DOCSLIB.ORG

A Study Guide by Marguerite O'hara

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Study Guide by Marguerite O'hara © ATOM 2011 A STUDY GUIDE BY MARGUERITE O’HARA http://www.metromagazine.com.au ISBN-13-978-1-74295-111-9 http://www.theeducationshop.com.au 2 1: TANJA LIEDTKE SELFPORTRAIT 2: SILOUHETTE FALLING 3: TANJA BATHROOM DANCE 4: TANJA IN MIRROR BYJULIANCROTTI 5: TWELFTH FLOOR SET CRY LIKE BIRDS CHALK BYJULIANCROTTI 3 1 LIFE IN MOVEMENT Dance, dance, otherwise we are lost. – Pina Bausch 5 Introduction The sudden death in 4 2007 of dancer and choreographer Tanja at twenty-nine. It is a portrait of an immense sense of loss felt by those Liedtke brings life into artist and a celebration of a life and of closest to her. sharp focus. A film contemporary dance, an art form to which Tanja Liedtke made such an im- For all these reasons, the film would about moving creatively portant contribution. It is also a story be a valuable resource for middle, through life and loss, about grief and loss. senior and tertiary students of all the Life in Movement is a Performing Arts, not just Dance, for portrait of an obsessive The footage, descriptions and discus- the insights it offers into a number of artist at work and the sions of contemporary dance in this themes that are central to any crea- film will be especially interesting to tive process leading to performance. impact her life and death students of performing arts such as These include: has on her collaborators. Dance, Drama and Music; however o The creative process (generating, this is essentially a film about the realising and responding) Curriculum Guidelines creative processes of an artist, about o The collaborative nature of perfor- the intensity of focus and passionate mance SCREEN EDUCATION © ATOM 2011 © ATOM SCREEN EDUCATION While Life in Movement is a film about dedication needed to bring new and o The role of a choreographer or a dancer and choreographer, it is challenging works to an audience. artistic director essentially an intimate and complex It is also a biographical portrait of a o The ways in which both confidence portrait of a young woman who had life in movement, a film that honours and doubt can be major well- already achieved a great deal as a and celebrates the work and life of springs of creativity. creative artist before her sudden death Tanja Liedtke, while also exploring the 2 2 1 3 4 1: COMPOSER DJTR!P 2: DIRECTOR/CO-PRODUCER BRYAN MASON (BY MATT BATE) 3: EXECUTIVE PRODUCER SUSAN MACKINNON (BY SUSAN MACKINNON) 4: PRODUCER/ CO-DIRECTOR SOPHIE HYDE (BY BRYAN MASON) 5: FILMMAKERS BRYAN MASON AND SOPHIE HYDE (BY BRYAN MASON) LIFE IN MOVEMENT IS A CLOSER PRODUCTION. It runs for 79 minutes. Part B is an introduction to contempo- There is also a 56-minute version. rary dance. It is about understanding 5 Director and Bryan Mason and exploring contemporary dance co-producer and choreography, particularly in the It would also be an excellent resource context of Tanja Liedtke’s contribution for Media, Film Studies and English Co-director and Sophie Hyde to this art. producer students as it offers a fine example of an approach to telling the story of a Writers Bryan Mason and Whether teachers select activities from person’s life and work – constructing a Sophie Hyde Part A or Part B first will depend on biography which is at the same time a their students’ level of knowledge and Executive Susan McKinnon tribute and memorial to that person. producers and Solon Ulbrich awareness of contemporary dance. Students who are studying Dance may The film includes footage of Tanja Cinematographer Bryan Mason be quite familiar with much of the ma- growing up, performing, developing Editor Bryan Mason terial in Part B, but for other students, and choreographing productions, as reading through the information in Part well as