DOCSLIB.ORG

2019 Annual Report Celebrating 55 Years of the Australian Ballet School

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2019 Annual Report Celebrating 55 Years of the Australian Ballet School 2019 Annual Report Celebrating 55 Years of The Australian Ballet School 1 The Australian Ballet School 2019 Annual Report “The highly entertaining program for Summer Season 2019 again highlights The Australian Ballet School as not just an esteemed and invaluable institute but as a trusted brand for brightly polished, modestly priced performances.” Simon Parris: Man in Chair (Theatre, Opera and Ballet Reviewer), December 2019 2 The Australian Ballet School 2019 Annual Report 3 The Australian Ballet School 2019 Annual Report Vale Dame Margaret Scott In the 55th year of The Australian Ballet School, Founding Director Dame Margaret Scott AC DBE passed away peacefully on 24 February. Born in Johannesburg, South Africa, Dame Margaret began her professional dance career with Sadler’s Wells Ballet in London, where she was appointed Principal in 1941. She soon joined Ballet Rambert, also in London, and was Principal from 1943 to 1948. She arrived in Australia in 1947 as part of Ballet Rambert’s overseas tour and chose to remain. Dame Margaret was a founding member of the National Theatre Ballet in Melbourne and danced in its early seasons as Principal. In the late 1950s, she was involved in negotiations with the Australian Elizabethan Theatre Trust, which led to the formation of The Australian Ballet. In 1964, she was appointed Founding Director of The Australian Ballet School, and continued in that role until 1990. She was invested as a Dame Commander of the British Empire (DBE) in 1981 for services to ballet. This followed the earlier award of an Order of the British Empire (OBE) in 1976. In 2005, she was honoured as a Companion in the General Division of the Order of Australia (AC). Her legacy lives on in the thousands of students she nurtured as Founding Director of The Australian Ballet School. Many of whom went onto making their own indelible mark in dance in Australia and beyond—including The Australian Ballet’s Artistic Director David McAllister AM, the School’s third Director Marilyn Rowe AM OBE, and current Director Lisa Pavane. She had a great passion for choreographic development. Choreographer Graeme Murphy AO was also one of her protégés. “We are incredibly sad to lose one of Australia’s greatest ever dance educators. She was a visionary and Australia’s great ballet tradition would not be what it is today without her pioneering work.” Leigh Johns OAM former Chair of the Board of Directors, The Australian Ballet School (retired May 2019). “From fostering the development of a distinctive Australian classical style and curriculum, through to the establishment of the School’s administration and facilities, Dame Margaret set the foundations of The Australian Ballet School, paving the way for the School to become one of the world’s top ballet training schools. It is impossible to tell the story of dance in Australia without her. As the founding Director of The Australian Ballet School she guided its development for almost three decades. As a student under her tutelage and care during the late 70s, I am indebted to her passion, dedication and commitment. She was my teacher, friend and mentor and I am deeply honoured to carry on her incredible legacy.” Lisa Pavane, Director, The Australian Ballet School. On 2 February we celebrated the School’s 55th Anniversary with students and staff and held an assembly commencing with a minute silence in honour of Dame Margaret, remembering everything she has done for The Australian Ballet School, and the future of ballet. The Dame Margaret Scott Endowment Fund was established in 2019 to honour the founding Director of The Australian Ballet School and ensure that Dame Margaret Scott’s legacy continues. 3 The Australian Ballet School 2019 Annual Report Table of Contents Vale Dame Margaret Scott 3 The Australian Ballet School 6 Message from the Chair 8 Message from the Director 9 Message from the General Manager 11 Our People 14 Our Students 22 Our Activities 26 Marilyn Rowe House 31 Our Achievements 34 Financial Report Summary 46 Our Supporters & Partners 48 6 The Australian Ballet School 2019 Annual Report 5 The Australian Ballet School 2019 Annual Report The Australian Ballet School The Australian Ballet School is Australia’s national centre for elite vocational classical dance training. Over 55 years The Australian Ballet School has transformed hundreds of young and aspiring dancers and produced artists of the highest calibre for The Australian Ballet and other significant dance companies around Australia and the world. The Australian Ballet School aims to balance the rigorous demands of professional training with a unique and nurturing environment where creativity and excellence can flourish. We are informed by history, and motivated by the exciting possibilities of the future of dance in Australia and abroad. As Australia’s national