{"id":916,"date":"2019-02-26T19:09:02","date_gmt":"2019-02-26T18:09:02","guid":{"rendered":"https:\/\/taniec.blog.polityka.pl\/?p=916"},"modified":"2019-05-02T13:28:40","modified_gmt":"2019-05-02T11:28:40","slug":"baletowe-must-see","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/taniec\/2019\/02\/26\/baletowe-must-see\/","title":{"rendered":"Baletowe Must-See"},"content":{"rendered":"<h2>1 marca<\/h2>\n<p><a href=\"https:\/\/www.staatsballett-berlin.de\/en\/spielplan\/la-sylphide-napoli-3-akt\/01-03-2019\/827\">SYLFIDA<\/a>, <strong>PREMIERA<\/strong>, Staatsballett Berlin, Deutsche Oper Berlin<\/p>\n<p><strong>Choreografia<\/strong>: August Bournonville (wersja z 1836 r. przygotowana przez <a href=\"http:\/\/www.frank-andersen.com\/productions\/la-sylphide.aspx\">Franka Andersena<\/a>)<br \/>\n<strong>Muzyka<\/strong>: Herman L\u00f8venskiold<br \/>\n<strong>Scenografia i kostiumy<\/strong>: Marie i Dali<br \/>\n<strong>Re\u017cyseria \u015bwiat\u0142a<\/strong>: Ellen Ruge<\/p>\n<blockquote><p>August Bournonville, himself a fantastic dancer, ballet master and choreographer who learned his profession in Paris, developed his own ballet style, which is still espoused by the Royal Danish Ballet School to this day. To master a stupendous dance technique mainly aims at perfection in the artistic performance, which strives for natural expression in order to be perfect.<\/p><\/blockquote>\n<p><iframe loading=\"lazy\" title=\"La Sylphide: the history of August Bournonville&#039;s classic ballet | English National Ballet\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/_FfacMoAIdM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Kolejne spektakle: 3, 12, 22 marca; 4, 22, 26 kwietnia, 26, 31 maja<\/strong><\/p>\n<h2>1 &#8211; 19 marca<\/h2>\n<p><a href=\"https:\/\/www.operadeparis.fr\/saison-18-19\/ballet\/le-lac-des-cygnes#calendar\">JEZIORO \u0141AB\u0118DZIE<\/a>, Balet Opery Paryskiej, Op\u00e9ra Bastille<\/p>\n<p><iframe loading=\"lazy\" title=\"Swan Lake by Rudolf Nureyev - Behind-the-scenes\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/7d6aU1_DtPA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: Rudolf Nuriejew<br \/>\n<strong>Muzyka<\/strong>: Piotr Czajkowski<\/p>\n<blockquote><p>1911 : Paris d\u00e9couvre Le Lac des Cygnes gr\u00e2ce \u00e0 la compagnie des Ballets Russes. Cinquante ans plus tard, le ballet fait son entr\u00e9e \u00e0 l\u2019Op\u00e9ra de Paris dans une version chor\u00e9graphi\u00e9e par Vladimir Bourmeister, largement inspir\u00e9e par celle de Petipa. Mais celui qui va d\u00e9finitivement marquer l\u2019histoire du Lac des Cygnes s\u2019appelle Rudolf Noureev. Il est danseur \u00e9toile, chor\u00e9graphe et directeur du ballet de l\u2019Op\u00e9ra de Paris dans les ann\u00e9es 1980.<\/p><\/blockquote>\n<p>&#8211;\u00a0<a href=\"https:\/\/www.francemusique.fr\/musique-classique\/le-lac-des-cygnes-tout-ce-que-vous-avez-toujours-voulu-savoir-sur-le-celebre-ballet-de-tchaikovski-70262?fbclid=IwAR3glxXAz5yTlDa4kSv08ePji5VNODMy4ais-009VERLm9DxsQTkbRYeApk\">Le Lac des Cygnes: tout ce que vous avez toujours voulu savoir sur le c\u00e9l\u00e8bre ballet de Tcha\u00efkovski<\/a><\/p>\n<h2>1 &#8211; 23 marca<\/h2>\n<p><a href=\"http:\/\/alexekman.com\/swan-lake\/\">JEZIORO \u0141AB\u0118DZIE<\/a>, Narodowy