Elementary and Secondary Resources and Tools
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Opening Remarks
Opening Remarks Lawrence Adams was Amy Bowring’s revered mentor; his example has guided and encouraged her to tackle, with determination and purpose, assorted pursuits in dance. As Research Co-ordinator at Dance Collection Danse, Amy has been working with the organization, on contract, for five years. Many of you may know Amy through some of the projects in which she has been involved, and also as founder of the Society for Canadian Dance Studies which can boast a solid and active membership under her direction. First introduced to Dance Collection Danse in 1993 as a student undertaking research through York University’s dance programme, Amy’s passion for dance history triggered her interest in becoming seriously involved with DCD. After completing her BA in Fine Arts, Amy earned an MA in journalism from the University of Western Ontario. She is copy editor for The Dance Current magazine, has written various dance articles and encyclo- pedia entries, and is researching and writing a book on the 1948-1954 Canadian Ballet Festival phenomenon. And, to add more ingredients to the mix, she is a whiz at the computer! As Dance Collection Danse undergoes its planning process for upcoming and future activities, you can expect to see Amy’s involvement with DCD increase. To work with someone who is dedicated and skilled is a blessing, but to have someone on board who is also mindful and gracious is the best. The Editoral Committee and Board of Directors of Dance Collection Danse have dedicated this issue to Lawrence Adams, whose contribution to Canadian dance makes him deserving of .. -
Arbez Drama Fringe 2017 Company Bios
Arbez Drama Projects in association with The Toronto Fringe Festival 2017 THE OLD WOLF and the SACRED TROUT by Donald Molnar COMPANY HISTORY & BIOS Arbez Drama Projects Arbez Drama Projects is a not-for-profit theatre company based in Toronto. Our mandate is to pursue theatre projects that we feel passionate about. We create, develop, and produce new Canadian plays. The creation of our company is intimately connected to Sara's Cave by Donald Molnar, which was accepted into the City of Brampton’s 2nd Annual NewWorks Playwright Festival (2005). In order to produce the play, Donald Molnar, John Sader, and Alicia Payne created Arbez Drama Projects. Arbez Drama Projects now has several plays at various stages of development and has produced readings and workshop presentations at theatre festivals as well as social justice and academic conferences including: Readers’ Theatre of New Works at the National Black Theatre Festival, Winston Salem, North Carolina (2013 and 2015); 33rd Annual Teaching Public Administration Conference, Grand Rapids, Michigan (2010); Innocence Network Conference, at the South Texas College of Law, Houston, Texas (2009); and the rock.paper.sistahaz 7 festival, Toronto (2008). Anna Braumberger – Wolf Masks Anna Braumberger delights in the whimsical and bizzare which suits her very well in her work in the Vancouver Film industry set decoration department (IATSE Local 891). Having been professionally tasked in the last two years with everything from fabricating 80's neon art to occult decorated cow skulls for use in TV shows she still finds time for the occasional personal project. Starting in 2003 Anna began in a community Shakespeare group called "The Pressgang Theater Company" which worked every year on a shoestring budget to produce a play under the funding of the Society for Creative Anachronism. -
Interiors by Coleman Lemieux & Compagnie
