DOCSLIB.ORG

PMPA Info Sheet Gala Night at the Ballet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PMPA Info Sheet Gala Night at the Ballet November 8, 2018 !1 November 8, 2018 A Gala night at the Ballet is a showcase of classical & contemporary dance, featuring some of Australia’s most sought after performers in a collaboration between professional dance companies and local dance education provider, Port Macquarie Performing Arts. The central piece will be the re-staging of the 1999 full length ballet, Armistice, choreographed by Stacey Morgan and performed by dancers from Port Macquarie Performing Arts. In addition to this piece, diverssments will be performed as part of the Gala. Dancers from The Queensland Ballet, the West Australian Ballet, the Melbourne City Ballet and The Australian Ballet will converge on Port Macquarie for a three performance run in August, 2019. With an assortment of classical and contemporary pieces and mix of professional and student performers’ Gala night at the Ballet is sure to have something to entertain all dance lovers. Performances: August 9 & 10, 2019 Director: Stacey Morgan Choreography by: Angela Murphy, Lauran O'Neill and Stacey Morgan Cast: Dancers from Port Macquarie Performing Arts along with guest artists from The Queensland Ballet, the West Australian Ballet, the Melbourne City Ballet and The Australian Ballet !2 November 8, 2018 PERFORMANCE HISTORY Armistice was first staged on July 24th, 1999. The guest artists appearing as part of this Gala feature graduates from the Mid North Coast who have gone on to forge incredible careers in dance. Brendan Bradshaw (pictured) was a s t u d e n t o f F r a n c e s s c a O’Donnell, went on to study at The Australian Ballet School, to dance at the Royal New Zealand Ballet and is currently a Principal dancer and Choreographer in residence at the Melbourne City Ballet. Local dancer Samuel Packer is currently dancing with the Queensland Ballet after training locally and graduating in 2013. And Jarryd Madden current Senior Artist with the Australian Ballet will be performing with his wife, Principal Artist Amy Harris. !3 November 8, 2018 AUDITIONS Round One: November 20, 2018 Callbacks: November 27, 2018. NB: Dancers who have been working in Bronze Medal, Bronze Star, Test 1,2,3 Ballet do not need to audition. They will automatically be part of the performance if they are attending two ballet syllabus classes per week. All dancers will be required to perform in an open ballet class in front of a panel which includes an independent adjudicator. Dancers do not need to prepare anything. Dancers must wear a leotard of their choice, with or without a skirt, pink ballet tights, ballet shoes with or without ribbons, hair in a neat classical bun. Seniors may wear pointe shoes if they wish. Dancers who have studied Silver Medal, Silver Star & Gold Medal in 2018 at 5:15pm. Dancers who have studied Gold Star, Elementary, Intermediate and above from 6pm. Successful dancers will be contacted to return for a callback audition the following week where they will be required to perform a Classical variation or solo of their choice. Callbacks will commence at 5:30pm in front of an audience of their peers. All auditioning dancers must arrive with a one page resume and head shot outlining their previous dance experience. See the PMPA website for examples. !4 November 8, 2018 COMMITMENT Being part of a PMPA production is a privilege extended only to those dancers who wish to commit to the process of working as a team. Commitment to rehearsals, performances and special events is something we take seriously at PMPA as participating in one a production of this standard requires 100% from all involved. Therefore inform you of the dates your dancer will be required for rehearsals and performances in the coming months and to ensure that both your family and your dancer understand the importance of this commitment for success of the show and the camaraderie of all the team members. It is also important that dancers are present during ‘Power Weeks’ and that all lessons in these weeks are attended. Please check school schedules to ensure no School Camps or School performances fall during Power weeks. A one-off fee of $95 will be charged to all participants in Term 3, which includes all rehearsal fees outside class time, all costuming (excluding tights and shoes) and all performance fees. Dates • Summer Dance Intensive: Wednesday 9th, Thursday 10th and Friday 11th of January • All repertoire classes required and two ballet syllabus per week • All day Rehearsals: 18 & 19 July, 28 July, 4 August. • Production Week: 5th, 7th, 8th August from 4pm - 8pm (approx) • Production: Friday 9 August ALL DAY (this is a school day, danders will be required to take the !5 November 8, 2018 day off school) and Saturday 10 August ALL DAY. Power Weeks 22 - 28 July 29 July - 4 August 5 - 10 August If you agree to all of the dates involved please sign below, stating any known dates you will be absent. Please note: performers must be present at all full runs, dress rehearsals and all performances, no exceptions. We require this form to be completed by all dancers and returned to the office by the first day of Term 1, 2019. By signing this form you agree to a full year commitment to the production and all costs associated with performances and tuition. __________________________ Signed by Parent __________________________ Signed by Dancer Absent dates __________________________ __________________________ __________________________ Kind regards, Stacey Morgan - Principal PMPA !6.
