News from Elmhurst Patron HRH the Duchess of Cornwall Summer 2014
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UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat. -
Arts Council Ballet Policy Review
ARTS COUNCIL BALLET POLICY REVIEW November 2013 1 TABLE OF CONTENTS INTRODUCTION EXECUTIVE SUMMARY CHAPTER 1: HISTORICAL CONTEXT 1.1 Chapter introduction 1.2 A brief overview of ballet history 1.3 Ballet’s relevance in western contemporary society 1.4 Irish ballet in brief 1.5 Chapter conclusion CHAPTER 2: EDUCATION 2.1 Chapter introduction 2.2 Impediments to the development of formal dance education in Ireland 2.3 A brief overview of the current provision for pre-vocational dance training in Ireland 2.4 A possible model for professional dance education in Ireland 2.5 Proposed outline of course content for a BA in Dance 2.6 The positioning of a professional dance programme within a university setting and the development of international associations for quality assurance 2.7 Chapter conclusion CHAPTER 3: AN AUDIENCE PERSPECTIVE 3.1 Chapter introduction 3.2 Audience data sources 3.3 Audience data observations 3.4 Participation observations 3.5 Strategies for nurturing and developing audiences/engagement. 3.5.1 Research 3.5.2 Skills 3.5.3 Partnerships 3.5.4 Branding 3.5.5 Programming 3.5.6 External perceptions 3.5.7 Participatory activities 3.6 Chapter conclusion CHAPTER 4: PROFESSIONAL PRACTICE 4.1 Chapter introduction 4.2 Common factors 4.3 Artistic considerations and planning 2 4.3.1 A commitment to creativity and moving the art form forward. 4.3.2 Producing a ‘balanced’ programme 4.3.3 Imaginative programming achieved taking account of practical considerations 4.4 Model of practice for Ireland 4.5 Chapter conclusion APPENDIX 1: ARTS COUNCIL CONSULTATION PROCESS NOTES APPENDIX 2: ABOUT THE AUTHORS 3 INTRODUCTION In May 2006 the Arts Council commissioned an independent review of the context and issues affecting professional ballet in Ireland. -
England LEA/School Code School Name Town 330/6092 Abbey
England LEA/School Code School Name Town 330/6092 Abbey College Birmingham 873/4603 Abbey College, Ramsey Ramsey 865/4000 Abbeyfield School Chippenham 803/4000 Abbeywood Community School Bristol 860/4500 Abbot Beyne School Burton-on-Trent 312/5409 Abbotsfield School Uxbridge 894/6906 Abraham Darby Academy Telford 202/4285 Acland Burghley School London 931/8004 Activate Learning Oxford 307/4035 Acton High School London 919/4029 Adeyfield School Hemel Hempstead 825/6015 Akeley Wood Senior School Buckingham 935/4059 Alde Valley School Leiston 919/6003 Aldenham School Borehamwood 891/4117 Alderman White School and Language College Nottingham 307/6905 Alec Reed Academy Northolt 830/4001 Alfreton Grange Arts College Alfreton 823/6905 All Saints Academy Dunstable Dunstable 916/6905 All Saints' Academy, Cheltenham Cheltenham 340/4615 All Saints Catholic High School Knowsley 341/4421 Alsop High School Technology & Applied Learning Specialist College Liverpool 358/4024 Altrincham College of Arts Altrincham 868/4506 Altwood CofE Secondary School Maidenhead 825/4095 Amersham School Amersham 380/6907 Appleton Academy Bradford 330/4804 Archbishop Ilsley Catholic School Birmingham 810/6905 Archbishop Sentamu Academy Hull 208/5403 Archbishop Tenison's School London 916/4032 Archway School Stroud 845/4003 ARK William Parker Academy Hastings 371/4021 Armthorpe Academy Doncaster 885/4008 Arrow Vale RSA Academy Redditch 937/5401 Ash Green School Coventry 371/4000 Ash Hill Academy Doncaster 891/4009 Ashfield Comprehensive School Nottingham 801/4030 Ashton -
A Mixed Blessing at the Ballet 01
Daily Telegraph July 28 2001 A mixed blessing at the ballet Photo Sheila Rock As Anthony Dowell leaves the Royal Ballet, dance critic Ismene Brown assesses his 15-year regime as director - and stars pay tribute below AT THE Royal Ballet the countdown has begun to the end of an era. A week tonight, amid flowers, Champagne and tears, Sir Anthony Dowell, the longest-serving ballet director since the company’s founder, Ninette de Valois, will end his 15-year regime. He was undoubtedly one of the great world stars of dancing, and the “Celebration Programme” will mark his achievements as such. But about his success as director of the company, opinion is far from unanimous. What makes a good director? The question has never been more of a poser than during Dowell\s captaincy of the ballet, in the most turbulent years of the