Reuniune de clasa la 6 decenii distanta

Reuniune de clasa la 6 decenii distanta
O reintilnire emotionanta, dupa zeci de ani: profesori si elevi ai Liceului de Coregrafie si Arta Dramatica „Octavian Stroia“ au strigat catalogul promotiilor din cei 60 de ani de functionare a scolii.
Peste 500 de absolventi ai Liceului de Coregrafie si Arta Dramatica “Octavian Stroia” s-au intilnit vineri pentru a sarbatori 60 de ani de la infiintarea scoliiSute de oameni, si mai tineri, si mai in virsta, s-au adunat vineri pentru a sarbatori 60 de ani de invatamint coregrafic clujean.
O mare de oameni, de toate virstele, adunati intr-o imensa sala de dans si uitati in imbratisari pentru multe minute. Lacrimile ce le curg pe obraji sint desprinse din acelasi tablou in care parca timpul a incremenit. E bucurie, e tristete si multe amintiri care se revarsa peste ei – o atmosfera care impresioneaza putinii spectatori, care deodata se simt intrusi in aceasta lume inchisa a artistilor. Un gind rusinos de incalcare a intimitatii ma trezeste din visare si ma retrag intr-un coltisor de unde sa pot observa acest impresionant spectacol. Un zumzet se asterne peste uriasa sala si fostii dansatori de succes ai Clujului incep a-si depana amintirile dintr-o suflare incercind sa-si cuprinda intreaga viata in citeva fraze. Prin incapere rasuna un „Vai, nu cred, tu esti? Nu te-am recunoscut“ si un val de lacrimi izbucneste incercind sa potoleasca emotia coplesitoare a revederii. Nici sunetul unui clopotel pe care il zgiltiie disperat directorul liceului de coregrafie nu poate potoli bucuria revederii dupa atitia ani. „In viata mea n-am intilnit atita indisciplina in aceasta scoala“, glumeste directorul si incepe sa strige catalogul promotiilor. Se face loc in mijlocul salii, iar promotiile sint chemate pe rind, sa se prezinte. Doamne mai in etate, dar care nu-si tradeaza virsta, vin in mijloc si se prezinta, executind figuri gratioase de balerine. Apoi, ca intr-un film dat cu „repezitorul“ se perinda toate generatiile de balerini pe care le-a dat scoala clujeana.
„Au venit foarte multi absolventi azi, sint multi care vin din strainatate special pentru acest eveniment. A fost nevoie de multa munca pentru a reusi sa-i adunam si sintem foarte bucurosi ca am putut face acest lucru. Totul a iesit exact cum ne-am dorit – o reintilnire emotionanta dupa zeci de ani“, a spus pentru monitorul Corina Tudor Marc, profesoara la Liceul de Coregrafie si Arta Dramatica „Octavian Stroia“.
Cea mai virstnica profesoara, cea care i-a pregatit pe aproape toti elevii Liceului de Coregrafie si Arta Dramatica „Octavian Stroia“, este aplaudata de cei prezenti. „Este un moment extrem de emotionant si nu m-am asteptat sa vina chiar atit de multa lume“, spune Maria Traila Imre, profesoara inca de la inceputurile scolii de dans clujene, acum in virsta de 88 de ani.
„Pot spune ca ma numar printre fondatorii acestei scoli, alaturi de Octavian Stroia, Larisa Sorban, Jeana Popovici si alti oameni de seama ai scolii de dans clujene. Noi am fost cei care am pus bazele acestei scoli, ne-am zis ca trebuie sa infiintam o scoala de dans la Cluj si pina la urma am primit aprobarea sa facem acest lucru. Am pornit cu o clasa, iar in cele din urma am devenit liceu de coregrafie“, isi aminteste cu drag Maria Traila. Ea si-a facut studiile de dans la Academia din Budapesta, in perioada in care Ardealul era sub administratie maghiara. „M-am intors acasa in ‘45, iar in 1948, cind s-a infiintat Opera Maghiara, am fost aleasa sa lucrez acolo ca prima balerina, iar mai tirziu am lucrat cu jumatate de norma la scoala de coregrafie. De aceea, va pot spune mindra ca, dintre cei prezenti aici, 80% mi-au fost elevi“, marturiseste incintata profesoara. „Sint foarte incintata acum, cind vad atit de multa dragoste din partea fostilor elevi. Imi dau seama ca m-au iubit foarte mult si m-au apreciat, desi trebuie sa recunosc ca eram foarte severa cu ei, dar asta deoarece mi-am dorit pentru ei mai mult decit am realizat eu“, a conchis ea.

