Photographic dance archive of Heinz Rosen , Maitre de Ballet and Choreographer (1908-1972). Original photographs.
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1
Enkelmann, Siegfried (1905 -1978); Rudolf Betz (1907-1970 ); Serge Lido ( 1906 - 1984); Rudolf Pittner; Sabine Toepffer; Inge Scheuerle; Taisto Tuomi,; Archives Lipnitzki, Arthur Grimm; Anton Macku (1901 -1985), photographers
Photographic dance archive of Heinz Rosen , Maitre de Ballet and Choreographer (1908-1972). Original photographs. (1972)
~ENISBN: 1569363854 bzw. 9781569363850, vermutlich in Englisch, Mid-20th Century.
Lieferung aus: Vereinigte Staaten von Amerika, Versandkosten nach: DEU.
Von Händler/Antiquariat, Alan Wofsy Fine Arts.
Mid-20th Century. A collection of 206 photographs, mainly in individual sleeves. 17.5 x 17.5cm. to 19.5 x 29cm. Most with photographer's stamp verso. Mainly black and white... Photographers in the Heinz Rosen Archive: S. Enkelmann, München, Siegfried Enkelmann (* 24. Dezember 1905 in Krasnopol (Weißrussland); † 10. Januar 1978); Taisto Tuomi, Helsinki; Rudolf Betz (* 1907; † 1970 in München); Serge Lido (French, 1906 - 1984); Archives Lipnitzki, Paris; Arthur Grimm, Berlin; Macku, Wien - Macku Anton, ( 14. Oktober 1901 Wien, † 11. Dezember 1985); Rudolf Pittner, Wien; Sabine Toepffer, München; Inge Scheuerle.....Durch die Einführung der Ballettfestwoche im Jahr 1960 brachte Heinz Rosen die internationale Ballettwelt nach München. Bei Gala-Abenden traten Solisten der westlichen Tanzmetropolen New York, London oder Kopenhagen sowie des Bolschoi-Balletts auf. Erste Auslandsgastspiele in Europa folgten... The newer dance languages of the 20th century received greater attention in Munich, when Heinz Rosen took over the direction of the Staatsoper’s ballet division in 1959. Rosen had been a student of Rudolf von Laban’s school of German expressive dance. He was lucky to have dance personalities of intensive creative power in the ensemble, such as Natascha Trofimova, Heino Hallhuber, Franz Baur or Walther Matthes, who could translate his ideas and instructions into dance. In the years that followed, Rosen brought more and more outstanding dancers to Munich, some as guests, some as permanent members. The engagement of Konstanze Vernon, a young principal from Berlin who had trained at the school of Tatjana Gsovsky, proved to be especially momentous. Over two decades later, this performer initiated the foundation of the Bayerisches Staatsballett as an independent division under the auspices of the Nationaltheater. Together with her long-standing stage partner Winfried Krisch, she debuted in Munich with Carl Orff’s Nänie und Dithyrambe during the Ballet Festival Week of 1963….. Introduction of the Ballet Festival Week and opening of the reconstructed National Theatre: With the introduction of the Ballet Festival Week, Heinz Rosen opened the doors to the international ballet world in 1960. He succeeded in bringing big ensembles and stars from major European and American cities to Munich. For the first Ballet Week, the American Aaron Copland appeared with a guest performance of the American Ballet Theatre showing a choreography (Rodeo) by Agnes de Mille. The ballet contributed two choreographies (Dance Panels in Seven Movements by Aaron Copland and Entrata-Nänie-Dithyrambe by Carl Orff) to the National Theatre’s reopening in 1963. In addition to this, the Bayerisches Staatsballett showed the world premiere of Triptychon, to symphonic music by Karl Amadeus Hartmann. The latter evoked ambivalent emotions among parts of the audience with regard to the atrocities of the Second World War and can be seen as courageous programming on Rosen’s part. All in all, the company’s style under Rosen’s direction is a typical representation of stage dance at that time: a mix of classical and modern dance with elements of expressive dance….. 