centre for elite vocational classical dance, our goal is to remain at the forefront, internationally, as a provider of a professional dance training programme that: • produces exceptional dancers with a distinctive Australian style; • balances technique and artistry with educational needs and holistic care; • trains teachers and develops the artistic leaders of the future; and • advances the art of ballet. Our eight-level accredited program combines studio dance training and academic classroom studies, led by expert teachers and supported by health and wellbeing professionals. In 2019 there were 107 students enrolled in The Australian Ballet School’s eight-level Training Programme. Our students come from all over Australia as well as neighbouring countries. They are both artists and athletes in training with exceptional talent and drive, and a commitment to the art form. We reached many more young and aspiring dancers through our community access activities. As we nurture the future generations of Australian dance artists, and train the stars of the stage today to become the teachers of tomorrow, we are proud of our role in the history and future of dance in Australia. 6 The Australian Ballet School 2019 Annual Report Message from the Chair Message from the Director In May 2019, I was honoured to be appointed Chair of the Board of The Australian Ballet I must begin by congratulating all of our students on the stunning performances that School. The pride I feel in being entrusted to take on this role is dwarfed by the pride in concluded our 2019 school year. It was not just the technical standard, which was a very seeing our students excel as they did in so many ways over the year, culminating in the end of high, but also how each ballet was danced with such charisma and enthusiasm. We cannot year Summer Season performance. I know I am not the only one in the audience who forgets underestimate the benefit that our students gain from the opportunity to advance their that they are, in fact, students. This is why our graduates provide the primary pipeline of technical ability and develop their artistry when performing ballets from the major classical talent for The Australian Ballet, a company which is justifiably famous both here at home and repertoire. Without the support of David McAllister AM and The Australian Ballet, we internationally. It is also why the technique and artistry of our graduates is in high demand would not have had access to the beautiful costumes for our production of ‘Aurora’s in state companies, and takes them to the world’s leading dance companies, with their Wedding’. I am forever grateful for David’s energy and his commitment to the artistic distinctive Australian style. Congratulations to every one of our students on their individual outcomes of The Australian Ballet School. To all the dancers in Journey, Pizzicato, Con Brio progress and achievements throughout 2019. and Sketch Tone, you danced with total commitment and sheer joy. We cannot forget the stunning addition of La Tarantella Italiana! danced so brilliantly and with such a collegiate On behalf of the Board, I thank all the staff whose expertise and energy puts the School at energy and adaptability. And last, but not least, huge congratulations to our students for the forefront—internationally—in providing a unique program that truly advances the art the wonderfully entertaining performances of Who Cares? At the end of the performance of ballet. I also take this opportunity to congratulate Lisa Pavane on her leadership of the as our students all gathered in the corridor after the show with emotions running high and School this year—again, delivering exceptional student outcomes within a nurturing culture. I said to them—“you will remember this day forever” and I truly meant that. I graduated from Now in her fifth year as Director, Lisa is part of a cohort of exceptional women who have The Australian Ballet School in 1980 and I also danced ‘Aurora’s Wedding’ in my graduation shaped the vision of this School. Early in 2019, the ballet world lost one of its leaders—and performance, as the 1st Florestan Sister—that was nearly 40 years ago. I remember that the School, its founding Director —with the passing of Dame Margaret Scott. I pay tribute graduation very clearly and will cherish it always. to her, and am delighted that we can honour her legacy with the establishment of the Dame Margaret Scott Endowment Fund. The purpose of this Fund is to secure the long-term I travelled extensively in 2019 and can confidently say we are doing exceptionally well. We financial sustainability of the School, so we can continue to support young dancers to are fortunate to have strong relationships with other top schools and during the year, I achieve their potential. personally visited HET National Training Academy and the Royal Ballet School. I attended the Prix de Lausanne and sat on juries for the Youth America Grand Prix (YAGP) in General Manager Sandra Ball oversees the operations of The Australian Ballet School.
