DOCSLIB.ORG

Viviana Durante

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

VIVIANA DURANTE TRAINING & EDUCATION 1978–1983 Royal Ballet School Lower School 1983–1984 Royal Ballet School Upper School Diploma with Distinction 2014–2016 Royal Ballet School, Diploma of Dance Teaching 2014–2016 Trinity College London, Diploma in Dance Teaching and Learning (RQF Level 6) With Merit 2015–2016 Dance UK Mentoring Scheme: mentored by Jude Kelly (Artistic Director, Southbank Centre) and Louise Jeffreys (Director of Arts, Barbican Centre) 2017 Royal Opera House Shadowing assignment: Alex Beard, Chief Executive EMPLOYMENT CURRENT 2019— Director of Dance, English National Ballet School 2017— Artistic Director, Viviana Durante Company AS BALLET DANCER: 1984–2000 Royal Ballet Corps de ballet 1984-1987; Soloist 1987-1989; Principal 1989-1997; Principal Guest Artist 1997-2000 1990 Arena di Verona Guest Artist 1992 New York City Ballet Guest Artist 1993 Dutch National Ballet Guest Artist 1993–2002 Tokyo Ballet Guest Artist 1996–1998 Teatro dell’Opera, Roma Guest Artist 1998–1999 New National Theatre Ballet, Tokyo Guest Artist 1999 American Ballet Theater Principal Dancer 1999–2009 K-Ballet, Tokyo Principal Guest Artist 2000 English National Ballet Guest Artist 2000 Ballet de Santiago Guest Artist 2001–2002 San Carlo, Napoli Guest Artist 2002 Zurich Ballet Guest Artist 2002–2003 Teatro alla Scala, Milan Principal Guest Artist 2003–2004 Semperoper Ballet, Dresden Guest Artist 2005 Tulsa Ballet Guest Artist 2005–2006 Teatro Massimo, Palermo Guest Artist 2008 National Theatre, London Ballerina in Fram REPERTOIRE INCLUDES: Giselle, Princess Aurora (The Sleeping Beauty), Odette/Odile (Swan Lake), Juliet (Romeo and Juliet), Cinderella, Sugar Plum Fairy (The Nutcracker), Kitri (Don Quixote), Anastasia, Manon, Mary Vetsera (Mayerling), Vera (A Month in the Country), My Brothers, My Sisters, Princess Rose (The Prince of the Pagodas), Symphonic Variations, Marie (Different Drummer), Lise (La fille mal gardée), Rhapsody, Ondine, Titania (A Midsummer Night’s Dream), Les Biches, Raymonda, Nikiya (La Bayadère), Roxanne (Cyrano de Bergerac), Diana and Actaeon, Thaïs pas de deux, Sylvia, Apollo, Ballet Imperial, Stravinsky Violin Concerto, Who Cares?, Laurencia, La Ronde, Madame de Rênal (The Red and the Black), Carmen, Coppelia, Duke Ellington Ballet, Birthday Offering, Scènes de ballet, Requiem, Les Patineurs, Elite Syncopations, Symphony in C, Gloria, Anna Karenina. ROLES CREATED INCLUDE: The Judas Tree (MacMillan), Irina in Winter Dreams (MacMillan), Fleur de Peux (McGregor), Pursuit (Page), Piano (Page), Bloodlines (Page), ...now languorous, now wild… (Page), Cheating, Lying, Stealing (Page), Present Histories (Tuckett), Tombeaux (Bintley), Cabiria (Amodio), 8:38 (De Frutos). AS DIRECTOR/PRODUCER: 2018 Kenneth MacMillan: Steps Back in Time (Barbican Centre, The Pit) 2019 THREE/8:38/SEVEN (Wilton’s Music Hall) AS TEACHER/COACH: 2005–2006 International Ballet Masterclasses, Prague 