652:(2017). Installation works by Forsythe have been shown at the Whitney Biennial (New York, 1997), Louvre Museum (2006), Pinakothek der Moderne in Munich (2006), 21_21 Design Sight in Tokyo (2007), Wexner Center for the Arts, Columbus (2009), Tate Modern (London, 2009), ), MoMA (New York 2010), Venice Biennale (2005, 2009, 2012, 2014), 20th Biennale of Sydney (2016), Museum Folkwang (2019), Museum of Fine Arts, Houston (2020) and Kunsthaus ZĂĽrich (2021) and other locations. Forsythe has been commissioned to produce architectural and performance installations by architect-artist
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extreme. Many of his pieces are danced on pointe, but he has used all kind of footwear, including work-boots, socks, and slippers, in order to explore different choreographic results. Forsythe's choreographic style is both postmodern and deconstructivist. Similar to the style of other postmodernists, Forsythe plays with the unexpected, moments of improvisation, and he emphasizes process within the creation of his works. The extreme positions involved in his ballets require a great deal of flexibility, and, in fact, most of his dancers possess that skill.
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his working, which included space and dynamics. Forsythe's choreographic style often includes political themes. He believes that the rehearsal space is inherently political because each individual lives their politics through their everyday behaviors. In an interview
Forsythe said, "I wasn't about to go into politics, but I could perform a political experiment locally." The movement style itself drew inspiration from the work of George Balanchine. Forsythe was drawn to the musicality, speed, and lightness of
192:. In 2002, however, the Frankfurt government began to withdraw its support in order to cut costs and to favor a more conventional dance company. The public protested, but Forsythe decided to move on, and in 2004 the Frankfurt Ballet gave its last performance. After the closure of Ballet Frankfurt in 2004, he founded the Forsythe Company (2005) with the support of the states of Saxony and Hesse, the cities of Dresden and Frankfurt am Main, and private sponsors and which he directed until 2015.
276:(2014). Installation works by Forsythe have been shown at the Whitney Biennial (New York, 1997), Louvre Museum (2006), Tate Modern (London, 2009), ), MoMA (New York 2010), Venice Biennale (2005, 2009, 2012, 2014), Museum of Fine Arts, Houston (2020) and other locations. Forsythe has been commissioned to produce architectural and performance installations by architect-artist
351:'s work. Forsythe's emphasis on space is evident in his big, long, and exaggerated movements. Very fast footwork, and shaped hands—often with the lines broken at the wrists—are at the base of his vocabulary. The arms are intended to lead many of the movements within this technique, unlike the more classical teachings of moving the arms and legs simultaneously.
362:, Albert Evans dances with lean and fluid movements—qualities typically viewed as feminine—as Helene Alexopaulos moves fiercely, and with muscular movements—qualities typically viewed as "masculine". In all of his work, the dancers are prompted to extend their limbs past their kinespheres, stretching the arms and legs away from the torso.
376:. Forsythe and Willems both believe that music and dance are independent from each other, and that, even though they coincide in dynamics and length, neither of the two is there to illustrate the other. Their main concern is the inner structure of their works, so they leave the emotional interpretation to the audience or the listener.
107:(2005–2015). Recognized for the integration of ballet and visual arts, which displayed both abstraction and forceful theatricality, his vision of choreography as an organizational practice has inspired him to produce numerous installations, films, and web-based knowledge creation, incorporating the spoken word and experimental music.