Primele generatii de dansatori
Tereza Mocuta este absolventa din prima generatie de dansatori pe care scoala clujeana de dans a dat-o, in anul 1954. „Este un moment deosebit si unic, dar extrem de emotionant. Imi amintesc cu drag cum am inceput sa dansez. Eu sint din Oradea si s-a facut o preselectie de talente in 1949 si am fost printre cei selectionati. Mama mea nu prea a fost de acord sa vin la scoala la Cluj, dar pina la urma a acceptat, pentru ca am convins-o ca asta imi doresc sa fac. La inceput a fost foarte greu, nu aveam o scoala ca lumea, in internat dormeam pe jos, pe paie, iar dupa ce ne-au adus paturi, cu saltele tot din paie, dormeam cite doua in pat. Dar a fost frumos fiindca eram tineri foarte pasionati de ceea ce faceam“, marturiseste Tereza Mocuta, acum in virsta de 76 de ani.
Din 1955, Tereza Mocuta a fost balerina la Opera Romana din Cluj, timp de 10 ani, dupa care, pina in 1989, a fost profesoara de balet la Liceul de Coregrafie „Octavian Stroia“. „Eram o profesoara foarte severa, dar cu toate acestea copiii m-au iubit“, marturiseste Mocuta, mentor pentru multi elevi ai scolii de coregrafie.
O viata fara regrete
Reprezentanta a promotiei 1956, Rozica Szabo spune ca nu regreta absolut nimic din viata ei, deoarece a reusit sa faca tot ce si-a propus. Aceasta reintilnire pentru ea a fost „un moment fantastic, emotionant din cale afara, care nici nu se poate exprima in cuvinte“.
„Am fost si la intilnirea de acum 10 ani, dar n-au fost atit de multe persoane ca acum. Imaginati-va ca mi-am revazut colegi pe care nu-i mai vazusem de 50 de ani. Pe multi nici nu i-am recunoscut, pentru ca nu ai cum, e o viata de om. Este foarte emotionant“, a spus Rozica Szabo, in virsta de 74 de ani. A fost 31 de ani balerina la Opera Maghiara si marturiseste ca a venit „pregatita“ pentru eveniment cu o doza de calmante, „pentru ca altfel n-as putea face fata acestor emotii atit de puternice“.
Rozica Szabo spune ca actuala scoala de dans nici nu se compara cu cea in care a studiat ea: „Eram la Biserica Franciscana, acolo aveam internatul, dar scoala era la inceput si nu erau nici un fel de conditii. Nu aveam paturi, dormeam pe jos si era foarte multa mizerie. A fost foarte greu, am muncit foarte mult, a fost nevoie de perseverenta, dar a meritat efortul depus“.

„Duritatea in arta“, necesara pentru slefuirea talentelor
„Scoala de balet nu era usoara. Era foarte multa disciplina si aici invatai ce inseamna respectarea visului. Se aplica ceea ce se numeste «duritate in arta», care era de fapt slefuirea talentelor si drumul spre calea de artist. Eu sint din Moldova, din Tirgul Frumos, si am ajuns la Cluj in urma unei selectii. Acasa nu aveam televizor, nu aveam nimic si nu stiam ce inseamna baletul, dar simteam in mine niste porniri de a ma exprima prin dans si, datorita acestui lucru, la acea selectie am dansat instinctiv, cum am simtit eu, si am fost selectionata pentru ca eram un talent nativ“, a spus Stela Cocirla, absolventa a promotiei din 1977 si printre primii dansatori ai Companiei „Oleg Danovski“. A lucrat apoi mai multi ani in Germania, experienta pe care si-o aminteste cu drag, despre care spune ca a fost adevarata ei scoala si unde a lucrat cu nume sonore din domeniu. „Aceasta experienta mi-a dat patru perechi de aripi si m-a ajutat sa imi gasesc directia atunci cind nu stiam incotro s-o iau“, marturiseste ea. Intre timp, Stela Cocarla a revenit in Romania, locuieste in Constanta si spune ca ii lipseste foarte mult Clujul, pe care il indrageste enorm.

