A Level Dance Welcome to the Resources to Help Prepare You for Dance a Level at Cronton Sixth Form College
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The Inventory of the Alvin Epstein Collection #1717
The Inventory of the Alvin Epstein Collection #1717 Howard Gotlieb Archival Research Center Epstein, Alvin #1717 2/17/06 Preliminary Listing I. Professional Materials. Box 1 A. Files, re: American Repertory Theater, unless noted; may include reviews; scores; scripts; notes; correspondence; printed materials; legal materials; photographs; artwork; audio material. 1. AAlliance for the Development of Theater Arts, Inc.@ [F. 1] 2. AAmerican Repertory Theater.@ [F.1-3] 3. AAspen Musical Festival.@ [F. 4] 4. ABeckett, Samuel.@ [F. 5] 5. AContracts.@ [F. 5-6] 6. AThe Cabinet of Dr. Caligari.@ [F. 7] 7. ACaligula - Yale Repertory Theater.@ [F. 8] 8. ACarnegie Hall.@ 9. ACharlie in the House of Rue,@ includes photographs; slides. 10. AThe Cherry Orchard.@ 11. AClerambard,@ includes printed material; telegram; photographs. [F. 9] 12. AColette,@ includes printed material. [F. 10] 13. AColette Scores.@ [F. 11] 14. ACrossing Niagra,@ includes printed material; telegram. [F. 12] 15. ACrimes and Crimes.@ 16. ADear Liar.@ [F. 13] Box 2 17. ADoctor=s Dilemma.@ [F. 1] 18. ADoing Life,@ includes contract. 19. ADon Juan.@ 20. ADream of the Red Spider.@ [F. 2] 21. ADynamite Tonite,@ includes sub-files: a. AYale Repertory Theater,@ includes 2 contracts, 11/14/06. b. ANew York,@ includes contract, 2/23/67. 22. AHamlet.@ 23. AOn Ne Badine Pas Avec L=Amour (No Trifling With Love),@ includes original sketches. [F. 2-4] 24. AOpera,@ includes printed material. [F. 5] 25. ARevue Material.@ 26. ASolider=s Tale.@ [F. 6] 27. AStory Theater.@ [F. 7] 28. ASalzburg American Seminar.@ 29. ATartuffe,@ includes printed material. [F. 8] 30. ATempest,@ American Repertory Theater and Yale Repertory Epstein, Alvin (2/17/06) Theater, MS, 200 p.; includes score; photograph. -
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. -
Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack
PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon. -
Wayne Mcgregor | Random Dance
WAYNE MCGREGOR | RANDOM DANCE FEBRUARY 13, 2014 OZ SUPPORTS THE CREATION, DEVELOPMENT AND PRESENTATION OF SIGNIFICANT CONTEMPORARY PERFORMING AND VISUAL ART WORKS BY LEADING ARTISTS WHOSE CONTRIBUTION INFLUENCES THE ADVANCEMENT OF THEIR FIELD. ADVISORY BOARD Amy Atkinson Karen Elson Jill Robinson Anne Brown Karen Hayes Patterson Sims Libby Callaway Gavin Ivester Mike Smith Chase Cole Keith Meacham Ronnie Steine Jen Cole Ellen Meyer Joseph Sulkowski Stephanie Conner Dave Pittman Stacy Widelitz Gavin Duke Paul Polycarpou Betsy Wills Kristy Edmunds Anne Pope Mel Ziegler A MESSAGE FROM OZ Welcome and thank you for joining us for our first presentation as a new destination for contemporary performing and visual arts in Nashville. By being in the audience, you are not only supporting the visiting artists who have brought their work to Nashville for this rare occasion, you are also supporting the growth of contemporary art in this region. We thank you for your continued support. We are exceptionally lucky and very proud to have with us this evening, one of the worlds’ most inspiring choreographic minds, Wayne McGregor. An artist who emphasizes collaboration and a wide range of perspectives in his creative process, McGregor brings his own brilliant intellect and painterly vision to life in each of his works. In FAR, we witness the mind and body as interconnected forces; distorted and sensual within the same frame. As ten stunning dancers hyperextend and crouch, rapidly moving through light and shadow to a mesmerizing score, the relationship between imagination and movement becomes each viewer’s own interpretation. An acronym for Flesh in the Age of Reason, McGregor’s FAR investigates self-understanding and exemplifies the theme from Roy Porter’s novel by the same name, “that we outlive our mortal existence most enduringly in the ideas we leave behind.” Strap in. -
