DOCSLIB.ORG

And We Danced Episode 2 Credits

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
And We Danced Episode 2 Credits AND WE DANCED WildBear Entertainment, ABC TV and The Australian Ballet acknowledge the Traditional Owners of country throughout Australia and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past and present. EPISODE TWO Executive Producers Veronica Fury Alan Erson Michael Tear Development Producer Stephen Waller INTERVIEWEES Margot Anderson Dimity Azoury Peter F Bahen Lisa Bolte Adam Bull Ita Buttrose AC OBE Ella Havelka Steven Heathcote AM Marilyn Jones OBE Ako Kondo David McAllister AC Graeme Murphy AO Stephen Page AO Lisa Pavane Colin Peasley OAM Marilyn Rowe AM OBE Amber Scott Hugh Sheridan Fiona Tonkin OAM Elizabeth Toohey Emma Watkins Michael Williams SPECIAL THANKS TO David McAllister AC David Hallberg Nicolette Fraillon AM Artists of The Australian Ballet past and present Artists of Bangarra Dance Theatre past and present Orchestra Victoria 1 Opera Australia Orchestra Tony Iffland Janine Burdeu The Langham Hotel Melbourne Brett Ludeman, David Ward ARCHIVE SOURCES The Australian Ballet ABC Archives National Film and Sound Archive Nine Entertainment Associated Press Getty Images Ten Network Australia Archive Road Australian Performing Arts Collection Bangarra Dance Theatre The Apiary FOOTAGE The Australian Ballet Year of Limitless Possibilities, 2020 Brand Film Artists of The Australian Ballet Valerie Tereshchenko, Robyn Hendricks, Dimity Azoury, Callum Linnane, Jake Mangakahia Choreography David McAllister AM Cinematography Brett Ludeman and Ryan Alexander Lloyd Produced by Robyn Fincham and Brett Ludeman Filmed on location at Mundi Mundi Station, via Silverton NSW The Living Desert Sculpture Park, Junction Mine, The Imperial Fine Accommodation, Broken Hill NSW. With thanks to 2019 Under 15s West Broken Hill Football Club Broken Hill Council, NSW Department of Industry - Lands and Water 1914 (1998) Choreography Stephen Baynes Music Graeme Koehne Costume Design Anna French Scenery Design Andrew Carter Afternoon of a Faun (1978) Choreography Jerome Robbins Music Claude Debussy Costume Design Irene Sharaff Scenery and Lighting Design Jean Rosenthal Featured Artists Valentina Kozlova and Leonid Kozlov 2 Alchemy (1996), (2002) Choreography Stephen Page Music David Page Costume Design Jennifer Irwin Scenery Design Fiona Foley Lighting Design Joseph Mercurio Vocals David Page, Leah Purcell, Kirk Page, Connie Mitchell and Ningali Electric and acoustic guitar Steve Francis. Indigenous language groups Umpila, Yugambeh and Walmadjarri *2002 With Orchestra Victoria Guest Conductor by Mark Summerbell Orchestra Victoria Guest Concertmaster Marcelle Mallette Featured Artist Steven Heathcote Aurora’s Wedding (1964) Choreography Marius Petipa Additional Choreography Dame Peggy van Praagh Music Pyotr Ilyich Tchaikovsky Scenery Design Warwick Armstrong Costume Design Kristian Fredrikson Lighting Design William Akers Featured Artists Kathleen Gorham and Garth Welch Beyond Twelve (1987), (2002), (2012) Choreography Graeme Murphy Music Maurice Ravel Set and Costume Design Alan Oldfield Lighting Design Christopher Maver, reproduced by Francis Croese *2012 With Orchestra Victoria Conducted by Nicolette Fraillon Concertmaster Adam Chalabi Featured Artists Steven Woodgate, David McAllister, Kelvin Coe, Lisa Pavane (1987) Marc Cassidy, Nigel Burley, Steven Heathcote (2002) Jack Hersee, Calvin Hannaford, Matthew Donnelly, Steven Heathcote (2012) Cinderella (1997) Choreography Stanton Welch Music Sergei Prokofiev Costume and Scenery Design Kristian Fredrikson Lighting Design John Rayment Divergence (1994), (1998) Choreography Stanton Welch Music Georges Bizet Costume Design Vanessa Leyonhjelm Lighting Design Francis Croese 1994 performance footage shows sets