Royal Opera House’s history. There are many pluses on Dowell’s account sheet - his maintenance of high classical technical standards, his welcoming of key foreign artists into the Royal (particularly Sylvie Guillem and Irek Mukhamedov), his inspiring coaching, to which leading guest stars attest opposite. The rise of Darcey Bussell to world acclaim, the forging of a superb partnership between Mukhamedov and Viviana Durante, this final, nostalgic and beautiful 2000-01 season - these are positive memories. He will be noted as a conservative, and many welcomed this after an insecure period of modernising under his predecessor, Norman Morrice. Whether conservatism has served the company well for the future, though, is debatable. In the shifting landscape of ballet, conservatism is not enough to hold steady. -
1 Engaging Minds, Informing Practice Tutors and Presenters Alice White, MA, BA (Hons) Embracing Social Media Alice Graduated
Engaging Minds, Informing Practice Tutors and Presenters Alice White, MA, BA (Hons) Embracing Social Media Alice graduated from Trinity Laban Conservatoire of Music and Dance in 2015 with a First Class Honours degree in Contemporary Dance, and went on to gain an MA in Dance Performance at the University of Chichester. Currently the Lead Press and Communications Officer at the Royal Academy of Dance, Alice has previously worked in marketing and communications at organisations such as Trinity Laban and The Place, gaining an in depth and confident understanding of social media strategy. Amelia Wilkinson, MSc Physiotherapy (pre-reg), MSc Dance Science, BA (Hons) Sociology, APPI certified Pilates Instructor Enhancing Silver Swans® Provision Amelia originally trained as a dancer at The Royal Ballet School and is now a dance science educator, physiotherapist and Pilates instructor. Her expertise in health and wellbeing is informed by both her dance for health and physiotherapy research. Most recently she examined community dwelling stroke survivors’ perceptions of upper limb dysfunction and its impact on quality of life. She currently works as a Health and Performance Enhancement Tutor across two Centre for Advanced Training programmes and delivers dance science CPD courses across the UK and internationally for the RAD. Caroline Palmer, ARAD (Dip. PDTC) Analysing Discovering Repertoire Choreographic Style with Benesh Notation Caroline trained in classical ballet in London with Andrew Hardie and Maria Fay. She danced professionally for 10 years mainly with the Deutsche Opera in Dusseldorf. In 1979 Caroline retrained as a teacher at the Royal Academy of Dance and subsequently taught on the degree course at Laban, London. -
Sylvie Guillem's Final Australian Performances
Wednesday 6th May, 2015 Sydney Opera House Presents Sylvie Guillem’s Final Australian Performances 19th – 25th August Drama Theatre, Sydney Opera House One of the world’s greatest ballerinas, Sylvie Guillem, will perform her final Australian shows ever at the Sydney Opera House this August as a part of her world tour Life in Progress. This will be the last chance for Australian audiences to see Guillem perform before her retirement from an unparalleled 35-year ballet and contemporary dance career. Guillem will perform six shows only of Life in Progress, a new production created especially for her farewell tour, which includes two new works – techne, a solo from choreographer Akram Khan accompanied by live music, and a duet with Italian dancer Emanuela Montanari from La Scala, entitled Here & After by choreographer Russell Maliphant. The evening will also showcase William Forsythe’s Duo featuring guest dancers Brigel Gjoka and Riley Watts, and Mats Ek’s audience favourite Bye. Sydney Opera House Presents Director of Programming, Jonathan Bielski, said that it is fitting for the greatest ballerina of this era to give her final Australian performances at the Sydney Opera House. “Ms Guillem is one of the most remarkable dancers the world has ever seen and her final bows will be mourned by dance lovers around the world. There is nothing more apt than a dancer of such extraordinary talent giving her final Australian performances atop the iconic Sydney Opera House stage. Ms Guillem’s fourth and final Sydney season will be the last opportunity Australian audiences have to witness the most significant ballerina of our time before the curtain comes down on her glittering career,” he said. -
Centre Stage the Pipeline of Bame Talent
