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皇家芭蕾舞團樂團royal Ballet Sinfonia

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伯明翰皇家芭蕾舞團 Birmingham Royal Ballet 美女與野獸 Beauty and the Beast 現場伴奏：皇家芭蕾舞團樂團 Live Accompaniment: Royal Ballet Sinfonia 演出及創作人員 Credits ○○○○○○○○○○○○○○○○○○○○○○8 劇情介紹 Synopsis ○○○○○○○○○○○○○○○○○○○○○10 伯明翰皇家芭蕾舞團 Birmingham Royal Ballet Profile ○○○○○○○○15 皇家芭蕾舞團樂團 Royal Ballet Sinfonia Profile ○○○○○○○○○○17 生平介紹 Biographies 大衛．賓利 David Bintley ○○○○○○○○○○○○○18 ○○○○○○○○○○ 格蘭．般恩 Glenn Buhr ○○○○ 21 菲力普．普華斯 Philip Prowse 馬克．強納森 Mark Jonathan ○○○○○○○○○○○22 首席舞者 Principals ○○○○○○○○○○○○○○○○34 ○○○○○○○○○○○○ 獨舞員 Soloists ○○○○○ 38 第一舞蹈員及舞蹈員 First Artists and Artists ○○○○○42 除特別註明，所有照片 舞團工作人員 Ballet Staff ○○○○○○○○○○○○○44 Unless otherwise indicated, all photographs © Bill Cooper 舞團成員 ○○○○ The Company ○○○○○○○○○○○○○○ 50 樂團成員 Sinfonia Members ○○○○○○○○○○○○○○○○53 10-12.2.2006 香港文化中心大劇院 Grand Theatre 為了讓大家對這次演出留下美好印象，請切記在節目開始前關掉手錶、無㵟電話及傳呼 Hong Kong Cultural Centre 機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。 演出長約 2 小時，包括一節 25 分鐘 To make this performance a pleasant experience for the artists and other members of 中場休息 the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. Running time: approximately 2 Eating and drinking, unauthorised photography and audio or video recording are hours with a 25 minute interval forbidden in the auditorium. Thank you for your co-operation. 演出及創作人員 Credits 創作人員 音樂 格蘭．般恩 舞台設計 菲力普．普華斯 編舞 大衛．賓利 燈光設計 馬克．強納森 角色 美女 伊萊莎．威利斯（10日及12日夜場）、麗蒂芝亞．朱利亞尼（11日日場） 安 芭 娜．瓦 洛（11日夜場）、佐久間奈緒（12日日場） 野獸 羅 伯 特．柏 克（10日及12日夜場）、伊 恩．麥 凱（11日及12日日場）、 曹馳（11日夜場） 美女之父（商人） 戴維．莫爾斯（10日及12日夜場）、邁 克 爾．奧 哈 爾（11日及12日日場） 阿倫．杜佈雷爾（11日夜場） 美女姐姐 傲曼 維多利亞．馬爾（10日及12日夜場）、羅 拉．珀 基 斯（11日日場） 安 琪 娜．保 爾（11日夜場）、卡 露 -安妮．米勒（12日日場） 虛蓉 西爾維亞．希門尼斯（10日及12日夜場）、瑪 莉 安．雷 納（11日日場） 趙磊（11日夜場）、維珍妮亞．德格西尼（12日日場） 科熊先生 詹姆士．格倫迪（10日、11日夜場及12日日場）、 強 納 森．佩 恩（11日日場及12日夜場） 野女孩 安 芭 娜．瓦 洛（10日夜場）、安 琪 娜．保 爾（11日日場）、 卡露-安妮．米勒（11日及12日夜場）、萊蒂希雅．洛薩度（12日日場） 雌狐 羅拉．珀基斯（10日、11日及12日夜場）、平田桃子（11日日場）、 肯棣絲．福瑟寧咸（12日日場） 渡鴉 山本康介（10日、11日及12日夜場）、亞 歷 山 大．甘 寶（11日日場）、 約瑟．歌尼（12日日場） 樵夫 強 納 森．佩 恩（10日、11日夜場及12日日場）、 阿倫．杜佈雷爾（11日日場及12日夜場） 收租人 羅里．麥凱（10日及11日夜場）、 華倫天．奧努恩尼洛夫（11日及12日日場）、詹 姆 士．格 倫 迪（12日夜場） 獵人、飛鳥 伯明翰皇家芭蕾舞團成員 宮廷野獸、婚禮嘉賓 皇家芭蕾舞團樂團 指揮 保羅．梅菲（10日、11日夜場及12日日場）、 菲力普．伊利斯（11日日場及12日夜場） 領奏 羅伯特．吉布斯 世界首演 2003年12月1日於伯明翰音樂廳 演後藝人談 11.2.2006（星期六夜場） 歡迎觀眾演出後留步，與大衛．賓利見面 8 音樂：獲版權持有人格蘭‧般恩及其代理「對位音樂服務」批准使用 Creative Team Music* Glenn Buhr Designs Philip Prowse Choreography David Bintley Lighting Mark Jonathan Cast Belle Elisha Willis (10 and 12), Letizia Giuliani (11m), Ambra Vallo (11) Nao Sakuma (12m) The Beast Robert Parker (10 and 12), Iain Mackay (11m and 12m), Chi Cao (11) Belle’s father The Merchant David Morse (10 and 12), Michael O’Hare (11m and 12m) Alain Dubreuil (11) Belle’s sisters Fière Victoria Marr (10 and 12), Laura Purkiss (11m), Angela Paul (11) Carol-Anne Millar (12m) Vanité Silvia Jimenez (10 and 12), Marion Rainer (11m), Lei Zhao (11) Virginia de Gersigny (12m) Monsieur Cochon James Grundy (10, 11 and 12m), Jonathan Payn (11m and 12) Wild Girl Ambra Vallo (10), Angela Paul (11m) Carol-Anne Millar (11 and 12), Laëtitia Lo Sardo (12m) Vixen Laura Purkiss (10, 11 and 12), Momoko Hirata (11m) Candice Fotheringham (12m) Raven Kosuke