Nutcracker – the Story of Clara the AUSTRALIAN BALLET EDUCATION
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Tivoli Dances
476 6502 GRAEME KOEHNE tivoli dances TASMANIAN SYMPHONY ORCHESTRA The selection of pieces recorded here forms a on-stage by a piano quintet. The ballet explored survey, ranging across 20 years, of Graeme themes of the continuities between the past Koehne’s engagement with an aesthetic of the and the present, and Murphy called it Old ‘lighter touch’. Graeme’s turn towards ‘lightness’ Friends, New Friends. Graeme (Koehne) chose began in the early 1980s, when he moved from to write in a ‘Palm Court’ style both because it Adelaide to the university town of Armidale in suited the ensemble and had an appropriately New South Wales. Here he encountered, on the nostalgic quality – hence the title Palm Court Graeme Koehne b. 1956 one hand, a withdrawal from the support Suite when the work appears without dancers. Tivoli Dances [20’39] network of Adelaide’s then thriving ‘new music’ The piece was the surprise success of the 1 I. Santa Ana Freeway 4’46 scene; and on the other, a small, close-knit but program and Murphy decided to expand it into a 2 II. Forgotten Waltz (Tivoli Memories) 5’52 musically active community. The change of social full evening work called Nearly Beloved, which 3 III. Salvation Hymn and Whistling Song 5’10 environment prompted Graeme to re-evaluate his has had several seasons, including at the Créteil 4 IV. Vamp ’Til Ready 4’51 aesthetic priorities, leading progressively to his Maison des Arts. rejection of the ideology of ‘heroic’ modernism Shaker Dances [21’14] The return to simplicity and vernacular musical in favour of a new, more modest aim of 5 I. -
Study Guide for Teachers and Students
Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another. -
David Mcallister AM Awarded Prestigious Queen Elizabeth II Coronation Award by the Royal Academy of Dance
David McAllister AM awarded prestigious Queen Elizabeth II Coronation Award by the Royal Academy of Dance Credit: David McAllister is surprised at a special lunch gala in Sydney with the presentation of the QEII Award. Photo by Chris Pavlic David McAllister AM was surprised at a special gala lunch held in Sydney by Friends of The Australian Ballet with the presentation of the QEII award The award was presented on behalf of the Academy by President of the RAD Dame Darcey Bussell DBE (virtually) and Audrey Nicholls OAM FRAD You are able to download images here. For further information visit: www.royalacademyofdance.org 28 April 2021: The Royal Academy of Dance (RAD) today announced it has awarded its highest honour the Queen Elizabeth II Coronation Award to David McAllister AM. David, immediate past Artistic Director of The Australian Ballet and a Vice-President of the RAD, was bestowed with this award in recognition of his contribution to The Australian Ballet as a dancer and director, as well as being a vital supporter and advocate for dance. The QEII Coronation Award, the Academy’s most prestigious accolade, was instituted in 1953 to commemorate the coronation of Her Majesty Queen Elizabeth II. The first recipient in 1954 was Dame Ninette de Valois. Since then it has been awarded to many of the greatest names in dance, in recognition of outstanding services to the art form. Former recipients include Dame Marie Rambert DBE, Sir Frederick Ashton, Rudolf Nureyev and Carlos Acosta CBE. It was most recently awarded to Karen Kain in 2019. The award was presented to David at a special lunch gala organised by the Friends of The Australian Ballet in Sydney. -
Sydneydancecompany.Com Sydney Dance Company Pre-Professional Year 2015 Prospectus
