A-Level Dance Resource List Resource List: Unit 03

DANC3 Areas of Study 2013-2015

A level Dance

Resources and Guidance

DANC3 Areas of Study 2013 - 2015

August 2012

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Page Contents

The Royal Ballet 1956 - 1977 3

Alvin Ailey American Dance Theater 1958 – current 8

Netherlands Dance Theatre 1959 - 1999 12

AREA OF STUDY 2013 – 2015

The Royal Ballet 1956 – 1977

Selected Chronology

From its origins in 1926 as Ninette de Valois’s Academy of Choreographic Art, it grew to become two companies: the Sadler’s Wells Ballet and the Sadler’s Wells Theatre Ballet.

1956 The Royal Charter was awarded to both the main company (becoming The Royal Ballet) and the touring company (becoming The Royal Ballet Touring Company).

In the early years following the granting of the Royal Charter, there were changes in the development of the company. These included a modification of the classical style through the introduction of modern movements e.g. Agon (MacMllan, 1958); the introduction of the Rudolf Nureyev/Margot Fonteyn partnership; the increasing importance of the male dancer; and the development of the company’s presence on the international stage.

1963 The founder of the main company, Ninette de Valois, resigned as director. Frederick Ashton became the new director with Kenneth MacMillan as chief choreographer.

1964 A small group called Ballet for All was formed by Peter Brinson with the aim to provide special programmes for smaller stages around the country.

1970 MacMillan took on the directorship, with Peter Wright as associate director. He redefined the company’s classical heritage by introducing classical choreographers with a modern influence, a rethinking of the traditional classical ballets, and his own choreographic contribution.

1977 MacMillan gave up the directorship in order to give more time to choreography.

During the period 1956 to 1977 the company maintained its commitment to the nineteenth century classical repertoire. However, many new works were also created, as well as major revivals, serving to enrich the repertoire. Works by other choreographers (e.g. Balanchine, Nijinska, Tudor) were also performed by the company.

Within the repertoire the range of works provided the ideal opportunities for the abilities of the dancers and for the development of significant partnerships (e.g. Fonteyn/Nureyev, Sibley/Dowell). During this period the touring company went through changes in both name and composition.

1970 It became the New Group directed by Peter Wright.

1976 The New Group became Sadler’s Wells Royal Ballet, also directed by Peter Wright.

Examples of Practitioners

Sir Frederick Ashton

His early training was with Massine. He later studied with Marie Rambert who recognised his choreographic potential.

1926 He made his first choreography A Tragedy of Fashion.

He joined the Ida Rubinstein Company in Paris, appearing in several ballets by Bronislava Nijinska whose choreographic style influenced him. A year later he returned to Rambert.

1933 He made his first major ballet Les Rendezvous for the Vic-Wells Ballet.

1935 He joined the Vic-Wells Ballet as dancer and choreographer.

1963 He became director of the Royal Ballet and held this post until 1970.

He is recognised as one of the main creators of the British classical style. He made a major contribution to the classical repertoire through the range of his work, his musicality, his recognition of the dancers’ skills and his understanding of academic dance. He showed considerable skill in constructing the ballets as well as imagination and invention in the content, particularly in the pas de deux. His understanding of his dancers’ skills was particularly demonstrated in the choreography he created for Margot Fonteyn, his muse for many years.

His works include La Fille mal gardée (1960), The Dream (1964) and Monotones (1965 and 1966).

Sir Kenneth MacMillan

He trained at the Sadler’s Wells Ballet School.

1946 On graduation, he joined the Sadler’s Wells Theatre Ballet as a dancer.

1948 He moved to Covent Garden and later returned to Sadler’s Wells.

1953 He made his first choreography.

1970 He became director of the Royal Ballet and held this post until 1977.

His choreography was concerned with the expression of feeling through movement, often creating dramatic situations through which the range of emotions could be revealed. He was innovative in his choreography, focusing on themes which were unfamiliar in classical ballet at that time. The protagonists in his works could often be seen as outsiders. The pas de deux was often a focal point of his works and the ballerina Lynn Seymour was his muse for many of his greatest ballets. His full-length ballets gave new life to the company’s tradition of three-act ballets. His works include Romeo and Juliet (1965), Song of the Earth (1965) and Manon (1974).