Yamamoto (10, 11 and 12), Alexander Campbell (11m) Joseph Caley (12m) Woodsman Jonathan Payn (10, 11 and 12m), Alain Dubreuil (11m and 12) Bailiff Rory Mackay (10 and 11), Valentin Olovyannikov (11m and 12m) James Grundy (12) Hunters, Birds Artists of Birmingham Royal Ballet Court Beasts Wedding Guests Royal Ballet Sinfonia Conductor Paul Murphy (10, 11 and 12m) and Philip Ellis (11m and 12) Leader Robert Gibbs World premiere 1 December 2003, Birmingham Royal Ballet, Birmingham Hippodrome Meet-the-Artist (Post-Performance) 11.2.2006 (Sat evening) If you would like to meet David Bintley, please stay behind in the auditorium after the performance * By permission of the copyright holder, Glenn Buhr, and his agent Counterpoint Musical Services 9 故事 Synopsis 序幕 Prologue 從前有個王子，既英俊又兇殘，既富 There once was a Prince as cruel as he was 裕又無情，既威武有力，又輕浮自 handsome, as heartless as he was rich and as 大。這個王子活着只為狩獵，只有此 vain as he was powerful. The Prince lived for 時他才會滿懷熱情。 one thing alone, hunting, which he did with a passion. 一天，王子和朋友在狩獵，追至森林 One day the Prince and his friends were hunting. 深處。當他們圍着一隻雌狐狸準備撲 The chase took them deep into a forest and they 上去時，一個樵夫走出來攔阻。 were about to close in on their prey, a Vixen, when they were stopped by a Woodsman. 樵夫用斗篷藏起雌狐狸，把牠變成一 個頭髮殷紅如火的少女，王子一行人 The Woodsman hid the Vixen beneath the folds 看得目瞪口呆，眼白白讓少女逃脫。 of his cloak and changed her into a flame-haired 樵夫一怒之下，還把王子變成野獸， girl. The Prince and his friends fell back 他的豬朋狗友也變了野生動物，因為 astonished as the girl escaped and the 他們骨子况就是畜生。 Woodsman in his anger turned the Prince into a beast and his friends into wild animals, for that is what they were in their hearts. Act I, Scene 1 The Merchant’s House Belle’s father is a merchant whose ships have not returned from overseas. He is unable to pay his debts and the bailiffs are reclaiming his furniture and chattels. Belle tries to comfort him but the arrival of her vain and selfish sisters throws the household into further confusion. Cochon a wealthy townsman who has been courting the sisters arrives and 第一幕，第一場： ostentatiously stays the bailiffs’ hands. The Merchant unwillingly accepts money from 商人家中 Cochon who is quick to point out that the old 美女的父親是個商人，因商船遠航未 man is now in his debt. 回，無法償還欠債。放債人要來沒收 家什財物。美女想安慰父親，可是她 An excise officer enters with the news that the Merchant’s ships have been sighted and his 那些虛榮自私的姊姊來到，一家上下 fortune is made. The Merchant prepares to leave 更陷於混亂。城中富戶科熊，一直在 and asks his daughters what they would like on 追求她家姊妹。他前來裝腔作勢，叫 his return. The two sisters ask for gowns and 放債人高抬貴手。商人無奈之下，接 jewels but Belle simply asks for a rose. 10 受了科熊的金錢。科熊馬上表態，說 老人家受了他的恩惠，欠了他的人 情。 一名徵稅官吏出場，帶來好消息，說 商人的貨船快到，發財有望。商人準 備出發，臨行前問女兒想要什麼，回 來好帶給她們，兩個姊姊說要晚禮服 和珠寶，而美女只要一朵玫瑰。 Act I, Scene 2 第一幕，第二場： The Beast’s Castle 野獸城堡 A terrific storm blows up and the Merchant and his servants become lost, only to fall prey to a 海上掀起暴風雨，商人及僕役迷失方 gang of brigands. In order to escape the storm’s 向，最後成了一批強盜的網中之魚。 fury the Merchant takes refuge in a sinister and 商人為了躲避風暴，跑到一個陰森可 empty castle where he is served food and drink 怖的空城堡，卻有無形之手供他飲 by unseen hands. Upon waking the next 食。翌晨醒來，被盜的行李箱竟物歸 morning he finds his stolen trunk returned and 原主，况面都是華衣美服、珠寶首 filled with beautiful gowns and jewels. As he 飾。