Load more

Recommended publications
  • 2015 Full Program (PDF)
    2015 Women in Dance Leadership Conference! ! October 29 - November 1, 2015! ! Manship Theatre, Baton Rouge, Louisiana, USA! ! Conference Director - Sandra Shih Parks WOMEN IN DANCE LEADERSHIP CONFERENCE 10/29/2015 - 11/1/2015 "1 Women in Dance Leadership Conference ! Mission Statement ! ! To investigate, explore, and reflect on women’s leadership by representing innovative and multicultural dance work to celebrate, develop, and promote women’s leadership in dance making, dance related fields, and other! male-dominated professions.! Conference Overview! ! DATE MORNING AFTERNOON EVENING Thursday 10/29/2015 !Registration/Check In! !Reception! Opening Talk -! Kim Jones/Yin Mei Karole Armitage and guests Performance Friday 10/30/2015 Speech - Susan Foster! Panel Discussions! Selected ! ! Choreographers’ Speech - Ann Dils !Master Classes! Concert Paper Presentations Saturday 10/31/2015 Speech - Dima Ghawi! Panel Discussions! ODC Dance Company ! ! ! Performance Speech - Meredith Master Classes! Warner! ! ! Ambassadors of Women Master Classes in Dance Showcase Sunday 11/1/2015 Master Class THODOS Dance Chicago Performance ! ! ! ! WOMEN IN DANCE LEADERSHIP CONFERENCE 10/29/2015 - 11/1/2015 "2 October 29th 2015! !Location 12 - 4 PM 4:30 PM - 6 PM 6 PM - 7:30 PM 8 PM - 9:30 PM !Main Theatre Kim Jones, Yin Mei ! and guests ! performance ! !Hartley/Vey ! Opening Talk by! !Studio Theatre Karole Armitage !Harley/Vey! !Workshop Theatre !Josef Sternberg ! Conference Room Jones Walker Foyer Registration! ! Conference Check In Reception Program Information!
    [Show full text]
  • Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
    DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters.
    [Show full text]
  • Award Winners
    Award Winners Maestro Enrico Cecchetti Award No. 55 Cameron Holmes Cecchetti Ballet Australia Inc. Most Promising Dancer Award No. 29 Joshua Hunt Cecchetti Ballet Australia Inc. Musicality Award ~ Senior No. 39 Chante’ Daniels Cecchetti Society of Southern Africa Musicality Award ~ Junior No. 23 Noah Benzie-Drayton Cecchetti Ballet Australia Inc. Contemporary Award ~ Senior No. 52 Akane Kogure Cecchetti Society of Canada Contemporary Award ~ Junior No. 6 Laura Van Loon Cecchetti Ballet Australia Inc. Audience Choice Award ~ Senior No. 55 Cameron Holmes Cecchetti Ballet Australia Inc. Audience Choice Award ~ Junior No. 29 Joshua Hunt Cecchetti Ballet Australia Inc. Danzare Cecchetti ANCEC. Italia Award No. 3 Philippa Crawley Cecchetti Ballet Australia Inc. 1 Scholarship Winners AMERICAN BALLET THEATER, USA 1 scholarship for the 2018, 5 Week Summer Intensive No. 32 David Rathbun Cecchetti Council of America ATENEO DANZA, ITALY 2 scholarships for the 2018 Summer School No. 8 Lavinia Gabbrielli Danzare Cecchetti ANCEC, Italia No. 9 Arisa Haruki Cecchetti Society Classical Ballet Faculty, ISTD BALLET-AKADEMIE HOCHSCHULE FüR MUSIK UND THEATRE MüNCHEN, GERMANY A short training scholarship in the Academy, full tutition (details TBD) No. 6 Laura Van Loon Cecchetti Ballet Australia Inc. BALLETMET, COLUMBUS OH, USA 1 scholarship for the 2018, 5 week Summer Intensive No. 27 Joel Calstar-Fisher Cecchetti Society Classical Ballet Faculty, ISTD BALLETTSCHULE THEATRE BASEL, SWITZERLAND 2 one week scholarships in the Schoor’s full year program for students 14- 17 years of age (tuition, room & board). No. 6 Laura Van Loon No. 29 Joshua Hunt Cecchetti Ballet Australia Inc. CANADA’S NATIONAL BALLET SCHOOL 1 full scholarship for the 2018 Summer School (tuition, room and board) No.