1960 – 1990: Formative stimuli from John Cranko: In the two decades between the Rosen era and the foundation of the Bayerisches Staatsballett lie a series of short-term directors. Especially important during that time werel the years when John Cranko, in addition to his work in Stuttgart, decided the fate of ballet in Munich (1968-1970). He brought with him three of his most beautiful narrative ballets, which had been produced in Stuttgart: Romeo and Juliet, Onegin and The Taming of the Shrew. His artistic influence continued during the time when his dance colleague from the Royal Ballet, Ronald Hynd, was director of the Staatsballett.. Many cherished the hope that Cranko would move his field of influence and activity entirely to Munich. Although this hope was not fulfilled, he had a major influence on the company’s style. To this very day, Cranko’s three great narrative ballets, Romeo and Juliet, Onegin and The Taming of the Shrew, are an indispensable part of the Bayerisches Staatsballett’s repertoire. Directors such as Dieter Gackstetter or the ballerina Lynn Seymour also set important accents. Gackstetter, for example, gained Jerome Robbins for his first work with a German ballet company. And Lynn Seymour brought Bournonville’s jewel, La Sylphide, to the stage. The development of Youri Vámos, for many yearsone of Europe’s most important choreographers, began under Director Edmund Gleede. Stefan Erler brought David Bintley to Germany for the first time. In the mid-1970s, a dance couple worked in Munich, which would return to the company more than two decades later as director and ballet mistress – Ivan Liška and Colleen Scott…... ARCHIVES DE HEINZ ROSEN. Metteur en scène de ballets allemand. Ensemble de 206 photographies de ses ballets Heinz Rosen (1908-1972). Danseur, chorégraphe et directeur de ballet allemand. Après s'être formé auprès de R. *Laban, V. *Gsovski et K. *Jooss, il danse à partir de 1933 dans les Ballets Jooss. Maître de ballet à Bâle (1946-1951), il y crée notamment Vom Krieg zum Frieden et Den Opfern(mus. H. *Villa-Lobos). De 1959 à 1967, il est directeur du ballet de l'Opéra de Bavière. À partir de 1965, à la suite de menaces antisémites anonymes dont il est victime, il sombre dans une dépression nerveuse dont il ne se rétablira pas. Révélant un penchant pour le ballet d'envergure, dans lequel il se plaît à mettre en scène l'action dramatique et les danseurs avec une grande précision et un sens aigu du détail, il puise aussi bien dans la grammaire classique que dans le vocabulaire de la danse libre qu'il a hérité de ses maîtres. Son œuvre majeure est la Dame à la Licorne, sur un livret de J. *Cocteau, créée en 1953 à Munich, et qu'il remonte par la suite avec succès à Paris, New York et Buenos Aires…. Provenance: Archive Jean ROBIN. Jean Robin : impressario of the dance, administrator and Director of tours of the ballets of the Champs-Elysées from 1945 to 1951, creator and director of the Festival Internationnal de Danse de Paris from 1963 to 1989, artistic director of the theater of the Champs-Elysées from 1954 to 1967, creator and director of the festival "Mai de Versailles" from 1961 to 1977, general secretary of the Orchestra of Paris from 1967 to 1976, director of the theater of the Gaité Lyrique from 1967 to 1973, vice-president of the International Center of the dance .... Jean Robin is considered a pioneer for having established an annual event of truly international scope, dedicated to dance in all its forms. He collaborated with many artists (Cocteau, Boris Kochno, Sauguet, Auric, Roland Petit, Jean Babilée, Maurice Béjart, Rudolf Noureev...).
Von Händler/Antiquariat, Alan Wofsy Fine Arts.