INTERIORS by Coleman Lemieux & Compagnie An NAC co-production STUDY GUIDE National Arts Centre, Dance 2008–2009 Season Cathy Levy Producer, Dance Programming This study guide was prepared by Coleman Lemieux & Compagnie, DanceWorks education consultant Laurence Siegel and NAC Outreach Coordinator Renata Soutter for the National Arts Centre Dance Department, October 2008. This document may be used for educational purposes only. INTERIORS STUDY GUIDE TABLE OF CONTENTS About the NAC ……………………………………………… 1 Dance at the NAC ……………………………………………... 2 Theatre Etiquette ………………………………………….…. 3 Interiors Artistic Team and Synopsis .……………………. 4 What students can expect ………………………………..…… 5 About the Company …………………………………….. 7 About the Artistic Directors …………………….………………. 8 About the Dancers …………………………………….. 9 An interview with Laurence Lemieux …………………….. 10 Appreciating Contemporary Dance …………………….. 12 How to watch a performance ……….………….… 13 Pre- and post-performance activities ……………….……. 14 Bibliography/internet sites of interest …………………..… 18 1 Canada’s National Arts Centre Officially opened on June 2, 1969, the National Arts Centre was one of the key institutions created by Prime Minister Lester B. Pearson as the principal centennial project of the federal government. Built in the shape of a hexagon, the design became the architectural leitmotif for Canada's premier performing arts centre. Situated in the heart of the nation's capital across Confederation Square from Parliament Hill, the National Arts Centre is among the largest performing arts complexes in Canada. It is unique as the only multidisciplinary, bilingual performing arts centre in North America and features one of the largest stages on the continent. Designed by Fred Lebensold (ARCOP Design), one of North America's foremost theatre designers, the building was widely praised as a twentieth century architectural landmark. -
Season of Events
2014.2015 SEASON OF EVENTS Path to Paradise: Miserere Mei Saturday, November 8, 2014 7:30 p.m. Trinity College Chapel The Coronation of King George II Sunday, November 9, 2014 7:30 p.m. Trinity College Chapel The Faculty of Music gratefully acknowledges the generous support of our presenting sponsors Saturday, November 8, 2014 Path to Paradise: Miserere Mei SCHOLA CANTORUM & THE CHOIR OF THE THEATRE OF EARLY MUSIC Daniel Taylor, conductor PROGRAM Jesus Christ the Apple Tree Elizabeth Poston (1905-1987) If Ye Love Me Thomas Tallis (1505-1585) Ubi Caritas Maurice Duruflé (1902-1986) Jesus’ blood never failed me yet Gavin Bryars (b.1943) Danced by Coleman Lemieux & Company Original choreography by James Kudelka Ave Verum William Byrd (1540-1623) Remember Not O Lord Henry Purcell (1659-1695) Hymn to the Virgin Benjamin Britten (1913-1976) Miserere Mei Deus Gregorio Allegri (1582-1652) Soloists: Agnes Zsigovics, Rebecca Genge, Rebecca Claborn, David Roth Danced by Dancetheatre David Earle Original choreography by David Earle This evening’s concert has been made possible through a generous gift from Jean Edwards. This concert is presented with the support of the Canada Council for the Arts and with the significant assistance of the Ontario Arts Council. an Ontario government agency un organisme du gouvernement de l’Ontario Translations Ubi Caritas - Maurice Durufle Ubi caritas et amor, Deus ibi est. Where charity and love are, God is there. Congregavit nos in unum Christi amor. Christ’s love has gathered us into one. Exultemus, et in ipso iucundemur. Let us rejoice and be pleased in Him. -
INTERNATIONAL JOURNAL of ARTS MANAGEMENT
VOLUME 9, NUMBER 2 • WINTER 2007 HEC M o n t r é a l ~ AIMAC Karen Kain and the INTERNATIONAL National Ballet of Canada Jacqueline Cardinal, Laurent Lapierre JOURNAL of ARTS MANAGEMENT The Futurist Stance of Historical Societies: An Analysis of Position Statements Dirk H.R. Spennemann Volunteer Management in Arts Organizations: A Case Study and Managerial Implications Helen Bussell, Deborah Forbes Letting Go of the Reins: Paradoxes and Puzzles in Leading an Artistic Enterprise Ralph Bathurst, Lloyd Williams, Anne Rodda A Scale for Measuring Aesthetic Style in the Field of Luxury and Art Products Joëlle Lagier, Bruno Godey Why Occasional Theatregoers in France Do Not Become Subscribers Christine Petr C OMPANY PROFILE Karen Kain and the National Ballet of Canada Jacqueline