A meeting between two strong and experienced artists!
A meeting between two strong and experienced artists!
exquisite dancers…Dancing that is very good is simply great! expressen.se . It’s awesome to see this multiplied fight in close-up…between these two strong performers. Svd.se
A tension filled contrast of the encounter between two contradictions.
Music selection that opposes and breaks boundaries.
Is there a limit to be able to understand the total opposite?
An interesting meeting between two strong and experienced artists from very different backgrounds.
Choreography: Dwight Rhoden
Dancers: Jan Erik Wikström, or Dragos Mihalcea and Charlotta Öfverholm
Light: Tobias Hallgren
Length: 40-45 min
Svenska Dagbladet, Anna Ångström
Cool struggle in close-up when opposites meet
As a kind of grand finale of performances by Gustav Adolf Torg – at the end of April the new Dance Museum opens the doors to its new premises at Drottninggatan- we now see Jan-Erik Wikström and Charlotta Öfverholm in a duet with the understandable and speaking title “Antithesis”.
The choreography for these temperamental opposites is created by Dwight Rhoden, who after a career in the famous Alvin Ailey American Dance Theater started his own company Complexions contemporary ballet in 1994. And yes, you can see traces of Aileys blues style of choreography, which has an emotional theatricality of a kind rarely seen in Swedish contemporary dance.
It is precisely in the expressive intensity Charlotta Öfverholm, with a background that includes Alvin Ailey, and the classically trained Jan-Erik Wikström have a similarity. Both dance with full expression in a kind of folie à deux of counter forces, which at times attract and at times push away eachother, to music that moves from violent reverberations through the baroque and lyrical ballads to jazz and rock.
Already in the first scene when he in white and she in black throwing away roses ,establishes a yin and yang relationship – though she is hardly a passive partner. Here it’s more about mutual challenge that easily can tip over into aggression. Perhaps this hour is a lifelong relationship in concentrate.
White benches become weapons in a duet where the bodies at times reminiscents of taut strings.
Jan-Erik Wikström’s solos are proud with elegant precision, hers is more challenging.
In brief moments they show vulnerability, as when she with her head and feet threads through his limbs and overcome his physical defense.
After a costume change where he performs with bare chest and she in a red dress, there is a moment of playfullness, which turns into a more violent duet where she is thrown around effectively.. Basically, there are two soloists facing each other and us – it is as if they have to seize twosomeness in a dance, which ultimately trust glimpsed as a promise of possible harmony.
It’s awesome to see this multiplied fight in close-up.
But it might show more antithesis than synthesis between these two strong performers.
EXPRESSEN Margareta Sörensson
But how big is the difference, really?
In Antithesis where the American choreographer Dwight Rhoden puts two dance styles against each other, a concept that has been tried before. Classical ballet in confrontation with contemporary dance, Jan-Erik Wikström against Charlotta Öfverholm, that is.
It’s just that both Wikström and Öfverholm are exquisite dancers and also with wider eyes than that. Jan-Erik Wikström has danced in many contemporary dance works, although his starting point is the classical technique. Charlotta Öfverholm who also has a background at Alvin Ailey (as choreographer Rhoden) moves freely between contemporary accents that almost touches jazz dance and into modern dance, or merge.
The antithesis is more about two dancers personality, and a he and a she.
The tension between them can touch to aggressivity, but it’s not a showdown between the styles that impresses and fascinates in the first place.
Dancing that is very good is simply great!
Technique is just a tool and a means, and keeps and profiles the expression. This is where these two dancers work so it sings in their bodies. Different strains of their bodies like Öfverholms athleticism, the little ephemeral in Wikströms stance – it really doesn´t matter greatly.
Which is interesting.
The music alternates between different styles, and Rhoden is skilled enough to use sounds and rhythms alternetivly, and the antithesis is very varied, stretched like a rib.
The piece grows into a kind of sketched tale of roses, power, affection, harmony and alienation.
It is very nice.
Warsaw, PL Zawirowania Dance Festival
When maturity meets youth, black meets white, red meets black, and classical dance meets contemporary dance, the result can be either great disaster or great success, destructive fight or delightfully creative meeting of complementary and cooperating dissimilarities. “Anthitesis” definitely makes for the latter.
Classical dancer and modern dancer are narrating a story of the ralation, which, together with people involved in it, is evolving and going through stages. The performers clearly indicate the differences between the characters who are separated by almost everything and have very little in common, but who are able to work together and build a new quality when balancing between the opposites. Tasteful poses and sequences of classical dance resonate with the violence and greed of modern dance movement, ballet shoes of the soloist cooperate with bare feet of the physical theater’s representative, and all that sparkles with evidence that more than one hundred-years-old war between ballet and modern dance does not make much sense. Together is better – and this statement also applies to the story. Together is sometimes harder than separately, being together can exhaust and cause concern, but considering pros and cons, together is … well: better, just like that, Aesthetically the performance subtly feels like banality. Straightforwardness of symbolic colors of the costumes may be a little too obvious and the bouquet of roses in the center of the stage may give the impression of kitsch. One has to admit, however, that the dancer in both innocent white, as well as in deep black looked perfect, and the dancer in a predatory black and passionate red fueled the space. The flowers are thrown away in disgust in the first scene, so we can forget about them. The performance, however, will stay in our memory for a very long time.