2006–2012 K-Ballet/K-Ballet School 2008–2019 Royal Ballet School Summer School 2009 English National Ballet School 2010 Prix de Lausanne 2016 Rambert School 2016 Art Of Ballet Masterclass, Madrid 2016 Principal Coaching, Anastasia, The Royal Ballet 2016 Principal Coaching, The Nutcracker, The Royal Ballet 2016 Principal Coaching, Swan Lake, ABT 2016–2017 Stagecraft Workshop, Royal Ballet School 2017 Principal Coaching, Sleeping Beauty, The Royal Ballet 2017 Mentor, BBC Young Dancer 2017 Principal Coaching, The Judas Tree, The Royal Ballet 2017 Principal Coaching, Romeo and Juliet, ABT 2017 Principal Coaching, The Nutcracker, The Royal Ballet 2018 Principal Coaching, Manon, The Royal Ballet 2018 Principal Coaching, Manon, ENB 2019 Principal Coaching, Romeo and Juliet, The Royal Ballet AS CHOREOGRAPHER: 2010 Dance Base, Edinburgh Lamentoso 2011 Sadler’s Wells/National Theatre Studio (with Richard Eyre) Truly, Madly, Deeply AS ACTRESS: 2002 Ogni 27 Agosto (lead in film dir. Antonio Serrano) 2005 Edinburgh Festival: Gertrude in Escaping Hamlet AS WRITER/CONSULTANT: 2018 Ballet: The Definitive Illustrated Story (DK) AWARDS & HONOURS 1984 Prix de Lausanne 1989 Time Out Award 1989 Evening Standard Award 1990–2000 “Dancer of the Year” in the UK, Italy, Japan and Chile 1991 & 2002 Premio Positano 1993 Laurence Oliver Award: group award for The Judas Tree 1997 Premio Internazionale “Gino Tani” 1997 Laurence Olivier Award: nominated for Anastasia 2003 Premio Vignale danza 2006 Premio Bucchi 2007 Premio Apulia Arte 2018 Premio delle Eccelenze, Italy 2019 Premio Fabbrini, Florence BALLET RECORDINGS 1990 Die Fledermaus (Royal Opera House) 1991 Winter Dreams (Royal Ballet) 1993 George Balanchine Celebration (NYCB) 1993 Gala Tribute to Tchaikovsky (Royal Opera House) 1994 The Sleeping Beauty (Royal Ballet) 1994 Mayerling (Royal Ballet) 1999 Explosive Dance (Royal Albert Hall) 2000 Carmen (K-Ballet) 2002 Giselle (K-Ballet) 2003 Swan Lake (K-Ballet) 2003 The Sleeping Beauty (K-Ballet) TV AND RADIO (SELECTED) 1992 South Bank Show: Two Royal Ballet Dancers (LWT) 1994 Charlie Rose Show (PBS) 1997 The Nation’s Favourite Love Poem (BBC1) 2005 Toyota Commercial (Japan) 2016 Woman’s Hour (BBC Radio 4) 2016 In Tune (BBC Radio 3) 2016 Anastasia cinema relay 2017 BBC Young Dancer 2017 Music Matters (BBC Radio 3) 2017 Front Row (BBC Radio 4) 2018 Kenneth MacMillan documentary (BBC TV) 2018 In Tune (BBC Radio 3) JURY MEMBER 2011 & 2016 Prix de Lausanne 2011 Ursula Moreton Choreographic Awards, Royal Ballet School 2016 English National Ballet Emerging Dancer 2016 & 2017 Hong Kong Ballet Group Stars Award 2016 Kenneth MacMillan Choreographic Award, Royal Ballet School 2019 Premio Marie Taglioni, Modena 2017 & 2019 Beijing International Ballet Competition PATRON & BOARDS 1995— Patron, The Hammond School 2014— Patron, New English Ballet Theatre 2015-2017 Member, Development Board, One Dance UK .
Recommended publications
  • England LEA/School Code School Name Town 330/6092 Abbey

