The Nutcracker December 13, 2014 – January 3, 2015
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Canada's National Ballet School
Canada’s National Ballet: 50 Years of Evolution by Paula Citron It was clear with the founding of the National Ballet of Canada in 1951 that a future national ballet school was a necessity. Betty Oliphant and Celia Franca are the two remarkable women who co-founded Canada’s National Ballet School in 1959. As Oliphant wrote in her autobiography Miss O: My Life in Dance: “Celia Franca and I knew that a good company needs a good school to feed it.” James Neufeld says in his book Power to Rise: The Story of the National Ballet of Canada: “(Franca) was a teacher of professionals and saw with a teacher’s eye that the raw material before her had to be shaped and trained. Teaching would be the key to the company’s success.” The NBS is commemorating its 50th anniversary this year, and there is much to celebrate. The school is considered among the top professional ballet academies in the world. Just as the Herculean efforts of Oliphant and Franca helped found the school, so have the innovative policies of Oliphant and her chosen successor, Mavis Staines (class of 1972), help raise the school to its lofty perch in the world of dance education. On the recommendation of Dame Ninette de Valois of the Sadler’s Wells Ballet, Franca came from England to Toronto in 1951 to found the National Ballet of Canada. Betty Oliphant, who had arrived from England in 1947 as a war bride, ran a successful ballet school in the city. Oliphant was asked by Franca to become the company’s ballet mistress. -
Gp 3.Qxt 7/11/16 9:01 AM Page 1
07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 1 July 13 –31, 2 016 Lincoln Center Festival lead support is provided by American Express July 28–31 David H. Koch Theater The National Ballet of Canada Karen Kain, Artistic Director The Winter’s Tale The National Ballet of Canada Orchestra Music Director and Principal Conductor David Briskin Approximate running time: 2 hours and 35 minutes, with two intermissions This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. The Lincoln Center Festival 2016 presentation of The Winter’s Tale is made possible in part by generous support from The LuEsther T. Mertz Charitable Trust and Jennie and Richard DeScherer. Additional support is provided by The Joelson Foundation. Endowment support for the Lincoln Center Festival 2016 presentation of The Winter’s Tale is provided by Blavatnik Family Foundation Fund for Dance. Public support for Festival 2016 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts. The National Ballet of Canada’s lead philanthropic support for The Winter’s Tale is provided by The Catherine and Maxwell Meighen Foundation, Richard M. Ivey, C.C., an anonymous friend of the National Ballet, and The Producers’ Circle. The National Ballet of Canada gratefully acknowledges the generous support of The Honourable Margaret Norrie McCain, C.C. A co-production of The National Ballet of Canada and The Royal Ballet 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 2 LINCOLN CENTER FESTIVAL 2016 THE WINTER’S -
DOCTORAL THESIS the Dancer's Contribution: Performing Plotless
DOCTORAL THESIS The Dancer's Contribution: Performing Plotless Choreography in the Leotard Ballets of George Balanchine and William Forsythe Tomic-Vajagic, Tamara Award date: 2013 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 THE DANCER’S CONTRIBUTION: PERFORMING PLOTLESS CHOREOGRAPHY IN THE LEOTARD BALLETS OF GEORGE BALANCHINE AND WILLIAM FORSYTHE BY TAMARA TOMIC-VAJAGIC A THESIS IS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF PHD DEPARTMENT OF DANCE UNIVERSITY OF ROEHAMPTON 2012 ABSTRACT This thesis explores the contributions of dancers in performances of selected roles in the ballet repertoires of George Balanchine and William Forsythe. The research focuses on “leotard ballets”, which are viewed as a distinct sub-genre of plotless dance. The investigation centres on four paradigmatic ballets: Balanchine’s The Four Temperaments (1951/1946) and Agon (1957); Forsythe’s Steptext (1985) and the second detail (1991). -