designed by Ben Anderson *1998 With State Orchestra of Victoria Conducted by Mark Summerbell Concertmaster Mara Miller 3 Featured Artists Justine Summers, Laura Tong Don Quixote film (1973) Directed by Rudolf Nureyev and Sir Robert Helpmann Produced by John Hargreaves Choreography Rudolf Nureyev Based on the ballet Don Quixote by Marius Petipa Music Ludwig Minkus With State Orchestra of Victoria Conductor John Lanchbery Cinematography Geoffrey Unsworth Edited by Anthony Buckley Presented by International Arts Featured Artists Rudolf Nureyev, Sir Robert Helpmann, Lucette Aldous, Marilyn Rowe Giselle (1986) Choreography Marius Petipa after Jean Coralli Production Maina Gielgud Music Adolphe Adam Set and Costume Design Peter Farmer Lighting Design William Akers Reproduced by Francis Croese Featured Artists Christine Walsh and Kelvin Coe In The Upper Room (1997) Choreography Twyla Tharp Music Philip Glass Staging Shelly Washington Costume Design Norma Kamali Lighting Design Jennifer Tipton Nutcracker, The Story of Clara (1992), (2009), (2017) Choreography Graeme Murphy Artistic Associate Janet Vernon Concept Graeme Murphy and Kristian Fredrikson Music Pyotr Ilyich Tchaikovsky Arrangement Alan Smith and Peter Bandy Costume and Set Design Kristian Fredrikson Original Lighting Design John Drummond Montgomery Recreated by Francis Croese with Graeme Murphy and Graham Silver Film Collage Philippe Charluet Featured Artists Sian Stokes, Roy Wilson, Valrene Tweedie (1992) Leanne Stojmenov, Ai-Gul Gaisina (2009) *2009 With Australian Opera and Ballet Orchestra Conducted by Nicolette Fraillon Concertmaster Aubrey Murphy Onegin (2012) Choreography John Cranko Reproduced by Anne Woolliams Music Pyotr Ilyich Tchaikovsky 4 Arranged and Orchestrated by Kurt-Heinz Stolze Costume and Scenery Design Jürgen Rose Original Lighting Design William Akers Reproduced by Francis Croese Featured Artists Madeleine Eastoe and Andrew Killian Poems (1981) Concept and choreography Robert Ray Poetry written and performed by John Betjeman Composer and arranger Jim Parker Scenery Design Scott Matthewson Costume Design Kate Murray Lighting Design Francis Croese Raymonda (1965), (1968) Choreography Marius Petipa Revised Choreography Rudolf Nureyev Music Alexander Glazunov Costume Design Nadine Baylis Scenery Design Ralph Koltai Lighting Design William Akers Featured Artists Marilyn Rowe and Kelvin Coe (1965) Marilyn Jones and Garth Welch (1968) Red Earth (1996) Choreography Stanton Welch Music Peter Sculthorpe AO OBE Design Stanton Welch Backcloth Kevin Pro Hart Lighting Design John Rayment Costume Assistant Casandra Schultz Featured Artists Miranda Coney and Damien Welch *Rehearsal music ‘Nourlangie’ by Peter Sculthorpe By permission of Boosey & Hakes Pty Ltd as agents for Faber Music Solo Guitar Geoffrey Morris Rites (1997) The Australian Ballet with Bangarra Dance Theatre Choreography Stephen Page Music Igor Stravinsky Costume Design Jennifer Irwin Scenery Design Peter England Lighting Design Mark Howett Featured Artists Djakapurra Munyarryun and Sidney Saltner Romeo and Juliet (1994) Choreography John Cranko Reproduced by Anne Woolliams Music Sergei Prokofiev Costume and Scenery Design Jürgen Rose 5 Lighting Design William Akers Featured Artists Fiona Tonkin and Steven Heathcote Sinfonietta (1997) Choreography Jiři Kylián Staging Rosyln Anderson Music Leoš Janáček Costume and Scenery Design Walter Nobbe Lighting Design Joop Caboort Featured Artists Miranda Coney and Nigel Burley Spartacus (1993) Choreography László Seregi Music Aram Khachaturian Costume Design Tivadar Márk Scenery Design Gábor Forray Original Lighting Design Christopher Maver, reproduced by William Akers With State Orchestra Victoria Conducted by Ormsby Wilkins Featured Artists Lisa Pavane, Fiona Tonkin, Steven Heathcote, Geg Horsman, Adam Marchant