Matthew Bourne Topic Exploration Pack July 2015
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Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
The Royal Ballet Present Romeo and Juliet, Kenneth Macmillan's
February 2019 The Royal Ballet present Romeo and Juliet, Kenneth MacMillan’s dramatic masterpiece at the Royal Opera House Tuesday 26 March – Tuesday 11 June 2019 | roh.org.uk | #ROHromeo Matthew Ball and Yasmine Naghdi in Romeo and Juliet. © ROH, 2015. Photographed by Alice Pennefather Revival features a host of debuts from across the Company, including Akane Takada, Beatriz Stix-Brunell, Anna Rose O’Sullivan, William Bracewell, Marcelino Sambé and Reece Clarke. Principal dancer with American Ballet Theater, David Hallberg makes his debut in this production as Romeo opposite Natalia Osipova as Juliet. Production relayed live to cinemas and on Tuesday 11 June 2019. This Spring, The Royal Ballet revives Kenneth MacMillan’s 20th-century dramatic masterpiece, Romeo and Juliet. Set to Sergey Prokofiev’s seminal score, the ballet contrasts romantic pas de deux with a series For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media of vibrant ensemble scenes, set against the backdrop of 16th-century Verona as evoked by Nicholas Georgiadis’s designs. A work which has been performed by The Royal Ballet more than 400 times since it was premiered at Covent Garden in 1965, Romeo and Juliet is a classic of the 20th-century ballet repertory, and showcases the dramatic ability of the Company, as well as incorporating a plethora of MacMillan’s signature challenging choreography. During the course of this revival, Akane Takada, Beatriz Stix-Brunell and Anna Rose O’Sullivan debut as Juliet. Also performing the role during this run are Principal dancers Francesca Hayward, Sarah Lamb and Marianela Nuñez. -
Impact Case Study (Ref3b) Page 1 Institution: De Montfort University
Impact case study (REF3b) Institution: De Montfort University Unit of Assessment: 35 – Music, Drama, Dance and Performing Arts Title of case study: Histories of Corporealities and Radical, Twentieth-century Dance Performance. 1. Summary of the impact (indicative maximum 100 words) Ramsay Burt’s research into histories of avant-garde and experimental dance performances during the twentieth- and twenty-first centuries has facilitated cultural enrichment through its impact on choreographers, dancers, dance audiences, administrators and policy makers. His publications have advanced understanding both of the general public and members of the dance industry into the ways in which dance is affected by and influenced socially and historically specific concerns or anxieties about changing notions of embodiment. He has received invitations to speak at major international dance festivals, given interviews for radio and television broadcasts, attended meetings with policy makers, and been invited to collaborate with artists involved in making new works based on historical avant-garde performances. 2. Underpinning research (indicative maximum 500 words) Since joining De Montfort in 1995, Ramsay Burt’s research has focused on ways in which radical, experimental dance since 1900 has been informed by the impact of new ways of conceptualising corporeal experience. Looking both at early modern dance and ballet (1995, 1998, 2004, 2011) and more recently at so-called postmodern (2006) and conceptual dance (2009), he has identified, within contemporary reception of some of the most challenging dance works, evidence of socially and historically specific concerns or anxieties about the changing nature of corporealities. This has been supported by grants from the British Academy (2005, 2008). -
Kennedy Center Education Department. Funding Also Provided by the Kennedy Center Corporate Fund
DOCUMENT RESUME ED 381 839 CS 508 906 AUTHOR Carr, John C. TITLE "Crazy for You." Spotlight on Theater Notes. INSTITUTION John F. Kennedy Center for the Performing Arts, Washington, D.C. SPONS AGENCY Department of Education, Washington, DC. PUB DATE [95] NOTE 17p.; Produced by the Performance Plus Program, Kennedy Center Education Department. Funding also provided by the Kennedy Center Corporate Fund. For other guides in this series, see CS 508 902-905. PUB TYPE Guides General (050) EDRS PRTCE MF01/PC01 Plus Postage. DESCRIPTORS Acting; *Cultural Enrichment; *Drama; Higher Education; Playwriting; Popular Culture; Production Techniques; Secondary Education IDENTIFIERS *Crazy for You; Historical Background; Musicals ABSTRACT This booklet presents a variety of materials concerning the musical play "Crazy for You," a recasting of the 1930 hit. "Girl Crazy." After a brief historical introduction to the musical play. the booklet presents biographical information on composers George and Ira Gershwin, the book writer, the director, the star choreographer, various actors in the production, the designers, and the musical director. The booklet also offers a quiz about plays. and a 7-item list of additional readings. (RS) ....... ; Reproductions supplied by EDRS ore the best that can he made from the original document, U S DEPARTMENT OF EDUCATION Ofi.co ofEaucabonni Research aria improvement EDUCATIONAL RESOURCES INFORMATION CENTER IERIC1 Et This document has been reproduced as received from the person or organization onqinallnq d 0 Minor charms have been made to improve reproduction quality. Points or view or opinions stated in this document do not necessarily represent official OERI position or policy -1411.1tn, *.,3^ ..*. -