Load more

Recommended publications
  • Ballet and Folkdance Modern
    BALLET AND FOLKDANCE י MODERN DAN ~ CE Giora Manor interviews Jiri Kylian. Jiri Kylian, artistic director of the Nederlands Dans Theatre, master, you should know more about these things. First of was asked in the course of his company's third visit to all, of course, one has to study classical dancing and folk Israel, in the spring of 1980, to lecture on the relationship dancing but real folk dance, no character dance. Character between modem dance, ballet and folk dance. It seemed dance is something that's been taken from ethnic dances, that this topic, fundamental to the understanding of perverted in a way and made into a brilliant kind of insert modem stage dance, was especially well suited to Kylian's for classical ballets. No, we didn't study that, we studied choreographic style, as he often uses elements which derive real folk dances. We wouldn't study, for instance, the from folk traditions. Instead of a lecture he chose to show czardas in general but would leam a specific Szekely some video-films of his work and asked me to discuss the Czardas, which is a Czardas from a certain part ofHungary. topic with him in public. We wouldn't study just the polka but a very specific Polka that comes from a ce.rtain part of Czechoslovakia, Poland or The Bat-Dor Dance Company, who were the hosts of the Russia. This is what 1 really think is important and 1 would Nederlands Dans Theatre during their tour, made their hall advise schools to follow this example because character available, and about three hundred dancers, folk dance dances are only a perversion of real folk dancing.
    [Show full text]
  • Nutcracker – the Story of Clara the AUSTRALIAN BALLET EDUCATION
    TEACHER’S RESOURCE KIT SECONDARY SCHOOLS Nutcracker – The Story of Clara THE AUSTRALIAN BALLET EDUCATION Contents 05/ Synopsis 08/ The Creatives 10/ Spotlight on Nutcracker – The Story of Clara with Artistic Director David McAllister 11/ The Music 12/ Invitation to the Dance: Graeme Murphy on the origins of his Nutcracker 15/ Curricular activities TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 2 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov. Photography Justin Ridler. Nutcracker – The Story of Clara Choreography Graeme Murphy Creative associate Janet Vernon Concept Graeme Murphy and Kristian Fredrikson Music Piotr Ilyich Tchaikovsky Set and costume design Kristian Fredrikson Original lighting design John Drummond Montgomery recreated by Francis Croese Film collage Philippe Charluet TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 3 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov and Kevin Jackson. Photography Justin Ridler TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 4 THE AUSTRALIAN BALLET EDUCATION Nutcracker – The Story of Clara Amelia Soh, Natasha Kusen and artists of the Australian Ballet. Photography Daniel Boud SYNOPSIS ACT I During a sweltering Christmas Eve in Melbourne in the late During a troubled sleep Clara descends into hallucination. 1950s, the ageing Clara, once a famous Russian ballerina, She dreams that she encounters herself as a child and once struggles home through the scorching heat with her meagre again is terrified by shadows in the night. Then, as the clock shopping. All she can afford is a few provisions and a tiny strikes midnight on this final Christmas, she witnesses the death Christmas tree, which she places on a table. The music of of the man she loved and is caught in the destructive chaos of Tchaikovsky’s The Nutcracker from her radio fills her with the Russian Revolution.