Balet Norweski, <a href=\"https:\/\/www.mezzo.tv\/en\/Dance\/A-Swan-Lake-choreography-by-Alexander-Ekman-1859\">Mezzo i Mezzo Live HD<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"Ballett | A Swan Lake | Trailer | Ornithologist | Alexander Ekman | Nasjonalballetten\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/fYVNhjNCij8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: Alexander Ekman<\/p>\n<p><iframe loading=\"lazy\" title=\"A swan lake - Water rehearsal\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/4FkODnOM0x4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h2>2 i 15 marca<\/h2>\n<p><a href=\"https:\/\/www.mariinsky.ru\/en\/playbill\/repertoire\/ballet\/bahfon\">FONTANNA BACHCZYSARAJU<\/a>,\u00a0Balet Teatru Maryjskiego, <a href=\"https:\/\/www.mezzo.tv\/fr\/Danse\/La-Fontaine-de-Bakhtchisarai-Ballet-du-Mariinski-1702\">Mezzo<\/a><\/p>\n<p><strong>Choreografia<\/strong>: Rostis\u0142aw Zacharow<br \/>\n<strong>Muzyka<\/strong>: Boris Asafiew<\/p>\n<blockquote><p>Muzyk\u0119 skomponowa\u0142 Boris Asafiew, choreografi\u0119 stworzy\u0142 Rostis\u0142aw Zacharow. Libretto opracowa\u0142 Niko\u0142aj Wo\u0142kow, dodaj\u0105c epizod dziej\u0105cy si\u0119 w\u00a0Polsce i\u00a0wyja\u015bniaj\u0105cy okoliczno\u015bci porwania.<\/p>\n<p>Akcja zaczyna si\u0119 sielankowo pod koniec XVIII w. w\u00a0pa\u0142acu Stolnika \u2013 hrabiego Potockiego. \u2028Maria, jego c\u00f3rka jest zakochana w\u00a0m\u0142odym polskim szlachcicu \u2013 Wac\u0142awie. We dworze odbywa si\u0119 bal z\u00a0okazji jej urodzin. Przybywaj\u0105 go\u015bcie \u2013 ta\u0144cz\u0105 poloneza i\u00a0mazura. Hrabia og\u0142asza zar\u0119czyny c\u00f3rki. Wkr\u00f3tce mi\u0142y nastr\u00f3j psuje wiadomo\u015b\u0107 o\u00a0napadzie Tatar\u00f3w krymskich. Ich chan Girej zabija Wac\u0142awa i\u00a0porywa Mari\u0119 do swojego haremu.<\/p><\/blockquote>\n<p>&#8211; <a href=\"https:\/\/taniec.blog.polityka.pl\/2019\/02\/12\/ofiara-zazdrosci\/\">\u201eOfiara zazdro\u015bci. Obowi\u0105zkowa lektura baletowa\u201d<\/a><\/p>\n<p>Spektakl zarejestrowano 28 maja 2017 r. w\u00a0Teatrze Maryjskim w\u00a0Sankt Petersburgu.<\/p>\n<p><strong>Na afiszu teatru \u2013 16, 17 kwietnia; 14, 15 maja<\/strong><\/p>\n<h2>4 &#8211; 24 marca<\/h2>\n<p><a href=\"https:\/\/www.victorullateballet.com\/en\/coreografias\/en-gira\/el-amor-brujo\/\">EL AMOR BRUJO<\/a>, Victor Ullate Ballet, <a href=\"https:\/\/www.mezzo.tv\/en\/Dance\/El-Amor-Brujo-%28Love-the-Sorcerer%29-choreography-by-Victor-Ullate.-Teatro-Real-2002\">Mezzo<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"V\u00cdCTOR ULLATE BALLET El Amor Brujo\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/IOiub44w7yc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: <a href=\"https:\/\/www.victorullateballet.com\/en\/compania\/victor-ullate\/\">Victor Ullate<\/a><br \/>\n<strong>Muzyka<\/strong>: Manuel de Falla, Luis Delgado,\u00a0In Slaughter Natives<\/p>\n<h2>5 &#8211; 29 marca<\/h2>\n<p><a href=\"https:\/\/www.bolshoi.ru\/en\/performances\/3333\/\">COPPELIA<\/a>,\u00a0Balet Bolszoj, <a href=\"https:\/\/www.mezzo.tv\/fr\/Danse\/Coppelia-de-Sergey-Vikharev-Ballet-du-Bolcho\u00ef-1819\">Mezzo<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"Copp\u00e9lia - Bolshoi Ballet in Cinema (Official trailer)\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/rnc5J0qWsSo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: Siergiej Wichariew<br \/>\n<strong>Muzyka<\/strong>: L\u00e9o Delibes<\/p>\n<blockquote><p>Margarita Szrajner ma idealne warunki do wykonywania roli Swanildy \u2013 jest dziewcz\u0119ca, naturalna, z\u00a0wdzi\u0119kiem pokonuje trudno\u015bci techniczne, kt\u00f3rymi naszpikowana jest choreografia i\u00a0\u015bwietnie sobie radzi z\u00a0zadaniami aktorskimi.