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In Golden Age, Dancers Still Fly!
INTERVIEW Profoundly Deaf ROUND-UP Me, myself and OLDER PEOPLE A lifelong ROUND-UP Fancy watching street dance artist Billy Read p4 dance – Esperanca, aged 16 p14 relationship with dance p7 some dance with me? p14 issue 4 Participate communitydance.org.uk CAN WE COUNT ON YOUR VOTE? People Dancing has been nominated for a National Diversity Award. We’d love it if you could go to nominate.nationaldiversityawards.co.uk and vote forThank People you! Dancing. All or Nothing Aerial Dance Theatre, aerial dance workshop with Scottish Ballet’s Regenerate group, Luminate. Photo: Eoin Carey In golden age, dancers still fly! eld in the month of October, Director of Dance Base (Scotland’s hop, flamenco… the list was endless and 84 and we came from all dance Luminate, Scotland’s creative National Centre for Dance) in and inspiring. The Golden class was backgrounds. Hageing festival, brings people Edinburgh’s Grassmarket, started a so popular that several other classes During our first year we learnt about together from across the generations free class for anyone over 60, called for over-60s were added to the Dance Luminate and decided that we’d like in an exciting and diverse programme Golden. The idea of Golden was to Base programme. to apply to dance in that. It felt right of creative events exploring what get elders dancing and introduce A group of us asked if we could set because our aim in 24 Carat Gold is growing older means to us all. Jill them to dance in a very informal and up a spin-off class of our own at Dance to foster creativity regardless of age. -
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. -
Prospectus 2 About Us Rambert School, Is Recognised Internationally As One of the Small Group of First-Level Professional Dance Schools of the World
Director: Ross McKim MA PhD NBS (IDP) Patrons: Lady Anya Sainsbury CBE Robert Cohan CBE Prospectus 2 About Us Rambert School, is recognised internationally as one of the small group of first-level professional dance schools of the world. In order to remain so, and to support its students (given the demands they must confront), Rambert School provides a contained, bordered and protected environment through which an unusual and intense level of energy and professionalism is created, respected, treasured and sustained. “Rambert School is a place of education and training in Ballet, Contemporary Dance and Choreography. It seeks to cause or allow each student to achieve his or her unique potential personally and professionally. It encourages learning, reflection, research and creative discovery. Through these processes, as they relate to performance dance, all those at the school are provided with the opportunity to develop their vision, awareness, knowledge and insight into the world and the self. They may thus advance in terms of their art form and their lives.” Principal and Artistic Director Dr Ross McKim MA PhD NBS (IDP) Conservatoire for Dance and Drama Clifton Lodge, St Margaret’s Drive, Twickenham TW1 1QN Telephone: 020 8892 9960 Fax: 020 8892 8090 Mail: [email protected] www.rambertschool.org.uk 3 History Marie Rambert began teaching in London in 1919. In her autobiography she wrote, “In 1920 I collected the various pupils I had into a class and began teaching professionally.” This was the beginning of Rambert School which, in these early days, was based at Notting Hill Gate. Out of it grew Rambert Dance Company. -
Donderdag 4 April 2013 ARCH + Bru:Tecture
KOPENHAGEN Zaterdag 30 maart – donderdag 4 april 2013 ARCH + bru:tecture INFO + DAGPLANNING KOPENHAGEN Zaterdag 30 maart – donderdag 4 april 2013 ARCH + bru:tecture Ook dit jaar nemen bru:tecture en de vakgroep Architectonische ingenieurswetenschappen het initiatief om op architectuurreis te gaan. Deze keer brengt die ons naar Kopenhagen. De vrolijke kleuren van de huizen aan de Nyhavn stralen er ons al van ver tegemoet. Maar dat is niet alles wat Kopenhagen te bieden heeft. Met als bijnaam ‘hoofdstad van het design’, kan het niet anders dan dat er op gebied van kunst en architectuur een heleboel te beleven valt. 30 maart 2013 Gedrukt door ARCH - VUB Opgemaakt door Siemen Goetschalckx, Lennert Loos, Kelvin Roovers en Waldo Galle PRAKTISCHE INFORMATIE Contact