    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

    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

    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.
  • English National Ballet 2019-2020 Season Ballet.Org.Uk

    English National Ballet 2019-2020 Season Ballet.Org.Uk

    Amended: June 2019 English National Ballet 2019-2020 Season ballet.org.uk • English National Ballet says ‘Thank You’ as it celebrates its 70th Anniversary • Akram Khan to create second full-length production for English National Ballet • Le Corsaire returns with performances at Milton Keynes Theatre and the London Coliseum • Christopher Wheeldon’s Cinderella to be performed in Manchester and Southampton • The Company’s first full Season after moving to their new home at London City Island • Mayor of London awards £1million grant through his Good Growth Fund to support English National Ballet’s ‘Bridging Neighbourhoods – Growing Talent’ project • English National Ballet appoints first Medical Director to maximise the benefits of the new building’s state-of-the-art fitness and rehabilitation facilities English National Ballet today announces plans for its 2019-2020 Season and updates on their new home at London City Island: 2020 marks English National Ballet’s 70th Anniversary with celebrations taking place throughout the 2019-2020 Season that give opportunities for the Company to say, ‘Thank You’ to its audiences, fans, friends and partners. The 70th Anniversary will be celebrated with three special Gala performances at the London Coliseum featuring extracts from a diverse range of repertoire spanning English National Ballet’s history. Tamara Rojo CBE, English National Ballet’s Artistic Director said: “Our 70th Anniversary Gala performances are a rare opportunity to showcase in one place a huge variety of brilliant work from our extraordinarily rich history. This will be a Gala that celebrates the sheer love of dance, both on and off the stage, that has been part of our vision from the beginning.
  • Centre Stage the Pipeline of Bame Talent

    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.
  • Final January 2019 Newsletter 1-2-19

    Final January 2019 Newsletter 1-2-19

    January 2019 Talking Pointes Jane Sheridan, Editor 508.367.4949 [email protected] From the Desk of the President Showcase Luncheon Richard March 941.343.7117 “Our Dancers—The Boys From [email protected] Brazil” Monday, February 11, 2019, Bird I’m excited for you to read about our winter party – Key Yacht Club, 11:30 AM Carnival at Mardi Gras – elsewhere in this newsletter. It will be at the Hyatt Boathouse on Carnival at Mardi Gras February 25th. This is a chance to have fun with other Monday, February 25, 2019, The Boathouse at the Hyatt Regency, Friends and dancers from the Company. It is also an 5:30 PM - 7:30 PM opportunity to help us raise funds for the Ballet. We need help in preparing a number of themed “Spring Fling” baskets that will be auctioned at the event. In the past, Sunday, March 31, 2019, The we’ve had French, Italian, wine, and chocolate Sarasota Garden Club, 4:00 PM – baskets, among others. Those who prepare baskets are 6:30 PM asked to spend no more than $50 in preparing them. However, you can add an unlimited number of gift Showcase Luncheon certificates or donations that will increase the appeal. Margaret Barbieri, Assistant Director, The Sarasota Ballet, If you would like to pitch in to support this effort, "Giselle: Setting An Iconic Work” please contact Phyllis Myers for information at Monday, April 15, 2019, Michael’s [email protected]. And, please come to On East, 11:30 AM the party. I am certain you will have fun! Were you able to see the performance of our dancers Pointe of Fact from the Studio Company and the Margaret Barbieri November was a record-setting Conservatory at the Opera House? Together with the month for the Friends of The Key Chorale, they took part in a program called Sarasota Ballet.
  • Cockerel, Pierrette in Harlequinade, Blanche Ingram in Jane Eyre

