In Rehearsal for the triple bill tribute to tetley
“I wanted to learn as much as possible from Glen. For him, it was all about inner motivation – the ‘why’ behind every movement. Working with him really deepened my understanding of that. It was a continuous process of discovery.” With these words, Reid Anderson, former artistic director of the Stuttgart Ballet, recalls his formative collaboration with choreographer Glen Tetley. This “process of discovery” is currently taking place in the studios as well, as the dancers prepare for the premiere of the triple bill TRIBUTE TO TETLEY and refine the final steps of the choreographies. Glen Tetley would have celebrated his 100th birthday on February 3, 2026. To mark this occasion, the Stuttgart Ballet is dedicating the triple bill TRIBUTE TO TETLEY to him – a tribute to a choreographer who, as the company’s director, introduced the dancers to new qualities of movement.
A brief look at the history of the Stuttgart Ballet reveals that, shortly before his death in 1973, John Cranko had already laid the groundwork for the continuation of his work and prevented a potential end to the “Stuttgart Ballet miracle.” In 1973, Cranko had invited the American choreographer Glen Tetley to create a work for the company. In 1974, Tetley was appointed director. Stylistically committed to modern dance, Tetley had a significant and lasting impact on the history of the Stuttgart Ballet during his relatively brief tenure from 1974 to 1976, introducing the dancers to new qualities of movement through works such as Voluntaries, Le Sacre du Printemps, and Daphnis and Chloe.
The triple bill TRIBUTE TO TETLEY brings together three of his works:
Tetley created Voluntaries to Francis Poulenc’s organ concerto in 1973, broadening the horizons of the mourning Stuttgart company. The piece is characterized by a mysterious atmosphere and a contemplative mood.
In Ricercare, the dancers become a breathing sculpture. An arch of light at the stage’s center sometimes provides the couple respite and security, and at other times remains as an architectural arch in the background of their physical interplay.
With streched arms, stamping feet, and clenched fists, the dancers in Le Sacre du Printemps pay homage to the earth as if possessed. The chosen young man embodies spring: “Whether loved or pitied, he is killed to be reborn with the new spring. He is the incarnation of spring; his execution unites hope and the promise of new life,” says Glen Tetley himself, regarding the ritual figure of the chosen one in Le Sacre du Printemps.
All choreographies © Glen Tetley Legacy
A brief look at the history of the Stuttgart Ballet reveals that, shortly before his death in 1973, John Cranko had already laid the groundwork for the continuation of his work and prevented a potential end to the “Stuttgart Ballet miracle.” In 1973, Cranko had invited the American choreographer Glen Tetley to create a work for the company. In 1974, Tetley was appointed director. Stylistically committed to modern dance, Tetley had a significant and lasting impact on the history of the Stuttgart Ballet during his relatively brief tenure from 1974 to 1976, introducing the dancers to new qualities of movement through works such as Voluntaries, Le Sacre du Printemps, and Daphnis and Chloe.
The triple bill TRIBUTE TO TETLEY brings together three of his works:
Tetley created Voluntaries to Francis Poulenc’s organ concerto in 1973, broadening the horizons of the mourning Stuttgart company. The piece is characterized by a mysterious atmosphere and a contemplative mood.
In Ricercare, the dancers become a breathing sculpture. An arch of light at the stage’s center sometimes provides the couple respite and security, and at other times remains as an architectural arch in the background of their physical interplay.
With streched arms, stamping feet, and clenched fists, the dancers in Le Sacre du Printemps pay homage to the earth as if possessed. The chosen young man embodies spring: “Whether loved or pitied, he is killed to be reborn with the new spring. He is the incarnation of spring; his execution unites hope and the promise of new life,” says Glen Tetley himself, regarding the ritual figure of the chosen one in Le Sacre du Printemps.
All choreographies © Glen Tetley Legacy
