{"id":798,"date":"2019-01-29T01:52:27","date_gmt":"2019-01-29T00:52:27","guid":{"rendered":"https:\/\/taniec.blog.polityka.pl\/?p=798"},"modified":"2019-03-06T22:36:41","modified_gmt":"2019-03-06T21:36:41","slug":"w-lutym-na-zywo-i-malym-ekranie","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/taniec\/2019\/01\/29\/w-lutym-na-zywo-i-malym-ekranie\/","title":{"rendered":"W lutym – na \u017cywo i ma\u0142ym ekranie"},"content":{"rendered":"

1 lutego<\/h2>\n

IX SYMFONIA wg Maurice’a B\u00e9jarta<\/a>, B\u00e9jart Ballet Lausanne i Tokyo Ballet, mezzo.tv<\/a><\/p>\n

https:\/\/www.youtube.com\/watch?v=EzYCClinsQ0<\/p>\n

Choreografia<\/strong>: Maurice B\u00e9jart
\nMuzyka<\/strong>: Ludwig van Beethoven<\/p>\n

1 i 14 lutego<\/h2>\n

ROMEO I JULIA<\/a>, Staatsballett Berlin, Deutsche Oper Berlin<\/p>\n

Choreografia<\/strong>: John Cranko
\nMuzyka<\/strong>: Sergiusz Prokofiew<\/p>\n

Hardly any other subject has been adapted as often for the dance stage as William Shakespeare’s Romeo and Juliet. One of the most performed adaptations for dance is by John Cranko. His version, which he created for the Stuttgart Ballet in 1962, has gone down in ballet history. And not without reason: John Cranko and his dancers \u2013 he is famous for that \u2013 have always gone in search of the depiction of true feelings. He did not shun emotions and did everything to write them directly into his choreographies<\/p><\/blockquote>\n

– www.staatsballett-berlin.de<\/a><\/p>\n