他離開城堡時，想起小女兒的要 leaves the castle he remembers Belle’s request and picks a rose for her, whereupon a monstrous 求，於是摘下一朵玫瑰。這時，猙獰 Beast appears. The Beast berates the Merchant 可怖的野獸出現了。他指責商人忘恩 for his ingratitude and his theft of the rose, but 負義，偷摘玫瑰，但當他知道商人有 upon learning that the Merchant has three 三個女兒後，說只要最小的女兒能來 daughters he tells the old man that he will spare 城堡與他同住，就可饒老人家一命。 his life if the youngest will come and stay with 商人答應，惶恐地離去。 him. The Merchant agrees and leaves in terror. 第一幕，第三場： Act I, Scene 3 回到商人家中 The Merchant’s House, again Upon his return the Merchant relates everything 商人回家後，述說經過。虛榮愚昧的 that has happened to him and the vain and 姊姊翻開行李箱，發現珠寶美服都變 foolish sisters open the trunk to find the dresses 成碎布灰燼。商人懇求美女原諒他自 and jewels have turned to mouldering rags and 作主張，答應把她交給野獸。但姊姊 ashes. The Merchant begs Belle’s forgiveness 異口同聲，說是美女愚蠢得只要玫 for having promised her to the Beast, but her 瑰，咎由自取。 sisters claim it was her own fault for her foolish request of the rose. 美女思前想後，還是決定捨己救父。 Belle ponders her predicament but is resolved 憑着意想不到的幫助，美女來到野獸 to save her father, and with some unexpected 城堡。當九下鐘聲響起，野獸出現。 assistance is led to the Beast’s castle, where she meets her host. As the clock strikes nine, －中場休息－ the Beast appears. – Interval – 11 第二幕，第一場： Act II, Scene 1 舞會 The Ball 幾個月過去了，每晚野獸都向美女求 Several months have passed during which the 婚，她雖然總一口拒絕，但對他的野 Beast has asked Belle to marry him every 獸外表已見怪不怪，眼况只有他善良 evening. Although she has denied him on all 的內心。 occasions she is now used to his beastliness and sees only his good heart. 城堡內從未露面的居民，在野獸命令 The hitherto unseen inhabitants of the castle 下濟濟一堂，開盛大舞會。令王子變 assemble for a ball at the Beast’s command. 成野獸的咒語，同時令他們變成動 The same curse that turned the Prince into a 物，舞會於是成了群畜怪誕大匯演。 beast has condemned them all to live as animals and the ball is a fantastic gathering of creatures. 野獸跟美女共舞時，再次向他求婚， 但她說儘管野獸內心善良，她卻不愛 The Beast dances with Belle and once again 他，因此不能嫁他。野獸淒厲痛哭之 asks her to marry him but she replies that good 聲，令他四條腿的文武百官紛紛爭相 and kind hearted as he is she does not love him 走避。 and, therefore, cannot. The Beast’s wails of anguish send his animal courtiers running for cover. 美女想見父親一面，野獸心軟，允許 她回家，並送她一朵玫瑰，條件是要 Belle longs to see her father and the Beast 她在玫瑰凋謝前回來，否則他會傷心 relents. He gives her a rose and releases her on 而死。 condition that she returns before it dies or he too will perish, of a broken heart. 12 第二幕，第二場： Act II, Scene 2 婚禮 The Wedding 美女回到家，發現家中正籌備婚禮， Belle arrives home to find preparations in 科熊要娶她姐姐，不過，究竟娶哪個 progress for the wedding of Cochon to her 呢？ sister. But which one? 第二幕，第三場： Act II, Scene 3 解咒 The Curse is Lifted 野獸對美女朝思暮想，但日子一天天 At the castle the Beast pines for Belle, but as 過去，他明白美女不會回來，自己的 time passes he realises that she will never return 生命也日益凋零。就在他氣息枯竭之 and his life begins to ebb away. On the point of 際，美女如約歸來，原來是她那些姐 death Belle arrives having been detained by her 姐壞心眼，出於忌妒用計把她留住。 wicked sisters who have tricked her into staying with them out of their jealousy.
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  • Tuesday 31 December 2019, 4Pm Choreography Peter Wright, Lev Ivanov, Vincent Redmon; Music Pyotr Ilyich Tchaikovsky; Production

