1995, Program for CND performances in Athens

MO

OAY

10

-T

E.O

11

1U L

CO MPA ÑÍ A N A CIONAL D E DANZA

D UENDE

Ir vreograp/¡y: I lacho Du ato Mu sic: Claud e Deb ussy: Pasl ora l. 1st part froln the Sonata for flute , viol a and harp (1\111)).

Syril1x, lo for flut e ( 1912/19 13).

Fil/al, last parl frU In the Sonata ror flutc , viola and harp (1916).

Dal1 Sf' sacrél!. el dal1se profane for harp and str ing orches tr a (J 904).

SeIs Walter Nobbe

CosllIm es Susan Ungc r

Liglrlil/g Desigll i olas Fi chlel

DLé,\O/

Wh at characterizes Ouato's working method is th at his ' ideas' for a choreographya almost always prcceded by his choice in music. Maybe this appl ics to Vl/ cl/de in lJalllC ular, beca use mu sic was the only source of inspiration for this b,lllet. Long ag.o Du, fell in love with Oebussy, espec ially with the way th e composer l11akes naturc ~ound music. When he listens to this music, Duato visualises slla pes not pcoplc.. rdalion\hi¡l or eve nts. This is why he considers DI/ende as an almost sculptural work: a lIou) movement , that goes with the t-un e.

Due/lde lite rally means elfs and fairies, like the o nes \Vho tidy up childn:n's toys ,1 1111 but it ca n also mea n raseal, a naughty child . One ca n " Iso possess dl/el/{It', whcn raJo ing energy and great charm, almost havi ng a magical attractio n. In Anua lusia il is fl amenco has dueflde, which can hardly be translated into anothcr language. has a touch 01' spell , one might say, Like the way blac k music has 'soul'.

More sim ply we migh t say due/lde is the graee of Gou, \ hich in thc artist m' ms ent».

CO R PERDUT

Clr orcof;raplry N,lCho Duato

MlIsi c Maria del Mar nonct

Co.\ II/1l1 eS al1d Liglrl De.\ign Nac ho Du ato

Ecos horeo 'raplry ac ho Duato

Musir Stcph an Micus

Sellil/gs Walter obbe

Coslum es Nac ho Du ato

Ligil l Desigl/ Ni co las Fisc htel

AnENA L

Cho reograplry Nacho Dualo

,'vfusi c Mari a del Mar Bonet

(Telllada de Segar, Ca rl a a L 'Hxili,

TOllada de Co l/ir Olives,

Dall SI/ de la Priml/ vera,

Callí:o de Rressol, /) cs dc lHal/orca a L 'A lFil/ el',

0 1'11 lral/ Nisi, TOllada de Segar.)

Se IS Walt er Nobbc

('().\ll/Ill<~S Nacho Dual o

Liglllill 'Design Edwarcl Effroll

C()n

PI'ROL' I

Cor Pcrdur is a pas-de-deux inspired by th e a talan version ni rhe song l3ir /)('11/1'1 I7I l!.n

by M' ue l Mar Bonet. This particular in t rp retati o n is b~bed upon a Ihcm

traditional nu ances composed by the Armenian M,J . Be rbcrian. <dt's no u,e en no use dyingldesire is strongerjil goe, its own way» , lame n!. the im prcssivc vOI,c ul del Mar Bonet, Her hypn ot ic power o n Ou ato, who ereatccl

COI'

Penllll as 11

present for the Majorea n sing r is unquestionable, consiclering th at two 01' Ihe cian 's most brilliant choreogra phies are .lardi Tal/ cal ( 1983) ami Arma! ( 19HR). music by tllis interpreter. To th e syncopat ic and hyp no tic rhythm 01' the TWli,ian cussion instrument, the twu dancers bring to life the chorel grap her's dynam ic and exp ress ive language with lhe sa me anxi ous nuency transmittcd by the micl' (" singer.

Eco\ For some time Stepha n Micus has bec ll drawll by his fasc ination rOl' the in~!

other cull mes. 1t is not t he cre ati on 01' exoti c sOllnding effccts t hat intercsts him.

cha llcnge uf discovering ncw sO llncls and sOllnd Cll ntc:xt s. The process ul

sounds fr om Elmar Daueher's enormous blocks 01' cut granile and scrpcnti nl' .

combinalionlVith flut e and vocall1l llsic reprcse lltccl éln enlirely ncw cxpcri c n(.~,

Iy beca use th ey are not tllned likc " normal» instrul11cnls. but conlain I11ml

tonal intcrva ls.

