The Australian Ballet for Immediate Release Wednesday 14 September 2016
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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. -
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. -
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. -
Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters. -
Jose Sebastian Named Director of ABT Incubator
CONTACT: Kelly Ryan [email protected] Delia Brengel [email protected] AMERICAN BALLET THEATRE APPOINTS JOSE SEBASTIAN AS NEW DIRECTOR OF ABT INCUBATOR SEBASTIAN TO SUCCEED DAVID HALLBERG IN “ABT INCUBATOR: PASS THE BATON” PROGRAM, WEDNESDAY, OCTOBER 14 AT 6:00 P.M. ON YOUTUBE AND IGTV American Ballet Theatre has appointed ABT dancer Jose Sebastian as the new director of ABT Incubator, ABT’s annual choreographic workshop. Sebastian succeeds ABT Principal Dancer David Hallberg, who has led ABT Incubator since its inception in 2010. An online presentation marking this leadership transition, as Hallberg steps into his new role as Artistic Director of The Australian Ballet and as Sebastian steps up to carry forward ABT’s commitment to choreographic innovation, will take place on Wednesday, October 14 at 6:00pm. This digital event will feature a discussion of ABT Incubator’s past, present, and future with Hallberg and Sebastian, moderated by ABT Artistic Director Kevin McKenzie. “ABT Incubator: Pass the Baton,” streamed for free on ABT’s YouTube channel and @ABTOfficial IGTV, will also feature film footage and images from the Company’s previous two ABT Incubator workshops, as well as a performance excerpt of a new work recently created by ABT Incubator alumna Gabrielle Lamb for ABT dancer Zimmi Coker. “ABT Incubator: Pass the Baton” is produced for ABT by Dianna Mesion and Pierce Jackson. (more) JOSE SEBASTIAN APPOINTED DIRECTOR OF ABT INCUBATOR – Page 2 Under the direction of Hallberg, ABT Incubator was established in 2018, building on earlier choreographic workshops that Hallberg catalyzed for the Company. Open to ABT dancers and outside choreographers chosen through an audition process, ABT Incubator provides its participants time and resources to generate and inspire new ideas for the creation of new work. -
Gp 3.Qxt 7/14/17 2:07 PM Page 1 Page 4
07-26 Taming Shrew v9.qxp_Gp 3.qxt 7/14/17 2:07 PM Page 1 Page 4 Lincoln Center Festival lead support is provided by American Express July 26–30 David H. Koch Theater Bolshoi Ballet Ballet Director Makhar Vaziev The Taming of the Shrew Ballet in two acts Choreography Jean-Christophe Maillot Music Dmitri Shostakovich Set Design Ernest Pignon-Ernest Costume Design Augustin Maillot Lighting and Video Projection Design Dominique Drillot New York City Ballet Orchestra Conductor Igor Dronov Approximate running time: 1 hours and 55 minutes, with one intermission This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Made possible in part by The Harkness Foundation for Dance. Endowment support for the Lincoln Center Festival 2017 presentation of The Taming of the Shrew is provided by Blavatnik Family Foundation Fund for Dance. Public support for Festival 2017 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. The Bolshoi Theatre gratefully acknowledges the support of its General Sponsor, Credit Suisse. 07-26 Taming Shrew.qxp_Gp 3.qxt 7/18/17 12:10 PM Page 2 LINCOLN CENTER FESTIVAL 2017 THE TAMING OF THE SHREW Wednesday, July 26, 2017, at 7:30 p.m. The Taming of the Shrew Katharina: Ekaterina Krysanova Petruchio: Vladislav Lantratov Bianca: Olga Smirnova Lucentio: Semyon Chudin Hortensio: Igor Tsvirko Gremio: Vyacheslav Lopatin The Widow: Yulia Grebenshchikova Baptista: Artemy Belyakov The Housekeeper: Yanina Parienko Grumio: Georgy Gusev MAIDSERVANTS Ana Turazashvili, Daria Bochkova, Anastasia Gubanova, Victoria Litvinova, Angelina Karpova, Daria Khokhlova SERVANTS Alexei Matrakhov, Dmitry Dorokhov, Batyr Annadurdyev, Dmitri Zhuk, Maxim Surov, Anton Savichev There will be one intermission. -
