{"id":130711,"date":"2019-12-12T13:53:31","date_gmt":"2019-12-12T11:53:31","guid":{"rendered":"https:\/\/kulturbloggen.com\/?p=130711"},"modified":"2019-12-12T13:53:32","modified_gmt":"2019-12-12T11:53:32","slug":"autodance-solo-echo-nypremiar-for-tva-starka-danssucceer-pa-goteborgsoperan","status":"publish","type":"post","link":"https:\/\/kulturbloggen.com\/?p=130711","title":{"rendered":"Autodance &#038; Solo echo \u2013 nypremi\u00e4r f\u00f6r tv\u00e5 starka danssucc\u00e9er p\u00e5 G\u00f6teborgsOperan"},"content":{"rendered":"<figure id=\"attachment_130713\" aria-describedby=\"caption-attachment-130713\" style=\"width: 531px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-130713\" src=\"https:\/\/kulturbloggen.com\/wp-content\/uploads\/2019\/12\/unnamed-7-1.jpg\" alt=\"\" width=\"531\" height=\"337\" srcset=\"https:\/\/kulturbloggen.com\/wp-content\/uploads\/2019\/12\/unnamed-7-1.jpg 531w, https:\/\/kulturbloggen.com\/wp-content\/uploads\/2019\/12\/unnamed-7-1-300x190.jpg 300w\" sizes=\"auto, (max-width: 531px) 100vw, 531px\" \/><figcaption id=\"caption-attachment-130713\" class=\"wp-caption-text\">Autodance av Sharon Eyal. Foto: Mats B\u00e4cker<\/figcaption><\/figure>\n<p>F\u00f6rst ett poetiskt avsked i sn\u00f6fall. Sedan en hypnotiskt suggestiv grupporganism. G\u00f6teborgsOperans Danskompani avslutar \u00e5ret med nypremi\u00e4ren \u201dAutodance &amp; Solo echo\u201d. Tv\u00e5 visuellt renodlade succ\u00e9er, som f\u00f6renas av sitt fokus p\u00e5 r\u00f6relsen.<\/p>\n<p>Ett pressmeddelande ber\u00e4ttar:<br \/>\n\u201dAvslutningen \u00e4r s\u00e5 gripande och vacker: allt glider oss ur h\u00e4nderna, vi st\u00e5r till sist tomh\u00e4nta kvar. Och sn\u00f6n forts\u00e4tter att falla.\u201d S\u00e5 uttryckte sig Sveriges Radios Kulturnytt i P1, efter Sverigepremi\u00e4ren av \u201dSolo echo\u201d i oktober 2018.<\/p>\n<p>Det vackra dansverket av den kanadensiska koreografen Crystal Pite kretsar kring teman som k\u00e4rlek, f\u00f6rlust och acceptans. Utg\u00e5ngspunkterna f\u00f6r koreografin \u00e4r dikten &#8221;N\u00e5gra rader inf\u00f6r vintern\u201d av poeten Mark Strand, och tv\u00e5 vemodiga sonater f\u00f6r cello och piano av Johannes Brahms. Under mjukt fallande sn\u00f6flingor ger dansarna gripande uttryck f\u00f6r livets f\u00f6rg\u00e4nglighet och f\u00f6rluster.<\/p>\n<p>&#8221;Solo echo&#8221; skapades 2012 f\u00f6r Nederlands Dans Theater. N\u00e4r G\u00f6teborgsOperans Danskompani nu \u00e5ter framf\u00f6r verket, delar det kv\u00e4ll med Sharon Eyals \u201dAutodance\u201d, som hade v\u00e4rldspremi\u00e4r p\u00e5 G\u00f6teborgsOperan i mars 2018.<\/p>\n<p>H\u00e4r r\u00f6r sig dansarna obevekligt, suggestivt \u00f6ver scenen i kroppsn\u00e4ra, hudf\u00e4rgade kostymer. I solo, duo och ensemble. \u201dL\u00e4ckert, obehagligt och sensuellt\u201d skrev Svenska Dagbladet. \u201dDans som en hel organism\u201d, tyckte G\u00f6teborgs-Posten.<\/p>\n<p>Den israeliska koreografen Sharon Eyal har de senaste tio \u00e5ren skapat en rad kritikerrosade verk f\u00f6r framst\u00e5ende danskompanier. &#8221;Autodance&#8221;, som \u00e4r hennes andra verk f\u00f6r G\u00f6teborgsOperans Danskompani bjuder p\u00e5 hypnotisk dans med stark attityd, f\u00f6rst\u00e4rkt av pulserande elektronisk musik.<\/p>\n<p>NYPREMI\u00c4R Autodance &amp; Solo echo<\/p>\n<p>20 december kl 19. Stora scenen.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>F\u00f6rst ett poetiskt avsked i sn\u00f6fall. Sedan en hypnotiskt suggestiv grupporganism. G\u00f6teborgsOperans Danskompani avslutar \u00e5ret med nypremi\u00e4ren \u201dAutodance &amp; Solo echo\u201d. Tv\u00e5 visuellt renodlade succ\u00e9er, som f\u00f6renas av sitt fokus p\u00e5 r\u00f6relsen. Ett pressmeddelande ber\u00e4ttar: \u201dAvslutningen \u00e4r s\u00e5 gripande och vacker: allt glider oss ur h\u00e4nderna, vi st\u00e5r till sist tomh\u00e4nta kvar. Och sn\u00f6n forts\u00e4tter [&hellip;]<\/p>\n","protected":false},"author":13,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[13630],"tags":[],"class_list":["post-130711","post","type-post","status-publish","format-standard","category-opera","entry"],"_links":{"self":[{"href":"https:\/\/kulturbloggen.com\/index.php?rest_route=\/wp\/v2\/posts\/130711","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kulturbloggen.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kulturbloggen.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kulturbloggen.com\/index.php?rest_route=\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/kulturbloggen.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=130711"}],"version-history":[{"count":2,"href":"https:\/\/kulturbloggen.com\/index.php?rest_route=\/wp\/v2\/posts\/130711\/revisions"}],"predecessor-version":[{"id":130714,"href":"https:\/\/kulturbloggen.com\/index.php?rest_route=\/wp\/v2\/posts\/130711\/revisions\/130714"}],"wp:attachment":[{"href":"https:\/\/kulturbloggen.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=130711"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kulturbloggen.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=130711"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kulturbloggen.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=130711"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}