interviews with family, friends Composer Dj Tr!P B before watching Life in Movement and colleagues about her ongoing may be useful. influence on their lives and dance practices and how they responded to with her and were prepared to talk PART A the news of her unexpected death. It candidly about how her life and death MATERIAL AND ACTIVITIES offers a model of how to construct a affected them. portrait of a life by employing a range About Life in Movement of approaches and visuals. There are two sections in this guide. Part A is about the documentary – The Filmmakers SCREEN EDUCATION © ATOM 2011 © ATOM SCREEN EDUCATION The film’s co-directors, Bryan Mason what it shows us about Tanja Liedtke’s and Sophie Hyde, were friends of life and work and the impact her life Life in Movement won the 2011 Foxtel Tanja Liedtke and this friendship gave and death had on those around her. Australian Documentary Prize at the them not only access to a range of Students are also encouraged to look Sydney Film Festival as well as Best film footage of Tanja but also access at how the filmmakers construct the Feature in the 2011 South Austral- to friends and colleagues who worked narrative. ian Screen Awards. It won an ATOM 3 award for Best Arts Documentary. It has screened at the Edinburgh International Film Festival, the Sydney International Film Festival, Sheffield Documentary Festival, Melbourne International Film Festival, at Montreal and at the Adelaide Film Festival. It has been nominated for an Australian Academy of Cinema and Television Arts Award (AACTA) for Best Feature documentary and was also nominated for an ATOM Award for Best Biogra- phy (Documentary). Who appears in this documentary? Apart from Tanja Liedtke, many of the people featured in the film are fel- low dancers, colleagues and family members. They include: Solon Ulbrich, Kristina Chan, Paul White, Julian Crotti, Anton, Amelia McQueen, Theo Clinkard, Craig Bary, Joshua Tyler, PAUL WHITE Garry Stewart and Lloyd Newson. Sol Ulbrich is a performer, choreog- as Meryl Tankard, Lloyd Newson (DV8 rapher, teacher and arts manager and Physical Theatre) and Garry Stewart long-term artistic associate of Tanja (Australian Dance Theatre). Paul won Liedtke. He was also her partner for the 2008 and 2011 Helpmann Award eight years. He appears in the film and for the Best Male Dancer in a Dance or also worked on the film as an execu- Theatre Production, the 2010 Aus- tive producer. SOL ULBRICH tralian Dance Award for Outstanding Achievement in Choreography and has Kristina Chan. For the past eleven twice won the Australian Dance Award years she has performed throughout for the Most Outstanding Performance Australia, Canada, the UK and the by a Male Dancer (2008, 2010). USA and has danced with a number of contemporary dance companies Julian Crotti’s work centres on a including Australian Dance Theatre, range of performing arts. As a per- Chunky Move, Tasdance and many former: Superheroes (Stone/Castro independent projects. She has been 2010), Black Marrow (Chunky Move awarded two Australian Dance Awards 2009), Tanja Liedtke’s Twelfth Floor for ‘Outstanding Performance by a (2006/2010), Jet of Blood (Ignite 2006). Female Dancer’ for her work in both As an artist his original concepts drive KRISTINA CHAN of Tanja Liedtke’s full-length works: theatrical works that seek to com- in 2006 for Twelfth Floor and 2008 municate our current condition in a for construct. Kristina also received common language (Tom the Loneliest the 2011 Helpmann award for Best [No Strings Attached 2009], I’m Still Female dancer for her performance in Here, Parts I-V [Country Arts SA 2010], Narelle Benjamin’s In Glass. Put the Light on Me or The Trickle Down Economy [Lisbon 2010]). He has SCREEN EDUCATION © ATOM 2011 © ATOM SCREEN EDUCATION Paul White is one of Australia’s most worked as a