14. VII - 14. VIII 2004.
BALET HRVATSKOG NARODNOG KAZALIŠTA SPLIT
Milko Šparemblek : PLESOVI EROSA / THE DANCES OF EROS
Gripe / Gripe Fortress
/ Music : RICHARD WAGNER - CARL ORFF
TRIUNFO DE APHRODITE
Richard Wagner: WESENDONCK LIEDER
Theatre adaptation of “Wesendonck Lieder” presented in “drama con musica” with singing, dancing and playing, actually represents a classical marriage triangle (one woman, her husband, another man), but, at the same time - with its musical sources and historic reality - it is an association to the legend of Tristan and Isolt. During his stay in Dresden Wagner lived in the house of a rich benefactor Wesendonck. An understated relationship was created between Wagner and Mathilde, Wesendonck’s wife, relationship full of ambiguity. Their encounter finished when Wagner left the house. Mathilde wrote texts, which were later set to music by Wagner himself under the name of Wesendonck Lieder. Some parts of that musical material could later be found in the opera Tristan and Isolt, and as very Wagner said, that episode with Mathilde Wesendonck very much contributed to his creation of musical drama about Tristan and Isolt.
TRIUNFO DE APHRODITE
Scene action, which is at the same time heretic, ceremonial, liturgical and mundane, describes the wedding ceremony of a newly wedded couple getting married according to the rural and tribal traditions. Although the ceremony has its own importance, it is, at the same time, an occasion for everybody present to meet, get happy and celebrate life. Music and dance take us to the worshipping sources of the ceremony, and the very ceremony soon becomes the centre of glorification of cosmic powers which rule this world. Triumph of Aphrodite is at the same time an oath to the everyday liturgy, song honouring love, but also a hymn to a human body and happiness which that body can bring.
Milko Šparemblek: ZA
KAZALIŠTE PLESA FOR
THE DANCE THEATRE
“Dance theatre”, “ballet theatre” - are all terms with significance wider than the field of ballet choreography. Elements such as decorum, light, costume, acting, text, equipment, etc…. have a significant part in a play, thus become an important part of a theatre dramaturgy. … All my theatre years have been oriented towards that direction; to make a theatre act out of a ballet show, where an easily legible dramaturgy is equally important as dance, which, nevertheless, remains the main support of the author’s attitude, but under a strict control of dramaturgic stream. Formal, stylistic option is not limited by a standard classic ballet vocabulary, but it overtakes - according the needs of drama and situation development - the elements from different dancing forms which could have their sources in folk, modern and contemporary techniques, social dances, or any other forms of movement of the human body.
ŠPAREMBLEK Uz Zagreb je vezano njegovo početno školovanje, studij
komparativne književnosti, kao i odluka da život posveti kazalištu.
Započinje u HNK Zagreb, 1947. Uči
kod Ane Roje i Oskara Harmoša, da bi četiri godine kasnije postao solist
baleta HNK Zagreb izvodeći klasični, suvremeni i nacionalni repertoar.
Studij nastavlja u
Parizu: klasični balet kod Preobraženske, Ilitch, Peretti..., zatim
francuskih trupa: Janine
Charrat, Ballet des Etoiles de Paris, Compagnie Maurice Bejart, Ballet et
Opera de Paris, Compagnie l. Tcherina, Compagnie M. Miskovitch...
MILKO ŠPAREMBLEK He finished his schooling and studies of comparative literature in Zagreb. Later he has decided to dedicate his life to theatre. His beginnings were in Croatian National Theatre in Zagreb in 1947. He was a disciple of Ana Roje and Oskar Harmoš, and four years later he became a solo ballet dancer in Croatian National Theatre in Zagreb, performing in classical, contemporary and national spectacles. He continued with his studies in Paris; classical ballet with Preobraženska, Ilitch, Peretti…, then he became a member of French ballet groups: Janine Charrat, Ballet des Etoiles de Paris, Compagnie Maurice Bejart, ballet et Opera de Paris, Compagnie I. Tcherina, Compagnie M. Miskovitch… He has been doing his own choreographies since 1955, all together his work counts more than hundred performances; ballets, films, TV productions, operas, dramas… He worked as a scenographer, TV director and dramaturge as well…(he made some forty films for different TV houses - France, Germany, Belgium, Canada, Brazil, Slovenia, Croatia). He studied modern techniques in New York: Graham, Limon. He was a ballet master at Ballet de XX siec. (Compagnie Maurice Bejart) in Brussels, manager of Metropolitan Opera Ballet in New York, and manager of Gulbenkian Ballet in Lisbon. He has cooperated with numerous reputable ballet and opera houses throughout the world and for his work has been awarded a great number of prizes in Croatia and abroad.
Rukovoditelj scenske opreme : Ivica Kalebić / Rukovoditelj EST-a : Ranko Dodig / Šef pozornice : Vladimir Vladušić / Svjetlo : Branimir Bokan / Ton : Marijo Bašić / Maskerski radovi : Božana Krstić / Vlasuljarski radovi : Marija Mitrić / Ženski kostimi : Neda Pilić / Muški kostimi : Davorka Dumanić / Rekvizita : Tomislav Puizina / Slikarski radovi : Petar Periš / Drvodjelski radovi : Mate Mamić / Tapetarski radovi : Gordan Ivanković / Bravarski radovi : Mate Vranjić / Izrada oglavlja : Ankica Matijaš