Suite en Blanc (2002) Choreography Serge Lifar Music Edouard Lalo, arranged by Serge Lifar Costume and Scenery Design Serge Lifar Original Lighting Design William Akers With Orchestra Victoria Guest Conductor Dobbs Franks Guest Concertmaster Marcelle Mallette Swan Lake (1977) Devised and Directed by Anne Woolliams Choreography Act II after Lev Ivanov Additional Choreography Anne Woolliams and Ray Powell Music Pyotr IlyichTchaikovsky, arranged by John Lanchbery Costume and Scenery Design Tom Lingwood Lighting Design William Akers Featured Artist Kelvin Coe Swan Lake (2002), (2006), (2008) Choreography Graeme Murphy Creative Associate Janet Vernon Music Pyotr Ilyich Tchaikovsky Set and Costume Design Kristian Fredrikson Lighting Design Damien Cooper *2002 With Orchestra Victoria Conducted by Mark Summerbell Concertmaster Peter Exton Featured Artists Simone Goldsmith (2002) Madeleine Eastoe (2006) 6 Amber Scott and Adam Bull (2008) Swan Lake (2012) Choreography Stephen Baynes Music Pyotr Ilyich Tchaikovsky Costume and Scenery Design Hugh Colman Assisted by Lexi George Lighting Design Rachel Burke Projection Design and Director Domenico Bartolo Featured Artist Adam Bull The Deep End (1996) Choreography Meryl Tankard Music inc. Joseph Racaille, Mahmoud Ahmed, Estuary Cugat, Michael Nyman, Hutter/Schneider/Schultz, Fancisco Ribereiro, Costume Design Meryl Tankard Scenery Design Dan Potra Lighting Design Stephen Wickham Costume Assistant Judith Meschke The Hunchback of Notre Dame (1981) Production and Scenario George Ogilvie Choreography Bruce Wells Music Bela Bartok, arrangement Dobbs Franks Costume and Scenery Design Kristian Fredrikson Lighting Design William Akers The Lady and the Fool (1962) Choreography John Cranko, reproduced by Ray Powell Music Giuseppe Verdi, arranged by Charles Mackerras Costume Design Richard Beer Lighting Design William Akers Featured Artist Marilyn Jones The Merry Widow (2000) Choreography Ronald Hynd Scenario Sir Robert Helpmann and Ronald
Load more

Recommended publications
  • Study Guide for Teachers and Students
    Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another.
    [Show full text]
  • Stephen Page on Nyapanyapa
    — OUR land people stories, 2017 — WE ARE BANGARRA We are an Aboriginal and Torres Strait Islander organisation and one of Australia’s leading performing arts companies, widely acclaimed nationally and around the world for our powerful dancing, distinctive theatrical voice and utterly unique soundscapes, music and design. Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national currently in our 28th year. Our dance technique tour of a world premiere work, performed in is forged from over 40,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra, and represent the pinnacle of Australian dance. Each an international tour to maintain our global has a proud Aboriginal and/or Torres Strait reputation for excellence. Islander background, from various locations across the country. Complementing this touring roster are education programs, workshops and special performances Our relationships with Aboriginal and Torres and projects, planting the seeds for the next Strait Islander communities are the heart generation of performers and storytellers. of Bangarra, with our repertoire created on Country and stories gathered from respected Authentic storytelling, outstanding technique community Elders. and deeply moving performances are Bangarra’s unique signature. It’s this inherent connection to our land and people that makes us unique and enjoyed by audiences from remote Australian regional centres to New York. A MESSAGE from Artistic Director Stephen Page & Executive Director Philippe Magid Thank you for joining us for Bangarra’s We’re incredibly proud of our role as cultural international season of OUR land people stories.