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Forsythe's early work in
Stuttgart was created mostly for commission, and all of these early works were neoclassical. However, even in these early years, Forsythe states that he was criticized for creating work that was too modern. As his career progressed Forsythe shifted the focus to the methods of
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Forsythe believes that classical ballet is a language with rules to follow. However, although he is trained with these rules, he is much more interested in bending and eventually breaking these guidelines. His style is based on classical ballet, using traditional positions, but developing them to the
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The
Forsythe Company, based in Dresden and Frankfurt am Main, was about half the size of the Frankfurt Ballet, but nearly all of its dancers were from that company. Forsythe continued to present his vision to a wide audience. With bases in Frankfurt and Dresden and supported by both state and private
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Weight change plays a major part in his work, which is especially evident in his partner-work. The dancers stretch and pull each other far from their center-lines, with the idea being that each will pull the other so far from center that a counterbalance is created between them. This element of
213:, in which dancers weaved through hundreds of suspended pendulums. Forsythe's works developed during this time were performed exclusively by The Forsythe Company, while his earlier pieces are prominently featured in the repertoire of virtually every major ballet company in the world, including
164:. During the next seven years he created original works for the Stuttgart Ensemble, and for ballet companies in Munich, The Hague, London, Basel, Berlin, Frankfurt am Main, Paris, New York, and San Francisco. In 1979, Forsythe choreographed and created his first full-length ballet called
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in Munich in 2006, and in subsequent years, his company toured across Europe, appearing in Paris, ZĂĽrich, and London. In 2009 London held a monthlong "Focus on
Forsythe" celebration that included events across the city, a traveling multimedia installation, and the performance of
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Throughout his career, Forsythe has experimented with a freer approach to choreography in which the dancers are allowed to make choices about order and timing comparable to those made by musicians playing a
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William
Forsythe was born in New York in 1949, but only started dancing seriously in his later teenage years in college. He followed his grandfather musically as he was a violin prodigy. Forsythe played
315:(2010), Samuel H Scripps / American Dance Festival Award for Lifetime Achievement (2012), the Grand Prix de la SACD (2016) and the German theatre prize DER FAUST Lifetime Achievement Award (2020).
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William
Forsythe is also known for his work in combining the choreographic and visual arts. He has produced and collaborated on numerous installation works, which he refers to as
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While
Forsythe deconstructs the classical technique of ballet, he additionally challenges social norms and the representation of these norms within art. For example, in his work
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in 1971. From 1971 to 1973 danced with
Joffrey Ballet II, often appearing in the parent company's productions. After this, he followed his then wife, Eileen Brady, joining the
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Forsythe collaborated with different educators and media specialists in order to create new ways to document dance. His first online program was a computer application titled
369:(1984), for example, he raises and lowers the curtains in the middle of the dance, in order to change drastically the environment on stage, and willingly lights the dancers.
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284:(New York), and the City of Paris. Forsythe is known to teach at universities and cultural institutions as a guest artist. He became one of the Dance Mentors for the
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counterbalance contrasts with more classical partnering techniques that mainly focus on keeping the ballerina upright and helping her to maintain her balance.
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Awards received by
Forsythe and his ensembles include the New York Dance and Performance "Bessie" Award (1988, 1998, 2004, 2007) and London's
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William
Forsythe began studying at the Joffrey Ballet School in New York in 1969 and began his professional career as an apprentice with the
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Aigner, Franziska; Turkenich, Uri (2016). "Re-inventing ballet: Motion, politics and working methods – An interview with William Forsythe".
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From a structural point of view, he likes to play with the expectations of the audience. In the second act of
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311:(1995), the German Distinguished Service Cross (1997), the Wexner Prize (2002), the Golden Lion of the
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Mattingly, Kate (1999). "Deconstructivists Frank Gehry and William Forsythe: De-Signs of the Times".
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was launched in 2009, and "One Flat Thing" was reproduced on a digital online score developed by
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Au, Susan, and Susan Au. Ballet and Modern Dance. New York: Thames & Hudson, 2002. Print.
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funding, the Forsythe Company made its debut in 2005 with the premiere of Forsythe's
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in 2002. Forsythe was also given honorary degrees such as his Doctorate from The
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Forsythe has produced and collaborated on numerous installation works, including
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The Fact of Matter (2009), Nowhere and Everywhere at the Same Time No. 2
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Diana, Julie (September 2012). "Dancing Forsythe: Forsythe's Style".