Houston Ballet Revives Artistic Director Stanton Welch AM's Epic
FOR IMMEDIATE RELEASE MEDIA CONTACT: Christian Brown Public Relations Director [email protected] [email protected] HOUSTON BALLET REVIVES ARTISTIC DIRECTOR STANTON WELCH AM’S EPIC MADAME BUTTERFLY HOUSTON, TEXAS [September 2016] From September 22 - October 2, Houston Ballet will revive artistic director Stanton Welch AM’s signature work Madame Butterfly in a program with his one-act ballet Son of Chamber Symphony. Set to Puccini’s memorable score, in an arrangement by John Lanchbery, Madame Butterfly chronicles the love story of the beautiful geisha Cio-Cio San who is betrothed to marry the handsome American, Lieutenant Pinkerton. The production unfolds dramatically on Peter Farmer’s picturesque sets, which beautifully evoke the mystery and languor of 19th century Japan. Opening the program is the company premiere of Mr. Welch’s Son of Chamber Symphony, set to music by John Adams. Houston Ballet will give seven performances of Madame Butterfly with Son of Chamber Symphony at Wortham Theater Center in downtown Houston. Tickets may be purchased by calling 713-227-2787 or by visiting www.houstonballet.org. Houston Ballet’s Son of Chamber Symphony and Madame Butterfly program is generously sponsored by: The Wortham Foundation, Inc. INTERNATIONAL ACCLAIM FOR MADAME BUTTERFLY Premiered by The Australian Ballet in 1995, Madame Butterfly was Mr. Welch’s first full-length ballet. The two-act work tells the story of the beautiful geisha Cio-Cio San who renounces her faith and her family to wed Lieutenant Pinkerton, the U.S. Naval officer who is betrothed to another woman back in the States. The centerpiece of the work is a ravishing wedding night pas de deux between Pinkerton and Cio-Cio San, which closes the first act. -
Madame Ballet' As Establish a Perth-Based Ballet Company Western Australian Author Ffion Murphy As a Result of Those Who Had Prepared the Ground for Her
Michelle Potter reveals how Bousloff, whose youth had been lived out Russian dancer Kira Bousloff boldly of a suitcase as she travelled the world as a dancer with the Ballets Russescompanies created an environment for dance of Colonel de Basil, decided to remain in to flourish in Western Australia Australia in 1939 at the end of a tour by the Covent Garden Russian Ballet. She recalls When I came to the airport here in little Perth, that decision in an oral history interview at the end of the world, I put my feet on the recorded for the National Library in 1990: ground, I looked around, and I said loudly and strongly 'That's where I'm going to live and I was sitting in my hotel room in Melbourne that's where I'm going to die'. on my own and I had a strong feeling that my father (who had died many years ago) -Kira Bousloff touched my shoulder. It was a physical feeling practically. Then I had suddenly this strong ira Bousloff, or Kira Abricossova as feeling that I had to stay in Australia. So she was known during her early without even thinking twice (of course, you see, Kperforming career, was the founder of I'm a bit queer, eccentric, but that's the truth, the West Australian Ballet, one of Australia's that's what happened) I ran down the stairs and earliest state-based ballet companies-the rang up ... a very good friend and I said, 'I want first, in fact, to call itself a state company. -
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. -
Submission to the Standing Committee on Finance Pre-Budget