    Tuesday 31 December 2019, 4Pm Choreography Peter Wright, Lev Ivanov, Vincent Redmon; Music Pyotr Ilyich Tchaikovsky; Production

    Tuesday 31 December 2019, 4pm Choreography Peter Wright, Lev Ivanov, Vincent Redmon; Music Pyotr Ilyich Tchaikovsky; Production David Bintley; Additional choreography David Bintley, Marion Tait; Setting and additional props Dick Bird; Lighting Peter Teigen; Projection designs 59 Productions; Sound design Bobby Aitken with Simon Callow as the Voice of Drosselmeyer The Sugar Plum Fairy Momoko Hirata The Prince César Morales Drosselmeyer, Clara’s Godfather Jonathan Payn Clara Karla Doorbar ACT I Drosselmeyer’s Assistant Max Maslen Clara’s Mother Daria Stanciulescu Clara’s Father Wolfgang Stollwitzer Fritz, Clara’s younger brother Joseph Burdett Clara’s Dancing Partner Lachlan Monaghan Grandmother Marion Tait Grandfather Michael O’Hare Butler Callum Findlay-White Harlequin Aitor Galende Columbine Maureya Lebowitz Jack-in-the-Box Tzu-Chao Chou Ballet Students, Cadets, Guests and Servants Artists of Birmingham Royal Ballet The Nutcracker Doll Max Maslen The Rat King Brandon Lawrence Soldiers Artists of Birmingham Royal Ballet Rats Artists of Birmingham Royal Ballet The Snow Fairy Yijing Zhang Her Attendants Reina Fuchigami, Miki Mizutani, Rachele Pizzillo, Lynsey Sutherland Winds Gabriel Anderson, Haoliang Feng, Edivaldo Souza da Silva, Alexander Yap Snowflakes Artists of Birmingham Royal Ballet INTERVAL PLEASE LET US KNOW WHAT YOU THINK Please share your views on this production via our short survey. Your feedback is invaluable to us as an organisation and will help us to understand and measure the impact of what we do. brb.org.uk/impactsurvey
  • Don Chisciotte

