The physics of fouettés

balletscience

In the third act of “Swan Lake”, the Black Swan pulls off a seemingly endless series of turns, bobbing up and down on one pointed foot and spinning around and around and around … thirty-two times. How is this move — which is called a fouetté — even possible? Arleen Sugano unravels the physics of this famous ballet move.

Lesson by Arlene Sugano, animation by Dancing Line Productions.

»Rachmaninow« by Leipzig Ballet

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Piano Concerto No. 3 in d minor, Op. 30
Piano Concerto No. 2 in c minor, Op. 18

This evening is dedicated to Rachmaninoff, one of the most important Russian composers. His music, although never expressly written for the ballet, continues to inspire choreographers the world over. His third piano concerto, written in 1909, embodies strength and intensity, and expresses not only carefree joie de vivre and an ever-forward-moving energy, but also restrained melancholy. As if in search of a lost time, both tempo and the sensation of time play an important role in Rachmaninoff’s music. It’s with this sense of play that Rachmaninoff, the last of the Russian late-Romantics, proves himself a real fin-de-siècle composer, hovering between Russian tradition and European modernism.

Mario Schröder discovered Rachmaninoff at an early age, and experiences his music as both pictorial and physical, making it seem predestined for dance. For Schröder, Rachmaninoff’s music connects images of departure and return, convergence and withdrawal, and intersecting paths. The idea of time is expressed in a number of different ways – as something deeply and personally sensed, something every individual brings to the table a little differently. On the tenth anniversary of his death, Uwe Scholz’ version of the Piano Concerto No. 3 once again takes the stage in Leipzig. Mario Schröder, who once performed this choreography as a soloist, sees in Scholz’ interpretation a »wonderful transformation of the piece into pictures that truly do justice to the composition.« Six years after its last revival, Schröder pairs with it a new creation of his own, and with it, gives us the chance to see two artistic languages set to the music of one composer.

Performances:

Saturday, March 26, 2016.

Saturday, June 11, 2016.

Tickets and more information here.