2004 Cecchetti Newsletter V3
CECCHETTI INTERNATIONAL CLASSICAL BALLET Newsletter No. 10, 2004 Mission Statement: to foster the development of the method to develop training for the future to keep alive the essence of the method’s historical tradition Enrico Cecchetti as to raise the profile of the method world-wide Kastchei in L’Oiseau de feu (Firebird) with the to encourage the profession and the art of dance by interaction Ballets Russes, at the between members and the international dance profession Paris Opera, 1910. Photographic negatives to enhance the status of dance in the context by Raffaello Bencini. of the arts and education Photo courtesy of Dance Collection Danse Letter from the Chairman Dear Members and Friends of Cecchetti International - Classical Ballet (CICB) It is with great delight that we can tell you that our international organization is now a legal non-profit entity. We were incorpo- rated in Canada on July 2nd, 2004 and we thank the Canadian delegates for facilitating this. Congratulations to everyone, and welcome to Cecchetti International - Classical Ballet. The Corporate Members of CICB have had an inaugural teleconference. Matters needing clarification were discussed, and over all it was an excellent meeting. Hereunder are set out the categories of membership of our new International Society, so that all our members can understand their standing in the new organization. a) Corporate Members - there are six corporate members who have come together to promote the Cecchetti Method and comprise the Board of CICB. Cecchetti Societies of: Australia, Canada, Southern Africa, and USA Cecchetti Council of America, Danzare Cecchetti - ANCEC Italia also represented are Korea, Malaysia, Namibia, New Zealand Thailand and Zimbabwe b) Represented Members - we are all Represented Members if we belong to one of the six Societies above and are in good standing with that society. -
Prima Ballerina Bio & Resume
Veronica Tennant, C.C. Prima Ballerina Bio & Resume Veronica Tennant, during her illustrious 25-year career as Prima Ballerina with The National Ballet of Canada - won a devoted following on the international stage as a dancer of extraordinary versatility and dramatic power. Born in London England, Veronica Tennant started ballet lessons at four at the Arts Educational School, and with her move to Canada at the age of nine, started training with Betty Oliphant and then the National Ballet School. While she missed a year on graduation due to her first back injury, she entered the company in 1964 as its youngest principal dancer. Tennant was chosen by Celia Franca and John Cranko for her debut as Juliet. She went on to earn accolades in every major classical role and extensive neo-classical repertoire as well as having several contemporary ballets choreographed for her. She worked with the legendary choreographers; Sir Frederick Ashton, Roland Petit, Jiri Kylian, John Neumeier, and championed Canadian choreographers such as James Kudelka, Ann Ditchburn, Constantin Patsalas and David Allan. She danced across North and South America, Europe and Japan, with the greatest male dancers of our time, including Erik Bruhn (her mentor), and Rudolf Nureyev, Anthony Dowell, Peter Schaufuss, Fernando Bujones and Mikhail Baryshnikov (immediately after he defected in Toronto, 1974). She was cast by Erik Bruhn to dance his La Sylphide with Niels Kehlet when Celia Franca brought The National Ballet of Canada to London England for the first time in 1972; and was Canada’s 'first Aurora' dancing in the premiere of Rudolf Nureyev's Sleeping Beauty September 1, 1972 and at the company's debut at the Metropolitan Opera House in New York, 1973. -
Veronica Tennant, Prima Ballerina with the National Ballet of Canada for 25 Years, Won Hearts and Accolades on the National and International Ballet Stage