writer, filmmaker, teacher highly regarded dance artists. His and photographer and has been career as a performer and artistic col- an associate artist with No Strings laborator has included working with Attached Theatre of Disability since some of the art form’s most renowned 2004. choreographers and directors such JULIAN CROTTI 4 Amelia McQueen graduated from Adelaide College of the Arts with a TANJA LIEDTKE A brief biography Bachelor of Dance Performance in 2000. Amelia has been an ensemble German born Tanja Liedtke began her member for diverse companies such dance and theatre studies in Madrid, as Tanz Atelier Wien (Vienna), Tas- then continued her training at the dance (Launceston), Stalker Theatre Elmhurst Ballet School and Ballet Company (Sydney) and Strange Fruit Rambert School in the UK. In 1996, (Melbourne). Under the direction of she took up residence in Sydney, Tanja Liedtke she developed a role for Australia and in 1998 joined the Australian Dance Theatre (ADT) under the dance theatre production Twelfth AMELIA MCQUEEN Floor that she performed in Australia, the directorship of Garry Stewart. the United Kingdom and Germany Tanja danced with ADT for four years, 2006-2009. As a teacher and mentor touring across Australia, Asia, UK she has worked as assistant director and North America. In 2003, she on the ‘Soft Landing’ project for ter- joined Lloyd Newson’s DV8 Physical tiary dance graduates through the QL2 Theatre for the award-winning Centre for Youth Dance (Canberra) Channel Four film and European annually since 2007, and in 2010 she tour of The Cost of Living and the was the artistic director of the Smoke- 2005 creation and international free Youth Dance Festival (1,200 tour of Just for Show. In between performers). Amelia has presented her performing, Tanja also pursued her own choreography in theatres and art development as a choreographer and galleries in Adelaide, Melbourne and ANTON was commissioned to create works in Amsterdam and she is currently under- Australia, South America, Europe and taking a solo performance residency for U.K.
Load more

Recommended publications
  • Anneliese Charek : Choreographer Quote +
    SLATE / ANNELIESE CHAREK CHOREOGRAPHER INTRODUCTION / Anneliese Charek is an American artist living in Shanghai. She is a choreographer, dancer and arts facilitator. She is the founder of SLATE contemporary dance company and co-founder of Basement 6 Collective. In her years in Shanghai she has choreographed and produced numerous projects, working both commercially and within the art world. ADDITIONAL LINKS / BRUTA / DANCE FILM https://vimeo.com/184608522 AS ONE / PERFORMANCE + DANCE FOR CAMERA https://vimeo.com/163123596 MOCA SHANGHAI https://vimeo.com/212465688 WAKE UP TO DREAMS / CHRONUS ART CENTER https://vimeo.com/176256055 ENVISION 2116 https://v.qq.com/x/page/z039966pnjq.html SLATE / SLATE contemporary dance company is multi-national group of professional dance artists active in Shanghai’s dance and arts scene. It was founded 2013 by Anneliese Charek, out of the desire to contribute to the independent dance scene is Shanghai. It’s members have included both local and international dance artists. The group has performed regularly at prominent institutions and as part of collaborations with local artists working in various mediums. Original pieces have been shown at: The Power Station of Art, Chronus Art Center, Minsheng Art Museum, Minsheng 21, MOCA Shanghai, Basement 6 Collective, ART021, A-Piece Gallery, Vision Art Center, and Hangzhou’s 1st International Dance Festival, 1933 Micro theater and many more. This year, the group’s documentary dance performance project ‘Why?’ Has been accepted to the main stage at the International Factory theater festival in Laiwu and Spazio Diamente theater in Rome for a collaboration with Italian dance company RITMI SOTTERANNEI.