Glen Tetley: Contributions to the Development of Modern
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. GLEN TETLEY: CONTRIBUTIONS TO THE DEVELOPMENT OF MODERN DANCE IN EUROPE 1962-1983 by Alyson R. Brokenshire submitted to the Faculty of the College of Arts and Sciences Of American University In Partial Fulfillment of The Requirements for the Degree Of Masters of Arts In Dance Dr. -
David Justin CV 2014 Pennsylvania Ballet
David Justin 4603 Charles Ave Austin TX 787846 Tel: 512-576-2609 Email: [email protected] Web site: http://www.davidjustin.net CURRICULUM VITAE ACADEMIC EDUCATION • University of Birmingham, United Kingdom, Master of Arts in Dance in Education and the Community, May 2000. Thesis: Exploring the collaboration of imagination, creativity, technique and people across art forms, Advisor: Tansin Benn • Royal Academy of Dramatic Arts, Edward Kemp, Artistic Director, London, United Kingdom, 2003. Certificate, 285 hours training, ‘Acting Shakespeare.’ • International Dance Course for Professional Choreographers and Composers, Robert Cohen, Director, Bretton College, United Kingdom, 1996, full scholarship DANCE EDUCATION • School of American Ballet, 1987, full scholarship • San Francisco Ballet School, 1986, full scholarship • Ballet West Summer Program, 1985, full scholarship • Dallas Metropolitan Ballet School, 1975 – 1985, full scholarship PROFESSIONAL EXPERIENCE Choreographer, 1991 to present See full list of choreographic works beginning on page 6. Artistic Director, American Repertory Ensemble, Founder and Artistic Director, 2005 to present $125,000 annual budget, 21 contract employees, 9 board members11 principal dancers from the major companies in the US, 7 chamber musicians, 16 performances a year. McCullough Theater, Austin, TX; Florence Gould Hall, New York, NY; Demarco Roxy Art House, Edinburgh, Scotland; Montenegrin National Theatre, Podgorica, Montenegro; Miller Outdoor Theatre, Houston, TX, Long Center for the Performing Arts, -
Frame of Mind William Forsythe | Rafael Bonachela
MEDIA RELEASE March 26, 2015 AUSTRALIAN PREMIERE SEASON SYDNEY DANCE COMPANY’S FRAME OF MIND WILLIAM FORSYTHE | RAFAEL BONACHELA NINE MELBOURNE SHOWS ONLY MAY 6 TO 16, BOOK NOW! ★★★★ ½ - It’s sublime. – Sunday Telegraph Astonishing… powerful, personal and poetic… quite simply, breathtaking. – Limelight Magazine ★★★★ - It’s a delight…a potent blend of technique, daring and playfulness. - SMH Could be seen again and again without exhausting its possibilities. - The Australian ★★★★ - Passionate… precise… breath-stealing. – The Guardian Sydney Dance Company The Wharf, Pier 4, 15 Hickson Road, Sydney, NSW 2000, Australia MEDIA RELEASE March 26, 2015 As part of its Australian premiere season, Sydney Dance Company is set to presen t a limited run of its acclaimed double bill, Frame of Mind, at Southbank Theatre, Melbourne . This is an exceptional opportunity to experience two mesmerising danceworks - legendary American choreographer William Forsythe’s acclaimed masterpiece Quintett, and Rafael Bonachela’s newly created Frame of Mind, direct from its world premiere Sydney performances. Created in 1993, William Forsythe’s Quintett is one of the most renowned contemporary dance works of the 20th Century. This highly poetic and powerful work, developed in collaboration with Ballet Frankfurt dancers Dana Caspersen, Stephen Galloway, Jacopo Godani, Thomas McManus and