    [Show full text]
  • Stage Dance A
    NOVATEUR PUBLICATIONS INTERNATIONAL JOURNAL OF INNOVATIONS IN ENGINEERING RESEARCH AND TECHNOLOGY [IJIERT] ISSN: 2394-3696 Website: ijiert.org VOLUME 7, ISSUE 8, Aug.-2020 THE E0ERGE1CE A1D F2R0AT,21 2F THE S8B-ECT 2F F2/.- STAGE DA1CE A. I. YESHIMBETOVA, Teacher at the National Academy of Choreography of Uzbekistan E-mail address: [email protected] ABSTRACT: This article is a historical excursus into the formation and role of folk-stage dance from its origins to the present. It outlines the contribution of the enthusiastic reformers of character dance - A.F. Bekefi, F.I. Kshesinki, A.V. Shiryaeva, A.I. Bocharova and A.V. Lapukhov. Outstanding dancers, and later teachers, they stood at the origins of the creation of a system for teaching character dance, brought up more than one generation of dancers who continued the formation of folk stage dance as one of the main subjects of a cycle of special disciplines in the vocational training system in ballet schools. KEYWORDS: History of Russian ballet, F. Bekefi / character dance F.I. Kshesinskaya, "mazurist" A.V. Shiryaev, Mariinsky Theatre A.V. Lopukhov, Leningrad Choreographic College Fundamentals of character dance, A.V. Shiryaev, A.V. Lopukhov, A.I. Bocharov Folk stage dance, Folk dance ensemble. INTRODUCTION From its very origins folk stage dance has become of the main subjects in the cycle of special disciplines and an important part of the system of professional ballet dance training. Having gone through a certain path of formation and historical development, folk stage dance has become an academic discipline, an important and integral part of classical ballet education.
    [Show full text]
  • PO, Canberra, AX.T. 2601, Australia
    DOCUMENT RESUME ED 056 303 AC 012 071 TITLE Handbook o Australian h'ult Educatial. INSTITUTION Australian Association of AdultEducati. PUB DATE 71 NOTE 147p. 3rd edition AVAILABLE FROMAustralian Association ofAdult Education, Box 1346, P.O., Canberra, AX.T. 2601,Australia (no price quoted) EDRS PRICE Mr-$0.65 HC-$6.58 DEsCRIPTORS *Adult Education; Day Programs;*Directories; *Educational Facilities; EveningPrograms; *Professional Associations;*University Extension IDENTIFIERS Asia; Australia; New Zealand;South Pacific ABSTRACT The aim of this handbookis to provide a quick reference source for a number ofdifferent publics. It should be of regular assistance to adult andother educators, personnelofficers and social workers, whoseadvice and help is constantlybeing sought about the availability ofadult education facilities intheir own, or in other states. The aim incompiling the Handbook has been tobring together at the National and Statelevels all the major agencies--university, statutory body,government departments and voluntary bodies--that provide programsof teaching for adults open to members of thepublic. There are listed also thelarge number of goverrmental or voluntary bodi_eswhich undertake educationalwork in special areas. The Handbook alsolists all the major public institutions--State Libraries, Museums,and Art Galleriesthat serve importantly to supplement thedirect teaching of adults bytheir collections. New entries includebrief accounts of adult educationin the Northern Territory andin the Territory of Papua-NewGuinea, and the
    [Show full text]
  • 1X 86Min Feature Documentary Press Kit