Ecos is bu il t upon this music, playing \Vith different symbulic va lues 01' lhis

so und material: the hugc buildings th at were built

LO

illll11ortalizt: tht:ir creal"

IV I U O 1/ IlL D 1"'/. 1 Tlze appoill/l1I el/l oJrenowned dance and chore­

C Ii IIl ' lÑí l

ograph er Nacho Dua/o as A r/is/i c Direelor of CN. D. ill .!ul1e 1990 has m eal// 1I11 innova/ive challge in/he CUl1lpC/Ily's his/O/y. 1/ was Dua/o's .flrm in /ell/ion/o /rall sj'ol'//7 /11(' COl17pal'iia in/o a baile/ wi/h a persol/ ality of' i/.I' OWII in which, wi/h oulneglec /illg /h e classical precepls, a more cOII/emporay sfyle is adoPlecl. To achieve /his, he inc/uded in /h e company's reperloire lI eIV choreographic ¡liarle crealed espec;ia /~y Jor i/, 10­ gelher wilh olh er work's ofprovell qllalily, recog­ lI izec! worldwide. Moreover, Nacho Dua/o CUII­ Iribllles lO Ihe CN. D. wilh hi,l' work as a ehoreo­ grapher, pmi.l'ed hy critics all UJier /h e lVorld alle/ awarded prizes hy /h e experls.

DU(lIo is ('o nr.:C'l'/u!d wi/h filldillg /h e balal/ce be­ Iwerll chor('ogmphy, hal/e/ a/lil a way oJ lije. As he sees i/, lIl e richnes.\· oJ Sp(fnish Cullltre: al/e/ fo lklore COlls/i/Ul rs (f l/ illexhallslable sourer jór his works.

71J(! CN. D. was f óull ded in / 979 under /h e nam e oI BaIle/ Nacio/lal de ESp!lIla C!asieo, (llld ils jir.l'/ Direc /or was Viclor V I/a/e, a greclI Spani.l'h e/al/ cer who had workedfór m!l/'ly yea rs ill ¡\l/aL/rice /Jéja rt 's Ballels du XXem e Siécle.

During Ilris period /h e Bal/el, ([bU/ulanl lVi/11 young Sp({nish dan cer.\', perlormed in 1/l({IlY Spanish cil¡es ane/ made ils firsl /our in f oreign cOl/n /ries.

In 1983 Ihe Direclion of th e Ballets Nacionales - Espcl/iol y e /asico - was pulullder Ihe c{¡({ rge

01 well-kll owl/

dance leacher Maria de Avila, who sy.\/emized Ih e intern al work of /h e Ballel and placee! special emphasi.\· on openillg ils doors /o dall ce styles lha/ were ve/y imporla/lI lhough hare!/y k/lOwn in Spain, slIeh as Ihose of George Balall chill e a/7(/ A nl!zol7y Tudor. H Ol I'­

ever, Ihe Ballet, nol only impor/ ed greCil j'oreigl1 choreographic crealions blll il a/so slarled slag­

ing pe/forman ces of its OW/1 crea/ions.

highlighting their own insignificance , the f1eetingness ami fragility of their

existence~:

those stones, piled up high in order to be closer to God, were finally extremely attachcJ

to earth, and in many cases, became covered by it. It also refers to the power or energ\

Northamerican dancer and choreographer liv­ of some megalithic elements worshipped by remote or present religions: man addres'·

ing in Spain, in charge of a number of choreo­ Maria de Avila put Ray Barra, a former

es his payers to a lifeless subject which, in this way, becomes the genesis of his spiritual

graphies, and later offered him the post of As­ sistant Directo!; which he luld until 1990.

life. Perishable/timeless, vain/magnificent, lifeless/a live, matterlspirit,

binomials constitute the inspiration of the spirit of 1:'eos.

In December 1987, Maya Plissetskaya was ap­ pointed as the ballet 's Artistic Director. The ex­

. 1fU 11 Aren al is a choreography by Nac ho Du ato, inspired by songs of Maria del Mar Bonet.

In this ballet. the choreographer's purpose has been to show lhe uninbibiled cheerful·

contribution to the repertoire was the fulllength ness of th e Mediterranean personality contrasting with the everyday struggle ror life.

ballet La Fille Mal Gardée, based on the ver­ Duato makes thi s contrast very obvious. On the one hand, there is the dancing ora

sion of Marius Petipa and the produetions ofA. group of men and women motivated by the pure joyfulness of musie. Its jubilation i~

Gorsky and A. J\1esserer. reflected in the clear movements of the dances (pas-de-deux, pas-de-trois, pas-de.