Jone San Martin, was a final love letter to Forsythe’s wife, dancer Tracy-Kai Maier, who succumbed to cancer in 1994, aged 32. Quintett is set to a hauntingly beautiful soundtrack by renowned post-minimalist British composer, Gavin Bryars; his iconic 1975 composition, Jesus's Blood Never Failed Me Yet. Inspired by a grainy, chance recording of a homeless man singing, the looped vocals begin as a barely audible, distant melody, and acquire a slowly evolving, growing orchestral accompaniment, which with its insistent optimism, tinged with tragedy, creeps under the skin and magnifies the intense poignancy of the choreography. -
L & W Program Final 2
Presents CHOREOGRAPHY AND DIRECTION Mark Bruce DESIGN Marian Bruce LIGHT Guy Hoare ARTWORK FOR STAGE Paul Boswell, Rachel Macleay, Marian Bruce COSTUME MAKER Lucia Snell SPECIAL EFFECT Pickled Image and Max Humphries ADDITIONAL SOUND Chris Samuels PRODUCTION MANAGER Chris Swain DESIGNER’S ASSISTANT/SUPERVISOR Luned Aaron MANAGEMENT Elizabeth Mischler PERFORMERS ZEUS Greig Cooke APHRODITE Eleanor Duval ARES Darren Ellis CASSANDRA Joanne Fong IPHIGENIA Caroline Hotchkiss HERA Elizabeth Mischler HADES Ino Riga MUSIC String Quartet No. 2: I Allegro nervoso György Ligeti: Arditti Quartet Gold Day Sparklehorse Homecoming Queen Sparklehorse Slicker Drips The White Stripes Gasoline Horseys Sparklehorse Impromptu In G Flat, D 899/3 Franz Schubert: Vladimir Horowitz Ladies And Gentlemen We Are Floating In Space Spiritualized String Quartet No. 2: II Sostenuto, molto calmo György Ligeti: Arditti Quartet You Can Never Hold Back Spring Tom Waits Scentless Apprentice Nirvana It's A Wonderful Life Sparklehorse String Quartet No. 2: III Come un meccanismo di precisione György Ligeti: Arditti Quartet You Think I Ain't Worth A Dollar But I Feel Like A Millionaire Queens Of The Stone Age I Hate The Way You Love Part 2 The Kills A Song For The Dead Queens Of The Stone Age Most Beautiful Widow In Town Sparklehorse The End PJ Harvey Running Time: 70 minutes, no interval Premiere 7 May 2010 at the Tobacco Factory Theatre, Mayfest www.markbrucecompany.com Follow us on Facebook and Twitter Mark Bruce has choreographed and danced and made Romeo Error and Good to Go (for Evolution professionally in the UK and abroad, working with at The Place) and Tempt My Better Angel and No More Rosas, Introdans, Extemporary Dance Theatre and Ghosts (for Richard Alston Dance Company). -
Other Stories Edward Watson and Wendy Whelan - Five Choreographers, Five New Works
MAY 2015 PRESS RELEASE WORLD PREMIERE: OTHER STORIES EDWARD WATSON AND WENDY WHELAN - FIVE CHOREOGRAPHERS, FIVE NEW WORKS Thursday 9 July – Sunday 12 July Linbury Studio Theatre Royal Ballet Principal Edward Watson and Wendy Whelan, former Principal at New York City Ballet for over 20 years, perform Whelan/Watson: Other Stories, a programme of five contemporary works created especially for them by world- acclaimed choreographers Annie-B Parson, Arlene Phillips, Arthur Pita, Danièle Desnoyers and Javier de Frutos. Other Stories brings Whelan and Watson together for the first time in an evening of contemporary dance taking inspiration from waltz, tango and disco. The pair will perform three duets by Arthur Pita (who previously created the Olivier Award winning The Metamorphosis on Edward Watson for the Linbury Studio Thearte), Danièle Desnoyers and Javier de Frutos. Whelan will also perform a solo choreographed by Annie-B Parson, while Watson will dance a solo created by Arlene Phillips. Costumes and set design are by Jean-Marc Puissant, with lighting by Bruno Poet, music direction by Frank Moon and soundscape by Daniel Peppe. Other Stories will tour to City Center, New York in 2016. Director of The Royal Ballet Kevin