833px) 100vw, 833px\" \/><p id=\"caption-attachment-1014\" class=\"wp-caption-text\">Fredriana. Plakat Adam \u017bebrowski<\/p><\/div>\n<p><strong>PRZYPOWIE\u015a\u0106 SARMACKA<\/strong> &#8211; balet Conrada Drzewieckiego w\u00a0jednym akcie na\u00a0motywach \u201eZemsty&#8221; Aleksandra Fredry<\/p>\n<p><strong>Muzyka<\/strong>: Stanis\u0142aw Moniuszko<br \/>\n<strong>Odtworzenie i realizacja<\/strong>: Emil Weso\u0142owski<\/p>\n<blockquote><p>\u201eNigdy nie zg\u0142\u0119bia\u0142em, co\u00a0stanowi istotne szcz\u0119\u015bcie w\u00a0ma\u0142\u017ce\u0144stwie; mniemam jednak, \u017ce dwie osoby dobiera\u0107 si\u0119 powinny, jak para koni: r\u00f3wny ch\u00f3d, r\u00f3wny zwrot, r\u00f3wny ogie\u0144, wtedy dobrze si\u0119 jedzie, a\u00a0mniej si\u0119 morduje. Ale kiedy jeden jest bystry, a\u00a0drugi leniwy, ten mi\u0119kki, tamten twardousty, ten ci\u0105gnie, tamten skacze; to\u00a0diab\u0142a warto!\u201d. Oto i\u00a0hrabia Fredro! Mi\u0142osne perypetie stanowi\u0142y jeden z\u00a0ulubionych temat\u00f3w jego tw\u00f3rczo\u015bci. Lekko\u015b\u0107 i\u00a0swada z\u00a0jak\u0105 je\u00a0prezentowa\u0142 inspiruje r\u00f3wnie\u017c choreograf\u00f3w najnowszej premiery w Teatrze Wielkim Operze Narodowej \u2013 \u201eFredriana\u201d.<\/p><\/blockquote>\n<p>&#8211; materia\u0142 prasowy TW &#8211; ON<\/p>\n<p><strong>M\u0104\u017b i\u00a0\u017bONA<\/strong>\u00a0&#8211; balet w\u00a0jednym akcie na\u00a0motywach komedii Aleksandra Fredry<\/p>\n<p><strong>Muzyka<\/strong>: Stanis\u0142aw Moniuszko<br \/>\n<strong>Libretto<\/strong>, <strong>choreografia i re\u017cyseria<\/strong>: Anna Hop<\/p>\n<div id=\"attachment_1015\" style=\"width: 2510px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1015\" class=\"size-full wp-image-1015\" src=\"\/wp-content\/uploads\/2019\/03\/3.-Anna-Hop_IMG_4594.jpg\" alt=\"Anna Hop\" width=\"2500\" height=\"1666\" srcset=\"\/taniec\/wp-content\/uploads\/2019\/03\/3.-Anna-Hop_IMG_4594.jpg 2500w, \/taniec\/wp-content\/uploads\/2019\/03\/3.-Anna-Hop_IMG_4594-300x200.jpg 300w, \/taniec\/wp-content\/uploads\/2019\/03\/3.-Anna-Hop_IMG_4594-768x512.jpg 768w, \/taniec\/wp-content\/uploads\/2019\/03\/3.-Anna-Hop_IMG_4594-1024x682.jpg 1024w\" sizes=\"(max-width: 2500px) 100vw, 2500px\" \/><p id=\"caption-attachment-1015\" class=\"wp-caption-text\">Anna Hop<\/p><\/div>\n<h2>7 kwietnia<\/h2>\n<p><a href=\"https:\/\/www.bolshoi.ru\/en\/performances\/2001\/\">Z\u0141OTY WIEK<\/a>, <strong>RETRANSMISJA<\/strong>, Bolshoi Ballet Live, <a href=\"http:\/\/new.nazywowkinach.pl\/bolsoj\/zloty-wiek-2\">nazywowkinach.pl<\/a><\/p>\n<p><strong>Choreografia<\/strong>: Jurij Grigorowicz<br \/>\n<strong>Muzyka<\/strong>: Dmitrij Szostakowicz<\/p>\n<div id=\"attachment_941\" style=\"width: 2010px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-941\" class=\"size-full wp-image-941\" src=\"\/wp-content\/uploads\/2019\/03\/Krysanova-Lobukhin_Golden_age_2016_10_13_by_Damir_Yusupov.jpg\" alt=\"Jekaterina Krysanowa i Michai\u0142 \u0141obuchin. Zdj\u0119cie: Damir Jusupow, Teatr Bolszoj\" width=\"2000\" height=\"1333\" srcset=\"\/taniec\/wp-content\/uploads\/2019\/03\/Krysanova-Lobukhin_Golden_age_2016_10_13_by_Damir_Yusupov.jpg 2000w, \/taniec\/wp-content\/uploads\/2019\/03\/Krysanova-Lobukhin_Golden_age_2016_10_13_by_Damir_Yusupov-300x200.jpg 300w, \/taniec\/wp-content\/uploads\/2019\/03\/Krysanova-Lobukhin_Golden_age_2016_10_13_by_Damir_Yusupov-768x512.jpg 768w, \/taniec\/wp-content\/uploads\/2019\/03\/Krysanova-Lobukhin_Golden_age_2016_10_13_by_Damir_Yusupov-1024x682.jpg 1024w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" \/><p id=\"caption-attachment-941\" class=\"wp-caption-text\">Jekaterina Krysanowa i Michai\u0142 \u0141obuchin. Zdj\u0119cie: Damir Jusupow, Teatr Bolszoj<\/p><\/div>\n<p><strong>Obsada<\/strong>: Nina Kapcowa, Rus\u0142an Skworcow, Michai\u0142 \u0141obuchin, Jekaterina Krysanowa, soli\u015bci, koryfeje i zesp\u00f3\u0142 baletowy.