<\/p><\/blockquote>\n<p>\u2013 <a href=\"https:\/\/www.polityka.pl\/tygodnikpolityka\/kultura\/film\/1755412,1,recenzja-filmu-copplia-chor-siergiej-wichariew.read\">\u201eDziewczyna\u00a0o szklanych oczach\u201d<\/a>, POLITYKA nr 28 (3168)<br \/>\n\u2013 <a href=\"https:\/\/taniec.blog.polityka.pl\/2018\/06\/16\/balet-nie-tylko-dla-doroslych\/\">\u201eBalet nie tylko dla doros\u0142ych\u201d<\/a><\/p>\n<p>Spektakl zarejestrowano 10 czerwca 2018 r. w\u00a0Teatrze Bolszoj w\u00a0Moskwie.<\/p>\n<p><strong>Na afiszu teatru: 22, 23 i 24 marca<\/strong><\/p>\n<h2>8 marca<\/h2>\n<p><a href=\"http:\/\/cndanza.mcu.es\/en\/the-cnd-en\/cnd-repertoire\/carmen-johan-inger-2015\">CARMEN<\/a>, Compa\u00f1\u00eda Nacional de Danza, <a href=\"https:\/\/www.mezzo.tv\/en\/Dance\/Carmen-by-Johan-Inger-Compa\u00f1ia-Nacional-de-Danza--1873\">Mezzo<\/a><\/p>\n<p><strong>Choreografia<\/strong>: Johan Inger<br \/>\n<strong>Dramaturgia<\/strong>: Gregor Acu\u00f1a-Pohl<br \/>\n<strong>Muzyka<\/strong>: Georges Bizet, Rodion Szczedrin, Marc \u00c1lvarez<br \/>\n<strong>Scenografia<\/strong>: Curt Allen Wilmer (AAPEE)<br \/>\n<strong>Kostiumy<\/strong>: David Delf\u00edn<\/p>\n<div id=\"attachment_900\" style=\"width: 5248px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-900\" class=\"size-full wp-image-900\" src=\"\/wp-content\/uploads\/2019\/02\/cnd-carmen-jess-vallinas-1_35271451411_o.jpg\" alt=\"\u201eCarmen\u201d Johana Ingera, Compa\u00f1\u00eda Nacional de Danza. Zdj\u0119cie: Jes\u00fas Vallinas\" width=\"5238\" height=\"3492\" srcset=\"\/taniec\/wp-content\/uploads\/2019\/02\/cnd-carmen-jess-vallinas-1_35271451411_o.jpg 5238w, \/taniec\/wp-content\/uploads\/2019\/02\/cnd-carmen-jess-vallinas-1_35271451411_o-300x200.jpg 300w, \/taniec\/wp-content\/uploads\/2019\/02\/cnd-carmen-jess-vallinas-1_35271451411_o-768x512.jpg 768w, \/taniec\/wp-content\/uploads\/2019\/02\/cnd-carmen-jess-vallinas-1_35271451411_o-1024x683.jpg 1024w\" sizes=\"(max-width: 5238px) 100vw, 5238px\" \/><p id=\"caption-attachment-900\" class=\"wp-caption-text\">\u201eCarmen\u201d Johana Ingera, Compa\u00f1\u00eda Nacional de Danza. Zdj\u0119cie: Jes\u00fas Vallinas<\/p><\/div>\n<p><strong>Benois de la Danse 2016, VENICE TV AWARD 2018<\/strong><\/p>\n<blockquote><p>\u201eCarmen\u201d Johana Ingera jest inna. Dzi\u0119ki dodaniu, do muzyki Bizeta i\u00a0Rodiona Szczedrina, wsp\u00f3\u0142czesnej kompozycji Marca \u00c1lvareza udaje si\u0119 odrzuci\u0107 wcze\u015bniejsze skojarzenia i\u00a0nalecia\u0142o\u015bci, spojrze\u0107 na t\u0119 histori\u0119 od nowa.<\/p><\/blockquote>\n<p>&#8211; <a href=\"https:\/\/taniec.blog.polityka.pl\/2019\/02\/24\/baletowy-oscar-kobiety-tez-bywaja-okrutne\/?nocheck=1\">\u201eBaletowy Oscar. Kobiety te\u017c bywaj\u0105 okrutne\u201d<\/a><\/p>\n<p>Spektakl zarejestrowano 20 pa\u017adziernika 2017 r. w\u00a0Th\u00e9\u00e2tre de la Coursive w\u00a0La Rochelle.