    [Show full text]
  • 2008, WDA Global Summit
    World Dance Alliance Global Summit 13 – 18 July 2008 Brisbane, Australia Australian Guidebook A4:Aust Guide book 3 5/6/08 17:00 Page 1 THE MARIINSKY BALLET AND HARLEQUIN DANCE FLOORS “From the Eighteenth century When we come to choosing a floor St. Petersburg and the Mariinsky for our dancers, we dare not Ballet have become synonymous compromise: we insist on with the highest standards in Harlequin Studio. Harlequin - classical ballet. Generations of our a dependable company which famous dancers have revealed the shares the high standards of the glory of Russian choreographic art Mariinsky.” to a delighted world. And this proud tradition continues into the Twenty-First century. Call us now for information & sample Harlequin Australasia Pty Ltd P.O.Box 1028, 36A Langston Place, Epping, NSW 1710, Australia Tel: +61 (02) 9869 4566 Fax: +61 (02) 9869 4547 Email: [email protected] THE WORLD DANCES ON HARLEQUIN FLOORS® SYDNEY LONDON LUXEMBOURG LOS ANGELES PHILADELPHIA FORT WORTH Ausdance Queensland and the World Dance Alliance Asia-Pacific in partnership with QUT Creative Industries, QPAC and Ausdance National and in association with the Brisbane Festival 2008 present World Dance Alliance Global Summit Dance Dialogues: Conversations across cultures, artforms and practices Brisbane 13 – 18 July 2008 A Message from the Minister On behalf of our Government I extend a warm Queensland welcome to all our local, national and international participants and guests gathered in Brisbane for the 2008 World Dance Alliance Global Summit. This is a seminal event on Queensland’s cultural calendar. Our Government acknowledges the value that dance, the most physical of the creative forms, plays in communicating humanity’s concerns.
    [Show full text]
  • Madame Ballet' As Establish a Perth-Based Ballet Company Western Australian Author Ffion Murphy As a Result of Those Who Had Prepared the Ground for Her
    Michelle Potter reveals how Bousloff, whose youth had been lived out Russian dancer Kira Bousloff boldly of a suitcase as she travelled the world as a dancer with the Ballets Russescompanies created an environment for dance of Colonel de Basil, decided to remain in to flourish in Western Australia Australia in 1939 at the end of a tour by the Covent Garden Russian Ballet. She recalls When I came to the airport here in little Perth, that decision in an oral history interview at the end of the world, I put my feet on the recorded for the National Library in 1990: ground, I looked around, and I said loudly and strongly 'That's where I'm going to live and I was sitting in my hotel room in Melbourne that's where I'm going to die'. on my own and I had a strong feeling that my father (who had died many years ago) -Kira Bousloff touched my shoulder. It was a physical feeling practically. Then I had suddenly this strong ira Bousloff, or Kira Abricossova as feeling that I had to stay in Australia. So she was known during her early without even thinking twice (of course, you see, Kperforming career, was the founder of I'm a bit queer, eccentric, but that's the truth, the West Australian Ballet, one of Australia's that's what happened) I ran down the stairs and earliest state-based ballet companies-the rang up ... a very good friend and I said, 'I want first, in fact, to call itself a state company.