<\/p>\n<div id=\"attachment_1017\" style=\"width: 2010px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1017\" class=\"size-full wp-image-1017\" src=\"\/wp-content\/uploads\/2019\/03\/beginning-Yusupov.jpg\" alt=\"Zdj\u0119cie: Damir Jusupow, Teatr Bolszoj\" width=\"2000\" height=\"1200\" srcset=\"\/taniec\/wp-content\/uploads\/2019\/03\/beginning-Yusupov.jpg 2000w, \/taniec\/wp-content\/uploads\/2019\/03\/beginning-Yusupov-300x180.jpg 300w, \/taniec\/wp-content\/uploads\/2019\/03\/beginning-Yusupov-768x461.jpg 768w, \/taniec\/wp-content\/uploads\/2019\/03\/beginning-Yusupov-1024x614.jpg 1024w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" \/><p id=\"caption-attachment-1017\" class=\"wp-caption-text\">Zdj\u0119cie: Damir Jusupow, Teatr Bolszoj<\/p><\/div>\n<h2>9 &#8211; 20 kwietnia<\/h2>\n<p><a href=\"https:\/\/www.balletsdemontecarlo.com\/fr\/repertoire-maillot-lac\">LAC<\/a>, Les Ballets de Monte-Carlo, <a href=\"https:\/\/www.mezzo.tv\/fr\/Danse\/Lac-de-Jean-Christophe-Maillot-Les-Ballets-de-Monte-Carlo-2045\">Mezzo<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"Les Ballets de Monte Carlo in LAC\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/N4AqHEsyfdA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: Jean-Christophe Maillot<br \/>\n<strong>Muzyka<\/strong>: Piotr Czajkowski<\/p>\n<blockquote><p>En collaboration avec l\u2019\u00e9crivain Jean Rouaud, Jean-Christophe Maillot renoue avec les tourments d\u2019un r\u00e9cit qui s\u2019inspire de nos peurs d\u2019enfance et de nos terreurs nocturnes. Ces exp\u00e9riences enfouies sont ici exhum\u00e9es et associ\u00e9es \u00e0 un contexte familial machiav\u00e9lique qui sert de support \u00e0 un ballet en clair-obscur. Le passage de l\u2019\u00e9tat animal \u00e0 celui d\u2019\u00eatre humain interroge notre propre nature. Nous croyons \u00eatre diff\u00e9rents des animaux par notre capacit\u00e9 \u00e0 faire des choix. Mais en sommes-nous seulement capables ? Ne sommes-nous pas au fond tout aussi \u00e9gar\u00e9s que ce Prince ? Jean-Christophe Maillot nous le montre h\u00e9sitant entre le blanc et le noir, le bien et le mal, la candeur et l\u2019\u00e9rotisme. Peut-\u00eatre notre humanit\u00e9 ne repose-t-elle finalement que sur cette insatiabilit\u00e9 fruste qui nous d\u00e9finit depuis notre premier cri &#8211; Nous voulons tout!<\/p><\/blockquote>\n<h2>9 &#8211; 20 kwietnia<\/h2>\n<p><a href=\"https:\/\/www.balletsdemontecarlo.com\/fr\/repertoire-maillot-casse-noisette-compagnie\">CASSE-NOISETTE COMPAGNIE<\/a>, Les Ballets de Monte-Carlo, <a href=\"https:\/\/www.mezzo.tv\/fr\/Danse\/Casse-Noisette-Compagnie-de-J.C-Maillot-Les-Ballets-de-Monte-Carlo-79\">Mezzo<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"\u00ab Casse-Noisette Compagnie \u00bb pr\u00e9sent\u00e9 par les Ballets de Monte-Carlo\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/uanmLctek3Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: Jean-Christophe Maillot<br \/>\n<strong>Muzyka<\/strong>: Piotr Czajkowski<\/p>\n","protected":false},"excerpt":{"rendered":"<p>W kwietniu \u2013 na scenie, na du\u017cym i\u00a0ma\u0142ym ekranie, DVD i Blu-ray.<\/p>\n","protected":false},"author":10,"featured_media":942,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,145,198,130],"tags":[194,134,78,201,190,15,157],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/posts\/1011"}],"collection":[{"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/comments?post=1011"}],"version-history":[{"count":12,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/posts\/1011\/revisions"}],"predecessor-version":[{"id":1142,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/posts\/1011\/revisions\/1142"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/media\/942"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/media?parent=1011"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/categories?post=1011"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/tags?post=1011"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}