Throughout these years Ihe C.N.D. has built up a so lid reputalion, giving a great number ofper­ quatre) to Greek songs translated into Catalonian, and Majorcan ones by Maria dcl

Mar Bonet.

formanees as well as touring in Spain and On the other hand, one woman dancer stands apart, dancing alone to four songs which

abroad: Franee, Austria, German)', Switzer­ are performend a cappella. These songs are of él realistic content and seem to arise al

land, Cuba, Taiwan, Israel, Russia, Mexico, Ita 1)', Venezuela, Japan, Argentina, Puerlo Ri­ an agonizing outcry of the heart. The dancer's movements are nearer to tbe ground

co, lhe Uniled Kingdom, Canada and Ihe U S. than those of the others. This is lO express the influence of the land. Colour, choreog·

As of 1990, lhe C.D. has started on a new path raphy, movement, everything is undeniably MediLerane an.

as a slable compan)', oecupying a well-earned Nacho Duato had worked bcfore with Maria del Mar Bonet in another ballet, Jaul

traordinaJY Russian dancer introduced various

works ofthe classieal repertoire. An oUlstanding

place in the inlemational dance scene.

Taneal. «Her music constitules an important source of inspiralioll for my wor!o>, says Ihe

choreographer. "While I was listening to her record Gavines 1 Dragans, the idea ojAre·

na! immediatel)' OCCWTed to me. At once, 1 began to consider the possibility of Maria di'

Mar Bonctjoining us to give a Uve perlilrmance ofher songs». Duato see s Arenal as an ex·

tension of his first work, Jardi Tí/nWl, «/hough it is m ore vital. more ¡¡ve/y, morr jáit/¡fil!

lo Ihe inner /y/hm of Ihe songs Ihemselves, wil/WUl abandoning Ihe real world of peoplr

and ofwor!o,.

«1 have always known that my songs were born with rythm , but I only really became

aware of it the day Nacho Duato da nced to them. When I saw the first choreogra·

phy,Jardi Tuneat, [was quiLe cxcitcd. He had given them another Iife, they \Vere in·

dependent and at the same time tied to me , yet they had acq uircd a new palpitation.

they had Laken a different road.

Thcre is sOll1cthing in Arenal thaL has always fascin atcd me: the trea tment of th,

Majorcan work songs which [ sing a capella. These are songs which form pan of out

earliest M ajo rcan trad iti on, but which are no longer sung wbcre they come from or what they were created for, i.e. work in th e field s. There are hardly a few places in Maj orca where work in the countryside is st ill t he same as fo rty o r fiĂş y years ago .

Ho wever , when

acho has used thos e so ngs for his choreographics he has g ive n

them back thi s role of uniqu e pieces. as if lhey were preciou s s[(lIles.

While JaÂĄ'di Taru:al \Vas so fu ll of life , in Arenal 1 have di scoved an inner pass ion . 1 will never tire of r e pcati ng t hat these choreogra phics of N ac ho Du a to ha ve hee n one of the most preciollS arlistic p rese nts

r have ever received . 1 believe [h ey helong

to that type of thin g which gocs hand-in-hand with so deeply felt emo tion s [ha t it can ha rdly be cxpres sed in words.

Than k you,

ac hoÂť .

Maria de l Mar Banet

71

'J J J U R S D J\ Y

13 - r

R I D :\ Y

14

L\

COMPAÑÍA NACIONAL DE DA NZ A ,.\.II/(lS,1/ [) 1.\"(1. ('{J.\I/'. I.\ \

'!'.I/V)

R ETURN TO THE STRA NGE L AND

Ch oreography Jirí Kyli an

Musi e Leos Jan ,icek

(Sonata 1s1 October 1905, Ovelgrown Path,

[n the Mis/ ).