    [Show full text]
  • 1X 86Min Feature Documentary Press Kit
    ELLA 1x 86min Feature Documentary Press Kit INDEX ! CONTACT DETAILS AND TECHNICAL INFORMATION………………………… P3 ! PROGRAM DESCRIPTIONS.…………………………………..…………………… P4-6 ! KEY CAST BIOGRAPHIES………………………………………..………………… P7-9 ! DIRECTOR’S STATEMENT………………………………………..………………… P10 ! PRODUCER’S STATEMENT………………………………………..………………. P11 ! KEY CREATIVES CREDITS………………………………..………………………… P12 ! DIRECTOR AND PRODUCER BIOGRAPHIES……………………………………. P13 ! PRODUCTION CREDITS…………….……………………..……………………….. P14-22 2 CONTACT DETAILS AND TECHNICAL INFORMATION Production Company WildBear Entertainment Pty Ltd Address PO Box 6160, Woolloongabba, QLD 4102 AUSTRALIA Phone: +61 (0)7 3891 7779 Email [email protected] Distributors and Sales Agents Ronin Films Address: Unit 8/29 Buckland Street, Mitchell ACT 2911 AUSTRALIA Phone: + 61 (0)2 6248 0851 Web: http://www.roninfilms.com.au Technical Information Production Format: 2K DCI Scope Frame Rate: 24fps Release Format: DCP Sound Configuration: 5.1 Audio and Stereo Mix Duration: 86’ Production Format: 2K DCI Scope Frame Rate: 25fps Release Formats: ProResQT Sound Configuration: 5.1 Audio and Stereo Mix Duration: 83’ Date of Production: 2015 Release Date: 2016 ISAN: ISAN 0000-0004-34BF-0000-L-0000-0000-B 3 PROGRAM DESCRIPTIONS Logline: An intimate and inspirational journey of the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history Short Synopsis: In October 2012, Ella Havelka became the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history. It was an announcement that made news headlines nationwide. A descendant of the Wiradjuri people, we follow Ella’s inspirational journey from the regional town of Dubbo and onto the world stage of The Australian Ballet. Featuring intimate interviews, dynamic dance sequences, and a stunning array of archival material, this moving documentary follows Ella as she explores her cultural identity and gives us a rare glimpse into life as an elite ballet dancer within the largest company in the southern hemisphere.
    [Show full text]
  • Documenting Australian Dance Walter Stringer's Dance Photography
    Documenting Australian Dance Walter Stringer's Dance Photography In the second of a series of articles looking at recent additions to the National Library's dance holdings as part of the Keep Dancing! project, Michelle Potter delves into the W.E Stringer Collection and discovers a man with a passion for dance alter Stringer, pioneer Australian dance W photographer, still remembers the first professional dance performance he ever saw. It was a triple bill by Diaghilev's Ballets Russes company. He saw it in London at the Coliseum Theatre and on the program was Michel Fokine's exotic and glamorous Scheherazade. The year was about 1919 and he was just a young boy, but the memory of that performancehaunts him to this day. He still thinks of it as the most memorable production he has everseen. Stringer, born in 1907 in a suburb of Dublin, Ireland, did not take his first dance photographs until he migrated to Australia with his family when he was 16. His parents set up was allowed backstage during Walter Stringer (b. 1907) house in Melbourne and Stringer's performances and often also shot Graeme Murphy in Daphnis and Chloe first photographs were taken secretly from the auditorium during dress cibachrome photograph; 25.3 x 20.1 cm (P554/SD/22) from the stalls in a Melbourne theatre rehearsals. W.F. Stringer Collection in 1940 during performances Stringer's output as a photographer, From the Pictorial Collection by Colonel de Basil's Ballets now housed in the National Library Russes company. They marked the as the W.F.
    [Show full text]
  • Remembering Edouard Borovansky and His Company 1939–1959
    REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes.
