Beautiful Collaboration - Ken Okada for l'Opéra de Paris
Hello everyone, I received the photos of the choreography for which Ken Okada dressed the dancers of the Paris Opera, and today I wanted to share them with you.
Ken Okada for the Paris Opera
Hello to all, Today to my great delight, I received the photos of the choreography for which Ken Okada Paris dressed the dancers of the Paris Opera, and I had the desire to share them with you.
Photos from the event
In fact, I was stunned and filled with emotion when I first saw these photos.
This is a successful bet. These photos convey the beauty of the dancers, dressed in costumes from my creation. The movement of the dancers, the contrast between their illuminated bodies and the stage plunged in the dark are of a rare and breathtaking beauty.
I also like a lot of the photos.
I also really like the effect of the reflection on the ground, as if these talented dancers were walking on water gracefully. I greatly admire the synchronized movement of the two bodies, as if one was the mirror of the other... You can judge for yourself...
Ken Okada's outfits
I find that the Ken Okada Paris outfits accompany the dancers in their movements wonderfully and are in harmony with the artistic performance.
The gestures follow one another, the fabric moves, the folds are made and unmade, like a second skin that articulates and follows all the movements of the body. When I review the photos of this magical event, I still shudder to think back to the day I saw this performance at the Paris Opera, one of the most beautiful places in our capital..
I would like to take this opportunity to thank once again the entire team of the Paris Opera who were great and wonderful. Again, a big bravo to the dancers for this magnificent performance, and for having sublimated the Ken Okada Paris outfits in such an extraordinary place.
The dancers were very good.
A real pleasure for the eyes and for the heart!
Thank you, Ken.
The history of the Paris Opera
The Place de l'Opéra The square was built between 1862 and 1864, at the same time as the Opéra Garnier, as part of the major urban planning work desired by Napoleon III and implemented by Baron Haussmann, then prefect of the Seine. It was designed to allow pedestrians to admire the facade of the building and to facilitate traffic in this nerve center of the capital. Indeed, the square is at the crossroads of axes that connect it to the Saint Lazare train station (rue Auber), to the Madeleine church (boulevard des Capucines), to the Place Vendôme (rue de la Paix), to the Place de la Bourse (rue du Quatre Septembre), to the Arc de Triomphe (boulevard Haussmann) or, finally, to the Palais Royal and the Louvre (avenue de l'Opéra). Behind the Opera theater, the Printemps and Galeries Lafayette department stores. The Place de l'Opéra is at the heart of a musical, business and commercial district, but it is also a privileged tourist spot. In 1861, the project of the young architect Charles Garnier (he was only 35 years old at the time!) was selected from 171 proposals. On the day of the presentation of the plans to the jury, the Empress Eugenie, who was in favor of Viollet-le-Duc's project, called out to the architect: "What style is this? It is not Greek, nor Louis XV, nor Louis XVI! "Garnier did not let himself be intimidated: "It is Napoleon III! "The answer pleased the emperor who was also present. He awarded the first prize to Garnier. The Napoleon III style was born. The inauguration of the building took place on January 5, 1875 in the presence of the President of the Republic, Mac-Mahon, and the Spanish royal family. The pavilion on the left side, which gave access to the emperor's private box, became useless: Napoleon III, who had died two years earlier, would not see the building he had commissioned. As for Charles Garnier, it is said that he had to pay for his seat to attend the inauguration of his own opera house.