    ELLA 1x 86min Feature Documentary Press Kit INDEX ! CONTACT DETAILS AND TECHNICAL INFORMATION………………………… P3 ! PROGRAM DESCRIPTIONS.…………………………………..…………………… P4-6 ! KEY CAST BIOGRAPHIES………………………………………..………………… P7-9 ! DIRECTOR’S STATEMENT………………………………………..………………… P10 ! PRODUCER’S STATEMENT………………………………………..………………. P11 ! KEY CREATIVES CREDITS………………………………..………………………… P12 ! DIRECTOR AND PRODUCER BIOGRAPHIES……………………………………. P13 ! PRODUCTION CREDITS…………….……………………..……………………….. P14-22 2 CONTACT DETAILS AND TECHNICAL INFORMATION Production Company WildBear Entertainment Pty Ltd Address PO Box 6160, Woolloongabba, QLD 4102 AUSTRALIA Phone: +61 (0)7 3891 7779 Email [email protected] Distributors and Sales Agents Ronin Films Address: Unit 8/29 Buckland Street, Mitchell ACT 2911 AUSTRALIA Phone: + 61 (0)2 6248 0851 Web: http://www.roninfilms.com.au Technical Information Production Format: 2K DCI Scope Frame Rate: 24fps Release Format: DCP Sound Configuration: 5.1 Audio and Stereo Mix Duration: 86’ Production Format: 2K DCI Scope Frame Rate: 25fps Release Formats: ProResQT Sound Configuration: 5.1 Audio and Stereo Mix Duration: 83’ Date of Production: 2015 Release Date: 2016 ISAN: ISAN 0000-0004-34BF-0000-L-0000-0000-B 3 PROGRAM DESCRIPTIONS Logline: An intimate and inspirational journey of the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history Short Synopsis: In October 2012, Ella Havelka became the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history. It was an announcement that made news headlines nationwide. A descendant of the Wiradjuri people, we follow Ella’s inspirational journey from the regional town of Dubbo and onto the world stage of The Australian Ballet. Featuring intimate interviews, dynamic dance sequences, and a stunning array of archival material, this moving documentary follows Ella as she explores her cultural identity and gives us a rare glimpse into life as an elite ballet dancer within the largest company in the southern hemisphere.
    [Show full text]
  • Letter from Melbourne Is a Monthly Public Affairs Bulletin, a Simple Précis, Distilling and Interpreting Mother Nature
    SavingLETTER you time. A monthly newsletter distilling FROM public policy and government decisionsMELBOURNE which affect business opportunities in Australia and beyond. Saving you time. A monthly newsletter distilling public policy and government decisions which affect business opportunities in Australia and beyond. p11-14: Special Melbourne Opera insert Issue 161 Our New Year Edition 16 December 2010 to 13 January 2011 INSIDE Auditing the state’s affairs Auditor (VAGO) also busy Child care and mental health focus Human rights changes Labor leader no socialist. Myki musings. Decision imminent. Comrie leads Victorian floods Federal health challenge/changes And other big (regional) rail inquiry HealthSmart also in the news challenge Baillieu team appointments New water minister busy Windsor still in the news 16 DECEMBER 2010 to 13 JANUARY 2011 14 Collins Street EDITORIAL Melbourne, 3000 Victoria, Australia Our government warming up. P 03 9654 1300 Even some supporters of the Baillieu government have commented that it is getting off to a slow F 03 9654 1165 start. The fact is that all ministers need a chief of staff and specialist and other advisers in order to [email protected] properly interface with the civil service, as they apply their new policies and different administration www.letterfromcanberra.com.au emphases. These folk have to come from somewhere and the better they are, the longer it can take for them to leave their current employment wherever that might be and settle down into a government office in Melbourne. Editor Alistair Urquhart Some stakeholders in various industries are becoming frustrated, finding it difficult to get the Associate Editor Gabriel Phipps Subscription Manager Camilla Orr-Thomson interaction they need with a relevant minister.