    [Show full text]
  • Premieres on the Cover People
    PDL_REGISTRATION_210x297_2017_Mise en page 1 01.06.17 10:52 Page1 Premieres 18 Bertaud, Valastro, Bouché, BE PART OF Paul FRANÇOIS FARGUE weighs up four new THIS UNIQUE ballets by four Paris Opera dancers EXPERIENCE! 22 The Boy in the Striped Pyjamas MIKE DIXON considers Daniel de Andrade's take on John Boyne's wartime novel 34 Swan Lake DEBORAH WEISS on Krzysztof Pastor's new production that marries a slice of history with Reece Clarke. Photo: Emma Kauldhar the traditional story P RIX 38 Ballet of Difference On the Cover ALISON KENT appraises Richard Siegal's new 56 venture and catches other highlights at Dance INTERNATIONAL BALLET COMPETITION 2017 in Munich 10 Ashton JAN. 28 TH – FEB. 4TH, 2018 AMANDA JENNINGS reviews The Royal DE Ballet's last programme in London this Whipped Cream 42 season AMANDA JENNINGS savours the New York premiere of ABT's sweet confection People L A U S ANNE 58 Dangerous Liaisons ROBERT PENMAN reviews Cathy Marston's 16 Zenaida's Farewell new ballet in Copenhagen MIKE DIXON catches the live relay from the Royal Opera House 66 Odessa/The Decalogue TRINA MANNINO considers world premieres 28 Reece Clarke by Alexei Ratmansky and Justin Peck EMMA KAULDHAR meets up with The Royal Ballet’s Scottish first artist dancing 70 Preljocaj & Pite principal roles MIKE DIXON appraises Scottish Ballet's bill at Sadler's Wells 49 Bethany Kingsley-Garner GERARD DAVIS catches up with the Consort and Dream in Oakland 84 Scottish Ballet principal dancer CARLA ESCODA catches a world premiere and Graham Lustig’s take on the Bard’s play 69 Obituary Sergei Vikharev remembered 6 ENTRE NOUS Passing on the Flame: 83 AUDITIONS AND JOBS 78 Luca Masala 101 WHAT’S ON AMANDA JENNINGS meets the REGISTRATION DEADLINE contents 106 PEOPLE PAGE director of Academie de Danse Princesse Grace in Monaco Front cover: The Royal Ballet - Zenaida Yanowsky and Roberto Bolle in Ashton's Marguerite and Armand.
    [Show full text]
  • Queensland Ballet
    Queensland Front cover: Rachael Walsh as Fonteyn & Christian Tátchev as Nureyev dance The Lady of the Camellias pas de deux in François Klaus’s Fonteyn Remembered; Photographer: Ken Sparrow Below: Sarah Thompson and children taking class at the Open Day BAllet ANNuAl REPORT 2010 Queensland Ballet Thomas Dixon Centre Cnr Drake St & Montague Rd West End Queensland 4101 Australia Phone: 07 3013 6666 Fax: 07 3013 6600 Email: [email protected] Web: www.queenslandballet.com.au Christian Tátchev and Keian langdon in François Klaus’s Don Quixote (excerpt), 50th Anniversary International Gala; Photographer: Ken Sparrow Christian Tátchev as Romeo & Rachael Walsh as Juliet in François Klaus’s Romeo & Juliet; Photographer: Ken Sparrow Queensland Ballet 2010 AnnuAl RepoRt CONTENTS Company profile 1 2010 highlights 2 50 year chronology 3 Chair’s review 7 Artistic Director’s report 8 Chief Executive Officer’s report 10 2010 performance summary 11 The Company 15 Acknowledgements 17 Directors’ report 19 Lead Auditor’s Independence Declaration 25 Financial report 26 Independent auditor’s report 41 Appendix A: 2010 strategic performance 42 Appendix B: Queensland Ballet Friends 44 QUEENSlAnD BALLET 1 COMPANY PROFILE Queensland Ballet is the advanced dance training to students in ouR DReAm Years 10, 11, and 12 at Kelvin Grove State flagship ballet company of the College as well as the introductory Track By 2013, Queensland Ballet will be State of Queensland, with a Dance and Mid-Trackdance programs for recognised, not only in Queensland but reputation for a fresh, energetic Years 3 to 9. throughout Australia and also overseas, for: and eclectic repertoire ranging Community education and outreach is » creating and presenting a broad from short works for children to achieved through a range of programs.