History of dance
Article from Cosmovisions
The name of dance is given to a series of steps and rhythmic gestures. Attested in the monuments of ancient civilizations, the compenetration of the two arts, music and dance, seems so intimate, that their community of origin could be considered as probable, and that one proposed to consider the dance as the inspirer and the source of the music. Whatever the discoveries or hypotheses provided by ethnography and archaeology, the musical art, among the peoples of Europe, proceeds from two currents whose respective share cannot be delimited and which are the word and the gesture, the sung poetry and the dance. The latter remains inseparable from the musical rhythm, which alone gives it life. Whether by its destination and its character, the dance is religious, warlike, plastic, or popular, the variety of its manifestations and their constant renewal involve a similar mobility in the musical forms which complete them and which, often, separate from them and acquire an existence of their own. (M. Brenet). The dance began, in Antiquity, by being a sacred exercise: the Egyptians, in their initiations, danced around the altars to represent the walk of the stars around the sun. Their priests danced around the ox Apis. In the Old Testament there are some passages that show dancing associated, in some cases, with religious acts: Moses and his sister Mary, we read, danced and sang, after the passage of the Red Sea; the Hebrews unfaithful to Yahveh danced around the golden calf, in the ordinary solemnity of the Lord, the daughters of Shiloh coming out to dance with flutes (Judges , XXI, 19-21); David dancing in front of the ark, when the Levites carried it to Bethlehem (II Samuel , VI, 44). After the return from exile, the Hebrews danced with torches in the temple square during the Feast of Tabernacles. Nevertheless, it seems certain that among them the dance was not part of the cult properly speaking. The dance among the Greeks. Among the Greeks, there was almost no religious ceremony of which dancing was not a part. The Athenians introduced it in their feasts, where appeared dancers of profession to which they mixed. The Thessalians, not less impassioned for this exercise, applied the terms of the dance to the most noble uses in certain places, the generals or the magistrates were named the leaders of the dance. The dances were also military or gymnastic exercises; let us quote the cybistics, in which, while dancing, one threw oneself on the hands, to rebound then on the feet; the spheristics, which consisted in accompanying in cadence the jumps of a balloon, that each one in its turn had to chase; the pyrrhique, true mimic representation of the warlike actions. The dance at the Romans. The Romans also introduced the dance in several of their religious ceremonies, such as the processions of some sacrifices, where young girls, dressed in white, danced in circle while holding hands. The processions of the Salians were only perpetual dances. The dance also became a private amusement, but the Roman gravity condemned this entertainment, and blamed those who excelled in it too much. We know the character of most of the public dances of the Ancients: some were slow and composed; others, very agitated and warlike; but this information is too vague for us to be able to say what was the design, the choreography of this or that dance. We know a little better the dance in use in the feasts at the Romans, thanks to some paintings found in the ruins of Herculaneum and Pompeii. The dancers were dressed in long dresses, of a fine fabric, with vaporous folds, and in a kind of disorder. The women of Gades were very famous in this profession, at least in the time of the emperors. The dance on the effects of which one has the most details, without knowing better the procedures, is the scenic dance; but it was not a dance properly speaking, it was the play of the pantomimes. The Middle Ages. The dance, at the Medieval, was also in use, certain days, in the churches, at least until the XIIth century; one formed rounds, but the councils finished by prohibiting it, like badly agreeing with the gravity of the mysteries, and the dance was classified among the purely profane exercises. However, still in the 16th century, in Limoges, the people and the clergy danced in the church of Saint-Léonard, on the day of Saint Martial. The religious dance continued in Spain until the 17th century in the autos sacramentales. The dance will also be one of the supposed misdeeds most severely punished by the old disciplines of the Reformed, Calvinist and Puritan churches. Among the Lutherans, some absolutely disapprove of it, others treat it as indifferent. The dance from the Renaissance to 1900. Among the dances which were successively in use in France during XVIe, XVIIe and XVIIIe centuries, one quotes the minuet, of a slow and serious movement; the sarabande, kind of minuet with three times; the pavane, noble and proud dance, where the extras had the air, while looking at each other, to make the wheel like peacocks; the courante, stiff and slow, in spite of its name; the gaillarde, sometimes posed, sometimes lively; the chaconne, of a moderate movement, with 3 or 4 beats, which usually ended a ballet, and borrowed its name from the air on which it was executed. ost of these dances were imported from abroad: the minuet and the pavane, from Spain; the chaconne and the gaillarde, from Italy. At the end of the XVIIIth century, there was the gavotte, which held of the minuet and a more agitated dance: one still danced it in the living rooms at the beginning of the XIXe century; the waltz, turning dance borrowed from the Germans and the Austrians, and danced on an air with three times by a lady and a rider; the contredanse, or country dance, taken with the English; it is carried out by quadrilles of 4 people, of which half of each sex, on an air with two-four, or six-eight allegretto, usually made up of three repetitions of 8 bars each, and repeated according to the number of the dancers. Marches and risers form the choreography. At the beginning of the XIXth century, the steps were very well done, and society dancers, such as Trénitz, for example, made a reputation for themselves in the salons by the way they performed them: later, people were satisfied with barely accentuated steps. Among the dances of this time, one counts the galop, a kind of race with two persons, a rider and a lady, on a very animated air with two-four; the polka, the mazurka, the redowa, the schottish, etc., imported from Poland and Hungary. Some old dances of the French provinces were perpetuated: of this number are the bourrée of Auvergne, the farandole of Languedoc, the branles of Brittany. Among the particular dances of other countries, let us quote the jig of Scotland, the bolero, the fandango, the cachucha of Spain, etc. (B) Dance in the 20th century. The Ballets Russes. Classical ballet had finally withered away, when a new form of ballet appeared in Russia in the second half of the 19th century, first with Marius Petipa (1819-1910), a former student of Vestris in Paris, who became a professor at the Imperial Ballet School in 1847, and to whom we owe in particular Sleeping Beauty (1890), with Carlotta Bianza and Enrico Cechetti, whose virtuosity impressed an entire generation, Swan Lake (1895), with Raymonda and Pierrina Legnani (1898), and Harlequin's Millions (1900).