Sir Peter Wright

British dancer, choreographer and director. He studied with Kurt Jooss, Vera Volkova, and Peggy van Praagh. During the period 1945 - 1949 he danced with several companies including the Ballets Jooss and the Metropolitan Ballet.

1949 He joined the Sadler’s Wells Theatre Ballet as a dancer, also becoming assistant ballet master.

1957 He taught at the Royal Ballet School until 1959, and later at the Stuttgart Ballet where he choreographed and staged several works.

He continued to work as a freelance choreographer and ballet master until 1970.

1970 He became associate director of the Royal Ballet.

1975 He became the director of the Royal Ballet Touring Company (renamed the New Group, and later renamed the Sadler’s Wells Royal Ballet).

He gained particular acclaim for his stagings of the classics through their detail and dramatic realism e.g. Giselle (restaged by Wright in 1965 for the Stuttgart Ballet and later for the Royal Ballet). He has also been instrumental in helping the Touring Company to become a major classical company. His own works include A Blue Rose (1957), Arpège (1974) and Summertide (1976).

Selected Bibliography

Books

Bland, A. The Royal Ballet: The first 50 years. London: Threshold Books, 1981

Brinson, P. & Crisp, C. Ballet and Dance: A Guide to the Repertory. David & Charles, 1980

Craine, D. & Mackrell, J. The Oxford Dictionary of Dance. Oxford University Press, 2000

Jordan, S. & Grau, A. (ed) Following Sir Fred’s Steps. Ashton’s Legacy. London: Dance Books, 1996

Parry, J. Different Drummer. The Life of Kenneth MacMillan. Faber and Faber, 2009

Reynolds, N. & McCormick, M. No Fixed Points. Dance in the Twentieth Century. Yale University Press, 2003

Robertson, A. & Hutera, D. The Dance Handbook. Essex: Longman, 1988

Thorpe, E. Kenneth MacMillan: The Man and his Ballets. Hamish Hamilton, 1985

Vaughan, D. Frederick Ashton and his Ballets. A & C Black, 1977

White, Joan W.(ed) 20th Century Dance in Britain. A History of Five Dance Companies. London: Dance Books, 1985

Articles

Leonard, D. & Roy, S. (ed) The Ashton Issue. Dance Now, Vol.3, No.3, Autumn 1994

Macaulay, A. ‘Sir Frederick Ashton in conversation with Alastair Macaulay’. Dance Theatre Journal, Vol. 2, No. 3, Autumn 1984, pp 2-7

Resource packs and fact cards

Gomez, C. Kenneth MacMillan fact card. NRCD, 1998

Morris, G. An Approach to the Choreography of Frederick Ashton. NRCD, 1995

Sanders, L. La Fille mal gardée (Ashton, 1960): A Resource Pack. NRCD, 1995

DVDS

Ashton, F. La fille mal gardée (1960)

Ashton, F. Ondine (1958)

Ashton, F. The Dream (1964)

Three Ballets by Kenneth MacMillan (Elite Syncopations, The Judas Tree and Concerto)

Websites www.roh.org.uk www.ashtonarchive.com www.kennethmacmillan.com

AREA OF STUDY 2013 – 2015

Alvin Ailey American Dance Theater 1958 – current

Selected Chronology

1958 The company was founded by Alvin Ailey. It has developed into a very successful multi-racial company. In the company’s first year Ailey created Blues Suite which defined his style and was favourably received by the critics.

1960 The company’s signature work Revelations was created.

1962 The company was given its first government subsidy when it was sent on a five-month tour of Australia and South East Asia. The company has toured extensively overseas since 1964.

1969 A tour of college campuses was undertaken, which raised Ailey’s awareness of racial relations in the south.

1974 Alvin Ailey Repertory Ensemble (now known as Ailey II) was formed.

Ailey was determined to run the company as a repertory-based company in order to preserve the modern dance heritage and the African-American input. Ailey’s own African-American heritage provided the inspiration for the choreography, shown through the stylistic combination of modern, jazz and classical ballet. The grace and strength of the dancers, combined with their personality and versatility, have contributed to the theatricality of the works and their powerful emotive content.