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2024 Kyoto Prize Laureates: Arts and Philosophy; Theater, Cinema
303:(1992, 1999, 2009). Forsythe has been conveyed the title of the
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in New York City and was given the title Honorary Fellow at the
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Improvisation Technologies: A Tool for the Analytical Dance Eye
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SF Ballet in Forsythe's "The Vertiginous Thrill of Exactitude"
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Government of France – Commandeur des Arts et Lettres (1999)
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Most of Forsythe's pieces use electronic scores composed by
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This article is about the choreographer. For the actor, see
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Laurence Olivier Award for Outstanding Achievement in Dance
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and continued under the directorship of choreographer
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Between 2015 and 2021, Forsythe was professor at the
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Golden Lion for Lifetime Achievement – Venice (2010)
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73:(age 74)
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40:
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1530:Crystal Pite
1438:2001-present
1430: (2000)
1424: (1999)
1417:
1414: (1998)
1408: (1997)
1402: (1996)
1396: (1995)
1390: (1994)
1384: (1993)
1378: (1992)
1371:
1368: (1991)
1352: (1988)
1350:Kirov Ballet
1346: (1987)
1344:Trisha Brown
1340: (1986)
1334: (1982)
1328: (1981)
1322: (1980)
1316: (1979)
1310: (1978)
1308:Robert Cohan
1304: (1977)
1227:. Retrieved
1218:
1209:
1197:. Retrieved
1193:
1184:
1161:
1154:. Retrieved
1150:
1140:
1128:. Retrieved
1118:
1111:
1099:. Retrieved
1086:
1074:. Retrieved
1064:
1048:Dance Spirit
1047:
1021:
1017:
1011:
981:(1): 20–28.
978:
974:
956:
944:. Retrieved
941:The Guardian
940:
930:
905:
897:
885:. Retrieved
881:
853:. Retrieved
849:The Guardian
847:
822:. Retrieved
816:
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794:. Retrieved
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575:Yes We Can't
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233:, England's
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134:Christa Long
114:
92:
91:
36:
1596:1949 births
1479:Pina Bausch
1463:Thomas Edur
1457:Robyn Orlin
1451:Mark Morris
1428:Jiřà Kylián
1362:Twyla Tharp
685:Motion Bank
648:(2014) and
646:Black Flags
587:The Returns
563:Heterotopia
477:Eidos:Telos
296:in London.
274:Black Flags
272:(2013) and
211:Tate Modern
1590:Categories
1560:Sara Baras
1554:Akram Khan
1467:Agnes Oaks
1070:"Artifact"
1056:1095300564
740:References
628:including
573:2008/2010
533:Decreation
460:1992 ALIE/
349:Balanchine
237:, and the
111:Early life
67:1949-12-30
1295:1977-2000
1170:cite news
1003:191567667
188:starring
1229:June 14,
1223:Archived
1199:June 30,
1130:June 30,
1124:Archived
1101:June 30,
1076:June 30,
1052:ProQuest
946:June 30,
887:June 30,
855:June 30,
824:June 30,
796:June 30,
728:See also
650:Underall
644:(2013),
640:(2002),
636:(2000),
464:A(C)TION
412:Steptext
406:Artifact
367:Artifact
268:(2000),
1156:July 1,
995:1478308
388:Urlicht
247:cadenza
167:Orpheus
158:Urlicht
118:bassoon
1562:(2020)
1556:(2019)
1550:(2018)
1544:(2017)
1538:(2016)
1532:(2015)
1523:(2013)
1517:(2012)
1511:(2011)
1505:(2010)
1499:(2009)
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1487:(2007)
1481:(2006)
1475:(2005)
1469:(2004)
1459:(2003)
1447:(2001)
1054:
1001:
993:
918:
723:(2024)
714:(2004)
691:Awards
1018:Maska
999:S2CID
991:JSTOR
597:2016
593:Sider
591:2011
585:2009
579:2008
567:2007
561:2006
555:2005
549:2005
543:2005
537:2005
531:2003
525:2002
519:2001
513:2000
507:2000
501:1999
495:1998
489:1997
481:1996
475:1995
469:1995
454:1991
448:1991
442:1990
434:1988
428:1987
422:1986
416:1986
410:1985
404:1984
398:1983
394:Gänge
392:1983
386:1976
338:Style
1465:and
1420:and
1374:and
1364:and
1231:2024
1201:2019
1176:link
1158:2011
1132:2019
1103:2019
1078:2019
948:2019
916:ISBN
889:2019
857:2019
826:2019
798:2019
132:and
61:Born
1026:doi
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