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duh i tehnìku и ambiciózní ansambl spreman da prihvati nove impulse. U meduvremenu mnogostruki darovi Hans van Maněna (1960 — 1970) bili su и punom procvatu, sto je ostavilo neizbrisiv trag na karakteristike ansamblu. Igrači su doprinosili svojim darom procvatu i rastu jedinstvenog repertoáru. Taj proces i danas nastavlja. Za vřeme kritičnih godina, Benjamin Harkarvy (1959 — 69) je oblikovao šesnaestoro tadašnjih daroviíih igrača, kóji su postali igrači prave klase, razvijao njihovu tehniku i izražajnost, raznolikost i stil njihovog repertoara. NDT ne gaji sistem zvezda, ali se oslanja na igrače prvog ranga; svaki solist raspoíaže svojom ličnim karakteristikama; svakodnevno se vežba klasicna tehnika, te su igrači srodeni i sa igrom na prstima. Sposobnost da se svi sjedine и homogenu grupu, projeti istom disciplinám i duhom, jos je jedan izvor snage ansamblu. Za osamnaest godina NDT je prikazao oko 200 različitih igara, od kojih je veliká vecina ekskluzivno kreirana za tu trupu. Repertoár se svake godine bogati sa osám do dvanaest novih tačaka. Premijere se gotovo redovno odrzavaju и Hagu. NDP svake sezone daje oko 150 představa и Holandiji i и inostranstvu. Ansambl je gostovao na mnogim evropskim festivalima, kao i и oběma Amerikama, i Aziji. On se smatra jedním od največih savremenih boleta sveta i ambasadorom holandské umetnosti. Ideal ansamblu je bio da stvori most između evropské baletske tradicije i američke tehnike, i taj ideal je ostvaren. To nije bio jednosmeran napor. Amerikanci kóji su pomogli da se ostvari taj cilj и NDTpretrpeli su uticaj ovog procesa i prihvatili ideje koje su stvoř ene u trupi. AmeriČki uticaj je najviše i zražen kroz dinamičke vrednosti jednog Louisa Falcoa, zatim Jennifer Muller i Margo Sappington, dok najznačajnija evropská inicijativa potiče od strane senzibilnog i vibrantnog Jiria Kyliana, kóji je kodirekíor NDT-a zajedno sa umetničkim direktorem Hansom Knillom (Švajcarac, nekadašnji igrač, godinama clan trupe). Nederland Dans Teatarom rukovodi savet и kom su tri baletska umetnika: Hanny Knill, Holanđanin i aktivna snaga trupe od 1961. godine, Hans Knill i Rochelle Žide (Amerikanka), mu zie ki šef Jan Stulen i Carel Birnìe (operativní direktor i jediní član-osnivač iz 1959).

v 'S It has taken a Ш ai P short time for Г Ш IKs Nederlands Dans history of ndt theater to establish itself amidst the most prominent international companies today. This quick notoriety explains itself by the youth and vitality it exhibits and by the originality and style of its creations. N.D.T. proposes a happy mixture of the classical tradition and the modern,

basically American vocabulary, and overall contributes to the enrichment of the contemporary dance. The N.D.T. of today had its beginnings as a result of a group of rebel dancers, choreographers and a business manager anxious to free themselves from traditional dance and explore the structure of comtemporary forms. The initiative to found the company was taken by Aart Verstegen (now director of Scapino Ballet, Amsterdam), Carel Birnie (current director of N.D.T.) and Benjamin Harkarvy (now artistic director of the Pennsylvania Ballet). Others who would be prominent in its emergence were, Jaap Flier, Rudi van Danzig (now artistic director of Het Nationale Ballet, Amsterdam), Hans van Manen (international choreographer ; now Het Nationale Ballet) and Charles Czarny and Job Sanders (currently tecturing, teaching at The Hague Conservatory and freelance choreographing in many parts of the world). All these people had one thing in common when in 1959 they broke from Het Nederlands Ballet, (now Het Nationale Ballet) ; shared ideals in the broad scope of the contemporary dance. N.D.T. ’s first performance and success came at the Ostaend Festival in Belgium on September sth, 1959 and was immediately followed by success in its own country 3 days later in Utrecht. The company was to perform 159 times in their first season in Holland. From the beginning it seemed as if it were born to travel. Its second season saw them on a 6 weeks tour of Israel and every season since they have toured abroad. Basically today, N.D.T. performs troughout Holland from September to March premiering its new works (approximately 10 per season) during this period and the remainder of the season, April to July is given over to foreign tours, plus the Holland Festival. Critical success continued and so too financial reward, both combining to sustain the company during its season in warehouses, halls and tiny theatres. By 1961 the city government of The Hague came to realise that this vital dance company settled within its precincts was becoming a landmark in the Arts. As a result of this awareness N.D.T. gained a permanent subsidy. It also archieved the Central government’s recognition and a healthy grant that enabled the company to reach the standards it enjoys today. From an artistic point of view, 1962 was a milestone in its history. Anna Sokolov, Johan Butler, Glen Tetley, Job Sanders, dancers and choreographers from the modern American school came to the company. Their influence was of major importance as they injected new spirit and techniques into an eager and malleable company. Meanwhile the deft talents of Hans van Manen were flowering (1960 — 70) that would place an indelible stamp on the characteristics of the company. Dancers within with a flare for this art would add ballets to a growing and unique repertoire. The process continues to this day. Through the critical years of formation the formidable talents of Benjamin Harkarvy (59 — 69) moulded and developed the then 16 dancers into a high calibre unit and created works that continued to lift their technical and performance qualities and give variety and style to the repertoire.