COs lUm es Ji i'í Kylian

Lighl D esign Joop Caboort

R eslagi ng Arl e tt e va n Boven/Jim Vincent

RASSEMBLEME NT

Ch o reography Na cho Du a to

Musie Toto Bi ss ainthe (Basab léman)

S een ely Walter N o bb e

Co slumes N acho Du ato

L ighl Design Nic o las Fi schte l

accord ing to th e o ri g in a l des ign

by Dick Limdsctr b m

Slaging Lena Wennergre n-Jur as

MED1TERR ANIA

Ch o reography Nacho Du a to

Mu sie J e ronimo M esso/ A M a hmoud

T a brizi / P ete r Gri ggs/J u an

A . Arteche/Javie Paxariño

Seis N ac ho Du a to

Coslum es Lu is D evo ta

a nd M odes to L o mba

Lighl Nic o lás Fischtel

Rf TLRN TO TI/r: .\ TR , lI''"ciF

L I NO

On the sudden death of the choreographer and director John Cranko, in the sum­ mer of 1973, the former director of the Stuttgart Ballet asked me to create a ballet in his memory. 1 made a pas-de-trois on the music of Leos Janácek, namely the last part of his piano sonata OClober the 1st, 1905. In 1975, 1 used this as the final piece of Return lo the Slrange Land. The title is a contradiction. How can you return to a land where you have never been before? This ballet is about death and reincarna­ tion: disappearance, reappearance, death and rebirth were its main sources of in­ spiration. Although the physical existence ends, the particles reappear in a different shape. These particles «know» the «unknown land». They are part ofyou until they return to the strange land.

This is one of my first works. The role of c1assical elements and patterns is more pro­ nounced than in my later works. A highly important starting point was the emotion existing inside the body. Dresses are reduced to a minimum. This ballet is made up of a pas-de-trois. They imply slow reincarnation processes. At the end, the sensation is created that something abstract has taken life from inside the bodies. The return, full of yearning for the past, takes us to an apparently well-known place, to an un­ known presence. Can it be the premonition of death?

For a long time 1 had felt the urge to do something with Janácek's piano music. It seemed to me that this assignment was the ideal opportunity. As a rule, 1 work the other way round. Normally, the idea springs forth from the music. The ballet starts with the first part of the sonata for piano Oclober the 1st, 1905. This is followed by the mazurka from Overgrown Path and the first part of In the Mist, to end with the last part of the piano sonata. His mu sic is at all times rooted in people and their emotions, which explains its close resemblance to popular songs.

Jirí Kylian

R .·I SSEMBLéJIF i' T

This time Duato has turned to Haiti and the music of Toto Bissainthe, with drive and sway, to create a work inspired in the crisp, clearcut style of Jardi Tancal. Four couples in shades of grey working c1othes, start calmly and build up to an arresting finish, with the word ,diberté» repeated in the songo

Rassemblement is a creation which gradually, through the liberating powers of mu­ sic and dance, proves to be an impressive, thrilling and audience-affecting human rights appea!.

These songs are mostly slaves' songs from the Voodoo culto They express the daily life of the slaves, their longing for Africa, not as a geographical reality, but as a mythical land of freedom. They express their resistance and their refusa!: resistance against the colonial master, refusal of his politics, his religion, his culture and his language.

Their new consciousness created bonds between the s[aves in their new \Vor[d, which enabled them to gain their independence . T hey beca me revo[utionary pcasallts, fn:e peasallts and from being free peasants bccamc servi le peasants. Durin g the

hi~to rl

of Haiti, the face of the master has often ehanged. We know his present facc , di,· guised withh the make-up of the tourist tratlc , whi eh when uncovered, rcveals mi,· ery, exploitat ion and violence . One ca n then rec ogn ise that the present network 01 economic interests, under the cover of good works s uch as cultural and re li giou, missio ns, binds the present power structure to imperialism. Capital, developing in Haiti, has tran sformed the sense of Voodoo. The ethnographer came first, and thel ' the tourist for whom folklore was reproduced for exotic excitement. Voodoo, which for the poor and exp loited peasants, had been a ce[ebration of the African roots llf their daily more unbearab[e way of life , became a «re [igioll>" one of the too [s 01 power.

We do not sing the «Voodoo phenomenon)). We do not lean pleasantly on the beau· ty of these songs; our work lead s us in a different direction , LOwarcls anoth e r sort of authenticity. The birth of Voodoo in a land of exi le, the first common languag( among s [aves of different et hnic backgro und s, \Va s a vita l ereative moment, a cu lturo al unification which was to transform the world: nn open ing for the confined. That i, the moment we sing about. Using the tradition a '[ music of Haiti, we meet witll other musical forms to open a way towards a contempomry music that knows no fronticr"

¡\!IIHI'/IIIi . ! ,\ .,

It is usually music which inspires me when creating a new ballet. On this oceasion.

however, the sea and its lig ht , the fire and its meaning in our own culture, as \Vell a,

the fertility of land have been my sources of inspiration to crea te thi s choreograph)

dedicated to the Valencia n eommunity.