Cardinal, Laurent Lapierre Moscow International Ballet competition, I hate the superficiality of small Kain was invited to perform on the world’s talk. I have dedicated my career most celebrated stages. Beautiful inside as well to getting to the heart of com- as out, endowed with an extraordinary dra- munication in body language, matic intensity and trained for seven years in stripping off whatever is super- the demanding Ceccheti technique, she had fluous. Embellishment isn’t my always dreamed of dancing the part of Giselle Jacqueline Cardinal is a in the ballet of the same name. Kain’s mother Research Associate with style; I try to distil the essence, took her to see Giselle on her eighth birthday, the Pierre Péladeau Chair of and remain uncomfortable with and her future was decided that day. Leadership at HEC Montréal. -
F Ou Gl Orieu X
4528, rue de Bullion Montréal (Québec) Canada H2T 1Y6 F ou gl orieu x PHOTO: ANGELO BARSETTI www.louiselecavalier.com AGENT : URIEL LUFT, ATMO PRODUCTIONS \ [email protected] \ T. : 1 819-842-1919 \ F. : 1 819-842-1818 \ ADMINISTRATION : SUZANNE BENOIT \ [email protected] \ T. : 1 450-258-3061 \ COORDINATION DE TOURNÉE ET COMMUNICATIONS_ TOUR COORDINATION AND COMMUNICATIONS: ANNE VIAU \ [email protected] \ T. : 1 514-273-5478 \ louise LECAVALIER LONE EPIC (2006) Solo Choreography: Crystal Pite Dancer: Louise Lecavalier Music: excerpts from Bernard Herrmann’s music for Citizen Kane Lighting Design: Lucie Bazzo Rehearsal Mistress: France Bruyère Costume designed and built by: Anne-Marie Veevaete Sound engineering: Owen Belton, Diane Labrosse Length: 16 minutes LULA AND THE SAILOR (2005) Duet from Cobalt rouge Choreography:Tedd Robinson Dancers: Louise Lecavalier, Éric Beauchesne* Original Music: Yannick Rieu Lighting Design: Jean-Philippe Trépanier Rehearsal Mistress: France Bruyère Costumes: Yso, Dubuc Length: 12 minutes * with alternate performances by Elijah Brown Production: Louise Lecavalier/Fou glorieux,Ten Gates Dancing In co-production with Théâtre de la Ville, Paris, the Venice Biennale, and the National Arts Centre, Ottawa “I” IS MEMORY (2006) Solo Choreography: Benoît Lachambre Dancer: Louise Lecavalier Original Music: Laurent Maslé Lighting: Jean-Philippe Trépanier Props: Louis-Philippe Saint-Arnault Rehearsal Mistress: France Bruyère Length: 45 minutes Production of “I” Is Memory and Lone Epic: Louise Lecavalier/Fou glorieux, in co-production with STEPS # 10, Switzerland; Théâtre de la Ville, Paris; Tanz im August – Internationales Tanzfest, Berlin; Aarhus Festuge, Aarhus; National Arts Centre, Ottawa; Usine C, Montreal; in partnership with Quebec presenters. -
Full Program
The School is passionately committed to training and education in the art of IMPULSE contemporary dance. Through our Professional Programs, the School: • provides training, education, and artistic and skills development, and networking opportunities to aspiring professional dancers; • supports the art form, contributing well-trained graduates to the profession; • engages exceptional professional faculty to provide outstanding and relevant instruction; • provides mentorship, connection, and exposure to current professional artists, 2019 and links to the professional world; and • SURYLGHVOHDGHUVKLSWRWKHÀHOGDQGOHDGHUVIRUWKHÀHOG November 28-30 & December 5-7, 8 PM Winchester Street Theatre 7KH6FKRRORI7RURQWR'DQFH7KHDWUH·V3URIHVVLRQDO7UDLQLQJ3URJUDPLVDSSURYHGDVDYRFDWLRQDO program under the Private Career Colleges Act, 2005. 80 Winchester Street 7KH6FKRRORI7RURQWR'DQFH7KHDWUHLVDIÀOLDWHGZLWKToronto Dance Theatre (Christopher House, Artistic Director). For more information about the company, please visit: tdt.org. For more information on the Winchester Street Theatre, please visit: winchester.tdt.org ACKNOWLEDGMENT OF TRADITIONAL LAND The School of Toronto Dance Theatre would like to acknowledge the sacred land on which we operate, the site of human activity for over 15,000 years. This land is the traditional territory of many nations: the Wendat, the Haudenosaunee, and the Anishinaabe, including the Mississaugas of the Credit First Nation. We are grateful to have the opportunity to work on this land and to share our space with all peoples – those -