VERONICA TENNANT, C.C.; D.LITT; LL.D ~ (h.c.) 1 1 Veronica Tennant, Prima Ballerina with The National Ballet of Canada for 25 years, won hearts and accolades on the national and international ballet stage. Since 1989, she has been recognized as a gifted filmmaker, producer/director, speaker/narrator and writer, with her works garnering several awards, including the International Emmy Award. In 2004, Veronica Tennant was awarded the prestigious Governor General’s Performing Arts Award for Lifetime Achievement, and was announced by the Canada Council, as the recipient of the Walter Carsen Prize for Excellence in the Performing Arts. As the first dancer to be appointed to the Order of Canada as Officer in 1975, Veronica Tennant was promoted in 2003, for the breadth of her contribution to the arts in Canada, to the rank of Companion, which is the country’s highest honour. During Veronica Tennant’s illustrious career, she won a devoted following as a dancer of extraordinary versatility and dramatic power. Entering the company at 18, as it’s youngest Principal Dancer she was cast by Celia Franca as Juliet in John Cranko’s Romeo and Juliet. She earned accolades in every major classical role as well as having several ballets choreographed for her, dancing on stages across North America, Europe and Japan, with the greatest male dancers of our time, including Erik Bruhn, Rudolf Nureyev, Anthony Dowell and Mikhail Baryshnikov. She gave her farewell performance in 1989: A Passion for Dance: Celebrating the Tennant Magic. Overlapping from the National Ballet in 1989, Tennant was the host, creative consultant/writer of Sunday Arts Entertainment for three seasons on CBC Television. -
Celia Franca Albums
FINDING AID FOR CELIA FRANCA PHOTOS – 2007 DONATION TO LAC ALBUMS R4290 Volume 88 Brown ornate cover Shanghai Dance School and Shanghai Ballet Company 29 black and white photos of CF with children and young dancers in a studio Green ornate cover Celia Franca and James Morton in China 15 b&w photos of JM and CF meeting with people and JM teaching music students and at a reception R4290 Volume 86 Pink album with diamond pattern labeled Beijing dated June 10, 1980 Celia Franca and James Morton in China 36 b&w photos primarily of CF with students in classes 4 colour photographs Pink album labeled Beijing Celia Franca in China 34 b&w photos of CF with students walking, eating and dancing Maroon album with dragon pattern on cover Ballet company in China 20 7x9 b&w photographs mainly of ballet performances with a few of students in dance studio class R4290 Volume 87 Brown album National Ballet of Canada 35th Anniversary Gala held at O’Keefe Centre. February 25, 1987 “Copies of Myrna Aaron’s photos” 88 colour photographs of those attending the gala, primarily 5x7s R4290 Volume 88 Navy blue album Commemorative album given to CF by the Heart and Stroke Foundation of Ontario Arts for Hearts Benefit, 2000 37 primarily 5x7 colour photos of attendees including Mitchell Sharp and wife, Marianne Scott and Hamilton Southam R4290 Volume 85 Black binder Commemorative photographs from opening of the Celia Franca Centre in Toronto 24 colour digital scans PERSONAL PHOTOGRAPHS R4290 Volume 80 Folder 1 Photographs of CF as a young child, with her parents -
The Case of David Allan's 1987 Ballet Masada: Did It Matter That the Topic
Dancers Veronica Tennant and Gregory Osborne in David Allan's 1987 ballet Masada: The Zealots. Photo: John Mahler/ Toronto Star Archives The Case of David Allan’s 1987 Ballet Masada: Did it Matter that the Topic was Jewish? Jennifer Fisher In 1987, choreographer David Allan made what critics called “a dar- the fortified walls. When they did, they made a gruesome discovery: ing and controversial” 40-minute ballet called Masada, The Zealots, to avoid capture, slavery, and worse, the families chose to end their for the spring season of Toronto’s National Ballet of Canada. It was own lives.1 based on a legend unfamiliar to most of its 27-dancer-cast, though the siege at Masada was well-known to North Americans who knew Although many resources were invested in the ballet and several Jewish history or had visited