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Alexander Ekman (Choreography)

Alexander Ekman (Sweden, 1984) danced  with Royal Swedish Ballet, Cullberg Ballet and Nederlands Dans Theater 2.   In the annual Choreography Workshop (‘Switch’) he attracted attention for his individual style, full of original ideas. In 2006 he decided to devote himself completely to choreography.

Now Alexander Ekman is a much-wanted choreographer internationally. He has already made many ballets, for companies like the Cullberg Ballet, Goteborg Ballet, The Iceland Dance Company, Bern Ballet, Cedar Lake Contemporary Dance, Ballet de l’Opйra du Rhin, Royal Swedish Ballet and The Norwegian National Ballet. He also created for festivals like ‘Europa Danse’ in France and for the Athens International Dance Festival. For Nederlands Dans Theater 2 he made FLOCKWORK in 2006, one year later LAB 15 ( Nederlands Dans Theater 1) and CACTI in 2010 (Nederlands Dans Theater 2). CACTI was nominated for the Dutch danceprize ‘Swan best danceproduction 2010’.

In his years as choreographer, Alexander Ekman has proved that he is an artistic multitalent. For one thing, he often makes film productions as well. Though usually integrated in the young Swede's choreographies, these productions also arouse more and more interest on their own. In June 2009, for instance, he made a dance film, 40 M UNDER, for and with the Cullberg Ballet which was broadcasted on National Swedish television. In the autumn of that same year he collaborated with Mats Ek who asked him to make video projections for his new theatre play called Hеll Plats.

Alexander Ekman also made a museum installations for the Modern Museum in Stockholm, in which the dancers of the Cullberg Ballet were the art objects. Moreover, he has composed music for many of his dancepieces, with a wide variety of rhythms. The sets for his performances are usually of his own design.

In 2010 Ekman created for Goteborg Ballet (La La Land, together with choreographer Medhi Walerski), for Cedar Lake Contemporary Ballet and for Cullberg Ballet. In the International Choreography Competition of Hannover Ekman won the 2nd prize with Swingle Sisters (one of the ballets from his Sisters trilogy). In addition, he was awarded first prize by the critics.

Future commissions include Royal Swedish Ballet, Cedar Lake contemporary Ballet, Norwegian National Ballet, Boston Ballet and Dresden Ballet. During 2011 Ekman also works as a teacher / Choreographer at the prestigious Julliard School in New York City. From season 2011 until 2013 Ekman is associate choreographer of Nederlands Dans Theater.

“How wonderful with a magician like Alexander Ekman, The Choreographer who ever more clearly is a rising star in the Swedish dance scene". (Gцteborgsposten about La la land, May 2010). 

“In Cacti the young Swedish choreographer Alexander Ekman (25), who used to dance in Nederlands Dans Theater II for three years, presents his former employer with hilarious comment on the intellectual calibre of dance as High Art. He does this in a subtle manner, with a sense of humour and a feel for pace, music, energy and total picture”.  (Volkskrant about CACTI, March 2010)





Premiere performances of "Balanchine / Taylor / Garnier / Ekman" Stanislavsky Ballet and Opera theatre
 
About This Video
01:33
Premiere performances of "Balanchine / Taylor / Garnier / Ekman" coming on November 25, 26 and 27.

Four new ballets are being added to the theatre's repertory, three of which will be shown in Russia for the first time.

This night is opened by Serenade, which was made to the divine Tchaikovsky’s music. And George Balanchine, who liked to say that "music should be seen, while the dance should be heard", would surely endorse such interpretation of this masterpiece of his.

Aureole is an underlying production of the modern American dance. The unique style of Paul Taylor combined with Handel’s Baroque music turn this ballet into a song of joy.

Aunis is the name of old French province, whose folk dances inspired Jacques Garnier. By merging the tradition and modern dance language this ballet for three dancers relates to us, somewhat nostalgically, the memories of happy and carefree youth.

The program is concluded by Alexander Ekman’s Tyll. The choreographer suggests a new view of the classical ballet, full of humor, but sympathetic. Theatrical ingenuity and boundless imagination make Ekman one of the most outstanding choreographers of his generation.

These ballets reflect the view of the dance of today and yesterday, and I trust the dancers of Stanislavsky and Nemirovich-Danchenko Music Theatre will share the joy of discovery of this choreography with the audience.

Laurent Hilaire


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