Mid-20th Century. A collection of 206 photographs, mainly in individual sleeves. 17.5 x 17.5cm. to 19.5 x 29cm. Most with photographer's stamp verso. Mainly black and white... Photographers in the Heinz Rosen Archive: S. Enkelmann, München, Siegfried Enkelmann (* 24. Dezember 1905 in Krasnopol (Weißrussland); † 10. Januar 1978); Taisto Tuomi, Helsinki; Rudolf Betz (* 1907; † 1970 in München); Serge Lido (French, 1906 - 1984); Archives Lipnitzki, Paris; Arthur Grimm, Berlin; Macku, Wien - Macku Anton, ( 14. Oktober 1901 Wien, † 11. Dezember 1985); Rudolf Pittner, Wien; Sabine Toepffer, München; Inge Scheuerle.....Durch die Einführung der Ballettfestwoche im Jahr 1960 brachte Heinz Rosen die internationale Ballettwelt nach München. Bei Gala-Abenden traten Solisten der westlichen Tanzmetropolen New York, London oder Kopenhagen sowie des Bolschoi-Balletts auf. Erste Auslandsgastspiele in Europa folgten... The newer dance languages of the 20th century received greater attention in Munich, when Heinz Rosen took over the direction of the Staatsoper’s ballet division in 1959. Rosen had been a student of Rudolf von Laban’s school of German expressive dance. He was lucky to have dance personalities of intensive creative power in the ensemble, such as Natascha Trofimova, Heino Hallhuber, Franz Baur or Walther Matthes, who could translate his ideas and instructions into dance. In the years that followed, Rosen brought more and more outstanding dancers to Munich, some as guests, some as permanent members. The engagement of Konstanze Vernon, a young principal from Berlin who had trained at the school of Tatjana Gsovsky, proved to be especially momentous. Over two decades later, this performer initiated the foundation of the Bayerisches Staatsballett as an independent division under the auspices of the Nationaltheater. Together with her long-standing stage partner Winfried Krisch, she debuted in Munich with Carl Orff’s Nänie und Dithyrambe during the Ballet Festival Week of 1963….. Introduction of the Ballet Festival Week and opening of the reconstructed National Theatre: With the introduction of the Ballet Festival Week, Heinz Rosen opened the doors to the international ballet world in 1960. He succeeded in bringing big ensembles and stars from major European and American cities to Munich. For the first Ballet Week, the American Aaron Copland appeared with a guest performance of the American Ballet Theatre showing a choreography (Rodeo) by Agnes de Mille. The ballet contributed two choreographies (Dance Panels in Seven Movements by Aaron Copland and Entrata-Nänie-Dithyrambe by Carl Orff) to the National Theatre’s reopening in 1963. In addition to this, the Bayerisches Staatsballett showed the world premiere of Triptychon, to symphonic music by Karl Amadeus Hartmann. The latter evoked ambivalent emotions among parts of the audience with regard to the atrocities of the Second World War and can be seen as courageous programming on Rosen’s part. All in all, the company’s style under Rosen’s direction is a typical representation of stage dance at that time: a mix of classical and modern dance with elements of expressive dance….. 1960 – 1990: Formative stimuli from John Cranko: In the two decades between the Rosen era and the foundation of the Bayerisches Staatsballett lie a series of short-term directors. Especially important during that time werel the years when John Cranko, in addition to his work in Stuttgart, decided the fate of ballet in Munich (1968-1970). He brought with him three of his most beautiful narrative ballets, which had been produced in Stuttgart: Romeo and Juliet, Onegin and The Taming of the Shrew. His artistic influence continued during the time when his dance colleague from the Royal Ballet, Ronald Hynd, was director of the Staatsballett.. Many cherished the hope that Cranko would move his field of influence and activity entirely to Munich. Although this hope was not fulfilled, he had a major influence on the company’s style. To this very day, Cranko’s three great narrative ballets, Romeo and Juliet, Onegin and The Taming of the Shrew, are an indispensable part of the Bayerisches Staatsballett’s repertoire. Directors such as