    [Show full text]
  • Project Faust
    PUBLISHER FEARLESS DESIGNS, INC. March 2018 EDITOR KAY TULL MANAGING EDITOR AGGIE KEEFE CREATIVE DIRECTOR FROM THE DIRECTOR ................................................................... 4 JEFF TULL PROGRAM HE EYOND DESIGN T B ........................................................................ 7 KAY & JEFF TULL REQUIEM .......................................................................... 8 PROJECT FAUST .................................................................. 9 PRODUCTION BIOGRAPHIES ....................................................................... 21 AGGIE KEEFE ARTISTS OF THE COMPANY...................................................... 34 STAFF & SUPPORT ................................................................ 38 SALES MANAGER MICHELLE BAIR THEATRE SERVICES ..................................................................... 54 PRINTING CLARK & RIGGS PRINTING THEATRE INFORMATION The Kentucky Center (Whitney Hall, Bomhard Theater, Clark-Todd Hall, MeX Theater, 501 West Main Street; and Brown Theatre, 315 W. Broadway). Tickets: The Kentucky Center Box Office, 502.584.7777 or 1.800.775.7777. Reserve wheelchair seating or hearing devices at time of ticket purchase. © COPYRIGHT 2018 LOOK AROUND YOU RIGHT NOW. IF THE PEOPLE YOU SEE LOOK LIKE POTENTIAL FEARLESS DESIGNS, INC. CUSTOMERS AND CLIENTS, YOU SHOULD BE ADVERTISING IN OUR PROGRAM REPRODUCTION IN GUIDES! OUR ADVERTISERS NOT ONLY GET THE BENEFIT OF REACHING A LARGE, WHOLE OR PART CAPTIVE, AFFLUENT AND EDUCATED DEMOGRAPHIC, BUT THEY ALSO SUPPORT
    [Show full text]
  • The Australian Ballet 1 2 Swan Lake Melbourne 23 September– 1 October
    THE AUSTRALIAN BALLET 1 2 SWAN LAKE MELBOURNE 23 SEPTEMBER– 1 OCTOBER SYDNEY 2–21 DECEMBER Cover: Dimity Azoury. Photography Justin Rider Above: Leanne Stojmenov. Photography Branco Gaica Luke Ingham and Miwako Kubota. Photography Branco Gaica 4 COPPÉLIA NOTE FROM THE ARTISTIC DIRECTOR Dame Peggy van Praagh’s fingerprints are on everything we do at The Australian Ballet. How lucky we are to have been founded by such a visionary woman, and to live with the bounty of her legacy every day. Nowhere is this legacy more evident than in her glorious production of Coppélia, which she created for the company in 1979 with two other magnificent artists: director George Ogilvie and designer Kristian Fredrikson. It was her parting gift to the company and it remains a jewel in the crown of our classical repertoire. Dame Peggy was a renowned Swanilda, and this was her second production of Coppélia. Her first was for the Borovansky Ballet in 1960; it was performed as part of The Australian Ballet’s first season in 1962, and was revived in subsequent years. When Dame Peggy returned to The Australian Ballet from retirement in 1978 she began to prepare this new production, which was to be her last. It is a timeless classic, and I am sure it will be performed well into the company’s future. Dame Peggy and Kristian are no longer with us, but in 2016 we had the great pleasure of welcoming George Ogilvie back to the company to oversee the staging of this production. George and Dame Peggy delved into the original Hoffmann story, layering this production with such depth of character and theatricality.