CENTRE STAGE THE PIPELINE OF BAME TALENT AndrewAndrew Lloyd Lloyd Webber Webber FoundationFoundation INTRODUCTION— hen I produced Bombay Dreams over a decade ago and was privileged Wto introduce the marvellous music of A R Rahman to a West End audience, one of our greatest difficulties was finding enough Asian actors. BAME diversity in the performing arts has once again been high on the agenda this year, from the runaway success of Hamilton on Broadway to the latest announcement from Arts Council England of £4.6 million to boost diversity. Very often the discussion is focussed on increasing the representation of diverse ethnicities on stage and this is crucially important. However, I’ve been acutely aware that one of the biggest issues is the lack of trained diverse talent coming through. Casting directors and theatre producers alike often complain that they’d like to cast more Black, Asian and Minority Ethnic performers but that they don’t get enough turning up to audition. Inspired by some of the success stories coming out of the Andrew Lloyd Webber Foundation’s scholarship programme – such as Emmanuel Kojo who is interviewed in these pages – the Foundation decided to commission this " I PASSIONATELY research. The aim was to come up with some positive recommendations that BELIEVE THAT can be adopted by people involved at every stage of the talent pipeline from THE STAGE NEEDS school to stage. TO REFLECT THE DIVERSITY OF THE UK I passionately believe that the stage needs to reflect the diversity of the POPULATION OR IT UK population or it risks becoming side-lined. -
Roberto Bolle Fans and Friends Roberto Bolle Fan Club in Japan
Roberto Bolle Ballet Performances in 2018 . 10, 13 January 2018 – Teatro alla Scala – Milan, Italy , LA DAME AUX CAMÉLLIAS [In Three Acts] Choreography: John Neumeier / Music: Frédéric Chopin With: Svetlana Zakharova and La Scala Ballet Company w w w . 22 January 2018 – Congress Hall, Congress Centre – Davos, Switzerland , Annual Meeting 2018, The World Economic Forum “Opening Performance” THE SEASONS 《World Premier》 Choreography: Massimiliano Volpini and Edwaard Liang / Music: Antonio Vivaldi and Astor Piazzolla With: La Scala Ballet Company w w w . 8 February 2018 – Auditorium Rai Toscanini – Turin, Italy , National Symphony Orchestra Rai “The Myth in Music” APOLLO (Apllon Musagète) [In Two Scenes] Choreography: George Balanchine / Music: Igor Stravinsky With: Nicoletta Manni, Virna Toppi and Martina Arduino w w w . 11 February 2018 –Mikhailovsky Theatre– St. Petersburg, Russia , The 85th Anniversary of Mikhailovsky Ballet “Ballet Stars Gala” CARAVAGGIO (Pas de deux) Choreography: Mauro Bigonzetti / Music: Bruno Moretti (Claudio Monteverdi) With: Melissa Hamilton w w w . 27 February 2018 – Teatro EuropAuditorium – Bologna, Italy , Gala “Roberto Bolle and Friends” THAÏS (Pas de deux) Choreography: Roland Petit / Music: Jules Massenet With: Maria Eichwald PROUST OU LES INTERMITTENCES DU COEUR (Morel et Saint-Loup ou le combat des anges) Choreography: Roland Petit / Music: Gabriel Fauré With: Timofei Andrijashenko CARAVAGGIO (Pas de Deux) Choreography: Mauro Bigonzetti / Music: Bruno Moretti (Claudio Monteverdi) With: Nicoletta Manni MONO LISA Choreography: Itzik Galili / Music: Thomas Höfs With: Maria Eichwald TWO Choreography: Russell Maliphant / Music: Andy Cowton w w w . 10, 13, 16, 20, 23 March 2018 – Teatro alla Scala – Milan, Italy , BOLÉRO [In One Act] Choreography: Maurice Béjart / Music: Joseph-Maurice Ravel With: La Scala Ballet Company w w w . -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
A Choreographer's Handbook
A Choreographer’s Handbook On choreography: ‘Choreography is a negotiation with the patterns your body is thinking’ On rules: ‘Try breaking the rules on a need to break the rules basis’ A Choreographer’s Handbook invites the reader to investigate how and why to make a dance performance. In an inspiring and unusually empowering sequence of stories, ideas and paradoxes, internationally renowned dancer, choreographer and teacher Jonathan Burrows explains how it’s possible to navigate a course through this complex process. It is a stunning reflection on a personal practice and professional journey, and draws upon five years of workshop discussions, led by Burrows. Burrows’ open and honest prose gives the reader access to a range of exercises, meditations, principles and ideas on choreography that allow artists and dance-makers to