1 Photo of Sydney Dance Company Dancers Todd Sutherland and Janessa Dufty by Wendell Teodoro SYDNEYDANCECOMPANY.COM SYDNEY DANCE COMPANY PRE-PROFESSIONAL YEAR 2015 PROSPECTUS CONTENTS Message from Artistic Director Rafael Bonachela & Patron Darcey Bussell 3 About Pre-Professional Year & Course Outcomes 4 Reasons to join Sydney Dance Company’s Pre-Professional Year 5 Course Overview 6 Sample Weekly Schedule 7 Evaluation and Assessment Procedure 8 Teaching Faculty 9-10 About Sydney Dance Company 11 How to Apply 12 2 MESSAGE FROM RAFAEL BONACHELA Now in its second year, Sydney Dance Company’s Pre-Professional Year provides a strong training ground for the next generation of contemporary dance professionals. As one of the most recognised and respected contemporary dance companies in Australia, it’s wonderful to be able to connect with students and provide them with invaluable training opportunities, knowledge and professional experience so that they can then go and launch rewarding careers in the creative industries. As a dancer and choreographer, I know how important it is to have the best training opportunities available in order to reach your career goals. Sydney Dance Company thrives on an ethos of excellence and the Pre-Professional Year will allow you to develop your skills to the highest artistic and technical standards alongside our professional Company. Course Director Linda Gamblin will guide and nurture you throughout the year alongside our outstanding teaching team. Their diverse expertise and teaching methods will encourage you to reach your true potential as an artist. I’m looking forward to working with students as they develop into sound professionals – whether it’s as performers, choreographers, teachers or creatives – there are endless possibilities with the Pre-Professional Year course and we can’t wait to explore them with you. -
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. -
Workshop Word JFH Apr 2016 TW
Sydney Dance Company April School Holidays 2016 — Sydney Dance Jazz, Theatre Jazz JFH &Company Hip Hop April School 2 days $165 Holidays 2016 For Ages— 8—18 Contemporary & Lyrical 2 days $165 For Ages 8—18 Timetable Sydney Ages 8 & 9 Elementary Dance Thursday 14 April Friday 15 April 9.30am-10.00am Registration Company 10.00am-11.15am JAZZ with Jess JAZZ with Jess 11.15am-11.30am Morning recess Morning recess 11.30am-12.45pm HIP HOP with Jayden HIP HOP with Jayden 12.45pm-1.30pm Lunch break Lunch break 1.30pm-2.45pm JFH with Elysha JFH with Elysha 2.45pm-4.00pm THEATRE JAZZ with Veronica THEATRE JAZZ with Veronica Ages 10 & 11 Intermediate Thursday 14 April Friday 15 April 9.30am-10.00am Registration January 10.00am-11.15am HIP HOP with Jayden HIP HOP with Jayden 11.15am-11.30am Morning recess SchoolMorning recess Holidays 11.30am-12.45pm JAZZ with Jess JAZZ with Jess 12.45pm-1.30pm Lunch break Lunch break 2016 1.30pm-2.45pm THEATRE JAZZ with Veronica THEATRE JAZZ with Veronica 2.45pm-4.00pm JFH with Elysha JFH with Elysha 2 days $165 Contemporary Ages 12 & 13 Intermediate/Advanced Lyrical Thursday 21 April Friday 22 April Theatre Jazz 9.30am-10.00am Registration Hip Hop 10.00am-11.15am JAZZ with Amy JFH with Lauren 11.15am-11.30am Morning recess Morning recess 11.30am-12.45pm JFH with Heath JAZZ with Amy 12.45pm-1.30pm Lunch break Lunch breakFor ages 8 to 18 1.30pm-2.45pm HIP HOP with Thomas THEATRE JAZZ with Veronica 2.45pm-4.00pm THEATRE JAZZ with Leslie HIP HOP with Thomas Ages 14-18 Intermediate/Advanced Thursday 21 April Friday 22 April 9.30am-10.00am Registration 10.00am-11.15am JFH with Heath JAZZ with Amy 11.15am-11.30am Morning recess Morning recess 11.30am-12.45pm JAZZ with Amy JFH with Lauren 12.45pm-1.30pm Lunch break Lunch break 1.30pm-2.45pm THEATRE JAZZ with Leslie HIP HOP with Thomas 2.45pm-4.00pm HIP HOP with Thomas THEATRE JAZZ with Leslie Faculty - Juniors Veronica George – Theatre Jazz Jayden Rodrigues – Hip Hop Veronica is a professional Musical Theatre performer. -
Melbourne Suburb of Northcote
ON STAGE The Autumn 2012 journal of Vol.13 No.2 ‘By Gosh, it’s pleasant entertainment’ Frank Van Straten, Ian Smith and the CATHS Research Group relive good times at the Plaza Theatre, Northcote. ‘ y Gosh, it’s pleasant entertainment’, equipment. It’s a building that does not give along the way, its management was probably wrote Frank Doherty in The Argus up its secrets easily. more often living a nightmare on Elm Street. Bin January 1952. It was an apt Nevertheless it stands as a reminder The Plaza was the dream of Mr Ludbrook summation of the variety fare offered for 10 of one man’s determination to run an Owen Menck, who owned it to the end. One years at the Plaza Theatre in the northern independent cinema in the face of powerful of his partners in the variety venture later Melbourne suburb of Northcote. opposition, and then boldly break with the described him as ‘a little elderly gentleman The shell of the old theatre still stands on past and turn to live variety shows. It was about to expand his horse breeding interests the west side of bustling High Street, on the a unique and quixotic venture for 1950s and invest in show business’. Mr Menck was corner of Elm Street. It’s a time-worn façade, Melbourne, but it survived for as long as consistent about his twin interests. Twenty but distinctive; the Art Deco tower now a many theatres with better pedigrees and years earlier, when he opened the Plaza as a convenient perch for telecommunication richer backers. -