2014 Keynote Panels & Workshops
2014 KEYNOTE PANELS & WORKSHOPS KEYNOTE ADDRESS - NICOLE ROSE BOND Nicole Rose Bond began her formal dance training at York University, graduating cum laude with a BFAH in Dance in 2005. Since graduating, Nicole has felt privileged to perform in works by esteemed dance artists, choreographers and companies including Patricia Beatty, Coleman Lemieux et Compagnie, Dance Theatre David Earle, Danny Grossman Dance Company, Learie McNicholl, Susan Cash and Yvonne Ng. In the fall of 2012, Nicole was invited to work with Toronto Dance Theatre as a guest artist. Since that time, she has felt privileged to be a part of two cross-country tours of Christopher House’s Rivers, as well as many performances in Toronto, including Rare Mix, and Christopher House’s newest creation: Eleven Accords. Nicole feels incredibly grateful to be able to dance professionally in Canada, and deeply honoured to be working within a community of such gifted artists, whom inspire her every day. Q&A Play An interactive session to help establish your own goals for the day. And to give you a quick introduction to some of the other people in the room. Amanda Hancox is a graduate of the Arts Educational School in England. Over her 30 year performance career she worked extensively across Canada as a dancer and an actress in theatre, film, and television. Amanda has been Executive Director of the Dancer Transition Resource Centre since 2006. Throughout her tenure at the DTRC, Amanda has contributed her expertise to a number of major international and national conferences. Additionally she acts as a consultant and presents workshops on career transition within and outside the arts community. -
Canadian Dance Artists Modern Dance
Canadian Dance Artists Modern Dance Recognized as ‘one of the foremost dance artists in the country’ (The Dance Current), Julia Sasso is an established choreographer, performer, master teacher and artistic mentor. Sasso began dancing in 1960 in Detroit where she trained with Cecchetti ballet master, Rose Marie Floyd. In her teens she was a scholarship student at the Joffrey Ballet School and an apprentice with the Harkness Ballet both, in New York City. Her artistry has since been shaped by curiosity, inquiry, experimentation and investment in a variety of practices including the Skinner Releasing Technique™, improvisation, theatre, voice, Pilates, ballet and contemporary movement techniques. Sasso performed internationally with Toronto’s Dancemakers (1984-2000) and was the company’s Assistant Artistic Director and principal teacher for a dozen years. Sasso has created choreography for all of Canada’s professional contemporary dance conservatories and since 1995 has created numerous pieces for The School of Toronto Dance Theatre’s Professional Training " Program. Santee Smith is from the Kahnyen’kehàka (Mohawk) Nation, Turtle Clan from Six Nations of the Grand River, Ontario. Recovering from two broken legs, completing six years of training at Canada’s National Ballet School, Physical Education and Psychology degrees from McMaster University and theatre training, Santee returned to dance in 1996 as a choreographer. Dedicating six years to create and produce her first dance work, Kaha:wi, a family creation story, she also completed a M.A. in Dance at York University in 2004. Following her passion she founded Kaha:wi Dance Theatre (KDT), a vehicle for her artistic voice in 2005. -
Proquest Dissertations
THE STATE OF CANADIAN DANCE AND DANCING WITH THE STATE FROM 1967-1983 By Katherine Cornell, B.A., M.A. Toronto, Ontario, Canada, 2008 A dissertation presented to Ryerson University/York University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Program of Communication and Culture Toronto, Ontario, Canada, 2008 ©Katherine Cornell, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-40489-8 Our file Notre reference ISBN: 978-0-494-40489-8 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