    [Show full text]
  • 98Th ISPA Congress Melbourne Australia May 30 – June 4, 2016 Reimagining Contents
    98th ISPA Congress MELBOURNE AUSTRALIA MAY 30 – JUNE 4, 2016 REIMAGINING CONTENTS ACKNOWLEDGEMENT OF PEOPLE & COUNTRY 2 MESSAGE FROM THE MINISTER FOR CREATIVE INDUSTRIES, 3 STATE GOVERNMENT OF VICTORIA MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, ARTS CENTRE MELBOURNE 4 MESSAGE FROM THE DIRECTOR OF PROGRAMMING, ARTS CENTRE MELBOURNE 5 MESSAGE FROM THE CHAIR, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 6 MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 7 LET THE COUNTDOWN BEGIN: A SHORT HISTORY OF ISPA 8 MELBOURNE, AUSTRALIA 10 CONGRESS VENUES 11 TRANSPORT 12 PRACTICAL INFORMATION 13 ISPA UP LATE 14 WHERE TO EAT & DRINK 15 ARTS CENTRE MELBOURNE 16 THE ANTHONY FIELD ACADEMY SCHEDULE OF EVENTS 18 THE ANTHONY FIELD ACADEMY SPEAKERS 22 CONGRESS SCHEDULE OF EVENTS 28 CONGRESS PERFORMANCES 37 CONGRESS AWARD WINNERS 42 CONGRESS SESSION SPEAKERS & MODERATORS 44 THE ISPA FELLOWSHIP CHALLENGE 56 2016 FELLOWSHIP PROGRAMS 57 ISPA FELLOWSHIP RECIPIENTS 58 ISPA STAR MEMBERS 59 ISPA OUT ON THE TOWN SCHEDULE 60 SPONSOR ACKNOWLEDGEMENTS 66 ISPA CREDITS 67 ARTS CENTRE MELBOURNE CREDITS 68 We are committed to ensuring that everyone has the opportunity to become immersed in ISPA Melbourne. To help us make the most of your experience, please ask us about Access during the Congress. Cover image and all REIMAGINING images from Chunky Move’s AORTA (2013) / Photo: Jeff Busby ACKNOWLEDGEMENT OF PEOPLE MESSAGE FROM THE MINISTER FOR & COUNTRY CREATIVE INDUSTRIES, Arts Centre Melbourne respectfully acknowledges STATE GOVERNMENT OF VICTORIA the traditional owners and custodians of the land on Whether you’ve come from near or far, I welcome all which the 98th International Society for the Performing delegates to the 2016 ISPA Congress, to Australia’s Arts (ISPA) Congress is held, the Wurundjeri and creative state and to the world’s most liveable city.
    [Show full text]
  • Vanishing Point Shian
    Presented by Arts House as part of Dance Massive Vanishing Point A Shian Law Image: James Wright H S Tue 14 – Sat 18 Mar, 8.45pm 60 mins 1 artshouse.com.au Creative Team Artist Statement Shian Law Benjamin Hurley A séance In a society that would have this Choreographer Understudy Phillip Adams Cam Mclachlan Creating the history mean nothing, there is something Collaborating Assistant Calling the never-born work from essential about the work that was Choreographer Alison Halit the grave, never quite made never made Deanne Butterworth Producer Collaborating Sheridan Gerrald, Living a life of purgatory along the The work being made as we speak Choreographer Thomas Woodman, margin of marginal dance histories Which is to say the work that cannot Jo Lloyd Benjamin Hurley, Milo in Australia be known before it is made, may be Collaborating Hyde, Cam McLachlan, Choreographer/ Luke Fryer, Ellen Davies, At the same time central, crucial never made Dramaturg Emma Riches, Mossy (The only ones, perhaps) But is wished for Matthew Adey Pebbles Though there are always margins to A work whose future is not known, Set & Lighting Designer Performers for James Wright Performance Lecture: the margins and history is kind to no but which we must nonetheless Video Artist/ Grey Area, FUCKDOG one once you’re dead create and make to ever see Cinematographer/Editor Michael McNab (The memory as a weak organ, or: But how to convince other people Christine Francis Musician for Performance Photographer Lecture: FUCKDOG a fact proved wrong by dance) that it is a work?
