Dance Review: Bejart Ballet Lausanne Tapac

Dancer Elizabeth Ros danced on a raised round red stage, while 40 male dancers hardly kept their seats around her, overwhelmed by passion.

By ORA BRAFMAN
October 5, 2016 21:00
1 minute read.
BEJART BALLET LAUSANNE’S ‘Bolero’

BEJART BALLET LAUSANNE’S ‘Bolero’. (photo credit: ILIA CHKOLNIK)

 
X

Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analyses from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later Don't show it again

Maurice Bejart, one of the leading contemporary creators since the 1950s, will be remembered for many productions – but mostly for his overtly sexual Rite of Spring (1959), a shocking rendition at the time, and his compelling Bolero (1961), which won over the packed hall in Tel Aviv last night.

Prolific, yet often controversial among critics, his companies thrived and audiences still react strongly to his works, which often rely on basically simple structures, easy to follow themes, suggestive moves and captivating music.

Be the first to know - Join our Facebook page.


Program A. opened with Bejart’s Piaf, a tribute to the legendary singer by a large group of male dancers, a common gender choice in his creations.

Toward the end, the entire cast came onstage bare-chested, just the way Bejart always prefers them.

Afterward came Bhakti III, a duet based on Indian music and ballet-like moves. Perhaps the stage seemed too sparse, so six male dancers were spread on the floor, purely for decorative purposes.

After yet another dance, the fresh and well crafted Anima Blues by Gil Roman – the company’s highly capable artistic director since Bejart’s Demise (2007) – came the moment everyone was waiting for, the magnetic Bolero, set to Maurice Ravel’s mesmerizing and suggestive score.

Dancer Elizabeth Ros danced on a raised round red stage, while 40 male dancers hardly kept their seats around her, overwhelmed by passion.



Her inviting moves, a few Sirtaki steps for extra virility, and the culminating music forced them closer and closer until they all plunged toward her at the piece’s climax. That’s Bejart at his best.

Bejart Ballet Lausanne will be performing Program B. on October 7 at 1 p.m. and 9 p.m. and October 8 at 4 p.m. and 9 p.m.

Related Content

The International Criminal Court in The Hague
August 18, 2018
What does IDF closing Black Friday war crimes probe mean for ICC?

By YONAH JEREMY BOB