    [Show full text]
  • National Portrait Gallery of Australia Annual Report 18/19
    National Portrait Gallery of Australia Annual Report 18/19 Study of Louis Nowra 2018 by Imants Tillers commissioned with funds provided by Tim Bednall, Jillian Broadbent ao, John Kaldor ao and Naomi Milgrom ao, Anna Meares 2018 by Narelle Autio commissioned with funds provided by King & Wood Mallesons and Li Cunxin 2017–18 by Jun Chen commissioned with funds provided by Tim Fairfax ac. On display as part of the 20/20: Celebrating twenty years with twenty new portrait commissions exhibition. b National Portrait Gallery of Australia Annual Report 18/19 © National Portrait Gallery The National Portrait Gallery is located on of Australia 2019 King Edward Terrace in the Parliamentary Zone of Canberra. issn 2204-0811 Location and opening hours All rights reserved. No part of this publication The National Portrait Gallery is situated in front may be reproduced or transmitted in any form of the High Court and alongside the National or by any means, electronic or mechanical Gallery of Australia. The Gallery is open daily (including photocopying, recording or any from 10.00am to 5.00pm, except for Christmas information storage and retrieval system), Day 25, December. For more information visit without permission from the publisher. portrait.gov.au All photographs unless otherwise stated Parking by Mark Mohell. The underground public car park can be accessed from Parkes Place. The car park is open seven This report is also accessible on the days per week and closes at 5.30pm. Parking National Portrait Gallery’s website spaces for people with mobility difficulties are portrait.gov.au provided in the car park close to the public access lifts.
    [Show full text]
  • Remembering Edouard Borovansky and His Company 1939–1959
    REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes.
    [Show full text]
  • The Australian Ballet Celebrates Three New Honorary Life Members
    For immediate release: Tuesday 30 May 2017 The Australian Ballet’s Benedicte Bemet. Photo by Justin Ridler. The Australian Ballet celebrates three new Honorary Life Members The Australian Ballet today announced three new Honorary ballet family.” Life Members at the company’s Annual General Meeting in Sydney. Mrs Barbara Duhig, Ms Marilyn Jones OBE and Since appointing its first Honorary Life Member, Peggy van Mr Christopher Knoblanche AM will join the esteemed Praagh DBE 37 years ago in 1980, The Australian Ballet ranks of The Australian Ballet’s Honorary Life Members. has recognised and honoured the exceptional contributions The Australian Ballet’s Honorary Life Memberships are to artistic, administrative, governance, management, awarded from time to time to people who have made an fundraising, philanthropy and voluntary services of 39 outstanding contribution to the long-term success of the outstanding supporters, including the most recent company and to ballet in Australia. announcements. Honoured for her generous and extensive philanthropic Current Honorary Life Members support for The Australian Ballet over many years, Mrs Lady June Porter Barbara Duhig has made a significant contribution to the Mr John Calvert-Jones AM wellbeing and careers of the dancers at Mr Colin Peasley OAM The Australian Ballet. Mrs Duhig currently supports the Lady Primrose Potter AC Principal Artist position held by Amber Scott. Dame Margaret Scott AC DBE Lady Marigold Southey AC Honoured for her extraordinary and invaluable artistic Ms Josephine Woodgate OAM contribution as the company’s first Ballerina and founding Elizabeth Albert Principal Artist, Ms Marilyn Jones OBE continued her Mr Robert O Albert AO RFD RD career with The Australian Ballet as The Australian Ballet’s Mr Timothy KF Cox AO Artistic Director and as a guest artist after a highly Ms Maina Gielgud AO successful career as a dancer.
    [Show full text]
  • Dress Code Dancewear Selections Must Present a Clean And
    Dress Code Dancewear selections must present a clean and professional appearance allowing the instructor to clearly see the dancer’s body. This includes refraining from wearing dance attire with large graphics and logos. Bare legs, bare midriffs, loose or sloppy warm-up pants, cut-off tights, and plastic sweat pants are not permitted in classes. Personal grooming is also important. Hair must be securely fastened off face and neck in order not to interfere with the execution of turns and jumps. Students must also refrain from wearing heavy or sharp hair ornaments and jewelry. There are several days during the year when the Instructors may allow less rigid dress, e.g., Halloween, Valentine’s Day, St. Patrick’s Day, etc. The Instructor will announce these days in advance. Ballet Studio Classes – Technique and Pointe Daily Class Dress code • Women: Any solid single-color leotards and pink tights. Leg warmers may be worn in cases of injury and with instructor approval. Leg warmers must be knit, tight fitting, and a light pastel color in order to be less visually distracting– pink is recommended. For Pointe classes, the same dress code applies. Skirts or rehearsal tutus may be worn only at the request of the instructor when working on variations. • Men: Any solid single-color form fitting t-shirt, leotard or the like, tucked in (no large graphics), black or gray tights, white socks and white shoes, or socks and shoes of the same color. Leg warmers may be worn in cases of injury with instructor permission and must be knit, tight fitting and black or gray.
