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Events

Tauwetter

Classical vocabulary meets modern movement language: "A dancer dares to try something different. The unknown, the new. But she doesn't say goodbye to what she has learned so far. She wants to continue there. But she is also happy to try something new and to gain undreamt-of experience. It is a bit the story of my life and that of many other dancers.

Heavy Lightness

Filipe Portugal wants to follow the footsteps from his ballet director Christian Spuck, who also started they choreographer career with "Jungen Choreographers" evenings. Portugal shows a coherente choreography on music by Arvo-Pärt. Heavy Lightness is much more strong than light.

Echo of Elements

My choreography focuses on the four elements fire, water, earth and air. On the one hand, I am interested in their characteristic properties. But much more I would like to find out what reaction the interaction of the different elements triggers in dance and movement. Starting point of our "investigation" are the birthdays of the dancers of the Junior Ballet.

disTanz

Portugal’s choreography takes the dancers to the very limits of physical possibility, and often incorporates the “beat” of the Bach in entirely startling ways. Rarely have I seen a dense collection of movements parallel a score so closely. A single note emphatically played, and a foot might strike out like a momentary afterthought, or an arrow-straight body suddenly crumple.

Stepping Over

Things take a happier turn in the world premiere of Filipe Portugal’s “Stepping Over,” set to parts of Philip Glass’ “Tirol” Piano Concerto. Women fall or swoon into guys’ arms; couples move through positions that are sensuous and chastely romantic by turns. Bodies stay flexible, pliant, almost melting into place.

Behind The Mirror

Ganz anders Filipe Portugals «Behind the Mirror». Der Pas de deux von Aurore Lissitzky und Cohen Aitchison-Dugas folgt dem zweiten Satz von Dmitri Schostakowitschs Konzert für Klavier, Trompete und Orchester in c-Moll. Und er folgt der Musik nicht einfach nach Noten, sondern in langen Atemzügen, mit weit gedehnten Gliedern und Bewegungen. Hochmusikalisch ist das, und deutlich wird auch hier der Lehrmeister: Heinz Spoerli.