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Contemporary dance, ballet and theatre are three of the main planks of the CD programme throughout the year, presented in the centre's main auditoriums, with the Duša Počkaj Hall, a small theatre of the "black-box" type, being reserved exclusively for new works. Introduced in 2015/16, the '''Magnificent 7''' subscription series (''Abonma Veličastnih 7'') enables audiences to pay up front and secure their seats for dance, ballet, theatre and opera performances across the season, which usually runs from October to May. | Contemporary dance, ballet and theatre are three of the main planks of the CD programme throughout the year, presented in the centre's main auditoriums, with the Duša Počkaj Hall, a small theatre of the "black-box" type, being reserved exclusively for new works. Introduced in 2015/16, the '''Magnificent 7''' subscription series (''Abonma Veličastnih 7'') enables audiences to pay up front and secure their seats for dance, ballet, theatre and opera performances across the season, which usually runs from October to May. | ||
− | =Contemporary dance and circus== | + | ==Contemporary dance and circus== |
The international dimensions of this section of the programme are pronounced, with highlights in the latter half of the 2010s that included Bartabas and Andrés Marín (France/Spain, equestrian dance, 2015), the China National Peking Opera Company (2015), the New Circus of Vietnam (2016), the Andrés Marín Flamenco Abierto Company (Spain, 2016), Sankai Juku (Japan, butoh dance, 2017), the Bill T Jones/Arnie Zane Dance Company (USA, 2017), Saburo Teshigawara (Japan, contemporary dance, 2017), Compagnie Käfig (France/Brazil, experimental dance and visual technology, 2018), the Sydney Dance Company (2018), Grupo Corpo (Brazil, contemporary dance, 2018), the L-E-V Dance Company (Israel, 2018), Circa Contemporary Circus (Australia, 2018), Cirque Éloize (Canada, 2019), Rosas (Belgium, contemporary dance, 2019) and the Carolyn Carlson Company (USA/France, 2020). | The international dimensions of this section of the programme are pronounced, with highlights in the latter half of the 2010s that included Bartabas and Andrés Marín (France/Spain, equestrian dance, 2015), the China National Peking Opera Company (2015), the New Circus of Vietnam (2016), the Andrés Marín Flamenco Abierto Company (Spain, 2016), Sankai Juku (Japan, butoh dance, 2017), the Bill T Jones/Arnie Zane Dance Company (USA, 2017), Saburo Teshigawara (Japan, contemporary dance, 2017), Compagnie Käfig (France/Brazil, experimental dance and visual technology, 2018), the Sydney Dance Company (2018), Grupo Corpo (Brazil, contemporary dance, 2018), the L-E-V Dance Company (Israel, 2018), Circa Contemporary Circus (Australia, 2018), Cirque Éloize (Canada, 2019), Rosas (Belgium, contemporary dance, 2019) and the Carolyn Carlson Company (USA/France, 2020). | ||
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==Ballet== | ==Ballet== | ||
− | For a capital city of fairly modest size, Ljubljana stages an enviable number of major international ballet productions per season. These lean heavily towards contemporary ballet expression. Highlights include Les Ballets Jazz de Montréal (2014), Le Ballet du Grand Théâtre de Genève (''A Midsummer Night's Dream'', 2014), Le Ballet National de Marseille (''Bolero – Extremalism, 2016), Alonzo King LINES Ballet (USA, ''Concerto for Two Violins'', ''Men's Quintet'' and ''Writing Ground'', 2016), the Ballet of the Croatian National Theatre in Zagreb (''The Glembays'', 2017), Ballet Preljocaj (France, ''Romeo and Juliet'', 2017) and CCN – Ballet de Lorraine (France, ''Histoires sans histoire(s)'', 2019). | + | For a capital city of fairly modest size, Ljubljana stages an enviable number of major international ballet productions per season. These lean heavily towards contemporary ballet expression. Highlights include Les Ballets Jazz de Montréal (2014), Le Ballet du Grand Théâtre de Genève (''A Midsummer Night's Dream'', 2014), Le Ballet National de Marseille (''Bolero – Extremalism'', 2016), Alonzo King LINES Ballet (USA, ''Concerto for Two Violins'', ''Men's Quintet'' and ''Writing Ground'', 2016), the Ballet of the Croatian National Theatre in Zagreb (''The Glembays'', 2017), Ballet Preljocaj (France, ''Romeo and Juliet'', 2017) and CCN – Ballet de Lorraine (France, ''Histoires sans histoire(s)'', 2019). |
CD also maintains a strong season-by-season association with the ballet section of the [[Slovene National Theatre Maribor]] (Balet SNG Maribor): ''Tango'', ''Radio and Juliet'' and ''Hommage à Stravinsky'' (2013), ''Peer Gynt'' (2015), ''Eugene Onegin'' (2016), ''Carmen'', '' Faun'' and ''Bolero'' (2017), ''Death in Venice'' (2019, in collaboration with the Ballet of the Croatian National Theatre in Zagreb) and ''Hora-Cantata'' (2019). The majority of these productions were choreographed by [[Edward Clug]], winner of a [[Prešeren Award and Prešeren Foundation Awards|Prešeren Foundation Award]] and one of contemporary ballet's biggest global names. | CD also maintains a strong season-by-season association with the ballet section of the [[Slovene National Theatre Maribor]] (Balet SNG Maribor): ''Tango'', ''Radio and Juliet'' and ''Hommage à Stravinsky'' (2013), ''Peer Gynt'' (2015), ''Eugene Onegin'' (2016), ''Carmen'', '' Faun'' and ''Bolero'' (2017), ''Death in Venice'' (2019, in collaboration with the Ballet of the Croatian National Theatre in Zagreb) and ''Hora-Cantata'' (2019). The majority of these productions were choreographed by [[Edward Clug]], winner of a [[Prešeren Award and Prešeren Foundation Awards|Prešeren Foundation Award]] and one of contemporary ballet's biggest global names. |
Contemporary dance, ballet and theatre are three of the main planks of the CD programme throughout the year, presented in the centre's main auditoriums, with the Duša Počkaj Hall, a small theatre of the "black-box" type, being reserved exclusively for new works. Introduced in 2015/16, the Magnificent 7 subscription series (Abonma Veličastnih 7) enables audiences to pay up front and secure their seats for dance, ballet, theatre and opera performances across the season, which usually runs from October to May.