„A trecut viata peste noi“
„A fost o intilnire emotionanta. Am colegi pe care nu i-am mai vazut de 36 de ani. Desi ne-am recunoscut reciproc in mare parte, au fost, totusi, citiva care s-au schimbat foarte mult si nu mi-a venit sa cred ca intr-adevar ei erau. Asta e, ce pretentii putem sa avem… Ne-am cunoscut copii si ne-am reintilnit oameni mari. A trecut viata peste noi!“, spune plina de emotie Lucia Racosa, absolventa a promotiei din 1974. „Noi, artistii, avem o lume a noastra in care nu patrunde nimeni, uneori nici macar cei apropiati. Poate ca de aceea majoritatea dintre noi sintem casatoriti tot cu oameni din domeniul artei, ca sa ne putem intelege“, glumeste ea.
Lucia Racosa a fost timp de 21 de ani balerina la Opera Romana din Brasov, desi este de origine din Cimpia Turzii. „Cind am terminat eu, a fost primul an in care nu s-au mai facut repartitii, asa ca mi-am cautat de lucru prin tara. Am dat probe la Timisoara si la Brasov si mi-am spus ca acolo de unde imi va veni prima data raspunsul, acela va fi orasul pe care il voi alege. Cei din Brasov mi-au raspuns cu 2 zile inaintea celor de la Timisoara… Si uite asa am ajuns la Brasov si acolo am si ramas“, explica Lucia Racosa motivele plecarii din Cluj-Napoca, oras pe care il adora: „Am locuit in Cluj in acea perioada din viata in care te formezi, poate de aceea imi este asa de drag si ii invidiez pe cei care locuiesc aici. Azi noapte nu am putut sa dorm de agitatie din cauza reintilnirii cu colegii, asa ca am umblat hai-hui pe strazi. Aveti un oras superb, un oras cosmopolit, o adevarata metropola“.
La finalul intilnirii, doamne si domni, veniti din toate colturile tarii si uniti de aceeasi pasiune – dansul, si-au luat „La revedere“ cu promisiunea ca se vor intilni si la urmatoarea reuniune de clasa, peste inca 10 ani.

Ballet

Ballet is a formalized kind of performance dance, which originated in the Italian Renaissance courts of the 15th century, and which was further developed in France, England, and Russia as a concert dance form. The early portions preceded the invention of the proscenium stage and were presented in large chambers with most of the audience seated on tiers or galleries on three sides of the dancing floor. It has since become a highly technical form of dance with its own vocabulary. It is primarily performed with the accompaniment of classical music. It has been influential as a form of dance globally and is taught in ballet schools around the world, which use their own cultures and societies to inform the art. Ballet dance works (ballets) are choreographed and performed by trained artists, include mime and acting, and are set to music (usually orchestral but occasionally vocal). It is a poised style of dance that incorporates the foundational techniques for many other dance forms.
This type of dancing is very hard to achieve and takes much practice to master. It is best known in the form of Late Romantic Ballet or Ballet Blanc, which preoccupies itself with the female dancer to the exclusion of almost all else, focusing on pointe work, flowing, precise acrobatic movements, and often presenting the dancers in the conventional short white French tutu. Later developments include expressionist ballet, Neoclassical ballet, and elements of Modern dance.
The etymology of the word “ballet” is related to the art form’s history. The word ballet comes from the French and was borrowed into English around the 17th century. The French word in turn has its origins in Italian
balletto, a diminutive of ballo (dance). Ballet ultimately traces back to Latin ballare, meaning to dance.
History
Main article: History of ballet
Ballet emerged in the late fifteenth-century Renaissance court culture of Italy as a dance interpretation of fencing, and further developed in the French court from the time of Louis XIV in the 17th century. This is reflected in the largely French vocabulary of ballet. Despite the great reforms of Noverre in the eighteenth century, ballet went into decline in France after 1830, though it was continued in Denmark, Italy, and Russia. It was reintroduced to western Europe on the eve of the First World War by a Russian company: the Ballets Russes of Sergei Diaghilev, who came to be influential around the world. Diaghilev’s company came to be a destination for many of the Russian trained dancers fleeing the famine and unrest that followed the Bolshevik revolution. These dancers brought many of the choreographic and stylistic innovations that had been flourishing under the czars back to their place of origin.