find their own aesthetic process. It is a book for anyone interested in making performance, at whatever level and in whichever style. Jonathan Burrows has toured and worked internationally as a dancer and choreographer and is currently a resident artist at Kaaitheater Brussels. In 2002 he was commended by the Foundation for Contempor- ary Performance Arts in New York for his contribution to contemporary dance, and in 2004 received a New York Dance and Performance ‘Bessie’ for his work ‘Both Sitting Duet’. He has made commissioned work for many companies, including William Forsythe’s Ballett Frankfurt, Sylvie Guillem and The Royal Ballet. He is a visiting member of faculty at P.A.R.T.S. in Brussels and is a Visiting Professor at Hamburg University and Royal Holloway University of London. -
Premieres on the Cover People
PDL_REGISTRATION_210x297_2017_Mise en page 1 01.06.17 10:52 Page1 Premieres 18 Bertaud, Valastro, Bouché, BE PART OF Paul FRANÇOIS FARGUE weighs up four new THIS UNIQUE ballets by four Paris Opera dancers EXPERIENCE! 22 The Boy in the Striped Pyjamas MIKE DIXON considers Daniel de Andrade's take on John Boyne's wartime novel 34 Swan Lake DEBORAH WEISS on Krzysztof Pastor's new production that marries a slice of history with Reece Clarke. Photo: Emma Kauldhar the traditional story P RIX 38 Ballet of Difference On the Cover ALISON KENT appraises Richard Siegal's new 56 venture and catches other highlights at Dance INTERNATIONAL BALLET COMPETITION 2017 in Munich 10 Ashton JAN. 28 TH – FEB. 4TH, 2018 AMANDA JENNINGS reviews The Royal DE Ballet's last programme in London this Whipped Cream 42 season AMANDA JENNINGS savours the New York premiere of ABT's sweet confection People L A U S ANNE 58 Dangerous Liaisons ROBERT PENMAN reviews Cathy Marston's 16 Zenaida's Farewell new ballet in Copenhagen MIKE DIXON catches the live relay from the Royal Opera House 66 Odessa/The Decalogue TRINA MANNINO considers world premieres 28 Reece Clarke by Alexei Ratmansky and Justin Peck EMMA KAULDHAR meets up with The Royal Ballet’s Scottish first artist dancing 70 Preljocaj & Pite principal roles MIKE DIXON appraises Scottish Ballet's bill at Sadler's Wells 49 Bethany Kingsley-Garner GERARD DAVIS catches up with the Consort and Dream in Oakland 84 Scottish Ballet principal dancer CARLA ESCODA catches a world premiere and Graham Lustig’s take on the Bard’s play 69 Obituary Sergei Vikharev remembered 6 ENTRE NOUS Passing on the Flame: 83 AUDITIONS AND JOBS 78 Luca Masala 101 WHAT’S ON AMANDA JENNINGS meets the REGISTRATION DEADLINE contents 106 PEOPLE PAGE director of Academie de Danse Princesse Grace in Monaco Front cover: The Royal Ballet - Zenaida Yanowsky and Roberto Bolle in Ashton's Marguerite and Armand. -
Young-Art-Catalogue-2016 06-1.Pdf
A DIFFERENT VIEWPOINT Tuesday 26 April – Friday 29 April Royal College of Art YOUNG ART 2016 Every child is an artist. The problem is how to remain ONCE A STAIRCASE. an artist once he grows up. NOW A STROLL —Pablo Picasso THROUGH HISTORY. As your home becomes more important, CONTENTS so does your insurer. A Year to Remember 2 A Different Viewpoint 3 About Young Art 4 Welcome 5 Thank You 7 Behind the Microscope 8 Dr Tessa Kasia A Word from the Rector 11 Dr Paul Thompson Young Art in Schools 14 Sir Christopher Frayling 16 Meet the Judges 18 A Day in the Life of a Framer 39 Silent Auction 40 Quiz 42 Acknowledgments 62 Catalogue compiled and edited by Maria Howard Home Insurance with contributions from Kate Dilnott-Cooper and India Jaques. Design by Clover Stevens. hiscox.co.uk Artwork photography by Charlie Milligan Cover by Nick Goodwin 1 Hiscox Underwriting Ltd is authorised and regulated by the Financial Conduct Authority. 15740 04/16 YOUNG ART 2016 A YEAR TO REMEMBER Last year we celebrated the 25th anniversary of the first Young Art exhibition by raising £89,200 for Cancer Research UK. With a record number of 8,300 entries submitted and 760 on display at the Royal College of A DIFFERENT VIEWPOINT Art, it was an exceptional showcase of children’s art. Tuesday 26 April – Friday 29 April Royal College of Art Everyone at YA would like to say an Kensington Gore, London SW7 2EU enormous thank you to all the people who made it happen – exhibitors, teachers, schools, parents, judges – Featuring works donated by leading contemporary artists and all our supporters who gave so and Royal Academicians, supporting Cancer Research UK generously to such an important cause.