1989 Alvin Ailey died. Judith Jamison, dancer and choreographer, took over as director. Her aim was to preserve the company’s legacy, promote the creation of new works and ensure financial stability.

2011 Judith Jamison retired and Robert Battle took on the role of director. Although never a company member, he has choreographed for the company and worked with the school.

The company’s repertoire includes a wide range of works by different choreographers.

Examples of Practitioners

Alvin Ailey

American dancer, choreographer and company director.

He studied with Lester Horton, and later with Martha Graham.

1950 He debuted with Horton’s company.

1953 On Horton’s death, he took over as director of the company.

He also took part in stage musicals and film at this time.

1958 He founded his own company: the Alvin Ailey American Dance Theater.

1965 He retired from full-time dancing in order to concentrate on running his own company.

He has choreographed works for other productions and companies including the Robert Joffrey Ballet and the American Ballet Theatre.

His African-American heritage inspired the themes and music for his choreography. The combination of modern dance with jazz and classical ballet was enhanced by the theatricality of his works.

His movement and choreographic styles have been influenced by his early training (e.g. Horton and Graham), and also by the styles of Katherine Dunham and Jack Cole.

His recognition of Judith Jamison’s talent allowed him to create some of his most memorable roles for her.

His works include Revelations (1960), Cry (1971) and For Bird – with Love (1984).

Judith Jamison

American dancer, choreographer and company director.

She trained at the Philadelphia Dance Academy, where she was discovered by Agnes De Mille. She later studied with Antony Tudor and Maria Swoboda.

She danced with the American Ballet Theatre.

1965 She joined the Alvin Ailey American Dance Theater. Although she performed with other companies, her career was committed to the Ailey company. She was Ailey’s muse and her physical and performance skills enhanced the choreography he created for her.

1980 She began a freelance career as a dancer and choreographer.

1988 She formed her own company: The Jamison Project.

1989 After Ailey’s death, she became the artistic director of the Alvin Ailey American Dance Theater. Under her direction the repertory became more abstract and less ‘black soul’. However the quality of the dancing developed, particularly in its precision and dynamics.

2011 She retired from the post of artistic director.

She extended the company’s repertoire with her own works and those of other choreographers. Her works include Divining (1984), Rift (1991) and Hymn (1993).

Robert Battle

American dancer, choreographer and company director.

His early training was at the New World School of the Arts with Daniel Harder Lewis and Gerri Houlihan

He studied at the Juilliard School under the direction of Benjamin Harkarvey.

1994 On graduation, he joined the Parsons Dance Company as a dancer.

1998 He began to choreograph for the Parsons Dance Company.

1999 He began his association with Ailey. He was commissioned to create Mood Indigo for Ailey II.

2001 He founded his own company: Battleworks Dance Company.

2003 He choreographed for the Alvin Ailey American Dance Theater, and subsequently choreographed with Judith Jamison and Rennie Harris.

2006 As artist-in-residence he conducted workshops for the Ailey School, and also in 2008.

2011 He became artistic director of the Alvin Ailey American Dance Theater when Judith Jamison retired

His works include Juba (2003), In/Side (2008) and The Hunt (2001).

Selected Bibliography

Books

Ailey, A. Revelations: the autobiography of Alvin Ailey. New York: Birch Lane Press, 1995

Craine, D. & Mackrell, J. The Oxford Dictionary of Dance. Oxford University Press, 2000

DeFrantz, Thomas F. Dancing Revelations. Oxford University Press, 2004

Dunning, J. Alvin Ailey: a life in dance. Reading, Massachusetts and Don Mills Ontario: Addison-Wesley,1996

Fleming, R. Alvin Ailey: Dancer and Choreographer. Los Angeles: Melrose Square Publishing, 1998

Foulkes, J. L. Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey. Chapel Hill and London: University of North Carolina Press, 2002

Jamison, J. Dancing Spirit. Doubleday,1993.