Dieter Gackstetter or the ballerina Lynn Seymour also set important accents. Gackstetter, for example, gained Jerome Robbins for his first work with a German ballet company. And Lynn Seymour brought Bournonville’s jewel, La Sylphide, to the stage. The development of Youri Vámos, for many yearsone of Europe’s most important choreographers, began under Director Edmund Gleede. Stefan Erler brought David Bintley to Germany for the first time. In the mid-1970s, a dance couple worked in Munich, which would return to the company more than two decades later as director and ballet mistress – Ivan Liška and Colleen Scott…... ARCHIVES DE HEINZ ROSEN. Metteur en scène de ballets allemand. Ensemble de 206 photographies de ses ballets Heinz Rosen (1908-1972). Danseur, chorégraphe et directeur de ballet allemand. Après s'être formé auprès de R. *Laban, V. *Gsovski et K. *Jooss, il danse à partir de 1933 dans les Ballets Jooss. Maître de ballet à Bâle (1946-1951), il y crée notamment Vom Krieg zum Frieden et Den Opfern(mus. H. *Villa-Lobos). De 1959 à 1967, il est directeur du ballet de l'Opéra de Bavière. À partir de 1965, à la suite de menaces antisémites anonymes dont il est victime, il sombre dans une dépression nerveuse dont il ne se rétablira pas. Révélant un penchant pour le ballet d'envergure, dans lequel il se plaît à mettre en scène l'action dramatique et les danseurs avec une grande précision et un sens aigu du détail, il puise aussi bien dans la grammaire classique que dans le vocabulaire de la danse libre qu'il a hérité de ses maîtres. Son œuvre majeure est la Dame à la Licorne, sur un livret de J. *Cocteau, créée en 1953 à Munich, et qu'il remonte par la suite avec succès à Paris, New York et Buenos Aires…. Provenance: Archive Jean ROBIN. Jean Robin : impressario of the dance, administrator and Director of tours of the ballets of the Champs-Elysées from 1945 to 1951, creator and director of the Festival Internationnal de Danse de Paris from 1963 to 1989, artistic director of the theater of the Champs-Elysées from 1954 to 1967, creator and director of the festival "Mai de Versailles" from 1961 to 1977, general secretary of the Orchestra of Paris from 1967 to 1976, director of the theater of the Gaité Lyrique from 1967 to 1973, vice-president of the International Center of the dance .... Jean Robin is considered a pioneer for having established an annual event of truly international scope, dedicated to dance in all its forms. He collaborated with many artists (Cocteau, Boris Kochno, Sauguet, Auric, Roland Petit, Jean Babilée, Maurice Béjart, Rudolf Noureev...).
2
Enkelmann, Siegfried (1905 -1978); Rudolf Betz (1907-1970 ); Serge Lido ( 1906 - 1984); Rudolf Pittner; Sabine Toepffer; Inge Scheuerle; Taisto Tuomi,; Archives Lipnitzki, Arthur Grimm; Anton Macku (1901 -1985), photographers
Photographic dance archive of Heinz Rosen , Maitre de Ballet and Choreographer (1908-1972). Original photographs. (1972)
~ENISBN: 1569363854 bzw. 9781569363850, vermutlich in Englisch, Mid-20th Century.
Lieferung aus: Vereinigte Staaten von Amerika, Versandkosten nach: DEU.
Von Händler/Antiquariat, Alan Wofsy Fine Arts.
Mid-20th Century. A collection of 206 photographs, mainly in individual sleeves. 17.5 x 17.5cm. to 19.5 x 29cm. Most with photographer's stamp verso. Mainly black and white... Photographers in the Heinz Rosen Archive: S. Enkelmann, München, Siegfried Enkelmann (* 24. Dezember 1905 in Krasnopol (Weißrussland); † 10. Januar 1978); Taisto Tuomi, Helsinki; Rudolf Betz (* 1907; † 1970 in München); Serge Lido (French, 1906 - 1984); Archives Lipnitzki, Paris; Arthur Grimm, Berlin; Macku, Wien - Macku Anton, ( 14. Oktober 1901 Wien, † 11. Dezember 1985); Rudolf Pittner, Wien; Sabine Toepffer, München; Inge Scheuerle.....Durch die Einführung der Ballettfestwoche im Jahr 1960 brachte Heinz Rosen die internationale Ballettwelt nach München. Bei Gala-Abenden traten Solisten der westlichen Tanzmetropolen New York, London oder Kopenhagen sowie des Bolschoi-Balletts auf. Erste Auslandsgastspiele in Europa folgten... The newer dance languages of the 20th century received greater attention in Munich, when Heinz Rosen took over the direction of the