With this work (w ould [ike to express some intimate feelings and imagcs: the preso

ence of my roots' very esscncc which -even having been abroad for long periods llf

time and influeneed by various other cultures- I a lw ays felt in the blood 01' my veins,

I have avoided llsing f'olk elements, historie referenees, anecdo tes or allllsions 10

charactcrs , trying instcnd to eommlll1icate, throllgh movemcl1t, the sensuality of (he

landscape, the scnsitivity of its inhabitants and thei r uninhibited worship to the

ephemeral, so chnraeteristic of this community.

Overlooking the stereotype ha s meant abandoning the artifiees of ll1usic, cost umc,

and scenogTaphy in order to reaeh a si mplification. This may see m somewhat C(lld if

compared with th e exuberance in the daily li ves of our people; but ( do hope to ex·

press that vitality throllgh 1l10vement.

In order to achieve thi s 1 have ll sed percllssion and wind sOll nds always wrappcd up

with the constant beating of water. 1 did this not o11 ly beeause th ey identify Valen·

cian cul ture, but also beca use th ey have he lp ed me to find o u t movem e nts cl oser to the earth , o f a telluric streng th, and th e refore to get a be tter co ntrast for the mos t deliea te move ments. Thj s is exemplified in the pas -de-deux o f El Az a har or El Ma r. [ have si mply wa nte d to dee ply re traee my roo ts and th ose of my ances to rs. 1 h ave lrie d to pee l th e ora nge to ge t to its f1 es h, the pl ayful and sensu a l s pirit o f this land , al ways intimate ly rel a te d to the sea. [ dedi ca te this ba ll e t to th ose wh o , as myse lf, feel acco mpli ces with th e Mediter足 ra ne a n.

Nacho Duato

NACHO Dl\i O

'\cderlands Dans Theater and Nc der­

Born in Yalenc¡',. Sp" in. in 195 7, 'lach o

lands Dans Theater 2. for instan ce, Dal1'

Du alo 'l"rlcd hi s rrok;,io nal ba ll et

1(1

training \Vitb the RamlJert Sehool in Lon­

SJIII!llllIIí

y Rito (Chavez), Um' lIi (Respighi ),

REVIEWS

AND

Fro01 Madrid, a Troupe Based in Earthy

C O;V¡ lvtEN TS

«f or Nacho Duat o, as for mosl contcm­

I'assion...

porary Europea n masters, choreograpll\

(Rave l), Arenal (Maria del Mar Bonet),

«Mr. Duat o. asked to take over a classiea l

does not mean mere decoration or cnter­

Chansons /vladéra.ucs (Rave l), and Rap­

ballet

(Xenaki s/V¡)ngel is), Boléro

don at the age of eighteen. To expa nd , tudies he joined Maurice Béjart 's Mu ­ dra School in Brussse ls and complcted

¡us to Richard Wagncr's Wescl1dol/k

stylistica lly. mixing modern and ballet id­

mentin g the co ntemporary 1I'0 rld. inflo­

hi s dance education at The Alvi n Ailey

U eder.

iom, . ll e has raised it to an inte rnational

vating movemcnts and attitudes, selecting

leve \. »

olle', material , defin ing one's codcs. l·.'­

American Dance Ce nter in

ew York .

In 1980, at Ihe age of 23, Nacho Duato si~ncd

his first profe ss iona l contnlCt

" il h the Cullb erg Ball et in Stoc kh oi m,

For

alm05t

painter/de5igner Walter

eve ly

work

obbe proved

cammp~ n y

The

an inspi ring and re\iable co llaborator. In

le\\'

in 1990, revamped it

York

T ilTle~ .

Anna Ki. ')clgoff (I3¡5¡q4 )

1988 Nacho Duato was named Re sid ent Cho reographer for

and ayear I"ter Jirí Kylian brough t him

lil ca ter - next lo Hans van Mané' n and

lo the Nederlands Dans Th ea ler in Hol­

Jirí Kylian.

perh aps ev¡;n a choreographic find» Nol\' Yurk Pos t. C1 ive Barn os (13/5194)

land, where he was quickly in corpora ted

With the growing demand of internation­

into the company ami ils repert oire.

nal co mpanics reqll cst ing his \\'orks

In 19K7, he received th e YSCD Gouden

th eir repertoire - i.e. The Cullherg Ballet,

"Th e sheer qua ntity of dancing, move­

Dansrrijs (Golden Dan ce AlVard) for

Th e fr ankfurt Ballet, The Gulbenkian

ment invention, and emot ion onstage was

his achieve ment s as a dancer.