    [Show full text]
  • Dance Brochure
    Boosey & Hawkes Music Publishers Limited Dance 2006 Edition Also see www.boosey.com/downloads/dance06icolour.pdf Figure drawings for a relief mural by Ivor Abrahams (courtesy Bernard Jacobson Gallery) The Boosey & Hawkes catalogue contains many of the most significant and popular scores in the dance repertoire, including original ballets (see below) and concert works which have received highly successful choreographies (see page 9). To hear some of the music, a free CD sampler is available upon request. Works written as ballets composer work, duration and scoring background details Andriessen Odyssey 75’ Collaboration between Beppie Blankert and Louis Andriessen 4 female singers—kbd sampler based on Homer’s Odyssey and James Joyce’s Ulysses. Inspired by a fascination with sensuality and detachment, the ballet brings together the ancient, the old and the new. Original choreography performed with four singers, three dancers and one actress. Argento The Resurrection of Don Juan 45’ Ballet in one act to a scenario by Richard Hart, premiered in 1955. 2(II=picc).2.2.2—4.2.2.1—timp.perc:cyms/tgl/BD/SD/tamb— harp—strings Bernstein The Dybbuk 50’ First choreographed by Jerome Robbins for New York City Ballet 3.3.4.3—4.3.3.1—timp.perc(3)—harp—pft—strings—baritone in 1974. It is a ritualistic dancework drawing upon Shul Ansky’s and bass soli famous play, Jewish folk traditions in general and the mystical symbolism of the kabbalah. The Robbins Dybbuk invites revival, but new choreographies may be created using a different title. Bernstein Facsimile 19’ A ‘choreographic essay’ dedicated to Jerome Robbins and 2(II=picc).2.2(=Ebcl).2—4.2.crt.2.1—timp.perc(2)— first staged at the Broadway Theatre in New York in 1946.
    [Show full text]
  • Cinderella Resource Pack
    CINDERELLA A BALLET BY DAVID NIXON OBE RESOURCE PACK Introduction This resource pack gives KS2 and KS3 teachers and pupils an insight into Northern Ballet’s Cinderella. It can be used as a preparatory resource before seeing the production, follow up work after seeing the production or as an introduction to Northern Ballet or ballet in general. Contents • The History of Cinderella • • Characters • • Story • • About Northern Ballet’s Cinderella • • Costumes • • Sets • • Music • • Creative Team • • Terminology • • Gallery • Click on the links on each page to Terminology is highlighted and can find out more (external websites). be found at the back of this pack. This resource pack was created in autumn 2019. Photos Bill Cooper, Riku Ito, Emma Kauldhar and Dolly Williams. Cinderella is a universal story which has been re-written and retold in many different countries and cultures around the world. The oldest account of the story is from China, dating back to the 9th century AD. The well-known classic fairy tale was written by Charles Perrault and published in France as Cendrillon in 1697. Cendrillon told the story of a virtuous girl, whose mother dies, resulting in her being treated inhumanely by her family. In the end she is rescued by magical love from her mother beyond the grave. Task: How many elements of the Cinderella story do you know? A Stepmother and two Stepsisters A ball which Cinderella is not allowed to attend A visit by a Fairy Godmother The History of Receiving glass slippers Being home by midnight Losing a glass slipper Cinderella A Prince searching for the girl that fits the slipper There are numerous films, books, ballets and pantomimes which tell the story of Cinderella, all with their own interpretation.