Staatsoper’s ballet division in 1959. Rosen had been a student of Rudolf von Laban’s school of German expressive dance. He was lucky to have dance personalities of intensive creative power in the ensemble, such as Natascha Trofimova, Heino Hallhuber, Franz Baur or Walther Matthes, who could translate his ideas and instructions into dance. In the years that followed, Rosen brought more and more outstanding dancers to Munich, some as guests, some as permanent members. The engagement of Konstanze Vernon, a young principal from Berlin who had trained at the school of Tatjana Gsovsky, proved to be especially momentous. Over two decades later, this performer initiated the foundation of the Bayerisches Staatsballett as an independent division under the auspices of the Nationaltheater. Together with her long-standing stage partner Winfried Krisch, she debuted in Munich with Carl Orff’s Nänie und Dithyrambe during the Ballet Festival Week of 1963….. Introduction of the Ballet Festival Week and opening of the reconstructed National Theatre: With the introduction of the Ballet Festival Week, Heinz Rosen opened the doors to the international ballet world in 1960. He succeeded in bringing big ensembles and stars from major European and American cities to Munich. For the first Ballet Week, the American Aaron Copland appeared with a guest performance of the American Ballet Theatre showing a choreography (Rodeo) by Agnes de Mille. The ballet contributed two choreographies (Dance Panels in Seven Movements by Aaron Copland and Entrata-Nänie-Dithyrambe by Carl Orff) to the National Theatre’s reopening in 1963. In addition to this, the Bayerisches Staatsballett showed the world premiere of Triptychon, to symphonic music by Karl Amadeus Hartmann. The latter evoked ambivalent emotions among parts of the audience with regard to the atrocities of the Second World War and can be seen as courageous programming on Rosen’s part. All in all, the company’s style under Rosen’s direction is a typical representation of stage dance at that time: a mix of classical and modern dance with elements of expressive dance….. 1960 – 1990: Formative stimuli from John Cranko: In the two decades between the Rosen era and the foundation of the Bayerisches Staatsballett lie a series of short-term directors. Especially important during that time werel the years when John Cranko, in addition to his work in Stuttgart, decided the fate of ballet in Munich (1968-1970). He brought with him three of his most beautiful narrative ballets, which had been produced in Stuttgart: Romeo and Juliet, Onegin and The Taming of the Shrew. His artistic influence continued during the time when his dance colleague from the Royal Ballet, Ronald Hynd, was director of the Staatsballett.. Many cherished the hope that Cranko would move his field of influence and activity entirely to Munich. Although this hope was not fulfilled, he had a major influence on the company’s style. To this very day, Cranko’s three great narrative ballets, Romeo and Juliet, Onegin and The Taming of the Shrew, are an indispensable part of the Bayerisches Staatsballett’s repertoire. Directors such as Dieter Gackstetter or the ballerina Lynn Seymour also set important accents. Gackstetter, for example, gained Jerome Robbins for his first work with a German ballet company. And Lynn Seymour brought Bournonville’s jewel, La Sylphide, to the stage. The development of Youri Vámos, for many yearsone of Europe’s most important choreographers, began under Director Edmund Gleede. Stefan Erler brought David Bintley to Germany for the first time. In the mid-1970s, a dance couple worked in Munich, which would return to the company more than two decades later as director and ballet mistress – Ivan Liška and Colleen Scott…... ARCHIVES DE HEINZ ROSEN. Metteur en scène de ballets allemand. Ensemble de 206 photographies de ses ballets Heinz Rosen (1908-1972). Danseur, chorégraphe et directeur de ballet allemand. Après s'être formé auprès de R. *Laban, V. *Gsovski et K. *Jooss, il danse à partir de 1933 dans les Ballets Jooss. Maître de ballet à Bâle (1946-1951), il y crée notamment Vom Krieg zum Frieden et Den Opfern(mus. H. *Villa-Lobos). De 1959 à 