2000 Dance Graduation Performance of Human Terrain Program Introduction
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2000 Dance Graduation Performance Of Human Terrain Program Introduction In a world of multi-media and virtual reality, with its exciting potential for unimagined worlds to be developed, it is not Blood on the Moon accidental that the title of our 2000 Graduation Season is by Harold Collins MBE Of Human Terrain. Despite the advances of technology and the amazing differences it make to our lives, now more than ever, live human interaction and the achievements of the human body and spirit are being celebrated - as we INTERVAL have recently done in the Sydney Olympics, albeit for most 30 minutes of us via our television screens. Video in foyer Tonight you will see both digital and live dance. In the foyer Choreographers : John Utans I Lisa Wilson you can enjoy a continuous screening of solos danced by all Performed by AD1, AD2, BA1 /2/3 Performance our performance students, choreographed by John Utans Students and Lisa Wilson. Inside the theatre you will experience live performances by these same students. Unlike our first season Dance Bytes, which was an eclectic array of short pieces, the graduation season this year presents two Of Human Terrain substantial works by two experienced and acclaimed by Leigh Warren Australian choreographers. The first, in a classical style, is choreographed by Harold Collins, whose legacy to dance in Queensland is not to be underestimated. Most people understand the stringent requirements of classical ballet even if they do not attend it My thanks to the many talented artists and teachers who have regularly- the difficulty of standing 'en pointe', of maintaining worked with us throughout the year to train these graduates. Our symmetry in moments of seemingly impossible control and part-time staff and local, national and international guests balance, and the application required in executing multiple turns provide vital stimulus and essential contact with the dance - all recently popularised in films such as Billy Elliott. Likewise, profession, which sets up networks and partnerships, invaluable the apparent effortlessness of classical ballet in performance is to our graduates as they prepare to ~nter t~e. ind~stry . Althoe understood to hide long and arduous years of training. the year is not yet over, Ohad Nahann, Art1st1c D1rector of the famed Batsheva Dance Company, which recently took the However, even in 2000, despite a now extended history of Brisbane Festival by storm, has offered a contract to graduate contemporary dance, audiences do not always fully realise that Rachel Osborne. Similarly, Leigh Warren has invited graduating the often playful casualness and relaxed virtuosity of much student Glen McCurley to join his company, wh ich will tour contemporary dance also hides years of rigorous training. Split internationally in the coming year. These, and many similar second timing decisions, apparent accidental contact, isolated successes, are due in large measure to the small, committed articulation of joints and complex patterning within and between full-time staff who are the backbone of the training program at bodies requires intense daily practice: We are indeed fortunate OUT Dance; not only those who teach our students how to that Leigh Warren, award-winning choreographer, respected dance, but those who provide them with life-skills, and equip internationally for his considerable body of work, agreed to them socially, intellectually and creatively for a competitive and come to Brisbane to create a new contemporary work for our changing world. It has been an honour to work with all of them graduating students. This work not only showcases the dancers' this year, and to be part of such a close-knit team with common abilities but challenges them with its mathematical complexity goals within a diversity of interests. as it maps with their bodies the human terrain, overlaid with computer imaging by Peter Nielson. Finally to the students, thank you for your hard work, your passion , your demands, your creativity and the often explosive Design is an integral element of dance productions and lecturer energy which fills the studios and corridors, and makes the long Shaaron Boughen has responded to the different briefs of these days worthwhile. To those continuing with us, we have exciting two works with flair and sensitivity. We welcome Margaret plans ahead with the development of the Creative Industries A Adam as the new realisor of the costume designs as we also which you will play a crucial role. To those who are graduat i n~ pay tribute to Marlene Lind who was responsible for our we wish you all the best in your chosen pathways in dance. wardrobe requirements for over a decade. Associate Professor Cheryl Stock - Head of Dance QUT Academy of the Arts - Dance Staff 2000 Head of Dance I Guest Lecturers Simone Atthow Postgraduate Coordinator Assoc Professor Cheryl Stock Yolande Brown Rosalind Crisp .helor of Arts (Dance) Tim Davey Coordinator Evan Jones Ben Dunks Peter Furness Associate Degree (Dance) TonyGeeves Acting Coordinator Susan