The enthusiasm that characterised Toer van Schayk and his generation of choreographers is disappearing. With the programme Dutch Masters The National Ballet honours an era.
The success of Toer van Schayk and his generation
If it is up to the audience, the master ballets of the three great Van's (Rudi van Dantzig, Hans van Manen and Toer van Schayk) may stay for a while longer. As one it stood during the performance on 22 September with loud applause after the ballet Requiem on. Dutch Masters turns out to be a hit. What the three ballets Vier Letzte Lieder, Adagio Hammerklavier and Requiem characteristic is an authentic love of dance. And also for the music and composers on which they were created (Strauss, Beethoven, Mozart).
But why is Requiem such a success? Probably because of Toer van Schayk's central place in the programme. He turns eighty in September. Mathieu Gremillet made an atmospheric film portrait of the choreographer and artist/designer, a new book was published and he was featured on the premiere evening promoted to Officer In the Order of Orange-Nassau.
Requiem, sin and judgement
Requiem is arguably Toer van Schayk's magnum opus. A monumental work in which the choreographer makes full use of the enormous space. Battalions of dancers trot up but there is no hint of war or violence. There is, however, a reference to the violence man inflicts on creation: the abuse of defenceless people (dancers handcuffed to ropes) and the cutting down of rainforests or the shooting of elephants (shown on projections).
That is the only sin God will never forgive, he says. Although he admits that a sense of sin and judgement is hardly felt by people anymore. Similarly, inspiration in dance becomes foggier, giving way to movement with maximum efficiency. The first day the Dutch National Ballet moved into the Stopera, artistic director Rudi van Dantzig reported, for example sick. The transition from a quaint, distinctive City Theatre to a massive theatre palace was too big for a tender soul.
Toer van Schayk, not the least insensitive among us, endured that move better. His 7th Symphony and Requiem thrive on the enormous stage of National Opera & Ballet. The geometrically minded Hans van Manen, incidentally, does not turn his hand to modernity either.
Inspiration
But audiences, like Requiem does, perhaps miss a little of the time when ballet could denounce current abuses. Is Dutch Masters than a wistful salute to a bygone era? On the contrary. The programme charges dancers with inspiration. Even in the lyrical, new duet Episodes from Fragments of Van Schayk. And finally, Toer's inspiration can be seen in his attention to people. Twenty-five years ago, for instance, I danced a small part in his Requiem, he speaks to me about it the other day. In the same way he encouraged the young talents Giovanni Princic and Sem Sjouke afterwards. Toer van Schayk is an inspired man.
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