1967, il est directeur du ballet de l'Opéra de Bavière. À partir de 1965, à la suite de menaces antisémites anonymes dont il est victime, il sombre dans une dépression nerveuse dont il ne se rétablira pas. Révélant un penchant pour le ballet d'envergure, dans lequel il se plaît à mettre en scène l'action dramatique et les danseurs avec une grande précision et un sens aigu du détail, il puise aussi bien dans la grammaire classique que dans le vocabulaire de la danse libre qu'il a hérité de ses maîtres. Son œuvre majeure est la Dame à la Licorne, sur un livret de J. *Cocteau, créée en 1953 à Munich, et qu'il remonte par la suite avec succès à Paris, New York et Buenos Aires…. Provenance: Archive Jean ROBIN. Jean Robin : impressario of the dance, administrator and Director of tours of the ballets of the Champs-Elysées from 1945 to 1951, creator and director of the Festival Internationnal de Danse de Paris from 1963 to 1989, artistic director of the theater of the Champs-Elysées from 1954 to 1967, creator and director of the festival "Mai de Versailles" from 1961 to 1977, general secretary of the Orchestra of Paris from 1967 to 1976, director of the theater of the Gaité Lyrique from 1967 to 1973, vice-president of the International Center of the dance .... Jean Robin is considered a pioneer for having established an annual event of truly international scope, dedicated to dance in all its forms. He collaborated with many artists (Cocteau, Boris Kochno, Sauguet, Auric, Roland Petit, Jean Babilée, Maurice Béjart, Rudolf Noureev...).
Von Händler/Antiquariat, Alan Wofsy Fine Arts.
Mid-20th Century. A collection of 206 photographs, mainly in individual sleeves. 17.5 x 17.5cm. to 19.5 x 29cm. Most with photographer's stamp verso. Mainly black and white... Photographers in the Heinz Rosen Archive: S. Enkelmann, München, Siegfried Enkelmann (* 24. Dezember 1905 in Krasnopol (Weißrussland); † 10. Januar 1978); Taisto Tuomi, Helsinki; Rudolf Betz (* 1907; † 1970 in München); Serge Lido (French, 1906 - 1984); Archives Lipnitzki, Paris; Arthur Grimm, Berlin; Macku, Wien - Macku Anton, ( 14. Oktober 1901 Wien, † 11. Dezember 1985); Rudolf Pittner, Wien; Sabine Toepffer, München; Inge Scheuerle.....Durch die Einführung der Ballettfestwoche im Jahr 1960 brachte Heinz Rosen die internationale Ballettwelt nach München. Bei Gala-Abenden traten Solisten der westlichen Tanzmetropolen New York, London oder Kopenhagen sowie des Bolschoi-Balletts auf. Erste Auslandsgastspiele in Europa folgten... The newer dance languages of the 20th century received greater attention in Munich, when Heinz Rosen took over the direction of the Staatsoper’s ballet division in 1959. Rosen had been a student of Rudolf von Laban’s school of German expressive dance. He was lucky to have dance personalities of intensive creative power in the ensemble, such as Natascha Trofimova, Heino Hallhuber, Franz Baur or Walther Matthes, who could translate his ideas and instructions into dance. In the years that followed, Rosen brought more and more outstanding dancers to Munich, some as guests, some as permanent members. The engagement of Konstanze Vernon, a young principal from Berlin who had trained at the school of Tatjana Gsovsky, proved to be especially momentous. Over two decades later, this performer initiated the foundation of the Bayerisches Staatsballett as an independent division under the auspices of the Nationaltheater. Together with her long-standing stage partner Winfried Krisch, she debuted in Munich with Carl Orff’s Nänie und Dithyrambe during the Ballet Festival Week of 1963….. Introduction of the Ballet Festival Week and opening of the reconstructed National Theatre: With the introduction of the Ballet Festival Week, Heinz Rosen opened the doors to the international ballet world in 1960. He succeeded in bringing big ensembles and stars from major European and American cities to Munich. For the first Ballet Week, the American Aaron Copland appeared with a guest performance of the American Ballet Theatre showing a choreography (Rodeo) by Agnes de Mille. The ballet contributed two choreographies (Dance Panels in Seven Movements by Aaron Copland and Entrata-Nänie-Dithyrambe by Carl Orff) to the National Theatre’s reopening in 1963. In addition to this, the Bayerisches Staatsballett showed the world premiere of Triptychon, to symphonic music by Karl Amadeus Hartmann. The latter evoked ambivalent emotions among parts of the audience with regard to the atrocities of the Second World War and can be seen as courageous programming on Rosen’s part. All in all, the company’s style under Rosen’s direction is a typical representation of stage dance at that time: a mix of classical and modern dance with elements of expressive dance….. 