    [Show full text]
  • The Australian Ballet with Berkeley Symphony in Graeme Murphy’S Swan Lake Music by Pyotr Il’Yich Tchaikovsky Swan Lake: Ballet in Four Acts , Op
    Thursday, October 16, 2014, 8pm Friday, October 17, 2014, 8pm Saturday, October 18, 2014, 2pm & 8pm Sunday, October 19, 2014, 3pm Zellerbach Hall The Australian Ballet with Berkeley Symphony in Graeme Murphy’s Swan Lake Music by Pyotr Il’yich Tchaikovsky Swan Lake: Ballet in Four Acts , Op. 20 (1875–1876) y b s u B ff e J David McAllister AM, Artistic Director Libby Christie, Executive Director Nicolette Fraillon, Music Director and Chief Conductor The Australian Ballet acknowledges the invaluable support of its Official Tour Partners, Qantas and News Corp. The Australian Ballet’s 2014 tour to the United States has been generously supported by the Talbot Family Foundation and by The Australian Ballet’s International Touring Fund. These performances are made possible, in part, by Corporate Sponsor U.S. Bank, and by Patron Sponsors Deborah and Bob Van Nest, and Anonymous. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 19 Cal Performances thanks for its support of our presentation of The Australian Ballet in Graeme Murphy’s Swan Lake. PLAYBILL PROGRAM Graeme Murphy’s Swan Lake Choreography Graeme Murphy Creative Associate Janet Vernon Music Pyotr Il’yich Tchaikovsky (1840–1893): Swan Lake , Op. 20 (1875 –1876) Concept Graeme Murphy, Janet Vernon, and Kristian Fredrikson Set and Costume Design Kristian Fredrikson Original Lighting Design Damien Cooper PROGRAM Act I Scene I Prince Siegfried’s quarters Scene II Wedding festivities INTERMISSION Act II Scene I The sanatorium Scene II The lake INTERMISSION Act III An evening
    [Show full text]
  • National Theatre Ballet School UNIFORM
    THE NATIONAL THEATRE MELBOURNE THE NATIONAL THEATRE BALLET SCHOOL One of Australia's preeminent training institutions, the National Theatre Ballet School is distinguished as the fore-runner and longest-running of the country's dance schools. We are devoted to providing world class training, nurturing you through the next stage of your artistic development. The school is proudly led by Artistic Director Damian Smith, an inspirational dancer with more than 25 years' international experience with companies including Boston Ballet, Dutch National Ballet, Hong Kong Ballet, Hamburg Ballet, Ballet Du Nord and New York City Ballet. He joined the San Francisco Ballet in 1996, performing as Principal Dancer from 2001 until he joined the National Theatre Ballet School in 2018. The National Theatre Ballet School is famous for our professional training with a reputation for excellence that is proven year after year by ever-growing alumni of dancers pursuing successful careers in dance. We understand that a career in dance is physically rigorous and highly competitive. We also understand what it feels like to be passionate about the performing arts; our professionally trained and encouraging teachers are here to develop your skills, your confidence and your resilience. We shall provide the necessary training and support to help you fulfil your potential. Located in Melbourne's iconic National Theatre under the same roof as the Drama school, the Ballet school enables students to train in our beautiful heritage listed building and perform in the 800-seat theatre supported by our professional production and technical teams. And with the stunning St Kilda Beach just 5 minutes' walk away, you will be able to unwind and relax after an invigorating day in the rehearsal room.
    [Show full text]
  • January 2020 Resident Choreographers
    ® Global Resident Choreographer Survey JANUARY 2020 Summary Dance Data Project® (DDP) has conducted an initial examination of resident choreographer positions globally within the ballet industry. DDP found that among the 116 international and U.S. ballet companies studied, a significant majority have hired men as resident choreographers. The study reveals that 37 of the 116 ballet companies surveyed globally employ resident choreographers. Twenty-eight of these 37 companies have placed exclusively men in this position (76%). DDP found that 22 of the 69 U.S. ballet companies surveyed employ resident choreographers. Sixteen of these 22 domestic companies have hired exclusively men in this position (73%). DDP also found that 15 of the 47 international ballet companies examined employ resident choreographers. Only 2 of these 15 companies have hired exclusively women (13%), although one international company employs four resident choreographers (1 woman, 3 men). © DDP 2020 Dance DATA Global Resident Project] Choreographer Survey Introduction A note about resident choreographers: The position of resident choreographer is one of the most secure opportunities for the otherwise freelance choreographer. The position offers a contract with a steady salary, the possibility of benefits, a group of dancers with whom to workshop, time, access to set, costume, lighting designers and a regular audience. Most ballet companies do not employ resident choreographers, given the expense of an additional employee and funding regular commissions. Quite often, an artistic director serves as a de facto resident choreographer, regularly creating for the company and producing new works. DDP reviewed as many prominent dance publications1 as possible and consulted several leaders of ballet companies and dance venues in the U.S.
    [Show full text]