Ballet, Les Grands Ballets Canadicns,

stagggering in Ihe six picccs, all by him ,

Nacho Duato's natura l talent had him

Ballet Teatro Lirico Nacional

rOl'

Nacho

that comprised the U.S. debut of his

soon look beyond the limit ations of a

Duato was foreed to make a deeisive step

Comparl ía Nacional de Danza. The

dancer and turn towa rds choreography.

towa rds ehoosing his ruture carce r. Be­

dancc rs' appetite for nlOving, their deft

His first att emrt in 19H3 turned into a

ing5011ght after by a number of important

spced and their ., trcngt h as wdl aS flcxibil­

major succes,: Jardí Tal/cal to

ope ra hOllses and balletcompanies, it \Vas

ity made thcm dcscrvedJy popular with

ish/Catalan music by compatr iot Mari a

th e ca ll of the Min isterio de Cultura 01' his

th e City Cc nter audie nces...

del Mar l30nel \Vo n him the first pri ze at

nati ve Spain which made him decide to

the Int erna tional Choreographic Work­

aceept in Jlln e 1990, the posit ion of drtis­

Dance \ 1agazinc, Marilyn Hunt (Octoher '04)

shap (lntcrnatio naler Chorcographisch­

tic director and choreographcr \Vith the

Un[orgcttable Span ish dance compan)'

er Wcttbewe rb) at Cologne.

Compañía Nacional de Danza.

imports origin ality, se nsua lit)' and pas­ sion ..

Without reducing hi, rc'ronsiblilities as a d;lI1cer "dcho Dllato has si nce th en

./IRÍKYLIÁN

crcaled about a dozen works [or both

Sec puge 44

COIl) ­

rrcss ing olle's artistry.

AII three excc llent ballets he presc ntcd in Paris cüuld, th erefore, be tcrl11 cd apoca­

ederlands Dans «Duato is a distinct choreographic talent,

pa n­

tainmen!. Choreography means

Iyptic.

Le

Devoir. Va leric Lehm ;tnn ('1,) ~~,

Compañia Nacional de Danza

t\IANOMH

ECOS

(HXOI & AnOHXOI) XOpoYPQ(pia: NaTao NTOUOTO Mououaj: LTf:qlav ¿KT/VIKÓ: OUWAn:p NOIlTlll KOOTOÚ¡.lIa: Nomo NTouaTo (J)WTlopoí: NIKoAa<; <Dion:A (npW11l

IU¡J\JUVIUVI

10

ano TO e.N.o. Ma6pi11l. 17 NOEflapiou 1994).

KaI

11

IOY AIOY

Xopeúouv AMópVT Kmí ApTEóyKa Map Mnovn:oóv KOTEpivo i\\J~UI\Jlll\ poue

Xooe M. APIlO<; NTE Mnava TOVl <Dóflnp f\Ouí<; MapTív .Oyla .AVYKEA PovTpiyKE~ . OOKOP TOpáVTO

KnT'l'n;'J/1

COR PERDUT

(XAMENH KAPAIA) )({)tl,{)II~ln(fjln' NÓTOO NTOUÓpO

Mouoll<i¡: VTEA Map MnOVET

nVLIlVLIUIU & (J)wTlopoi: NáTaO NTouáTO

(npW11l napouoioon anó TO NtvTEpAavn:; Nrav<; TEÓTEP, Xáyn, 25 AnptAiou 1989. npwTn 30 louviou 1990).

Xopeúouv AMÓpVT • NaTao NTouaTo

ano Tn e.N.o.,

Duende

(NTOYENTE) Xopoypaq¡ia: Namo NTouaTO MOUGtKrj: KA¡';¡VT NTelmuoú (nOl¡JeVIKO, IKr/VIKá: Ou¡';¡}nep NÓllTIl1

KOOTOÚ¡.lIa: Loú~av

(!)WTlOlloí: NIKOAáC; <DiOTeA

(np¡';¡Tl1 nOVKOOI.UO nopouoiaan ano TO NévTepAaVT¡; NlOV¡; TeaTep, XáVl1. 21 Noe¡JBpiou 1991. np¡';¡Tl1 napouoioan ano T'1 e.N.D., Ma1)piTl1, 11 .... c,r'c,uuut\JU