    Cockerel, Pierrette in Harlequinade, Blanche Ingram in Jane Eyre

    Founders Stella Abrera is the Artistic Director of Kaatsbaan and a Principal Dancer with American Ballet Gregory Cary Kevin McKenzie Theatre. Ms. Abrera is from South Pasadena, California, and began her studies with Philip and Bentley Roton Martine van Hamel Charles Fuller and Cynthia Young at Le Studio in Pasadena. She continued her studies with Lorna Executive Director Diamond and Patricia Hoffman at the West Coast Ballet Theatre in San Diego. She also spent three Sonja Kostich Artistic Director years studying the Royal Academy of Dancing method with Joan and Monica Halliday at the Stella Abrera Halliday Dance Centre in Sydney, Australia. Board of Trustees Kevin McKenzie, Chair Stella Abrera Ms. Abrera joined American Ballet Theatre as a member of the corps de ballet in 1996, was Christine Augustine Gregory Cary appointed a Soloist in 2001, and Principal Dancer in August 2015. Her repertoire with ABT includes Sandy Choi Sonja Kostich the Girl in Afternoon of a Faun, Calliope in Apollo, Gamzatti and a Shade in La Bayadère, The Chris Omark Bentley Roton Ballerina in The Bright Stream, Cinderella and Fairy Godmother in Frederick Ashton’s Cinderella, Martine van Hamel Moss and Cinderella in James Kudelka’s Cinderella, Aurora in Coppélia, Gulnare and an Odalisque Board of Advisors in Le Corsaire, Chloe in Daphnis and Chloe, She Wore a Perfume in Dim Lustre, the woman in white Dancers Isabella Boylston in Diversion of Angels, Mercedes, the Driad Queen and a Flower Girl in Don Quixote, Helena in The Gary Chryst Herman Cornejo Dream, the first
  • “DANCE SERIES 01” in CARMEL March 23 & 24, 2018

    “DANCE SERIES 01” in CARMEL March 23 & 24, 2018

    SMUIN PRESENTS “DANCE SERIES 01” IN CARMEL March 23 & 24, 2018 Program includes: Requiem for a Rose by Annabelle Lopez Ochoa Fly Me to the Moon by Michael Smuin Serenade for Strings by Garrett Ammon SAN FRANCISCO, CA (22 February 2018) — Smuin, after a successful run of its annual holiday extravaganza The Christmas Ballet, returns to Carmel with Dance Series 01. Continuing its 24th season, this program includes Annabelle Lopez Ochoa’s critically lauded and transcendent piece Requiem for a Rose. Ochoa is an internationally acclaimed choreographer who creates contemporary dance works and also adapts her style for classical ballet companies. At its West Coast premiere with Smuin in fall 2017, San Francisco Classical Voice described the piece as “perfection!” Also on the program is Michael Smuin’s joyful tribute to Ol’ Blue Eyes, Fly Me to the Moon, hailed as “delicious” by the San Francisco Chronicle. This blend of ballet and popular dance is the embodiment of the smooth and stylish melodies that have inspired generations, including Sinatra’s renditions of “I’ve Got You Under My Skin” and “The Lady is a Tramp.” Rounding out the bill is the return of Garrett Ammon’s bold Serenade for Strings. Set to Tchaikovsky’s score of the same name, this work is a vibrant new interpretation of a piece inexorably tied to the iconic 1934 Balanchine ballet. Upon making its West Coast premiere with Smuin in October 2014, the San Francisco Chronicle noted that “the whole cast danced it vibrantly and flawlessly.” The Dance Series 01 program debuted in San Francisco last fall, with San Francisco Classical Voice describing the program as “terrific…in tune with the demand for ballets that aren’t the same old!” Dance Series 01 will be presented March 23-24 at the Sunset Center in Carmel.
  • Olivier Munoz Is the New Principal and Artistic Director of the Maryland Youth Ballet

    Olivier Munoz Is the New Principal and Artistic Director of the Maryland Youth Ballet

    Olivier Munoz is the new Principal and Artistic Director of the Maryland Youth Ballet. Prior, he was the Principal Teacher at Orlando Ballet School for 14 years. Mr. Munoz began his studies at the National Conservatory of Dance of Lyon, France then went to the International Ballet School of Rosella Hightower in Cannes, a Laureate of the Prix de Lausanne. He has performed internationally all the leading roles of the classical repertoire; was a former Principal for the English National Ballet, Cleveland Ballet, and Northern Ballet Theater; and a Principal Guest Artist with Teatro Alla Scala, Tokyo Ballet, The Bolshoi, Ballet Philippines, and Ballet Nuevo Mundo. Mr. Munoz is a certified Professor of Dance from the French Ministry of Culture in France and also an ABT Affiliate Teacher, award certified in all levels of the ABT curriculum. He has served on the panel of the National Foundation for the Advancements in The Arts, selection committee for grants for the dance department. Mr. Munoz was also involved with several movies: Blue Suede Shows for PBS 1998, Drew Carey Show in 1997, and Love in 4 Acts for PBS in 1995. He has choreographed for Cleveland Ballet, Orlando Ballet School, Geoffrey Beene fashion show, and the Orlando Symphony. Mr. Munoz has been a recognized coach for YAGP since 2011, awarded Best Teacher several times, and is a renowned International Guest Master Teacher. For several years, he has served on the panel of judges for YAGP regional and international competitions from which he selects students to award with scholarships to study. .
  • World Premiere of Angels' Atlas by Crystal Pite