    Don Chisciotte

    2 TEATRO MASSIMO TEATRO Membro di LUDWIG MINKUS LUDWIG | DON CHISCIOTTE Ludwig Minkus DON CHISCIOTTE seguici su: STAGIONE teatromassimo.it Piazza Verdi - 90138 Palermo OPERE E BALLETTI ISBN: 978-88-98389-67-4 euro 10,00 STAGIONE OPERE E BALLETTI SOCI FONDATORI PARTNER PRIVATI REGIONE SICILIANA ASSESSORATO AL TURISMO SPORT E SPETTACOLI ALBO DEI DONATORI FONDAZIONE ART BONUS TEATRO MASSIMO TASCA D’ALMERITA Francesco Giambrone Sovrintendente Oscar Pizzo Direttore artistico ANGELO MORETTINO SRL Gabriele Ferro Direttore musicale SAIS AUTOLINEE CONSIGLIO DI INDIRIZZO Leoluca Orlando (sindaco di Palermo) AGOSTINO RANDAZZO Presidente Leonardo Di Franco Vicepresidente DELL’OGLIO Daniele Ficola Francesco Giambrone Sovrintendente FILIPPONE ASSICURAZIONE Enrico Maccarone GIUSEPPE DI PASQUALE Anna Sica ALESSANDRA GIURINTANO DI MARCO COLLEGIO DEI REVISORI Maurizio Graffeo Presidente ISTITUTO CLINICO LOCOROTONDO Marco Piepoli Gianpiero Tulelli TURNI DON CHISCIOTTE Balletto in tre atti e un prologo Libretto di Marius Petipa basato sul romanzo di Miguel de Cervantes Musica di Ludwig Minkus Coreografia diMarius Petipa Data Turno Ora Ripresa coreografica diLienz Chang Martedì 20 febbraio Prime 20.30 Prima rappresentazione Mercoledì 21 febbraio C 18.30 14 dicembre 1869, Mosca, Teatro Bol’šoj Giovedì 22 febbraio B 18.30 Venerdì 23 febbraio Danza 20.30 Sabato 24 febbraio F 20.30 Domenica 25 febbraio D 17.30 La prima di martedì 20 febbraio sarà trasmessa in streaming su teatromassimo.it Allestimento del Teatro dell’Opera di Tbilisi ARGOMENTO 13 SYNOPSIS 15 ARGUMENT 17 HANDLUNG 19 Monika Prusak INTRODUZIONE AL BALLETTO 25 Sergio Trombetta L’AMORE DELLA RUSSIA PER LA SPAGNA 33 LUDWIG MINKUS E MARIUS PETIPA 49 DON CHISCIOTTE AL TEATRO MASSIMO 53 BIBLIOGRAFIA ESSENZIALE 63 NOTE BIOGRAFICHE 65 ARGOMENTO 13 SYNOPSIS 15 ARGUMENT 17 HANDLUNG 19 Leonid Sarafanov e Olesja Novikova 13 ARGOMENTO Prologo Dopo aver letto alcune storie cavalleresche, Don Chisciotte decide di partire alla ricerca di avventure.
  • Faculty Members 2019 Tuesday 13 August