<\/p>\n<h2>8 i 26 marca<\/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<p><strong>Na afiszu teatru &#8211; 1, 24 marca; 2,5,7 kwietnia; 21 maja<\/strong><\/p>\n<h2>10 marca<\/h2>\n<p><a href=\"https:\/\/www.bolshoi.ru\/en\/performances\/442\/\">\u015aPI\u0104CA KR\u00d3LEWNA<\/a>, Bolshoi Ballet Live, <a href=\"http:\/\/new.nazywowkinach.pl\/bolsoj\/spiaca-krolewna-2\">nazywowkinach.pl<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"The Sleeping Beauty - Bolshoi Ballet in Cinema (Official trailer)\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/1wHXvkBhMrk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: Jurij Grigorowicz wg Mariusa Petipy<br \/>\n<strong>Muzyka<\/strong>: Piotr Czajkowski<\/p>\n<div id=\"attachment_918\" style=\"width: 760px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-918\" class=\"size-full wp-image-918\" src=\"\/wp-content\/uploads\/2019\/02\/gallery_img.php_.jpeg\" alt=\"Zdj\u0119cie: Damir Jusupow\/ Teatr Bolszoj. Materia\u0142 prasowy: nazywowkinach.pl\" width=\"750\" height=\"500\" srcset=\"\/taniec\/wp-content\/uploads\/2019\/02\/gallery_img.php_.jpeg 750w, \/taniec\/wp-content\/uploads\/2019\/02\/gallery_img.php_-300x200.jpeg 300w\" sizes=\"(max-width: 750px) 100vw, 750px\" \/><p id=\"caption-attachment-918\" class=\"wp-caption-text\">Zdj\u0119cie: Damir Jusupow\/ Teatr Bolszoj. Materia\u0142 prasowy: nazywowkinach.pl<\/p><\/div>\n<h2>14 marca<\/h2>\n<p><a href=\"https:\/\/www.operadeparis.fr\/saison-18-19\/ballet\/rosas\">ROSAS<\/a> &#8211; 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 Live HD<\/a> &#8211; <strong>Live broadcast\u00a0<\/strong><\/p>\n<p><strong>Choreografia<\/strong>: Anne Teresa De Keersmaeker<br \/>\n<strong>Muzyka<\/strong>: Jan Sebastian Bach<\/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>Na afiszu: od 8 do 14 marca\u00a0<\/strong><\/p>\n<h2>15 i 25 marca<\/h2>\n<p><a href=\"https:\/\/www.staatsballett-berlin.de\/en\/spielplan\/van-dijk-eyal\/10-03-2019\/788\">VAN DIJK | EYAL<\/a>, Staatsballett Berlin,\u00a0Komische Oper Berlin<\/p>\n<p><strong>DISTANT MATTER<\/strong><\/p>\n<p><iframe loading=\"lazy\" title=\"DISTANT MATTER | Teaser | Staatsballett Berlin\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/MI6CyIAE9Pc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: Anouk van Dijk<br \/>\n<strong>Muzyka<\/strong>: Jethro Woodward<br \/>\n<strong>Re\u017cyseria \u015bwiat\u0142a i\u00a0scenografia<\/strong>: Paul Jackson, Anouk van Dijk, Claus de Hartog<br \/>\n<strong>Kostiumy<\/strong>: Jessica Helbach<\/p>\n<p><strong>HALF LIFE<\/strong><\/p>\n<p><iframe loading=\"lazy\" title=\"HALF LIFE | Teaser | Staatsballett Berlin\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/E52CzEedSIw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: Sharon Eyal i\u00a0Gai Behar<br \/>\n<strong>Muzyka<\/strong>: Ori Lichtik<br \/>\n<strong>Kostiumy<\/strong>: Rebecca Hytting<br \/>\n<strong>Re\u017cyseria \u015bwiat\u0142a<\/strong>: Alon Cohen<\/p>\n<blockquote><p>Nie zawiod\u0142a mnie natomiast Sharon Eyal. A nawet otrzyma\u0142am wi\u0119cej ni\u017c si\u0119 spodziewa\u0142am.