Tijdens de reis zijn ARCH + bru:tecture, de initiatiefnemers, uitsluitend te bereiken via het secretariaat van het departement ARCH via +32(0)2 629 2840 en [email protected] In de reisgids, die alle deelnemers krijgen aan het begin van de reis, zal wel een lijst met al hun gsm-nummers staan, zodat zij elkaar kunnen bereiken. Heenreis, zaterdag 30 maart Iedereen heeft steeds zijn of haar studentenkaart én identiteitskaart op zak! De diabolo-toeslag is nodig voor treinreizen van en naar Brussel-Nationaal-Luchthaven. Je kunt aansluiten waar je wilt en met de trein verder reizen naar de luchthaven of er rechtstreeks naartoe gaan: 15u00 Verzamelen bovenaan de grote trappen in de centrale hal van het treinstation Brussel Centraal IR 3713 richting Leuven, vertrek in Centraal om 15:14, aankomst Luchthaven om 15:31 15u45 Verzamelen in de centrale vertrekhal in de luchthaven van Zaventem 17u00 Laatste check-in in de luchthaven 17u50 Vertrek in Brussel, Zaventem met vlucht SK 1594 19u20 Aankomst in Kopenhagen, Kastrup Bagage Op de vluchten moet het gewicht van de bagage beperkt worden tot 23kg. -
Scaramouche and the Commedia Dell'arte
Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche. -
Entusiasme Og Profesjonalitet: En Evaluering Av Kammerorkesteret Trondheimsolistene
ENTUSIASME OG PROFESJONALITET: EN EVALUERING AV KAMMERORKESTERET TRONDHEIMSOLISTENE Hans Weisethaunet Delrapport i evalueringen av statsbudsjettets Kap. 320, post 74 Desember 2004 1 INNHOLD 1. Innledning 3 2. TronheimSolistenes historie - fra idé til internasjonal suksess 5 3. Mål for virksomheten, rammer og organisering 9 4. TrondheimSolistene – plassering i musikkfeltet 14 5. Tiltakets forvaltningsmessige profil 20 6. Konklusjon - alternativer og forslag 23 Referanser 26 2 1. INNLEDNING TrondheimSolistene har spilt med noen av de fremste solistene i verden innen klassisk musikk. Plateinnspillingen de gjorde med den verdensberømte fiolinisten Anne-Sophie Mutter på selskapet Deutsche Grammophon i 1999 ble kritikerrost over hele verden. Orkesteret har turnert i en rekke land og verdensdeler, inklusive USA, Sør-Amerika og Japan. Foruten Mutter har orkestret spilt med den verdenskjente amerikanske fiolinisten Joshua Bell, og en rekke av Norges mest kjente klassiske utøvere, blant dem Leif Ove Andsnes, Ole Edvard Antonsen, Arve Tellefsen, Marianne Thorsen, Håvard Gimse og Randi Stene. De har også samarbeidet tett med flere av rockhistoriens storheter, bl.a. engelske Jon Lord (ex- Deep Purple) og Ian Hunter (ex-Mott The Hoople) og gjort konsertturnéer med kjente norske artister som Herborg Kråkevik og Sissel Kyrkjebø. Men mest av alt er de kjent for sine innspillinger av det klassiske repertoaret, spesielt Grieg. Historien om TrondheimSolistene er historien om studentorkesteret som vokste til å bli et av de mest betydningsfulle kammerorkestrene i Norge og i internasjonal sammenheng. Mitt mandat har vært å beskrive og evaluere flere av tiltakene på post 74, deriblant Trondheimsolistene, innen en ramme på et par måneder. I skrivende stund forelå ingen egenevaluering fra TrondheimSolistene.1 Jeg har likevel innhentet den nødvendige informasjon fra orkesteret selv og fra andre kilder slik at informasjonsgrunnlaget for vurderingene i denne rapporten må ansees å være tilfredsstillende. -
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. -
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House, -
EIROPAS KULTŪRAS GALVASPILSĒTA EUROPEAN CAPITAL of CULTURE Juriskalniņš / Fotocentrs
ENG EIROPAS KULTŪRAS GALVASPILSĒTA EUROPEAN CAPITAL OF CULTURE Juris Kalniņš / Fotocentrs. Bird’s-eye view of Rīga Experience the Force Majeure of Culture! Rīga takes its visitors by surprise with its will introduce you to the most extensive and most Umeå 2014 external beauty as well as its rich world of interiors. significant activities of the European Capital of If you have never been to Rīga before, now is the Culture programme – and remember, whichever of time to experience the pleasure of discovering the them you choose to attend, be open-minded and diversity of Latvia’s capital city. Ancient and at the prepared to experience the unexpected! same time youthful, European and multicultural, today’s Rīga is the place to recharge your cultural Diāna Čivle, batteries. Head of the Rīga 2014 Foundation Rīga 