Caulfield-Lec/ercq John Meehan Fiona Malone Dance Administrator Colleen Brydges Jaime Redfern Anthony Shearsmith Lecturers in Dance Kristen Bell Leigh Warren Shaaron Boughen Oliver Winkler Susan Caulfield-Leclercq Anna Yen Evan Jones Jude Smith Accompanists Lavinia Dickens John Utans Gary Dionysius Part-Time Lecturers Lizzie Chittleborough Steve Francis Harold Collins MBE Sean Mullen Fiona Cullen David Muller Bridget Fiske Chi Wang Chael Hilton Rachel Mathews Physiotherapist Cheryl Ellison Dianna Laska-Moore Performance Psychologist Georgia Stewart Helena Moore Costumier Margret Adam Denise Richardson Work Experience Costumier Tamara Meyer Lisa Wilson BLOOD ON THE MOON Choreographer HAROLD COLLINS MBE Cast: Rehearsal Assistant Evan Jones Music 1st Movement of 2"ct Symphony Young Woman Louise Hartman I Lauren Sosnow by Samuel Barber YoungMan Nicholas Psarros I Thomas Murphy Lighting Design David Whitworth Trio Lauren Sosnowski, Imelda Guarin, Costume Design Shaaron Boughen Kevin Privett or Louise Hartman, Voice Over Don Batchelor Imelda Guarin, Kevin Privett or Sound Technician Jason Zadkovich Elise May, Karlie Burgoyne, Kevin Privet This piece is highly influenced by Anthony Tudor, one of the great dramatic choreographers of our time with whom I was privileged to work on several occasions in London. Someone once told me that if Associate Degree in Dance -1st Years you are going to be influenced by anyone to make sure that it was Bachelor of Arts (Dance) - 1st Years someone worthy - this is what I have done here. His ability to tell AD2, BA2 & BA3's- Anthony Divito, Sandra Elphinston , Jason narrative with the minimum of array was always an inspiration to me. Northam, Glen McCurley, Tina Priestley, Cameron Reid, Sunday The name neo-classical dance is both awkward and ambiguous Thompson & Sally Winton although it does describe the changes that have taken place in classical dance and the way it is taught and performed. I have always worked to extend the scope of traditional technique and hope that in the work performed tonight you, the viewer, will recognize that extension. Blood on the Moon is a narrative piece in which I have worked to have each section of dance further the development of the narrative. I have enjoyed the process of working with the first-year dancers who, after all, are the developing artists who must ultimately take the risk and the work to you , the audience. INTERVAL OF HUMAN TERRAIN Video in foyer Choreographer Leigh Warren Rehearsal Assistant John Utans-- Choreographers John Utans I Lisa Wilson Music Steve Reich "Electronic Counterpart" Lighting Design David Whitworth Performed by AD 1, AD2, BA 11213 Costume Design Shaaron Boughen I Leigh Warren Performance Students Costumier Margret Adams Video Image design Peter Nielson Video footage filmed by John Utans Photography Sonja de Sterke Of Human Terrain refers to a particular visual and physical communication that dancers have with one another. The interplay of eye contact, movement response and the spatial relationship constructed between the choreographic ideas and the structures of the music. The terrain is expressed through the dancers themselves. The body's emotional shifts defining a range of topographic highs and lows, plateaux and valleys. The artist formerly known as Prince wrote in a song "There's joy in repetition" .... I liked that notion and found an interesting connection between the constantly shifting patterns of Steve Reich's music that seem to evoke a similar response. For myself the vitality of Reich's music is irresistible as is the simple joy of young performers dancing because they are in love with dancing. Cast: Associate Degree in Dance 2"d year Students Bachelor of Arts (Dance) 2nd & 3'd year Students QUT ACADEMY OF THE ARTS DANCE STUDENTS AD1 AD2 BA 1 Performance Natalie Bergman Jesse Bates Darren Anderson Kartie Burgoyne Ya -Ting Chiu Jade Dibblee Justine Dillon Anthony Divito Gregory Dunn Theo Dimitriou Ryan Funnell Zara Lehmann Katherine Duhigg Yen Ru Hsu Lauren Linklater Imelda Guarin Yuan Yuan Huang Leigh Martin Louise Hartman Chia-Yuan Kao Hong Chin Neo Natasha Hasson Hsin Yi Lin Lauren Saide Tracy Holden MatthewLoh Joel Thomas Amanda Kenny Amber Moelter Melissa Lee Erin Peters BA2 Performance Kerin Llewellyn Cameron Reid Julieanne Bergmann Samantha Loch Nathan Tight Jason Northam Elise May Alana Tribe Tina Priestley Thomas Murphy 1-Fen Tung MikiNemoto Monica Wensing BA3 Performance Kevin Privett Sally Winton Nicholas Psarros Julia Bruce Lauren Sosnowski Sandra Elphinston Chia-Tsen Sun Asahi Matsushima Glen McCurley Jane Wallace Samara Skubij Jordanna Whittle Sunday Thompson Chanthalah Webster HAROLD COLLINS MBE LEIGH WARREN Harold was an original dancer of the Leigh Warren trained at the Australian Ballet Queensland Ballet before joining The National School and the Julliard School of Music, New Ballet of New Zealand where he was promoted York. He spent his dancing career with both to principal dancer in 1964. In 1968 he returned Australian and international companies, to the Queensland Ballet to dance Albrecht for including Ballet Rambert and the Netherlands Garth Welch's production of Giselle.