© Rebecca Lena
Swans never die
Several artists stage their own reinterpretations of The Dying Swan. What is left today of this choreographic work, a milestone in 20th century Western ballet? How is it echoed by contemporary choreographies and what values can it convey to the future? It is questions such as these that lie at the basis of the project Swans never die, jointly developed and promoted by a network of subjects (including Triennale Milano Teatro) who have decided to make their ideas and plans converge in The Dying Swan: a dance that has been regarded as a crucial chapter in the history of ballet, ever since it was choreographed by Michel Fokine for Anna Pavlova in 1905.
After studying at the Brera Academy and the Paolo Grassi school in Milan, Camilla Monga trained under Anne Teresa De Keersmaeker, Bojana Cvejić, and Alain Franco. She has presented her works in important settings, from the Biennale Danza to the P.A.R.T.S. of Bruxelles.
Chiara Bersani is a performer and author. The “manifesto” of her research is Gentle Unicorn, which in 2019 earned her the Ubu Prize and the Total Theatre Award for Dance at the Edinburgh Fringe Festival.
Philippe Kratz was born in Leverkusen in 1985. He has worked with Ohad Naharin, William Forsythe, Michele Di Stefano, and Rihoko Sato (among other performers). He was voted best choreographer of 2020 by the prestigious Italian magazine Danza&Danza.
Virna Toppi joined the Teatro alla Scala Academy in 2003. After performing in Dresden and Munich, she returned to the Scala as prima ballerina in 2020. She has received several awards including the 2016 Prix Ballet and the 2019 Danza&Danza Prize.
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Running time 15’ + 15’ + 15’ + 15’ (with intermissions)
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