Young Choreographer 1920 Press Release
January 2020 The Royal Ballet announces continuation of Emerging Choreographer Programme The Royal Ballet to continue its commitment to developing choreographic talent with the recruitment of new resident Emerging Choreographer. Closing date for applications Monday 22 March 2020. The Royal Ballet is delighted to announce the continuation of its Emerging Choreographer Programme for 2020. An opportunity for emerging choreographic talent, the role is based at the Royal Opera House, and offers the successful applicant the chance to work alongside some of the world’s leading choreographers and with dancers of The Royal Ballet on developing their own choreographic projects. Inaugural Royal Ballet Emerging Choreographer Charlotte Edmonds trained at The Royal Ballet School where she was a finalist in the Ninette de Valois Junior Choreographic competition for three consecutive years. She also won the Kenneth MacMillan Senior Choreographic Competition in 2011 and 2012. During her time at The Royal Ballet, Edmonds created a number of original works including Meta, Piggy in the Middle and Sink or Swim, an innovative dance film which shines a light on the effects of depression and mental health. Edmonds has also created works for Dutch National Ballet Juniors, Norwegian National Ballet 2, Rambert School and The Grange Festival. Her most recent works include Words Fail Me, a project exploring the relationship between dance and dyslexia, and Wired to the Moon, created for Ballet Cymru. Director of The Royal Ballet, Kevin O’Hare, comments: ‘I’m thrilled to be able to open our Emerging Choreographer Programme for a second time in 2020. This is a wonderful opportunity for aspiring and emerging choreographers to hone their talent with the support For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media of the fantastic team at The Royal Ballet, as well receiving mentorship from some of the most respected and prolific choreographers working in the world today.’ Applications for the role of Royal Ballet Emerging Choreographer close on Monday 22 March 2020. -
Agnes De Mille' by Carol Easton (Little, Brown, £18.99)
Daily Telegraph July 12 1997 A choreographer with attitude Photo Karsh/Camera Press Ismene Brown wants more than just a diligent biography of a lovable monster Book Review: 'No Intermissions: the Life of Agnes de Mille' by Carol Easton (Little, Brown, £18.99) IN dance heaven, poor Agnes de Mille is resigned to being jostled by nobler colleagues. "Sprightly but peripheral" was her own assessment of her work, yet, with her 1942 ballet Rodeo and her musicals Oklahoma!, Carousel, Brigadoon and more, she invented a genre of popular stage dance that came to dominate the Western public's theatre-going for half the century. She swept away swans and fairies, and gave us new heroines: cowgirls. This was too folksy for the stern electors of modern dance or classical ballet, and yet, both then and now, debts are owed to Miss de Mille in high places. Antony Tudor, one of the great ballet innovators, was influenced by their early friendship when he made his pre-War psychological works at Ballet Rambert - works which opened the way for Kenneth MacMillan. Today Matthew Bourne's vernacular rewrites of ballet classics glance back at de Mille. But how colourless this dance generation seems in comparison. What is the equivalent nowadays of growing up in a desert called Hollywood where your Uncle Ce and his friend Samuel Goldfish (later Goldwyn) are rounding up extras fro the main street to put in front of their camera? Agnes's father, the playwright William, described Cecil B's first effort, 'The Squaw Man' (1914) as "the first really new form of dramatic storytelling that had been invented for some 500 years.. -
Ginger Thatcher and Phillip Broomhead Set for Faculty at Goh Ballet Academy's Summer Program in Vancouver, 7/7-8/9