1960 – 1990: Formative stimuli from John Cranko: In the two decades between the Rosen era and the foundation of the Bayerisches Staatsballett lie a series of short-term directors. Especially important during that time werel the years when John Cranko, in addition to his work in Stuttgart, decided the fate of ballet in Munich (1968-1970). He brought with him three of his most beautiful narrative ballets, which had been produced in Stuttgart: Romeo and Juliet, Onegin and The Taming of the Shrew. His artistic influence continued during the time when his dance colleague from the Royal Ballet, Ronald Hynd, was director of the Staatsballett.. Many cherished the hope that Cranko would move his field of influence and activity entirely to Munich. Although this hope was not fulfilled, he had a major influence on the company’s style. To this very day, Cranko’s three great narrative ballets, Romeo and Juliet, Onegin and The Taming of the Shrew, are an indispensable part of the Bayerisches Staatsballett’s repertoire. Directors such as Dieter Gackstetter or the ballerina Lynn Seymour also set important accents. Gackstetter, for example, gained Jerome Robbins for his first work with a German ballet company. And Lynn Seymour brought Bournonville’s jewel, La Sylphide, to the stage. The development of Youri Vámos, for many yearsone of Europe’s most important choreographers, began under Director Edmund Gleede. Stefan Erler brought David Bintley to Germany for the first time. In the mid-1970s, a dance couple worked in Munich, which would return to the company more than two decades later as director and ballet mistress – Ivan Liška and Colleen Scott…... ARCHIVES DE HEINZ ROSEN. Metteur en scène de ballets allemand. Ensemble de 206 photographies de ses ballets Heinz Rosen (1908-1972). Danseur, chorégraphe et directeur de ballet allemand. Après s'être formé auprès de R. *Laban, V. *Gsovski et K. *Jooss, il danse à partir de 1933 dans les Ballets Jooss. Maître de ballet à Bâle (1946-1951), il y crée notamment Vom Krieg zum Frieden et Den Opfern(mus. H. *Villa-Lobos). De 1959 à 1967, il est directeur du ballet de l'Opéra de Bavière. À partir de 1965, à la suite de menaces antisémites anonymes dont il est victime, il sombre dans une dépression nerveuse dont il ne se rétablira pas. Révélant un penchant pour le ballet d'envergure, dans lequel il se plaît à mettre en scène l'action dramatique et les danseurs avec une grande précision et un sens aigu du détail, il puise aussi bien dans la grammaire classique que dans le vocabulaire de la danse libre qu'il a hérité de ses maîtres. Son œuvre majeure est la Dame à la Licorne, sur un livret de J. *Cocteau, créée en 1953 à Munich, et qu'il remonte par la suite avec succès à Paris, New York et Buenos Aires…. Provenance: Archive Jean ROBIN. Jean Robin : impressario of the dance, administrator and Director of tours of the ballets of the Champs-Elysées from 1945 to 1951, creator and director of the Festival Internationnal de Danse de Paris from 1963 to 1989, artistic director of the theater of the Champs-Elysées from 1954 to 1967, creator and director of the festival "Mai de Versailles" from 1961 to 1977, general secretary of the Orchestra of Paris from 1967 to 1976, director of the theater of the Gaité Lyrique from 1967 to 1973, vice-president of the International Center of the dance .... Jean Robin is considered a pioneer for having established an annual event of truly international scope, dedicated to dance in all its forms. He collaborated with many artists (Cocteau, Boris Kochno, Sauguet, Auric, Roland Petit, Jean Babilée, Maurice Béjart, Rudolf Noureev...).
Lade…