2014 After you get to know the medieval streets of the Old Town, the Art Nouveau heritage and the shabby chic of the creative quarters, let us surprise you Kosice 2013 once more – this time with the saturated content Welcome to Maribor 2012 of Rīga’s cultural events calendar for the whole of Marseille 2013 2014. EsplanādE 2014! It is the surprising, the unexpected and even the Guimarães 2012 provocative that underpin the Force Majeure cultural The end of June will see a new building rise in programme of the European Capital of Culture. It the very heart of Rīga, between the Nativity of is the creative power that cannot be foreseen or Christ Orthodox Cathedral and the monument to planned beforehand. The miracle happens and the poet Rainis in the Esplanāde Park. -
Certificate Program Student Handbook
CERTIFICATE PROGRAM STUDENT HANDBOOK 2016-2017 Artistic Director, Igal Perry Director of Development, Yarden Ronen Certificate Program Coordinator, Nikki Holck Certificate Program Assistant Coordinator, Cleo Sykes Peridance Capezio Center 126 East 13th Street New York, NY 10003, USA 212.505.0886 www.peridance.com Peridance Capezio Center ___________________________________________________________________________________________ Table of Contents History of Peridance Capezio Center 3 Statement of Purpose 3 General Information 4 Size and Scope 4 Tracks 5 Program Components and Coursework 6 Sample Class Schedule 8 Faculty 9 Administrative Contacts 23 Board of Trustees 24 Peridance Capezio Center Facilities 24 Library Facilities 24 Housing 25 Tuition and Fees 25 Financial Aid 25 Withdrawal, Refund, and Transfer Policies 26 Attendance Policy 27 Sign In and Sign Out ____________________________________________________________________29 Space Rental Procedure and Policy _______________________________________________________ 29 Rules of Conduct 30 Dress Code 31 Tactile Cueing 31 Injury Policy 32 Admission Information 32 Orientation 32 Evaluation Policy 33 Failing Grades 33 Grading Policy 34 Retention Policy 35 Credit Policy 35 Graduation Requirements 35 Certificates Granted and Requirements 36 Visa Options and Employment 36 Academic Calendar 37 Grievance, Probation, and Appeals Procedures 38 Self-Evaluative Process 38 Other Services 39 Contracted Education Services 39 Certificate Program 2 Peridance Capezio Center ___________________________________________________________________________________________ -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
CANADA's ROYAL WINNIPEG BALLET Thu, Oct 20, 7:30 Pm Carlson Family Stage
2016 // 17 SEASON Northrop Presents CANADA'S ROYAL WINNIPEG BALLET Thu, Oct 20, 7:30 pm Carlson Family Stage DRACULA Dear Northrop Dance Lovers, Northrop at the University of Minnesota Presents It’s great to welcome Canada’s Royal Winnipeg Ballet back to Northrop! We presented their WONDERLAND at the Orpheum in 2011, but they last appeared on this stage in 2009 with their sensational Moulin Rouge. Northrop was a CANADA'S ROYAL very different venue then, and the dancers are delighting in the transformation of this historic space. The work that Royal Winnipeg brings us tonight boasts WINNIPEG BALLET quite a history as well. When it first came out in 1897, Bram th Stoker’s novel was popular enough, but it was the early 20 Under the distinguished Patronage of His Excellency century film versions that really caused its popularity to The Right Honourable David Johnston, C.C., C.M.M., C.O.M., C.D. skyrocket. The play DRACULA appeared in London in 1924 Governor General of Canada and had a successful three-year tour, and then the American version opened in New York City in 1927 and grossed over $2 Founders, GWENETH LLOYD & BETTY FARRALLY million in its first year (that’s in 1927 dollars, and 1927 ticket Artistic Director Emeritus, ARNOLD SPOHR, C.C., O.M. prices). Founding Director, School Professional Division, DAVID MORONI, C.M. Founding Director, School Recreational Division, JEAN MACKENZIE Christine Tschida. Photo by Tim Rummelhoff. So, what is it about this vampire tale that still evokes dread and horror, but most of all, fascination? That’s a subject Artistic Director currently being explored by our first University Honors Program-coordinated interdisciplinary, outside- ANDRÉ LEWIS the-classroom Honors Experience: Dracula in Multimedia.