Ginger Thatcher and Phillip Broomhead Set for Faculty at Goh Ballet Academy's Summer Program in Vancouver, 7/7-8/9 GINGER THATCHER, former principal dancer of the Cleveland Ballet and former soloist of the Lar Lubovitch Dance Company, and PHILLIP BROOMHEAD, former principal dancer of the Royal Ballet and the Houston Ballet, will members of the faculty for the Goh Ballet Academy's Summer Program in Vancouver, Canada from July 7-August 9, 2014. GINGER THATCHER began her professional dance career as an apprentice with the Houston Ballet. She later joined the Cincinnati Ballet and in 1981 joined the Cleveland Ballet, rising to the rank of principal dancer. Ms. Thatcher's repertoire with the Cleveland Ballet included principal roles in ballets by George Balanchine (Agon, Concerto Barocco, The Four Temperaments, Serenade, Theme and Variations), Dennis Nahat (Brahms Quintet, Cannonade, Celebration and Ode, Contra Concerti, In Concert, In Studio D, Ontongeny, Pas de Dix, Quicksilver, Slavonic and Hungarian Dances, Some Times, Summerscape, Wu T'ai Shih), Murray Louis (By George), Daniel Levans (Concert Waltzes), Louis Falco (Escargot), Leonide Massine (Gaite Parisienne), David Lichine (Graduation Ball), Kurt Joos (The Green Table), Antony Tudor (Lilac Garden), Ian Horvath (Ozone Hour, Piano Man), Agnes de Mille (Rodeo, Three Virgins And A Devil), and Jose Limon (The Moor's Pavane, There Is A Time). Ms. Thatcher has also received acclaim for her performances in classical pieces such as Don Quixote Pas de Deux, The Nutcracker, Bluebird Pas de Deux, and the Prelude in Fokine's Les Sylphides. From 1991-93 Ms. Thatcher danced with the Lar Lubovitch Dance Company and danced roles in American Gesture, Concerto 622, Symphonie Concertante, and Waiting For The Sunshine. -
Dance, Space and Subjectivity
UNIVERSITY COLLEGE CHICHESTER an accredited college of the UNIVERSITY OF SOUTHAMPTON DANCE, SPACE AND SUBJECTIVITY Valerie A. Briginshaw This thesis is submitted for the degree of Doctor of Philosophy by publication. DANCE DEPARTMENT, SCHOOL OF THE ARTS October 2001 This thesis has been completed as a requirement for a higher degree of the University of Southampton. WS 2205643 2 111111111111111111111111111111111111111111111 ..::r'.). NE '2...10 0 2. UNIVERSITY COLLEGE CmCHESTER an accredited college of the UNIVERSITY OF SOUTHAMPTON ABSTRACT DANCE Doctor of Philosophy DANCE, SPACE AND SUBJECTIVITY by Valerie A. Briginshaw This thesis has been completed as a requirement for a higher degree of the University of Southampton Thisthesis, by examining relationships between dancing bodies and space, argues that postmodern dance can challenge traditional representations of subjectivity and suggest alternatives. Through close readings of postmodern dances, informed by current critical theory, constructions of subjectivity are explored. The limits and extent of subjectivity are exposed when and where bodies meet space. Through a precise focus on this body/space interface, I reveal various ways in which dance can challenge, trouble and question fixed perceptions of subjectivity. The representation in dance of the constituents of difference that partly make up subjectivity, (such as gender, 'race', sexuality and ability), is a main focus in the exploration of body/space relationships presented in the thesis. Based on the premise that dance, space and subjectivity are constructions that can mutually inform and construct each other, this thesis offers frameworks for exploring space and subjectivity in dance. These explorations draw on a selective reading of pertinent poststructuralist theories which are all concerned with critiquing the premises of Western philosophy, which revolve around the concept of an ideal, rational, unified subject, which, in turn, relies on dualistic thinking that enforces a way of seeing things in terms of binary oppositions. -
The Royal Ballet Celebrates American Choreographers George Balanchine and Jerome Robbins
27 May 2021 #OurHouseToYourHouse Fundraising for our future The Royal Ballet celebrates American choreographers George Balanchine and Jerome Robbins The Royal Ballet celebrates the rich history of American ballet in classic works by George Balanchine and Jerome Robbins, two choreographic giants of the 20th century. Balanchine and Robbins open’s on 4 June and is live streamed on 11 June at 7.30pm priced £16. The programme includes two classic works by Balanchine; Apollo and Tchaikovsky Pas De Deux. Apollo was created for Diaghilev’s Ballets Russes in 1928 and is regarded as a masterpiece of neoclassicism in its striking depiction of the young god of music and his three muses. Set to music by Igor Stravinsky the ballet was last performed by The Company in 2014. In 1960 Balanchine created Tchaikovsky Pas de Deux for New York City Ballet. The ballet is a showcase of technical challenges and bravura and is set to a long-lost movement from Tchaikovsky’s original score for Swan Lake. Jerome Robbins played a crucial role in the development of American ballet as a contemporary of Balanchine and as an influential figure in Broadway. His 1969 ballet Dances at a Gathering is an ode to pure dance, set to music by Chopin. While plotless, the intimacy of the ballet creates a powerful sense of community which promises to resonate powerfully with audiences and dancers again following its revival in 2020 just before lockdown. This programme features a host of debuts by Royal Ballet Principals Fumi Kaneko, Yasmine Naghdi, Matthew Ball, Cesar Corrales and Vadim Muntagirov and First Soloists Claire Calvert, Melissa Hamilton, Mayara Magri, Anna Rose O’Sullivan and Reece Clarke The event will be broadcast live via the Royal Opera House website on Friday 11 June at 7.30pm, priced at £16.00 per household and will be available to watch on demand until 10 July. -