    World Premiere of Angels' Atlas by Crystal Pite

    World Premiere of Angels’ Atlas by Crystal Pite Presented with Chroma & Marguerite and Armand Principal Dancer Greta Hodgkinson’s Farewell Performances Casting Announced February 26, 2020… Karen Kain, Artistic Director of The National Ballet of Canada, today announced the casting for Angels’ Atlas by Crystal Pite which makes its world premiere on a programme with Chroma by Wayne McGregor and Marguerite and Armand by Frederick Ashton. The programme is onstage February 29 – March 7, 2020 at the Four Seasons Centre for the Performing Arts. #AngelsAtlasNBC #ChromaNBC #MargueriteandArmandNBC The opening night cast of Angels’ Atlas features Principal Dancers Heather Ogden and Harrison James, First Soloist Jordana Daumec, Hannah Fischer and Donald Thom, Second Soloists Spencer Hack and Siphesihle November and Corps de Ballet member Hannah Galway. Principal Dancer Greta Hodgkinson retires from the stage after a career that has spanned over a period of 30 years. She will dance the role of Marguerite opposite Principal Dancer Guillaume Côté in Marguerite and Armand on opening night. The company will honour Ms. Hodgkinson at her final performance on Saturday, March 7 at 7:30 pm. Principal Dancers Sonia Rodriguez, Francesco Gabriele Frola and Harrison James will dance the title roles in subsequent performances. Chroma will feature an ensemble cast including Principal Dancers Skylar Campbell, Svetlana Lunkina, Heather Ogden and Brendan Saye, First Soloists Tina Pereira and Tanya Howard, Second Soloists Christopher Gerty, Siphesihle November and Brent
  • Qurrat Ann Kadwani: Still Calling Her Q!

    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.
  • Tamara Rojo Artistic Director of the English National Ballet Tamara Began Dancing in Madrid at the Víctor Ullate School, Where

    Tamara Rojo Artistic Director of the English National Ballet Tamara Began Dancing in Madrid at the Víctor Ullate School, Where

    Tamara Rojo Artistic Director of the English National Ballet Tamara began dancing in Madrid at the Víctor Ullate School, where she took part in an extensive repertoire of classical roles. She won a Gold Medal at the Paris International Dance Competition and the Special Jury Prize unanimously. Galina Samsova asked her to join the Scottish Ballet and she later received a personal invitation from Derek Deane to join the English National Ballet, where she became director after six months. She danced the whole range of leading roles with the company, including Juliet (Romeo and Juliet) and Clara (The Nutcracker), which Derek Deane created expressly for her. Tamara joined The Royal Ballet as Principal Dancer at the invitation of Sir Anthony Dowell. She is also a regular guest of the Mariinsky Ballet, La Scala Ballet, Tokyo Ballet, New National Theatre, Tokyo, the Cuban National Ballet, the National Ballet of China, the Lithuanian National Ballet, the Mikhailovsky Ballet, the Royal Swedish Ballet and the Finnish National Ballet. She has also performed at the prestigious World Ballet Festival in Tokyo and at galas all over the world. In 2010 she was recognised for her artistic excellence with the Laurence Olivier Award for the Best New Dance Production with Goldberg: the Brandstrup - Rojo Project. She has been awarded the Prince of Asturias Prize, the Gold Medal for Fine Arts and the Encomienda de Numero de Isabel la Catolica. Other recognitions include the Prix Benois de la Danse, The Times Dancer Revelation of the Year, the National Dance Critics Award, the Barclay’s Award for Outstanding Achievement in Dance, the Positano Dance Award, Léonide Massine Premi al Valore, the Italian Critics Award, the International Arts Medal and the Madrid Performance Award.