11 IOYAIOY

1010YAIOY nOI~&VIKÓ 10 ¡Ji;po¡; ano Tl1 ¿ovalO VIO qlAOOUTO. BlóAa Km apna (1916)

Xopeuouv

Xopeuouv AAe~av1)po

EIl¡JovouéMa Mnpovoév Eúa KpeBIVlév PIKapVTo <DpavKo

¿KOT Map MnovTeoov naTplK VTe Mnavo

Iuply~ LOAo Vla qlAaouTo (1912/13)

Xopeuouv

Xopeuouv

Eúa l\óne~ KpeBIVlév Xooé A. KoulpoVKa

MouplÉA POIli;po

AVTÓVIO KaAépo

CDlvaA TeAeuraío Ilépo¡; ano Tl1 LovalO VIa qlAaOuTO, BIOAa Km apna (1916)

Xopeuouv

Xopeuouv

TÓVI <Dalmp Xooi; Mavoui;A .Apllac; I\oui¡; MapTiv 'Ov\a

PaoúA Tivo Pa¡Ji !\EPi .OOKap TopaVTo

XopÓC; I&POTIKÓC; fió apna Km évxop1)a (1904)

Xopeúouv

Xopeuouv

Ma I\oui~a NTeAVKMoenmpiK VTe Mnava Kan:;piva Xa¡JnaoKeXooi; A. KouípOVKO NTOTOAí MnouiooveAVYKi;A .... ,,'jT(1'vl('~f

Ma Aouí~a NTeAVKÓóoePIKapVTO <DpavKo XplOTíva OpTlVKouéAaeAvróvlo KaAépo PouS MapÓToeXooé A. MneVKlp\OTalV

XopÓC; ~t~r¡Aoc; na apna Km

(1904)

.OAO TO ¡maAi;TO

ARENAL

(AMMOTOnOI)

Xopoypaq¡ía: NaTOO NTouáTO MOUGlKrj: Mapía vTeA Map MnóveT OU¡';¡ATep NO¡Jnll (np¡';¡Tl1 naVKÓOllla napouoiaoll ano TO oiaan anó Tll e.N.D.• 60KTw13Piou 1990).

1\l>:\IWI'lJH1VTf'

KOOTOÚ/.lIa: NaTOO NTouaTO

(!)WTlOl1oí: .

NTaVl';

. Eqlpov

.A¡JOTepvTa¡J. 26 lavouapíou 1988. np¡';¡Tl1 napou ..

11 IOYAIOY

1010YAIOY

Solo Xopeuouv

Xopeuouv

Karepivo AMapVT

Kari ApTeaVKO

Paso a Dos PouS MapoTO PIKapVTO <DpavKo

MOUPU:;A POllépo

.AVYKeA PovTpiVKe~

Paso a cuatro Map Mnovreoóv Ma Aoui~a NTeAVKóóo Xoot AVTOVIO MneVKlplOTalv PaOÚA Tivo

XpIOTiva OpTIVKoutAa Eúa Aone~ KpeplVltv NiKOAO <DovTe Xooi; MavousA .Ap¡Jae;

Paso a E¡JlJavouéMa Mnpovoév I\ouie; .OVla Xooi; AVTÓVIO KouipóVKa

EIJI.laVousMa Mnpovosv TÓVI <DÓlJnp AVTÓVIO KaAtpo

Compañia Nacional de Danza

AIANOMH

RETURN TO THE STRANGE LAND

(EnIITPO<DH ITHN ArNQITH XQPA) Xopoypaq:¡ia: ríP41 KUAtaV

Mouo/ld¡: Moe; r\()VaTOeK eEpya yta mayo: anó T1l lovóTa

1905», TO «XoPTOP¡aaIlEVO Movonan» Ka! TO «MEoa OTIlV nÓXV!lll).

Koarou/ila: riP41 KÚAlav

(!)úJTlO/ioi: T40un KallnoúpT

Ava{3iúJar¡: APAET Qlav Mnó~ev &T~lfJ BivoevT

«111

1310YAIOY

1410YAIOY l. Paso a Tres

Xopeúouv

Xopeúouy

EllllaVOUEMa MnpovaEV XOOE MavouéA Aoule; MapTiv .Oyla

Pou8 MapÓTO NiKOAO <l>óvre TÓVI

11. Paso a Dos Eúa Aóne4 Ko!;BI~'ltV PlKapvro <l>pOVKO

Paso a Dos EllllavouéMa MfTlJovlaev

Aoule; MapTív .Oyla

Pou8 MapóTO TÓVI

IV. Paso a Tres Eúa /\óne~ Kpe~lylév

XOOB AVTÓVIO Mm:YKlpIOTÓ\V

PIKÓPVTO <l>PÓVKO

Map Mnovreaóv Palli .OOKap TOPÓVTO

RASSEMBLEMENT

(IVNAepOIIH) Xopoypaq:¡ia: Nomo NTOUOTO Mououaj: TOTO MmvoaivT (Rasableman) NOllnn Koarou/ila; NaTao NTouaTo (!)ú)no/ioi: NIKoAáe; <l>iareA anó TOUe; npwTóTunouc; TOU NTlK AillvrKOTpall