Mazo, J. Prime Movers, London: A & C Black, 1972

Reynolds, N. & McCormick, M. No Fixed Points. Dance in the Twentieth Century. Yale University Press, 2003

Robertson, A. & Hutera, D. The Dance Handbook. Essex: Longman, 1988

Tracy, R. Ailey Spirit. The Journey of an American Dance Company. New York: Stewart, Tabori & Chang, 2004

Resource Packs

Sanders, L. Revelations (Ailey, 1960): A Resource Pack. NRCD, 2009

DVDS

An Evening with Alvin Ailey American Dance Theater (Revelations, Cry (both by Ailey), Divining (Jamison), The Stack-Up (Talley Beatty)

A Tribute to Alvin Ailey (For Bird with Love , Witness, Memoria (all by Ailey), Episodes (Dove))

Websites www.alvinailey.org

AREA OF STUDY 2013 -2015

Netherlands Dance Theatre (Nederlands Dans Theater) 1959 – 1999

Selected Chronology

1959 The company was founded by a group of dancers from Sonia Gaskell’s Netherlands Ballet. It was based in The Hague.

1960 Hans van Manen became co-artistic director (with Benjamin Harkarvey) and chief choreographer.

The company began to develop a repertoire of experimental work, combining a modern dance influence with a balletic tradition.

It was the first company in Europe to give classes in modern dance technique (primarily Graham) to its members.

The company’s style was influenced by American modern dance choreographers who worked with Netherlands Dance Theatre e.g. John Butler, Anna Sokolow, Glen Tetley, and later Jennifer Muller and Louis Falco.

1969 Harkarvey resigned as co-artistic director.

Van Manen and Tetley took on joint direction.

1970 Van Manen left the company.

1973 Jiří Kylián made his first work for the company.

1975 Jiří Kylián became the co-artistic director.

1977 He became the artistic director and choreographer.

Under his leadership the repertoire was developed, leading to international success.

He created two smaller branches of the company:- NDT2 - consisting of junior dancers, which also fed the main company NDT3 – consisting of dancers of retirement age.

1987 The company moved to its own specially built 1000 seat theatre in The Hague.

1988 Van Manen returned to the company as resident choreographer.

1995 The creation of Arcimboldo, using all three companies, celebrated the twentieth anniversary of Kylián’s arrival.

1999 Kylián stepped down as artistic director. He was succeeded by Marian Sarstädt

Examples of Practitioners

Hans van Manen

Dutch dancer, choreographer and company director. He studied with Sonia Gaskell, Françoise Adret and Nora Kiss.

1952 He danced with the Amsterdam Opera Ballet until 1958.

1959 He danced with Roland Petit’s Ballets de Paris.

1960 He joined the Netherlands Dance Theatre, contributing choreographically and performing the role of co-artistic director. His time with the company allowed him to experiment with different dance genres and to establish his choreographic style.

1970 He left Netherlands Dance Theatre and began a free-lance career (choreographing for companies which included the Stuttgart Ballet and the Royal Ballet).

1988 He rejoined Netherlands Dance Theatre as resident choreographer.

His work focuses on the exploration of form and movement, with accompaniment by a wide range of composers. An identifiable theme is the relationship between men and women. His works are usually non-narrative and linked to the music. Design in his works gives emphasis to space and the dancers. Linear, geometric designs are used, and in some works, video and film screens. Early influences on his choreographic development were the works of Jerome Robbins and George Balanchine.

His works include Grosse Fuge (1971), Septet Extra (1973) and Black Cake (1989).

Glen Tetley

American dancer, choreographer and company director.

He studied modern dance technique with Hanya Holm and Martha Graham, and classical ballet technique with Margaret Craske, Antony Tudor, and at the School of American Ballet.

Between 1946 and 1961 he danced with several companies including that of Hanya Holm, John Butler, the Joffrey Ballet, Martha Graham, American Ballet Theatre and Jerome Robbins.

1962 He started his own company in New York.

He later began working for Netherlands Dance Theatre as a dancer and choreographer.

1969 He became co-artistic director (with van Manen) of Netherlands Dance Theatre.

He has contributed to the work and development of many companies including Ballet Rambert and the Stuttgart Ballet.