    [Show full text]
  • SOH-Annual-Report-2016-2017.Pdf
    Annual Report Sydney Opera House Financial Year 2016-17 Contents Sydney Opera House Annual Report 2016-17 01 About Us Our History 05 Who We Are 08 Vision, Mission and Values 12 Highlights 14 Awards 20 Chairman’s Message 22 CEO’s Message 26 02 The Year’s Activity Experiences 37 Performing Arts 37 Visitor Experience 64 Partners and Supporters 69 The Building 73 Building Renewal 73 Other Projects 76 Team and Culture 78 Renewal – Engagement with First Nations People, Arts and Culture 78 – Access 81 – Sustainability 82 People and Capability 85 – Staf and Brand 85 – Digital Transformation 88 – Digital Reach and Revenue 91 Safety, Security and Risk 92 – Safety, Health and Wellbeing 92 – Security and Risk 92 Organisation Chart 94 Executive Team 95 Corporate Governance 100 03 Financials and Reporting Financial Overview 111 Sydney Opera House Financial Statements 118 Sydney Opera House Trust Staf Agency Financial Statements 186 Government Reporting 221 04 Acknowledgements and Contact Our Donors 267 Contact Information 276 Trademarks 279 Index 280 Our Partners 282 03 About Us 01 Our History Stage 1 Renewal works begin in the Joan 2017 Sutherland Theatre, with $70 million of building projects to replace critical end-of-life theatre systems and improve conditions for audiences, artists and staf. Badu Gili, a daily celebration of First Nations culture and history, is launched, projecting the work of fve eminent First Nations artists from across Australia and the Torres Strait on to the Bennelong sail. Launch of fourth Reconciliation Action Plan and third Environmental Sustainability Plan. The Vehicle Access and Pedestrian Safety 2016 project, the biggest construction project undertaken since the Opera House opened, is completed; the new underground loading dock enables the Forecourt to become largely vehicle-free.
    [Show full text]
  • And We Danced Episode 3 Credits
    AND WE DANCED WildBear Entertainment, ABC TV and The Australian Ballet acknowledge the Traditional Owners of country throughout Australia and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past and present. EPISODE THREE Executive Producers Veronica Fury Alan Erson Michael Tear Development Producer Stephen Waller INTERVIEWEES Margot Anderson Dimity Azoury Peter F Bahen Lisa Bolte Adam Bull Ita Buttrose AC OBE Chengwu Guo David Hallberg Ella Havelka Steven Heathcote AM Marilyn Jones OBE Ako Kondoo David McAllister AC Graeme Murphy AO Stephen Page AO Lisa Pavane Colin Peasley OAM Marilyn Rowe AM OBE Amber Scott Hugh Sheridan Fiona Tonkin OAM Elizabeth Toohey Emma Watkins Michael Williams SPECIAL THANKS TO David McAllister AC David Hallberg Nicolette Fraillon AM 1 Artists of The Australian Ballet past and present Artists of Bangarra Dance Theatre past and present Orchestra Victoria Opera Australia Orchestra The Australian Ballet School Tony Iffland Janine Burdeu The Wiggles The Langham Hotel Melbourne Brett Ludeman, David Ward ARCHIVE SOURCES The Australian Ballet ABC Archives National Film and Sound Archive Associated Press Getty The Apiary The Wiggles International Arts Newspix Bolshoi Ballet American Ballet Theater FOOTAGE The Australian Ballet Year of Limitless Possibilities, 2020 Brand Film Artists of The Australian Ballet Valerie Tereshchenko, Robyn Hendricks, Dimity Azoury, Callum Linnane, Jake Mangakahia Choreography David McAllister AM Cinematography Brett Ludeman and Ryan Alexander Lloyd Produced by Robyn Fincham and Brett Ludeman Filmed on location at Mundi Mundi Station, via Silverton NSW The Living Desert Sculpture Park, Junction Mine, The Imperial Fine Accommodation, Broken Hill NSW.