anó TO MnaM:To 13 t\eKell~p¡ou 1991).

1310YAIOY

ano

1410YAIOY

Xopeúouv

Xopeúouv

KOTepivo AMapVT

Map MnOVTeoóv

KaTi ApTeoyKo

Ma Aoui~a PaIlOe;

TÓVI <l>allnp

Aoule; MapTlv .Oyla

.AVVKeA PovTpiyKe~

PaOÚA Tlvo

KaTepiva AMópVT

Karepivo XOllnÓOK

EllllavouéMo Mnpovoév

Pou8 MapaTo

nOTpiK VTe Mnóva

Xooé AvróVIO MneyKlpiaróiv

NiKOAO <l>óvTe

AVTÓViO KaMpo

Xopeuouv

Xopeúouv

XooÉ AvrÓVIO MneyKlptOTOiV NiKOAO <l>óvre

,AVyKeA PovTpíYKe4

,OOKap TopQvro

MEDITERRANIA

(MEIOrEIOI) MOUGlKr):

LM1UVlllV

Xopoyparpia: Namo NTouaTo

MÉoool A. MaXlloúvr rKpIYK!;/ XOUOV A. APTÉKCI XaaiÉ f1al:aVIIVlO

Nomo NTouaTo NT~'Rn'rt1 & MOVTtOlo AÓllna <l>iOlCA

13

Kal 14 IOYAIOY 1. Introduction Méooo)

Xopeúouv KaTi ApTeaYKa. Map MnOVTCOÓV, NaTGAi Mnouloóv, Ma Aouii;a NTcAYKMo, KaTcpiva XallnÓOK, XplOliva OpnYKouéAa, Eúa Aónei; KpCaiYiév, Mapia Aouii;a PaIlOe;, MOUPléA POllépo, . ¿KOT.

Xopeúouv KaTcpiva AMápVT, TÓVl <l>állnp, Aouje; MapTiv .OYla

111. Rice Dance (n. rKplYKe;)

Xopeúouv X. MavouéA . Apila!;, naTpiK VTe Mnava, AVTÓVIO KGAépo, TÓVi <l>allnp, PiKápVTO <l>pOVKO, Aouje; MapTjv .OYia, .Av­ yKcA PovTpjYKe¡;, Paoúi\ Tivo.

IV. Palm (a. A. rKÉpapvT, Mil. ntppu

Xopeúouv Nomo NTOUOTO

KaTepiva Ai\AápVT, Kan NaTai\i Mnou¡oóv, Ma Aouii;a Nrei\YKMo, KaTepiva XallnooK, MOUPitA POllépo,

AAe~áv5pa ¿KOT, X. Mavouéi\ .Apllae;, narpiK VTe Mnáva, X. AVTÓViO MneYKlpiOláiV, TÓVi <l>ollnp, NiKOAo <l>óvTe, Aoule;

MapTiv .Ovla, AVVKei\

V.Orange XA ApTéKe, X.

na~avivio

Xopeúouv Map MnovTeoóv, Paoui\ Tivo

VI. Fire (Ti;.

Xopeúouv KaTepiva AAi\OpvT, Kón ApTeáYKa, Map MnovTeoóv, Narai\i Mnouloóv, Ma Aouii;a NTei\VKo50, Karepiva XalmáoK, XPI­ Oliva OpnVKouÉi\a, Eúa Mapia Aouii;a PÓIlO!;, Moup!ÉA Ai\e~áv5pa íKOT, X. Mavouei\ .Ap­ Ilae;, naTpiK VTe Mnáva, X. AVTÓVIO MneVK!pIOlOIV, Avróv\O Kai\épo, TÓV! <l>állnp, NiKOi\O <l>óvTe, P!KÓPVTO <l>PÓVKO, Aoule; MapTiv . OYla, .AvyKCi\ PovTpiYKCi;, Paoúi\ Tivo.