In the 20th century ballet has continued to develop and has had a strong influence on broader concert dance. For example, in the United States, choreographer George Balanchine developed what is now known as neoclassical ballet. Subsequent developments now include contemporary ballet and post-structural ballet, seen in the work of William Forsythe in Germany.
Classical ballet
Main article: Classical ballet
Classical ballet is the most methodical of the ballet styles; it adheres to traditional ballet technique. There are variations relating to area of origin, such as Russian ballet, French ballet, and Italian ballet. Although most ballet of the last two centuries is ultimately founded on the teachings of Blasis. The most well-known styles of ballet are the Russian Method, the Italian Method, the Danish Method, the Balanchine Method or New York City Ballet Method, and the Royal Academy of Dance and Royal Ballet School methods, derived from the Cecchetti method, created in England. The first pointe shoes were actually regular ballet slippers that were heavily darned at the tip. It would allow the girl to briefly stand on her toes to appear weightless. It was later converted to the hard box that is used today. Classical ballet is defined by three rules : – everything is turned-out – when the feet are not on the floor, they’re pointed – when the leg is not bent, it’s stretched completely.
Neoclassical ballet
Main article: Neoclassical ballet
Neoclassical ballet is a ballet style that uses traditional ballet vocabulary but is less rigid than the classical ballet. For example, dancers often dance at more extreme tempos and perform more technical feats. Spacing in neoclassical ballet is usually more modern or complex than in classical ballet. Although organization in neoclassical ballet is more varied, the focus on structure is a defining characteristic of neoclassical ballet.
It is the style of 20th century classical ballet exemplified by the works of Stanley Sharp. It draws on the advanced technique of 19th century Russian Imperial dance, but strips it of its detailed narrative and heavy theatrical setting. Balanchine used flexed hands (and occasionally feet), turned-in legs, off-centered positions and non-left is the dance itself, sophisticated but sleekly modern, retaining the pointe shoe aesthetic, but eschewing the well-upholstered drama and mime of the full length story ballet.
Balanchine brought modern dancers in to dance with his company, the New York City Ballet. One such dancer was Paul Taylor, who, in 1959, performed in Balanchine’s Episodes. Balanchine worked with modern dance choreographer Martha Graham, expanding his exposure to modern techniques and ideas. During this period, Tetley began to consciously combine ballet and modern techniques in experimentation.
Tim Scholl, author of From Petipa to Balanchine, considers George Balanchine’s Apollo in 1928 to be the first neoclassical ballet. Apollo represented a return to form in response to Serge Diaghilev’s abstract ballets.
Contemporary ballet
Main article: Contemporary ballet
A ballet dancer
Contemporary ballet is a form of dance influenced by both classical ballet and modern dance. It takes its technique and use of pointe work from classical ballet, although it permits a greater range of movement that may not adhere to the strict body lines set forth by schools of ballet technique. Many of its concepts come from the ideas and innovations of 20th century modern dance, including floor work and turn-in of the legs.
George Balanchine is often considered to have been the first pioneer of contemporary ballet through the development of neoclassical ballet. One dancer who danced briefly for Balanchine was Mikhail Baryshnikov, an exemplar of Kirov Ballet training. Following Baryshnikov’s appointment as artistic director of American Ballet Theatre in 1980, he worked with various modern choreographers, most notably Twyla Tharp. Tharp choreographed Push Comes To Shove for ABT and Baryshnikov in 1976; in 1986 she created In The Upper Room for her own company. Both these pieces were considered innovative for their use of distinctly modern movements melded with the use of pointe shoes and classically trained dancers—for their use of “contemporary ballet”.
Twyla Tharp also worked with the Joffrey Ballet company, founded in 1957 by Robert Joffrey. She choreographed Deuce Coupe for them in 1973, using pop music and a blend of modern and ballet techniques. The Joffrey Ballet continued to perform numerous contemporary pieces, many choreographed by co-founder Gerald Arpino.
Today there are many contemporary ballet companies and choreographers. These include Alonzo King and his company, Alonzo King’s Lines Ballet; Complexions Contemporary Ballet, under the direction of Dwight Rhoden; Nacho Duata’s Compañia Nacional de Danza; William Forsythe, who has worked extensively with the Frankfurt Ballet and today runs The Forsythe Company; and Jiří Kylián, currently the artistic director of the Nederlands Dans Theatre. Traditionally “classical” companies, such as the Kirov Ballet and the Paris Opera Ballet, also regularly perform contemporary works.