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. -
A Checklist of Designs by Kristian Fredrikson, Compiled by Michelle
A Checklist of designs by Kristian Fredrikson, compiled by Michelle Potter and Anna French Extended citations may be found in Michelle Potter, Kristian Fredrikson Designer, Melbourne Books, 2020, pp. 227-234 1962 A Night in Venice (costumes) Opera-Technique Inc. Amahl and the Night Visitors (costumes) Opera-Technique Inc. 1963 La Vie parisienne (costumes) Opera-Technique Inc. The Winter-Garden (costumes) New Zealand Ballet 1964 Aurora’s Wedding (costumes) The Australian Ballet The First 400 Years (costumes) J.C. Williamson Ltd 1965 Oedipus Rex Emerald Hill Theatre The Lovers of Verona ABC-TV The Awakening ABC-TV The Homecoming (sets) Union Theatre Repertory Company 1966 War and Peace Union Theatre Repertory Company The Royal Hunt of the Sun (set and masks) Union Theatre Repertory Company Private Yuk Objects (set) Union Theatre Repertory Company The Owl and the Pussycat (set and projections) Union Theatre Repertory Company 1967 A Flea in Her Ear Union Theatre Repertory Company The Right Honorable Gentleman (costumes) Union Theatre Repertory Company Charade New Zealand Ballet Company The Servant of Two Masters Union Theatre Repertory Company The Little Mermaid Victorian Ballet Company The Heiress Union Theatre Repertory Company Death of a Salesman Union Theatre Repertory Company 1968 The Magistrate Melbourne Theatre Company Twelfth Night Melbourne Theatre Company Burke’s Company Melbourne Theatre Company The Three Sisters Melbourne Theatre Company Major Barbara Melbourne Theatre Company Henry IV (Part 1) Melbourne Theatre Company 1969 The -
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. -
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. -
Opera Australia 2018 Annual Report
2018 ANNUAL REPORT Cover image: Simon Lobelson as Gregor in Metamorphosis, which played at the Opera Australia Scenery Workshop in Enriching Australia’s Surry Hills and the Malthouse cultural life with Theatre in Melbourne. exceptional opera. One of Opera Australia’s new Vision productions, it was written by Australian Brian Howard, performed by an all Australian cast To present opera that excites and produced by an all Australian audiences and sustains and creative team. Photo: develops the art form. Prudence Upton Mission TABLE OF CONTENTS At a glance 3 Artistic Sydney Screens on stage 32 Director’s Report 12 Conservatorium Productions: of Music 2018 awards 34 performances and Regional Tour 13 Internships 23 attendances 4 China tour 36 Regional Student Professional and Artists 38 Season star ratings 5 Scholarships 16 Talent Development 24 Orchestra 39 Revenue and expenditure 6 Schools Tour 18 Evita 26 Philanthropy 40 Australia’s biggest Auslan Handa Opera arts employer 7 shadow-interpreting 20 on Sydney Harbour – Opera Australia Community reach 8 Community events 21 La Bohème 28 Capital Fund 43 Chairman’s Report 10 NSW Regional New works Staff 46 Conservatoriums in development 30 Partners 48 Chief Executive Project 22 Officer’s Report 11 opera.org.au 2 At a glance 77% Self-generated revenue $61mBox office 1351 jobs provided 543,500 58,000 attendees student attendees 7 637 productions new to Australia performances opera.org.au 3 Productions Productions Performances Attendance A Night at the Opera, Sydney 1 2,182 Performances and total attendances Aida, Sydney 19 26,266 By the Light of the Moon, Victorian Schools tour 85 17,706 Carmen, Sydney 13 18,536 Die Meistersinger von Nürnberg, Melbourne 4 6,175 Don Quichotte, Melbourne 4 5,269 Don Quichotte, Sydney 6 7,889 Great Opera Hits 2018 27 23,664 La Bohème, Handa Opera on Sydney Harbour 26 48,267 La Bohème, Melbourne 7 11,228 La Bohème, New Year 1 1,458 The chorus of Bizet’s Carmen, directed by John Bell.