2013 Keynote Panels & Workshops
2013 KEYNOTE PANELS & WORKSHOPS KEYNOTE ADDRESS - MICHAEL CALDWELL Michael Caldwell is a Toronto-based choreographer/performer. A graduate of The School of Toronto Dance Theatre, he has interpreted roles for many of Canada’s esteemed dance creators and companies, including Peggy Baker, Sylvie Bouchard, Danny Grossman, Guillaume Côté, Maxine Heppner, Sasha Ivanoch- ko, James Kudelka, Tedd Robinson, Coleman Lemieux & Compagnie, Corpus Dance Projects, Dusk Dances, and Kahawi Dance Theatre, among others, and has performed across Canada and the United States, in Europe, Asia, and Australia. Michael was an interpreter at Le Group Dance Lab, studying with the iconic Peter Boneham. He has also initiated a solo-commissioning project, performing in the work of established choreographers – Conrad Alexandrowicz, Danny Grossman, and Karen Jamieson. Michael is quickly emerging as a skilled, and critically acclaimed choreographer. His recent works include: Ash Unravel, an acclaimed solo based on his journey to Vietnam, The Horologium, a whimsical group piece created for Dusk Dances, Boogie Back, a community work for non-dancers in Porch View Dances, and Mary, a dynamic new solo for Stéphanie Tremblay Abudo. With a bachelor’s degree in film and art history from Syracuse University, Michael seeks to incorporate cinematic sensibilities in all his work. Upcoming, Michael will begin creation on a new group choreography, based on loneliness and isolation. Michael’s teaching experience varies from professional level contemporary technique classes to inten- sive workshops for youth, the elderly, and the disabled. He has taught at various locations in Toronto, and across Ontario. He currently sits on the board of The School of Toronto Dance Theatre, is the chair of the Canadian Alli- ance of Dance Artists - Ontario Chapter, and is a Metcalf Foundation Performing Arts Intern for Moon- horse Dance Theatre/Claudia Moore, specifically for Older & Reckless. -
Toronto Dance Theatre Celebrates 10Th Anniversary of Chiasmata With
MEDIA CONTACT CATHY WASZCZUK P. 416 967 1365 x 23 [email protected] FOR IMMEDIATE RELEASE Toronto Dance Theatre Celebrates 10th Anniversary of Chiasmata with Electric Remount (Toronto, ON) – Christopher House’s Chiasmata returns to the stage for the first time in eight years in a fresh new iteration by Toronto Dance Theatre (TDT) at the Winchester Street Theatre from March 30 – April 2 and April 5 – 8, 2017, presented as part of TDT’s ground-breaking Reimagining Repertoire project. Created in 2007 in collaboration with Gemini-award winning sound designer and composer Phil Strong, critics lauded Chiasmata as “a cacophony of dance that plays out as if on a charged magnetic field” (Deborah Meyers, The Vancouver Sun) and “the birth of a new aesthetic” (Paula Citron, The Globe and Mail). Christopher House developed new improvisation and editing techniques while making Chiasmata, giving greater agency to his interpreters in a desire to craft a new movement vocabulary. The choreography unfolds through large ensembles, tense duets, and eccentric solos, moving from percussive gestures to rich, full-bodied movements that are at times hieratic and at times unbridled. Twelve dancers negotiate this landscape to evoke an enigmatic community speaking its own language. In gene theory, a chiasma is a point of crossing where DNA is exchanged. Ten years after its premiere, House and the company continue this exchange of information, drawing on their recent creative research to redefine the potential of the work. The cast for this new production of Chiasmata includes both original performers and new company members. TDT’s three-year Reimagining Repertoire project supported by the Metcalf Foundation.