Manager Anna Cederberg, firstname.lastname@example.org +46-70-910 3821
Technical director Tobias Hallgren, email@example.com +46-70-974 3608
Artistic director Charlotta Öfverholm, firstname.lastname@example.org +46-70-566 7939
CREATORS & PERFORMERS
DWIGHT RHODEN choreographer (USA)
Dwight has established a remarkably wide-ranging career, earning distinction from The New York Times as “one of the most sought out choreographers of the day.”
A native of Dayton, Ohio who began dancing at age 17, Rhoden has performed with Dayton Contemporary Dance Company, Les Ballet Jazz De Montreal and as a principal dancer with Alvin Ailey American Dance Theater. He has appeared in numerous television specials, documentaries and commercials throughout the United States, Canada and Europe and has been a featured performer on many PBS “Great Performances” specials.
Since 1994 Rhoden’s choreography has been the lynchpin in the development of the Complexions repertory. He has been praised for his prolific body of work, visionary style and boundary-breaking sensibility. Rhoden has created over 80 ballets for Complexions, as well as numerous other companies, including Alvin Ailey American Dance Theater, The Arizona Ballet, The Aspen Santa Fe Ballet Company, Ballet Gamonet, The Dance Theater of Harlem, Dayton Contemporary Dance Company, The Joffrey Ballet, Miami City Ballet, New York City Ballet/Diamond Project, North Carolina Dance Theater, The Pennsylvania Ballet, Philadanco, Minneapolis Dance Theater, Phoenix Dance Company, Sacramento Ballet, Oakland Ballet, Pittsburgh Ballet Theater, The Washington Ballet, and Zenon Dance Company.
Widely known as “a dancer’s choreographer,” Rhoden has worked with, coached and created for some of the most diverse artists spanning the worlds of ballet and contemporary dance. “Rhoden’s work is post-Balanchinean choreography, a new aesthetic in movement, stage, picture, and performance concepts reflecting a post-modern, techno-savvy worldview” (Dance Magazine).
He has directed and choreographed for TV, film, theater and live perform ances including So You Think You Can Dance, E! Entertainment’s “Tribute to Style” and Cirque Du Soleil. He has also worked with such high-profile artists as Prince, Lenny Kravitz, Kelly Clarkson and Patrick Swayze. Rhoden is the Resident Choreographer of North Carolina Dance Theatre and has lectured, taught, created works for and served as Artist in Residence at universities around the United States including New York University, Juilliard and The University of Mississippi, where his 2004 Racial Reconciliation Project was credited as a catalyst for dialogue in a community that has been historically divided. Rhoden is a 1998 New York Foundation for the Arts Award recipient and beneficiary of the 2001 Choo San Goh Award for Chore ography. In May 2006 he received The Ailey School’s Apex Award in recognition of his extensive contributions to the field of dance.
JAN- ERIK WIKSTRÖM Dancer (SE)
Royal Swedish Ballet 1987- 2015, was appointed soloist in 1991, principal dancer in 1993 and hovdansare 2000. Have danced all major principal roles in the classical repertory.
Solo Data in ballets by Alvin Ailey, George Balanchine, Mauro Bigonzetti, Nils Christe, Ulysses Dove, Nacho Duato, William Forsythe, Kenneth Kvarnström, Jiri Kylian, Paul Taylor, Norberto dos Santos (including starring in his Rite of Spring, Bolero and Orlando) Spuck Christian et al.
Danced with English National Ballet in London.2001-2004.
Guest appearance: New Zealand, Florence, Budapest, Tokyo, Osaka, Pillow, Houston, London, Biarritz, Munich, Moscow, Warsaw, Johannesburg, Oslo and others. He received the King’s Medal Litteris et Artibus 2012
DRAGOS MIHALCEA Dancer (R)
Principal dancer at The Swedish Royal Opera since 2002. Originally from Romania. Have done all major principal roles. Additionally solo tasks in ballets by George Balanchine, among others, Nacho Duato, Choo-San Goh, William Forsythe, Krzysztof Pastor, Jiri Kylian.
Appeared in 2005 in the Benois de la Dance Gala at the Bolshoi Theatre in Moscow with Marie Lindqvist. 2005/06 season premiere dancer at Het Nationale Ballet in the Netherlands. Other involvement: principal dancer at the Universal Ballet Company in Korea (1997-01), Southern Ballet Theatre, USA (1999), guest soloist at the Norwegian National Ballet (2000). Among the awards include a Bronze medal at the Rudolf Nureyev International Ballet Competition and the gold medal at the Rome International Ballet Competition.
CHARLOTTA ÖFVERHOLM Dancer (SE)
Charlotta is the artistic director and head choreographer of Compagnie Jus de la Vie since 1995. She also creates commisioned works for companies such as NorrDans and Gothenburg Operas Dancevompany Ballet in Sweden, Vertedance Prague, Tanztheater Münster as well as for Film and Television.
Charlotta was educated at Balettakademien in Gothenburg, Alvin Ailey American Dance Theater in New York City and at Lee Strasberg Theatre Institute in Los Angeles.
She has had a long international career dancing with among others DV8 Physical Theatre in London, Roberto Galvan/ Giessen, Joseph Tmim/Berlin, Ramon Oller/ Barcelona,Fram in The Cave/Prague, Corinne Lanselle/Paris, Complexions/ NYC and has had lead roles as Hamlet at Landestheater Linz / Robert Poole and Lola in Lola and Mr. Talk by Jan Kodet for which she was nominated for the Thalia Prize at the National Theatre in Prague. In Sweden, she has danced with, among others Björn Elisson, Dorte Olesen and the Royal Dramatic Theatre.