Israel, or perhaps saw a TV version reviewers found it powerful and promising, Masada was never re- starring Peter O’Toole in the 1980s. Historical “Ballet Notes” were peated. With this essay, I want to bring Allan’s ballet back into the provided to the press and to audiences in pre-performance talks, historical record, as well as pointing out how it affected people at explaining the tragic events of 74 A.D. at Herod’s winter palace the time, and how it leads to conversations about being Jewish in overlooking the Dead Sea. Jewish families had escaped the Roman the North American ballet world. I begin with the critical reception victory over Jerusalem and fled to Masada. There it took the Roman of Masada from newspaper accounts and documents in the Nation- army two years to build their siege ramp and finally break through al Ballet of Canada archives, then focus on recent interviews with 54 | DANCE TODAY | ISSUE No. -
MA Thesis Document
DANCING FOR CANADA/DANCING BEYOND CANADA: THE HISTORY OF THE NATIONAL BALLET OF CANADA AND THE ROYAL WINNIPEG BALLET’S INTERNATIONAL TOURS, 1958-1974. by Nadia van Asselt A thesis submitted to the Department of History in conformity with the requirements for the Degree of Master of Arts Queen’s University Kingston, Ontario, Canada Final (QSpace) submission May, 2021 Copyright ©Nadia van Asselt, 2021 Abstract This thesis traces the growth of the National Ballet of Canada (NBC) and the Royal Winnipeg Ballet (RWB) through international ballet exchanges and reveals how foundational they were to the companies’ current reputations. In the mid-twentieth century, the development of Canadian ballet was intertwined with international exchanges because the Canada Council of the Arts viewed national success as synonymous with international success. The National Ballet of Canada and the Royal Winnipeg Ballet developed different ways of being viewed as Canadian while abroad and established themselves as noteworthy cultural institutions. This thesis is also a study of the non-state actors’ role – ballet companies’ personnel, artistic directors, dancers, and media – in producing or furthering diplomatic relations with host countries and how they either upheld or contradicted state interests. Chapter two examines ten years (1958-1968) of negotiations between the NBC and the Instituto Nacional de Bellas Artes to show how the NBC used Canadian cultural policies and Canada’s national language to attain international tours that focused on fostering the company’s growth. Also, the tour resulted in the NBC building a relationship with Mexico without much help from the government. Chapter three studies the RWB’s engagement with Jamaica for the country’s independence celebrations in 1963 from the perspective of non-state actors – the dancers, media, and private sectors – to understand the motivations in carrying out state interest. -
Giselle June 15—19, 2016 Presented by National.Ballet.Ca Jurgita Dronina
Celebrating 10 Years as Artistic10 Director 2015 /16 Season Giselle June 15—19, 2016 Presented by national.ballet.ca Jurgita Dronina. Photo by Alejandro Alvarez Cadilla. ESCAPE TO A WORLD OF WONDER Giselle June 15—19, 2016 Presented by Principal Dancer Jillian Vanstone Contents 9 Cast 10 A Note on the Ballet 12 Synopsis 14 Selected Biographies NOW PLAYING UNTIL OCTOBER • BUY NOW FOR BEST SEATS 18 Dancers stratfordfestival.ca The National Ballet of Canada Programme Editors: Julia Drake and Belinda Bale 1 • 844 • 835 • 9512 Design: Kyle Greenwood Advertising and Printing: Mirvish Media THE LION, THE WITCH AND THE WARDROBE By C.S. Lewis | Dramatized by Adrian Mitchell Directed by Tim Carroll With Sara Farb, Ruby Joy, André Morin, Gareth Potter, Tom McCamus, Yanna McIntosh Jillian Vanstone is sponsored through Dancers First by George & Kathy Dembroski. Photo: Don Dixon Photo by Aleksandar Antonijevic. Date: May 05, 2016 Filename_ Version# SSF151837_LionWitchWardrobe_NBOC_JUNE2016_FNL Client: Stratford Artist: Josh Desc: 2016 Season Acct. Mgr: Melissa Pub: NBOC Insertion Date: June 2016 559 College Street, Suite 401 Trim: 6.5" x 9.25" Ship Date: 05 May 2016 Toronto, ON M6G 1A9 # Colours: 4C 416-323-3282 Bleed: 0.125" Safety/Live: 5.5" x 8.5" File Built at: 100% (1:1) PMS PMS INK DENSITY FOR NEWSPAPER: 240 INK DENSITY FOR MAGAZINE: 300 The National Ballet of Canada Orchestra Celia Franca, C.C., Founder David Briskin, Music Director and Principal Conductor George Crum, Music Director Emeritus Violin 1 Andrew McIntosh Trumpets Aaron Schwebel, Concertmaster Elaine Thompson Richard Sandals, Principal Karen Kain, C.C. -
