The Centennial Projects: Building the New
1 The Centennial Projects: Building the New Marco Polo and Colin Ripley Opening Act: Kraanerg On the evening of June 2, 1969, a crowd of Ottawa dignitaries, including Prime Minister Pierre Trudeau (1919–2000) and Governor General Roland Michener (1900–1991), arrived at the brand new National Arts Centre, one of the last of the Centennial Projects com- missioned by the government to celebrate the one-hundredth anniversary of Canadian Confederation. A festive atmosphere settled over the gala for the official opening of the building, coming almost two years after the actual 1967 Centennial. Sitting in stark contrast to nearby buildings, the message of the National Arts Centre—with its brutalist exteriors, its orientation away from the fabric of the city, and its hexagonal plan—was clear, if not entirely comfortable for Ottawa residents: Canada and Canadian culture would be about the future, about new forms and new ideas. The performance that awaited the sold-out audience in Southam Hall, the largest stage in the facility, pushed the boundaries of newness further still. The main work on the pro- gram was a full-length ballet, Kraanerg, commissioned for the opening and choreographed by National Ballet director Roland Petit (1924–2011). Written by the avant-garde composer (and architect) Iannis Xenakis (1922–2001), Kraanerg was, as historian Jim Harley puts it, an aggressively modern, highly abstract “dialogue” on the “ideological disorders” facing 19 1 opposite Karen Bowes, Vanessa Harwood, Veronica Tennant, Garry Semeniuk, Timothy Spain, and artists of the ballet Kraanerg. Stage design by Victor Vasarely, 1969. 2 right Festival Theatre, Stratford, Ontario.
[Show full text]