    Faculty Members 2019 Tuesday 13 August

    FACULTY MEMBERS 2019 TUESDAY 13 AUGUST GEORGE HILL DANE BATES BALLET CONTEMPORARY See more See more Dane trained in London and is currently teaching at academies and colleges all Born in Bath, George started dancing at his mothers’ dancing school the Susan over the UK. Credits include “The Illusionists”-Hammersmith Apollo London, UK Hill School of Dancing in Bath. He then continued his training at The Royal Ballet Tour, European arena tour and Beirut; understudy Beast in Beauty and the Beast School in London. Upon graduation George went on to dance throughout Europe Theatre Royal Windsor; Best of The Musicals-European Tour. joining the Dutch National Ballet in Amsterdam and later the Dresden Semperoper Ballet in Germany dancing as a soloist as well as guesting in America and Asia. Choreography includes Britain’s Got Talent 2016 (Jack Higgins), Aladdin Imagine Theatre, Liverpool Unites 2015 winner. Most recently he worked with Dane Bates After his balletic career George went on to perform within London’s Westend, Collective: a young contemporary dance group who made the semi-final of BBC ending his stage career at the Theatre Royal Haymarket, London. Alongside The Greatest Dancer. performing on stage, George has taken on a number of roles in Television and film work. Upon retirement from the stage in 2012, George set up BDC Bath Dance Dane’s Masterclasses started as he wanted to bring professional training back to North Wales as opportunities there are not as vast as they are in London and College, a full time foundation performing arts course for students aged 16 - 19 the big cities in the UK.
  • MEDIA PACK Advertising@Dancing-Times.Co.Uk

    MEDIA PACK [email protected]

    MEDIA PACK www.dancing-times.co.uk [email protected] Dance Matters News English National Ballet’s Dance Matters in brief Letters Talking Point ASHTON IN SARASOTA Calendar ★ Emerging Dancers All the most important dance news Xander Parish, the fi rst Post to e Editor, Dancing Times, 45-47 Clerenwell Green, London, EC1 0EB, See Frederick Ashton’s ballets. Get a tan. Combining those two pastimes is rarely Dates for your diary Junor Souza as Ali in Le Corsaire. British dancer to join Bill Harpe considers dance and slavery possible in London, but, writes Leigh Witchel, you can do it in Sarasota, Florida the Maryinsky Ballet, or email [email protected] makes his debut as Prince May 19. The six dancers will These listings are made as comprehensive as possible but Inclusion of dates is dependent upon information received. Vintage Fonteyn and Symphonic Siegfried in Swan Lake perform in front of a panel not just watching, Natalia On May 1 this year, after inclusion does not necessarily mean recommendation. In addition, we have details of some advance programmes Star Letter from overseas/UK companies and UK tours. For more details on March 1, with further of judges. The winner will Osipova’s comet soaring 40 enjoyable years dancing iverpool’s the chain gang as a point of African Americans who professional dancing and Copy deadline for possible entries is always the 1st of the (subject to availability) email as above or call 020 7250 3006. performances this season. be announced at the end of Dear Editor –– I do so agree with Gerald Dowler’s article through the ballet sky, casting Cotswold and Yorkshire International Slavery origin..