Pdfaboutnews To-The-Pointe-Fall11.Pdf
To the Pointe the To ISSUE 53 FALL 2011 Farewell Message Message from from Jeff Melanson the Artistic Director The five years I spent at NBS were coloured Community Engagement: the flashmobs Ministries of Culture and Health Promotion My priority entering the 2010/11 year was When Cynthia Roberts, one of NBS’ two care of the students and superb with great opportunities, wonderful have been hugely successful on a number and those many friends on every side to help all NBS staff prepare for 2011/12, gifted part-time Physiotherapists, left for organisational skills will be sorely missed, colleagues, fantastic donors, diligent Board of levels. We’ve engaged our local NBS of the political spectrum at City Hall in as it is a year that brings with it many a year’s maternity leave in January 2011, throughout July she thoughtfully mentored members and many special memories. community, made valuable relationships Toronto. Many of you I shall continue to staff leader transitions due to retirement, co-partner, Jen Denys, assumed a full- her successor, Suzzette Patten. with schools and educators and reached work with and I look forward to doing so maternity leave, sabbaticals or career time schedule to carry both their hours. The following are some of the highlights a global audience through YouTube with in the months and years ahead. changes. As NBS staff members develop Executive Director and my Co-CEO, My ‘Personal Assistant’ Katherine Jeff Melanson, alerted me in early May each synthesizing what I believe are the our demonstration/teaching and close relationships, the challenge was to embrace colleagues’ pending departures Hallisey, announced in November her to a “job offer he could not refuse”, that core strengths of the best organisations: performance videos. -
Press Kit the National Ballet of Canada
PRESS KIT THE NATIONAL BALLET OF CANADA THE SECOND DETAIL William Forsythe + SPECTRE DE LA ROSE Marco Goecke + CHROMA Wayne McGregor October 1.2.3, 2015 Place des arts, Théâtre Maisonneuve Also presented on October 6, 2015 at the Grand Théâtre de Québec Danse Danse – Press kit Ballet National du Canada (Canada) Triple Bill 1 The National Ballet of Canada will present three unique works by the world renowned choreographers, William Forsythe, Marco Goecke and Wayne McGregor. Three unique aesthetics featuring amazingly virtuoso dancers make for an unforgettable evening. Led by the renowned Karen Kain, a living legend of dance, The National Ballet of Canada sparkles with its wide-ranging repertoire and 73 dancers. The company will return to Danse Danse with a contemporary triple bill, one fascinating evening of dance. THE SECOND DETAIL CREDITS Wolrd premiere : The National Ballet of Canada, Toronto, February 21, 1991 Choreography : William Forsythe Music : Thom Willems Costume Design : William Forsythe Set and lighting Design : William Forsythe Staged by : Jill Johnson the second detail is a gift from The Volunteer Committee, The National Ballet of Canada. ABOUT THE SECOND DETAIL In the second detail, a piece for 14 dancers, William Foresythe employs contemporary movements of organized chaos, playing with geometric compositions and rhythmic differences. Set to dynamic electronic music by Thom Willems, the piece has retained all its power of fascination since it was created by The National Ballet of Canada in 1991. Forsythe also designed the set, lighting and costumes, with the exception of a magnificent white dress designed by fashion icon Issey Miyake.