AM ABT Featured Film Interviewees and Dances FINAL
Press Contact: Natasha Padilla, WNET, 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , http://instagram.com/pbsamericanmasters , #ABTonPBS #AmericanMasters American Masters American Ballet Theatre: A History Premieres nationwide Friday, May 15, 2015 at 9 p.m. on PBS (check local listings) Film Interviewees and Featured Dances Film Interviewees (in alphabetical order) Alicia Alonso , dancer, ABT (1940-1960) Clive Barnes , dance critic, The New York Times (1965-1977); now deceased Mikhail Baryshnikov , principal dancer (1974-1978) & artistic director (1980-1989), ABT (archival) Lucia Chase , founding member & co-director (1945-1980), ABT; now deceased (archival) Misty Copeland , dancer, ABT (2001-present); third African-American female soloist and first in two decades at ABT Herman Cornejo , dancer, ABT (1999-present) Agnes de Mille , choreographer, charter member, ABT; now deceased (archival) Frederic Franklin , stager & guest artist, ABT (1997-2012); dancer; co-founder, Slavenska- Franklin Ballet; founding director, National Ballet of Washington, D.C.; now deceased Marcelo Gomes , dancer, ABT (1997-present) Jennifer Homans , author, Apollo’s Angels: A History of Ballet; founder and director, The Center for Ballet and the Arts at New York University Susan Jaffe , dancer (1980-2002) & ballet master (2010-2012), -
Curriculum Vitae and List of Publications
Date: 3.9.19 Curriculum Vitae 1. Personal Data ד"ר הניה רוטנברג :Name in Hebrew Name in English: Henia Rottenberg Ph.D E-Mail: [email protected] 2. Education Certificates and Degrees Education Institute Department From - To First Degree University of Haifa General studies 1994-1996 SecondTh Degree University of Dance Studies 1996-1997 Surrey, UK Third Degree University of Dance Studies 1998-2004 Surrey, UK 3. Title of Master's Thesis: Rami Be’er – A Political Choreographer Supervisor: Dr. Sophia Preston Title of Doctoral Thesis: Hybrid Relationships between Dance and Painting: A Close Examination of Lea Anderson’s The Featherstonehauhgs Draw on the Sketch Books of Egon Schiele (1998) Supervisor: Professor Janet Lansdale and Dr. Sophia Preston 4. Academic Ranks Rank % Position From - To Institute Adjunct senior 66% Oct 2011-2019 Western Galilee lecturer, College Head of Dance-theatre program 5. Research Grants From-To Funding Agency Title of Amount Names of Research Research Partners 2008 Kibbutzim Movement NIS College of lexicon and 10,000 Education syntax Syntax of the Inbalite Dance Language 2015-2018 Mifal Ha’pais Conflict in NIS Dr. Dina Roginsky dance: 55,000 Jewish Arabs relationship s in Israeli dance 6. Active Participation in Conferences (Only from 2001) 2004 - Eroticism or Pornography? Lea Anderson and The Featherstonehaugs Draw on the Sketch Books of Egon Schiele. Interdisciplinary Landscapes: Postfeminist Practices in the Arts, University College Northampton, UK, p. 28. 2008 - Drawing out the Connections between the Past and the Present. Looking Back/Moving Forward, in Society of Dance History Scholars, Skidmore College, Saratoga Springs, NY. -
Media Release
Media Release FOR IMMEDIATE RELEASE: November 15, 2017 Contact: Edward Wilensky (619) 232-7636 [email protected] San Diego Opera’s Main Stage Season Continues on February 24, 2018 with Puccini’s Turandot Soprano Lise Lindstrom returns to sing her signature role and is joined by soprano Angel Joy Blue as Liù in her house debut Tenor Carl Tanner makes Company debut as Calaf San Diego, CA – San Diego Opera’s 2017-2018 continues with Puccini’s beloved Turandot on Saturday, February 24, 2018 with additional performances February 27, March 2, and March 3 (matinee), 2018. This bold and visual production comes from The Lyric Opera of Chicago and has never been seen by San Diego Opera audiences. The costumes come from Santa Fe Opera. Making a welcome return in her signature role is soprano Lise Lindstrom who has sung the role at all the world’s leading stages, including here in San Diego in her Company debut in 2011. She is joined by American soprano Angel Joy Blue in her Company debut as Liù. Also in a Company debut is American tenor Carl Tanner as Calaf. Rounding out the cast is American bass Brian Kontes as Timur, Italian baritone Marco Nisticò as Ping, American tenor Joseph Gaines as Pang, American tenor Joel Sorensen as Pong, American bass- baritone Scott Sikon as the Mandarin, and America tenor Chad Frisque as Emperor Altoum. Italian conductor Valerio Galli, recently named “Best Italian Conductor Under 40” by La Stampa newspaper, brings his expertise of the Puccini repertoire the podium in his Company debut.