    [Show full text]
  • Parent/Student Handbook
    THE Academy of Dance Arts Ballet/Pointe Jazz/Contemporary Tap Lyrical Modern Hip Hop Young Children’s Programs Adult Classes Stretch & Strengthening Discover Dance Parent/Student Handbook “Dance is the hidden language of the soul.” Martha Graham Official School of Illinois Ballet Theatre Youth Company & Academy Dance Alliance Performing and Competing Company Studios & Office 1524 Centre Circle, Downers Grove, IL 60515 School Administrator & Assistant to Director ....................................... Pam Gazdziak Front Desk Staff ................................ Kim Winter, Dawn DeBenedictis & Judy Erhart Alliance Office Staff ............................................ Dawn DeBenedictis & Judy Omelson Costume Designers ........................................................Sabena Sellnow & Karen Ejzak Academy Website & Advertising ..............................................................MicroNet, Inc. All Office ................................................................................................... (630) 495-4940 Fax: ............................................................................................................. (630) 495-4983 email: ............................................................... [email protected] Website: ............................................................www.theacademyofdanceartshome.com *Messages for all faculty and staff can be left in their mailboxes at the front desk. Artistic Staff Sherry Moray, Artistic Director & Founder ....................................(630)
    [Show full text]
  • Diplomarbeit
    DIPLOMARBEIT Titel der Diplomarbeit Das Ballett „Romeo und Julia“ in der Fassung der Wiener Staatsoper Verfasserin ODER Verfasser Judith Wansch angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2008 Studienkennzahl lt. Studienblatt: A 317 301 Studienrichtung lt. Studienblatt: Theaterwissenschaft Betreuerin / Betreuer: Ao. Univ.- Prof. Dr. Brigitte Marschall 1 Inhaltsverzeichnis Vorwort S. 4 Einleitung S. 5 1. Shakespeare und „The Tragedy of Romeo and Juliet“ 1.1. Zur Person William Shakespeare S. 7 1.2. Zur Entstehung von „The Tragedy of Romeo and Juliet“ S. 9 2. „The Tragedy of Romeo and Juliet“ 2.1. Zur Handlung S. 11 2.2. Die Figurenkonstellation S. 13 2.3. Zur Dramengestaltung S. 17 3. Sergej Prokofjew und seine Auseinandersetzung mit dem Werk „Romeo und Julia“ 3.1. Zur Person Sergej Prokofjew S. 20 3.2. Entstehungsgeschichte von Prokofjews „Romeo und Julia“ S. 24 3.3. Musik- und Ballettdramaturgie von Prokofjews „Romeo und Julia“ S. 26 4. Dramaturgische Akzente von Prokofjews Komposition und Shakespeares Dramaturgie S. 34 5. Die Anfänge des Tanzes 5.1. Die Entwicklung des rituellen Tanzes S. 37 5.2. Das klassische Ballett und seine Entstehung S. 38 5.2.1. Das Ballet de cour S. 38 5.2.2. Der Beginn des autonomen Bühnentanzes und das Ende des Ballet de cour S. 41 6. Der Tanz als künstlerisches Medium S. 46 6.1. Ausstattungsfaktoren als subjektive Wahrnehmungen S. 47 2 6.2. Dynamik S. 48 6.3. Motivation und Gestik S. 48 6.3.1. Gesten S. 50 6.3.1.a Soziale Gestik S. 50 6.3.1.b Funktionale Gestik S.
    [Show full text]
  • News from Elmhurst Patron HRH the Duchess of Cornwall Summer 2014
    News from Elmhurst Patron HRH The Duchess of Cornwall Summer 2014 Welcome... It seems like just yesterday that we celebrated the successes of last year and already we are preparing to welcome back the students for yet another great year. The summer period has been a time of great activity for the school, two hugely successful summer schools and the handover of the new boarding accommodation are just two highlights that spring to mind. Left to right, Peter Hawksworth, Robert Parker, Guest of Honour Gillian Lynne, Jessica Ward, Roy Shields; photo: Phil Hitchman On a personal note, this summer also saw my wedding to my long-term partner James Wheeler, hence the change of my name from Ward to work and energies of all staff and students in the creation of these. I feel Wheeler. I shall of course explain this to the students when term starts but very proud that our students show su ch great versatility in their dancing, wanted to share the name change with you. turning their hands to wonderful British choreography such as Ashton’s A Birthday Offering but equally able to get their teeth into challenging Having now completed four years at Elmhurst I continue to be incredibly steps set by William Forsythe in Second Detail ; this is admirable. proud of the students and staff, they are a credit to the school community. At Elmhurst we aim to be consistently outstanding in all that we do – Live, I would like to extend thanks to Birmingham Royal Ballet for continuing to Dance and Learn. It is of paramount importance to us to develop the whole be an inspiration to the students and for their ongoing support; we are person so that Elmhurst students are prepared for professional life beyond truly grateful.
    [Show full text]