Submission to the Standing Committee on Finance Pre-Budget Consultations 2018 August 2017 For Further Information Contact: Barry C. Hughson, Executive Director National Ballet of Canada Phone: 416-345-9686 x350 E-Mail: [email protected] EXECUTIVE SUMMARY The National Ballet of Canada is considered one of the top ballet companies in the world, and is the fourth largest ballet company in North America. In recent years, the company’s artistic excellence has been recognized with invitations to perform in major international venues and festivals and collaborate with top international companies and artists. Innovation is at the heart of our culture on both sides of the footlights. From new stage technologies to the pursuit of advancements in dance medicine, to non-traditional ways to engage and develop our audiences. As an organization, we understand the critical importance of innovation and adaptability to deliver our mission and advance our field. In recent years, the federal government has been an engaged partner in achieving many of these goals. Increased investment to the cultural sector in Budget 2016 were well received, especially the increased funding envelope for the Canada Council for the Arts, from which the National Ballet receives significant resources toward programming and operational activities. As an active member of the Canadian Arts Coalition, we support the asks contained in their submission, including: • Raising the annual cap on the Canada Cultural Investment fund – Endowment Incentives to $3 million to assist Canadian arts organizations in becoming more competitive and to encourage new revenue streams. • Investments in training and development through two essential programs, Canadian Arts Training Fund and Building Careers in Heritage, to recognize the significant growth in the arts sector. -
World Ballet Day 2014
GLOBAL FIRST: FIVE WORLD-CLASS BALLET COMPANIES, ONE DAY OF LIVE STREAMING ON WEDNESDAY 1 OCTOBER www.roh.org.uk/worldballetday The A u str a lia n B a llet | B o lsho i B a llet | The R o y a l B a llet | The N a tio n a l B a llet o f C a n a d a | S a n F r a n c isc o B a llet T h e first ev er W o r ld B a llet D a y w ill see an u n p rec ed en ted c ollab oration b etw een fiv e of th e w orld ‘s lead in g b allet c om p an ies. T h is on lin e ev en t w ill tak e p lac e on W ed n esd ay 1 O c tob er w h en eac h of th e c om p an ies w ill stream liv e b eh in d th e sc en es ac tion from th eir reh earsal stu d ios. S tartin g at th e b egin n in g of th e d an c ers‘ d ay , eac h of th e fiv e b allet c om p an ies œ The A u str a lia n B a llet, B o lsho i B a llet, The R o y a l B a llet, The N a tio n a l B a llet o f C a n a d a an d S a n F r a n c isc o B a llet œ w ill tak e th e lead for a fou r h ou r p eriod stream in g liv e from th eir h ead q u arters startin g w ith th e A u stralian B allet in M elb ou rn e. -
Freedom New Technologies That Make Life Easier
No. 363 MERCEDES 4.2019 NATURAL An all-electric* Icelandic experience RELAXED Why future cars will be autonomous ISSUE 4.2019 / EUR 6.80 (DE, AT) / EUR 6.80 (DE, AT) ISSUE 4.2019 / (BENELUX) / EUR 7.95 (CH) 13.60 CHF DKK 69.95 (DK) / SEK 99 (S) EUR 9.90 (FI, GR) / CZK 239 (CZ) SK, SI) / GBP 6.99 /GB) ES, FR, PT, EUR 8.85 (IT, Freedom New technologies that make life easier *In the EQC. Combined electric energy consumption (kWh/100 km): 20.8–19.7; combined CO 2 emissions (g/km): 0 ORIGINS COMPLETE Fold Designed by Sebastian Herkner www.schramm-werkstaetten.com Anzeige_Vorlage.indd 3 16.09.2019 16:16:17 WORKSHOP Sustainable freedom Dear Reader, This magazine is all about innovation, and for good reason. Mercedes-Benz has worked hard since the beginning to develop new solutions and products both large and small that will make your life easier. Having the expertise of the world’s best engineers, programmers and designers is an essential part of this mission. This is truer now than ever, as complex tech- nologies like autonomous driving become a reality and promise a new kind of mobility that will bring increased freedom to everyday life. With the strategy “Ambition 2039”, we have set ourselves the target to provide a CO2-neutral vehicle fleet within the next 20 years. Our new column, in this issue written by Ola Källenius, The Mercedes me magazine app: Chairman of the Board of Management of Mercedes-Benz AG, tells you how convinced and mbmag.me/ios determined we are to take the path to a sustainable future.