\u00a0We wrze\u015bniu opisywa\u0142am pokaz domu mody \u201eDior\u201d wiosna\/lato 2019, do kt\u00f3rego Sharon Eyal u\u0142o\u017cy\u0142a choreografi\u0119. W Berlinie obejrza\u0142am spektakl \u201eHalf Life\u201d, stworzony w 2017 r. dla Royal Swedish Ballet, kilka miesi\u0119cy temu przekazany Staatsballet Berlin i teraz wystawiany razem z \u201eDistant Matter\u201d Anouk van Dijk.<\/p><\/blockquote>\n<p>&#8211; <a href=\"https:\/\/taniec.blog.polityka.pl\/2019\/02\/18\/premiera-w-berlinie-sharon-eyal-tworzy-cos-nowego\/\">Premiera w Berlinie. Sharon Eyal tworzy co\u015b nowego<\/a><\/p>\n<h2>17 i 21 marca<\/h2>\n<p><a href=\"http:\/\/www.kinoluna.pl\/filmy\/yuli\">YULI<\/a>, 19. Tydzie\u0144 Kina Hiszpa\u0144skiego, <a href=\"http:\/\/www.kinoluna.pl\/wydarzenia\/2019-02\/19-tydzien-kina-hiszpanskiego\">Kino Luna w Warszawie<\/a><\/p>\n<p><strong>Re\u017cyseria<\/strong>:\u00a0Ic\u00edar Bolla\u00edn<br \/>\n<strong>Scenariusz<\/strong>:\u00a0Paul Laverty<\/p>\n<p><iframe loading=\"lazy\" title=\"Yuli - Zwiastun (19. Tydzie\u0144 Kina Hiszpa\u0144skiego)\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/mOSPW_Rfdqk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>MFF San Sebasti\u00e1n 2018: najlepszy scenariusz, 5 nominacji do Nagr\u00f3d Goya 2019<\/strong><\/p>\n<p><a href=\"https:\/\/www.polityka.pl\/tygodnikpolityka\/kultura\/1728860,1,rozmowa-z-carlosem-acosta-o-jego-niezwyklym-zamilowaniu-do-tanca.read\">\u201eNie boj\u0119 si\u0119 upadku&#8221; &#8211; rozmowa z Carlosem Acost\u0105<\/a>, POLITYKA nr 48 (3138)<\/p>\n<p><strong>16 marca<\/strong>, <a href=\"http:\/\/kinopodbaranami.pl\/wydarzenie.php?evnt_id=3942\">Kino pod Baranami<\/a>, Krak\u00f3w<\/p>\n<p><strong>19 marca<\/strong>, <a href=\"https:\/\/www.kinonh.pl\/film.do?id=15034&amp;ind=data%3D%26idCyklu%3D722%26typ%3Dcykl%26page%3D0\">Kino Nowe Horyzonty<\/a>, Wroc\u0142aw<\/p>\n<h2>21, 29, 31 marca<\/h2>\n<p><a href=\"https:\/\/www.staatsballett-berlin.de\/en\/spielplan\/onegin\/21-03-2019\/726\">ONIEGIN<\/a>, Staatsballett Berlin, <a href=\"https:\/\/www.staatsoper-berlin.de\/en\/\">Staatsoper Unter Den Linden<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"ONEGIN | Trailer | Staatsballett Berlin\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/sjbefjfkcco?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: John Cranko<br \/>\n<strong>Muzyka<\/strong>: Piotr Czajkowski<\/p>\n","protected":false},"excerpt":{"rendered":"<p>W marcu \u2013 na scenie, na du\u017cym i ma\u0142ym ekranie.<\/p>\n","protected":false},"author":10,"featured_media":920,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,145,130],"tags":[84,66,53,174,134,190,144,15,154,69,151,157],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/posts\/916"}],"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=916"}],"version-history":[{"count":18,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/posts\/916\/revisions"}],"predecessor-version":[{"id":1143,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/posts\/916\/revisions\/1143"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/media\/920"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/media?parent=916"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/categories?post=916"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/tags?post=916"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}