His style reflects modern dance influences, as well as the lyricism of classical ballet, and uses a wide range of movement vocabulary. His dances refer to a varied range of ideas and often use twentieth century scores.

His works include Pierrot Lunaire (1962), The Anatomy Lesson (1964) and Mutations (with van Manen, 1970).

Jiří Kylián

Czech dancer, choreographer and company director.

He studied at the National Ballet School, the Prague Conservatory and later at the Royal Ballet School, London.

As well as a thorough training in classical ballet, he also studied modern dance techniques, particularly Graham technique, and music theory and practice.

1968 He joined the Stuttgart Ballet and started to choreograph for the company in 1970.

1973 He made his first work for the Netherlands Dance Theatre.

1975 He became co-artistic director of the Netherlands Dance Theatre.

1977 He became artistic director and choreographer of the company.

He also created two smaller companies linked to the Netherlands Dance Theatre: NDT2 for junior dancers and NDT3 for dancers aged over 40.

1999 He gave up the post of artistic director but continued as choreographer and adviser to the company.

His style reflects the influences of classical ballet, modern dance and folk dance.

Emotions, religious ideas or themes from folklore inspire his works, often resulting in non- narrative pieces enhanced by musical sensitivity. Since the late 1980s his work has shown a more abstract approach.

The music used shows a wide range of composers e.g. Bach, Mozart, John Cage, Kan Ishii.

His choreographic development has been influenced mainly by John Cranko, Glen Tetley, and later by William Forsythe.

His works include Symphony of Psalms (1978), Stamping Ground (1983) and Falling Angels (1989).

Selected Bibliography

Books

Bremser, M. (ed) Fifty Contemporary Choreographers. London: Routledge, 1999

Brinson, P. & Crisp, C. Ballet and Dance: A Guide to the Repertory. David & Charles, 1980

Craine, D. & Mackrell, J. The Oxford Dictionary of Dance. Oxford University Press, 2000

Croce, A. Going to the Dance. NY: Alfred A. Knopf, 1982

Hanna, J. L. Dance, Sex and Gender: Signs of Identity, Dominance, Defiance and Desire. Chicago: University of Chicago Press, 1988

Reynolds, N. & McCormick, M. No Fixed Points. Dance in the Twentieth Century. Yale University Press, 2003

Robertson, A. & Hutera, D. The Dance Handbook. Essex: Longman, 1988

Articles

Gow, G. ‘Meeting of Minds: Hans van Manen and Jean-Paul Vroom’. Dancing Times, March 1975, LXV, 774, pp 305-306.

Koegler, H. ‘Pledged to the Spirit of our Times: Nederlands Dans Theater 1959-1989’. Ballett International, May 1989, pp 11-13.

Loney, G. ‘Hans van Manen: Setting the Record Straight on Netherlands Dance Theatre’. Dance Magazine, Feb 1974, pp 70-77.

Merrett, S. ‘Spotlight on Jiří Kylián’. Dancing Times, May 1991, LXXXI, 968, p 763.

Moffett, L. ‘Kylián Changes Keys’. Dance Magazine, May 1987, LXI, 5, pp 46-50.

Monahan, J. ‘Amsterdam and Kylián’. Dancing Times, May 1984, LXXIV, 884, pp 663- 666.

Sinclair, J. ‘Company with a Difference’. Dance and Dancers, July 1989, 472, pp 29- 31

Van Manen, H. Interview. Dance and Dancers, May 1967, May 1967, pp 24-25.

Van Schaik, E. ‘Hans van Manen: Movement and Form’. Ballett International, Jan 1984, pp 20-23.

DVDS

Jiří Kylián: The Nederlands Dans Theater (Svadebka, Symphony of Psalms, and Torso)

Jiří Kylián & The Nederlands Dans Theater: Sinfonietta, Symphony in D, Stamping Ground

Jiří Kylián’s Black & White Ballets

Nederlands Dans Theater Celebrates Jiří Kylián (Bella Figura, Birth-Day, Sleepless)

Six Ballets by Hans van Manen

Van Manen: Black Cake and Concertante

Websites www.ndt.nl www.ndt.kylianfoundation.org