Saturday, February 28, 2009
Margaret N. H'Doubler, University of Wisconsin.
From a 1946 Encyclopedia of the Arts (Philosophical Library, New York)
Thursday, February 26, 2009
The double bill is performed at another venue, the Roundhouse, in association with Sadler's Wells.
It will be interesting to see how it shows on screen - do watch it and let me know what you thought!
I'll let you know what the reviews are like when they come out!
Saturday, February 21, 2009
I can't believe the Financial Times' Clement Crisp gave such a bad review to this triple bill - ' it has all the attractions of Ebola fever' he said (he likes his random references, the Clement)
Seven Deadly Sins is more a show that ballet, with a big multi-level set, great lighting and the singing of Martha Wainwright. The dancing was ok, if nothing much, and I thought all the sins blended into one - lust (there was a lot of groping). It wasn't that bad.
Ek's Carmen was really interesting. I enjoyed the music, adapted from Bizet of course - lots of percussions and weird sounds, and the cast shouted a lot too, in an invented language as far as I could tell (think Spanish meets Russian meets Japanese) There was some really cool movement, very modern and angular, with lots of humourous bits thrown in.
I was worried I had idealised DGV in my head - maybe I remembered it as a better ballet than it was. Thankfully I was proved wrong. Some amazing lifts, fantastic group work, and this almost relentless music from Michael Nyman, marching and taking you on with it. It really works.
This couple was sat behind me and they had come in to see Martha Wainwright. 'Oh', she said before it started, 'there are 2 intervals, so many we can leave after the second, unless we want to see some real dance.' I turned around and told them they should stay 'the third piece is very good!'. At the end, she thanked me for my advice 'It was fantastic! Magical! Some pure dancing... I felt like a little girl... beautiful. It was also nice that there was no story to follow and you could just lose yourself into it.' Horray, a new convert?
Monday, February 16, 2009
Every week, the Merce Cunningham Dance Company is putting a video up and goes behind the scene at the company's studios. Interviews, classes etc, it looks like there will be lots of rich and interesting content to look at and enjoy, even if, like me, you're not too sure about the man's choreography.
Can we get more websites like these please?
Originally read on Article 19.
Sunday, February 15, 2009
I think the same could be said about its use for dance. There was even a special event held the Guggenheim in New York where only dance pieces set to Pärt where performed (plus a piece by installation artist and photographer Sophie Calle). Here is a random list of dance pieces set to Pärt's music I was able to find within one hour of internet searching:
Miguel Robles to Tabula Rasa
Wheeldon's Misericordes to Symphony No3 for the Bolshoi
Wheeldon's Liturgy to Fratres for New York City Ballet
Wheeldon's After the Rain to Tabula Rasa and Spiegel im Spiegel
Alonzo King's MAP for Lines Ballet
John Neumeier's Othello (Spiegel im Spiegel and Tabula Rasa)
Ulysses Dove's Dancing in the front porch of Heaven for Royal Swedish Ballet (to Cantus in Memoriam Benjamin Britten)
Susan's Marshall's Kiss for Pacific Northwest Ballet
Jessica Lang's De Profundis for Colorado Ballet
Matjash Mrozewski's Castle Nowhere for Royal Ballet (3rd Symphony)
Lynne Taylor-Corbett's Code of Silence for Carolina Ballet
Andrew Simmons' Through to you for Royal New Zealand Ballet (Spiegel im Spiegel)
Inbal Pinto Dance Company's Shaker
Mui Cheuk-Yin’s Season N for City Contemporary Dance Company in Hong Kong
Paula Conduit for her own company Vortex Dance Theatre - the piece Es Sang Vor Langen Jahren is used in her dance work Conduit
Leipzig Ballet's The Great Mass, by Uwe Scholz
Araiz's Numen for Group Motion Dance Company
In the Middle of the Moment - Uri Ivgi and Johan Greben for Scottish Dance Theatre
Three Pieces for Het -Van Manen for Dutch National Ballet (Psalom)
Johan Inger's Walking Mad
Mats Ek - Smoke for Sylvie Guillem
Mary Anthony Dance Theatre - Lady Macbeth
Now why is this music so popular with choreographer? I have looked for interviews where choreographers would explain their choice of music, but haven't found anything.
Critic Susan Yung said 'Pärt’s compositions invite collaborators into a shared space, a helium-filled elysium' and, Bjork, when she interviewed him for a BBC documentary, said 'I like your music very very much because you give space to the listener, he can go inside and live there'. Is it this 'space' that Pärt creates that attracts choreographers? It is easier to choreograph a piece to his music?
Arvo Pärt's works also have this power, universality and beauty - they create a special atmosphere. Does that make it easier to choreograph as well? But then, are choreographers choosing the easy option by letting the music take such an important role? Or is it actually more difficult to create movement that matches the resonance of the music?
I don't have answers to any of those questions, but I do wonder if it is not time, like in movies, to give Pärt a bit of a rest before we get bored of it.
Saturday, February 14, 2009
The winner of the 2nd prize in the Arts and Entertainment category - singles, is photographer Jerome Bonnet for his portrait of a student at Paris Opera Ballet School. You can view the image here.
The winners' gallery can be seen here. Enjoy.
Monday, February 09, 2009
Due to the snow and stuff, I only made it on the Saturday (3 other choreographers were performing on the Sunday) but still it was pretty good. A few pics below.
Credits to Adam Linder for carrying on with his performance though.
Wednesday, February 04, 2009
Best new dance production -
Pina Bausch Tanztheater Wuppertal's Cafe Muller / The Rite of Spring at Sadler's Wells
The Royal Ballet of Flanders' Impressing the Czar at Sadler's Wells
The Royal Ballet's Infra at the Royal Opera House
DV8's To Be Straight With You at the Lyttelton
Outstanding achievement in dance
The company of the Royal Ballet of Flanders for their performances in Impressing the Czar at Sadler's Wells
The company of the Royal Ballet for their performances in Infra
Savion Glover, Marshall Davis Jr and Maurice Chestnut for their performances in Savion Glover's Bare Soundz at Sadler's Wells
I am going for the Royal Ballet of Flanders' Impressing the Czar in both categories. It totally blew my mind, it was so good!
Full list of nominees. Results on 8 March.
Tuesday, February 03, 2009
Tanja Liedtke was a German dancer and choreographer based in Australia. Her dynamic and highly physical choreography won her awards and in 2007 she was selected to be the Artistic Director of Sydney Dance Company. However she died tragically before taking the post.
You can find more info on the tour website.
The tour is brought by Dance Touring Partnership, a network of theatres working together to bring exciting dance to new audiences around the UK. It must be tough, but credits to them!
There is something that reminds me of Jasmin Vardimon in there.
Update 16/2: A review of Twelfth Floor in The Observer ' If this is what she was capable of at 29, what might the future have held?'