  • The Nutcracker at the REP

    The Nutcracker at The REP Music Pyotr Ilyich Tchaikovsky Arranged by Rowland Lee Original Choreography Peter Wright, Lev Ivanov, Vincent Redmon Adaptation David Bintley Production Carlos Acosta, Sean Foley Designs based on the originals for the Birmingham Royal Ballet stage John Macfarlane Additional props Dick Bird Video and Projection Design Nina Dunn Lighting Design Johnny Westall-Eyre This performance was made possible thanks to the generous support of The Sugar Plum Fairy Momoko Hirata The Prince César Morales Drosselmeyer, a magician Jonathan Payn Clara, a ballet student Karla Doorbar Act I The Magician’s Assistant Kit Holder Clara’s Mother, a former ballerina Eilis Small Clara’s Father Valentin Olovyannikov Fritz, Clara’s younger brother Ben Whittaker -Brown Fritz’s Friend Kian Malek Clara’s Dancing Partner Max Maslen Grandmother Emma Price Grandfather Michael O’Hare Butler Darel Perez Jack-in-the-Box Tzu-Chao Chou The Nutcracker Doll Gus Payne The Sugar Plum Fairy Doll Momoko Hirata Ballet Students, Cadets, Guests and Servants Artists of Birmingham Royal Ballet The Rat King Alexander Yap Soldiers Artists of Birmingham Royal Ballet Rats Artists of Birmingham Royal Ballet The Snow Fairy Alys Shee Her Attendants Rosanna Ely, Miki Mizutani, Beatrice Parma, Lynsey Sutherland Winds Gabriel Anderson, Ryan Felix, Haoliang Feng, Callum Findlay-White Snowflakes Artists of Birmingham Royal Ballet Interval Act II Spanish Dance Beatrice Parma Gabriel Anderson, Kit Holder Arabian Dance Eilis Small, Haoliang Feng, Callum Findlay-White, Alexander Yap Chinese Dance Max Maslen, Tzu-Chao Chou Russian Dance Ryan Felix, Gus Payne, Shuailun Wu Mirlitons Rosanna Ely, Miki Mizutani, Emma Price, Lynsey Sutherland Snowflakes, Flowers Artists of Birmingham Royal Ballet Grand pas de deux Momoko Hirata, César Morales Students and children appear by kind permission of the Principal and the Artistic Director of Elmhurst Ballet School.
  • Layla Harrison Tom Shilcock Ballet Commercial

    Layla Harrison Tom Shilcock Ballet Commercial

    FACULTY MEMBERS 2019 TUESDAY 13 AUGUST GEORGE HILL DANE BATES BALLET CONTEMPORARY See more See more Dane trained in London and is currently teaching at academies and colleges all Born in Bath, George started dancing at his mothers’ dancing school the Susan over the UK. Credits include “The Illusionists”-Hammersmith Apollo London, UK Hill School of Dancing in Bath. He then continued his training at The Royal Ballet Tour, European arena tour and Beirut; understudy Beast in Beauty and the Beast School in London. Upon graduation George went on to dance throughout Europe Theatre Royal Windsor; Best of The Musicals-European Tour. joining the Dutch National Ballet in Amsterdam and later the Dresden Semperoper Ballet in Germany dancing as a soloist as well as guesting in America and Asia. Choreography includes Britain’s Got Talent 2016 (Jack Higgins), Aladdin Imagine Theatre, Liverpool Unites 2015 winner. Most recently he worked with Dane Bates After his balletic career George went on to perform within London’s Westend, Collective: a young contemporary dance group who made the semi-final of BBC ending his stage career at the Theatre Royal Haymarket, London. Alongside The Greatest Dancer. performing on stage, George has taken on a number of roles in Television and film work. Upon retirement from the stage in 2012, George set up BDC Bath Dance Dane’s Masterclasses started as he wanted to bring professional training back to North Wales as opportunities there are not as vast as they are in London and College, a full time foundation performing arts course for students aged 16 - 19 the big cities in the UK.
  • DOCTORAL THESIS Examining the Red Corps an Investigation Into The

    DOCTORAL THESIS Examining the Red Corps an Investigation Into The

    DOCTORAL THESIS Examining the Red Corps an investigation into the adoption, revolution, and continued development of ballet in China McLelland, Rowan Award date: 2019 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 07. Oct. 2021 Examining the Red Corps: An Investigation into the Adoption, Revolution, and Continued Development of ballet in China. by Rowan McLelland BA (Hons), MA, ARAD A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2018 ABSTRACT In the mid-twentieth century in the People’s Republic of China, classical ballet was consciously adopted and institutionalised by the state. The systematic adoption of the form was part of a nation building exercise which made use of the bodies of ballet dancers for state ideology. Ballet dancers in China are highly refined and skilled, and are constituted in relation to Maoist thinking which promoted the development of physical virtuosity as a path to developing national health and international status.