    [Show full text]
  • DVD/Video Auditions
    Application Form 2017 - DVD/Video Auditions Australian & New Zealand Residents only International DVD/USB/YouTube or Vimeo Link Application available from www.australianballetschool.com.au Applicant details Audition Surname DVD Application USB Application YouTube link - unlisted Vimeo link - unlisted First Name Link: (insert URL) Date of birth Age at 30 June 2017 The Australian Ballet School Training Programme Gender Female Male (Please tick appropriate box – Applicable to intake year, January 2018) Australian Citizen Yes No, please state Interstate/International Training Programme Academic Education (School year presently undertaking) Approximate age 9-14 years (Levels 1-4) Postal Address After School Programme (Melbourne) Approximate age 9-13 years (Levels 1-3) Full-Time Programme (Melbourne) Suburb Approximate age 13-18 years (Levels 4-8) State Postcode If successful, I would be interested in Boarding at Marilyn Rowe House Country Declaration Applicants 18+ or parent/guardian of applicants under 18 years of age Phone (1) Phone (2) I authorise staff of The Australian Ballet School, in the case of an emergency, to obtain all necessary medical assistance and Email treatment. I agree to meet any expenses attached to such treatment I would like to receive information of news and events (including eNewsletter) Signature: Must sign Date: Parent/Guardian details If applicant under 18 years of age / / Parent/Guardian Name Payment details Phone (1) Phone (2) Mastercard Visa Email Cheque/Money Order made payable to The Australian Ballet School (Please write applicant name on reverse of cheque) I would like to receive information of news and events (including eNewsletter) AU$160 (DVD/Video Application Fee) Total Amount AU$ Dance School details Card Number Dance School Card Expiry / CVV Dance Teacher(s) Card Name Signature Postal Address In submitting this application to The Australian Ballet School applicants/parents/guardians agree with the Conditions of Enrolment Suburb and general Audition Information which accompanies this application.
    [Show full text]
  • Dame Margaret Scott AC DBE
    Having trouble viewing this email? You can view it online. Like | @LivePerfAust | Follow | Forward VALE Dame Margaret Scott AC DBE LPA was very saddened to hear of the passing of Dame Margaret Scott AC DBE who died last week in Melbourne at the age of 96. Margaret or "Maggie" as she perferred to be called was a pioneer of Australian dance. She had been involved in most, if not all, of the major developments in dance education in Australia since the mid 1960s, including the establishment of the country’s dance organisation, Ausdance and The Australian Ballet Foundation. In 1964 she was appointed Founding Director of The Australian Ballet School and continued this role until 1990. During her time as Director she transformed the school from humble beginnings to an internationally recognised training institution discovering and nurturing elite performers. Born in Johannesburg, South Africa, Maggie moved to London initially accepted into the Sadler's Wells Ballet School but joined the Sadler's Wells Ballet shortly after. Dissatisfied with her prospects she resigned and successfully auditioned for Ballet Rambert. She arrived in Australia in 1947 as part of Ballet Rambert's overseas tour and chose to stay. Passionate about dance and education she was an advocate for Australian dance and taught many dancers and choreographers including Graeme Murphy AO and Meryl Tankard. Maggie changed the landscape of dance in Australia and was awarded the Order of the British Empire in 1977 and made a Dame in 1981. Maggie received Live Performance Australia’s James Cassius Williamson Lifetime Achievement Award in 2007.
    [Show full text]