The international dimensions of this section of the programme are pronounced, with highlights in the latter half of the 2010s that included Bartabas and Andrés Marín (France/Spain, equestrian dance, 2015), the China National Peking Opera Company (2015), the New Circus of Vietnam (2016), the Andrés Marín Flamenco Abierto Company (Spain, 2016), Sankai Juku (Japan, butoh dance, 2017), the Bill T Jones/Arnie Zane Dance Company (USA, 2017), Saburo Teshigawara (Japan, contemporary dance, 2017), Compagnie Käfig (France/Brazil, experimental dance and visual technology, 2018), the Sydney Dance Company (2018), Grupo Corpo (Brazil, contemporary dance, 2018), the L-E-V Dance Company (Israel, 2018), Circa Contemporary Circus (Australia, 2018), Cirque Éloize (Canada, 2019), Rosas (Belgium, contemporary dance, 2019) and the Carolyn Carlson Company (USA/France, 2020).
For a capital city of fairly modest size, Ljubljana stages an enviable number of major international ballet productions per season. These lean heavily towards contemporary ballet expression. Highlights include Les Ballets Jazz de Montréal (2014), Le Ballet du Grand Théâtre de Genève (A Midsummer Night's Dream, 2014), Le Ballet National de Marseille (Bolero – Extremalism, 2016), Alonzo King LINES Ballet (USA, Concerto for Two Violins, Men's Quintet and Writing Ground, 2016), the Ballet of the Croatian National Theatre in Zagreb (The Glembays, 2017), Ballet Preljocaj (France, Romeo and Juliet, 2017) and CCN – Ballet de Lorraine (France, Histoires sans histoire(s), 2019).
CD also maintains a strong season-by-season association with the ballet section of the Slovene National Theatre Maribor (Balet SNG Maribor): Tango, Radio and Juliet and Hommage à Stravinsky (2013), Peer Gynt (2015), Eugene Onegin (2016), Carmen, Faun and Bolero (2017), Death in Venice (2019, in collaboration with the Ballet of the Croatian National Theatre in Zagreb) and Hora-Cantata (2019). The majority of these productions were choreographed by Edward Clug, winner of a Prešeren Foundation Award and one of contemporary ballet's biggest global names.
CD has also staged productions by other smaller Slovenian dance and ballet companies, including the Flota Institute, the En-Knap Dance Group, Fičo Balet and the Vitkar Institute.
As Slovenia as a whole is extremely well-served by national and regional theatres, CD's drama output rests heavily on co-producing and hosting short runs and single performances in collaboration with Slovenian, regional and international companies, including the Anton Podbevšek Theatre from Novo Mesto,SNG Drama Ljubljana, Ljubljana City Theatre (MGL), the National Theatre in Belgrade, the Yugoslav Drama Theatre (Belgrade), the Croatian National Theatre in Zagreb and the Marin Sorescu National Theatre (Craiova, Romania).
The first biennial Bi Flamenko International Flamenco Festival was produced and hosted in 2018. Resulting from a collaboration between the theatre/contemporary dance and jazz/world music departments at CD, the first two editions attracted some of the world's top flamenco musicians and dancers, including Rafael Riqueni and Rocío Molina, as well as a host of emerging talents. The festival's key artistic vision is that of flamenco as a contemporary art form and one that can act as a platform for connecting different styles of music, theatre and dance.
The Covid-19 pandemic curtailed much of the 2019/20 and 2020/21 seasons, forcing the cancellation of the Magnificent 7 subscription series, and of productions by the Faso Danse Théâtre (Belgium, 2020), SNG Maribor (Prokofiev's Cinderella, 2020), SNG Opera in Balet Ljubljana (Spartacus, 2021) and Jan Lauwers (Belgium, 2021).
Culture.si offers information on Slovene cultural producers, venues, festivals and support services, all in one place. It encourages international cultural exchange in the fields of arts, culture and heritage. The portal and its content is owned and funded by the Ministry of Culture, funded by the European Union Recovery and Resilience Plan and developed by Ljudmila Art and Science Laboratory.