O’Hare adds "Edward Watson and Wendy Whelan are two artists whose exceptional talents are recognised throughout the dance world. This programme brings them together for the first time to collaborate with five For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media contemporary choreographers to create new work showcasing their highly original talents." --- ENDS --- Notes to Editors Whelan/Watson: Other Stories Thursday 9 July – Sunday 12 July Thursday 9, Friday 10, Saturday 11 July at 7:45pm, Sunday 12 July at 3pm The production lasts approximately one hour, with no interval. -
Lewis Segal Collection of Dance and Theater Materials, 1902-2011; Bulk, 1970-2009
http://oac.cdlib.org/findaid/ark:/13030/c8c24wzf No online items Lewis Segal Collection of Dance and Theater Materials, 1902-2011; Bulk, 1970-2009 Preliminary processing by Andrea Wang; fully processed by Mike D'Errico in 2012 in the Center for Primary Research and Training (CFPRT), with assistance from Jillian Cuellar; machine-readable finding aid created by Caroline Cubé. The processing of this collection was generously supported by Arcadia funds. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2012 The Regents of the University of California. All rights reserved. Lewis Segal Collection of Dance 1890 1 and Theater Materials, 1902-2011; Bulk, 1970-2009 Descriptive Summary Title: Lewis Segal Collection of Dance and Theater Materials Date (inclusive): 1902-2011; Bulk, 1970-2009 Collection number: 1890 Collector: Segal, Lewis Extent: 24 record cartons (24 linear ft.) Abstract: Lewis Segal is a performing arts critic who has written on various topics related to the performing arts, from ballet to contemporary dance and musicals. He began working as a freelance writer in the 1960s for a number of publications, including the Los Angeles Times, Performing Arts magazine, the Los Angeles Free Press, Ballet News, and High Performance magazine. He joined the staff of the Los Angeles Times in 1976. From 1996 to 2008 he held the full-time position of chief dance critic, writing full features and reviews on dance companies and performing arts organizations from around the world. -
Labyrinthine Depictions and Tempting Colors: the Synaesthetic Dances of Loïe Fuller As
Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Caroline J. Kappel November 2007 2 © 2007 Caroline J. Kappel All Rights Reserved 3 This dissertation titled Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography by CAROLINE J. KAPPEL has been approved for the Interdisciplinary Arts and the College of Fine Arts by William F. Condee Professor of Interdisciplinary Arts Charles A. McWeeny Dean, College of Fine Arts 4 ABSTRACT KAPPEL, CAROLINE J., Ph.D., November 2007, Interdisciplinary Arts Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography (246 pp.) Director of Dissertation: William F. Condee This study explores Loïe Fuller’s use of synaesthesia to bring together various sensations so as to create a dreamlike effect in her choreography, while at the same time presenting a visual representation of symbolist ideals. On the music-hall stage she created popular ideas that had otherwise been restricted to small experimental theaters. In the visual arts, she became a constant public image of poster art as well as paintings, sculptures, and prints. She also dramatically presented the visualization of avant-garde color theories, while simultaneously representing symbolist ideals of the literary world. By tracing her explorations with the other arts in the context of various artistic, scientific, and movement theories, Fuller’s work can serve as a model for interdisciplinary studies in the fine arts. -
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.