    [Show full text]
  • Choreographic Performance Systems
    Choreographic Performance Systems Johannes Birringer Digital Performance Around the turn of the millennium reviewers noted that the marriage of dance and technology had produced a few significant works which startled audiences and shifted attention to what we now call digital performance. While the growth of computer-based art is an accepted phenomenon in globalized technological cultures, the genre of digital performance is still adolescent and thus in need of historical and conceptual underpinnings.1 The more sustained lineage of dance on screen and multimedia performances which incorporate projections of screen images offers a background for understanding the compatibility between live dance and the moving image, yet the incursion of software into choreographic working process is a different matter. Digital performance, to begin, is not a screen-based medium. Rather, it is characterized by an interface structure and computational processes that are integral for composition, evolving content, aesthetic techniques, interactive configurations and delivery forms. In many instances, the integration of human-machine interfaces implies the design of interactive systems, with 3D motion sensing set ups (for example Kinect) or wearable instruments that control real-time synthesis of digital outputs. Installation architectures compete with the stage – contextual design of programmable systems becomes a new form of architecture, protocol, and bio-informatic space. In the following, I review the historical development of video-dance, motion capture,
    [Show full text]
  • New Breed 2016 Meet the New Breed of Australian Dance Creators
    MEDIA RELEASE August 01, 2016 For immediate release NEW BREED 2016 MEET THE NEW BREED OF AUSTRALIAN DANCE CREATORS 29 November – 10 December 2016, Carriageworks Sydney Dance Company and Carriageworks announce four up-and-coming Australian choreographers commissioned to create new works for the acclaimed New Breed initiative thAt supports AustrAliA’s next generation of dance-makers. NEW BREED is made possible by Co-presented by two of Australia’s most dynamic arts organisations – Carriageworks and Sydney Dance Company – with generous support from THe Balnaves Foundation, New Breed 2016 will provide Australian cHoreograpHers RacHel Arianne Ogle (Perth), SHian Law (Melbourne), Jesse Scales (Hobart) and RicHard Cilli (Perth) with an invaluable opportunity to work with Australia’s finest contemporary dancers on the creation of a newly commissioned dance piece. THe four new works created by the New Breed 2016 cHoreograpHers will be presented at Sydney’s premier multi-arts precinct, Carriageworks, from 29 November to 10 December 2016. Sydney Dance Company and Carriageworks’ New Breed initiative made its debut in November 2014, supporting five young Australian cHoreograpHers througH the creation and presentation of unique new dance works. Two sold out seasons in 2014 and 2015 ensued. Following the New Breed program, Adelaide-based New Breed 2014 cHoreograpHer Gabrielle Nankivell was the recipient of the 2015 Tanja Liedtke FellowsHip for her work Wildebeest. Wildebeest will now be part of Sydney Dance Company’s stunning new double bill Untamed, performed alongside Artistic Director Rafael BonacHela's latest work, Anima. New Breed 2015 premiered to mucH acclaim in LudwigsHaven, Germany and to meet the demand for tickets in Australia, the Sydney season was extended.
    [Show full text]
  • Québec) Canada H2T 1Y6
    4528, rue de Bullion Montréal (Québec) Canada H2T 1Y6 PHOTO: ANGELO BARSETTI WWW.LOUISELECAVALIER.COM INTERNATIONAL AGENT (EXCEPT EUROPE): MENNO PLUKKER THEATRE AGENT \ [email protected] T.: 1 514-524-7119 \ F.: 1 514-526-5792 TOURING EUROPE: ANNE-LISE GOBIN, ALMA OFFICE \ [email protected] \ T.: 32 499 25 00 18 ADMINISTRATIVE DIRECTOR: JACINTHE ST-PIERRE \ [email protected] \ T.: 1 450-535-6003 TOUR AND COMMUNICATIONS COORDINATOR: ANNE VIAU \ [email protected] \ T.: 1 514 273-5478 \ Cell.: 1 514 464-5478 TECHNICAL DIRECTOR: PHILIPPE DUPEYROUX \ [email protected] \ T.: 1 514 222-6685 louise LECAVALIER \ Nigel CHARNOCK \ Édouard LOCK CHILDREN Premiere: September 3, 4, 2009, Oriente Occidente Festival, Rovereto, Italy Choreography: Nigel Charnock Dancers: Louise Lecavalier, Patrick Lamothe Music: Puccini (Maria Callas), Yasar Akpence, Leonard Cohen, Miles Davis, Billie Holiday, Terry Snyder, Sonny Terry & Brownie McGhee, Richard Desjardins, Janis Joplin, Michael Nyman Lighting design: Alain Lortie Costume maker: Carré vert, Montréal Sound editing: Nigel Charnock Rehearsal mistress and artistic advisor: France Bruyère Length: 50 minutes A FEW MINUTES OF LOCK Premiere: December 4, 5, 2009, tanzhaus nrw, Düsseldorf, Germany Choreography: Édouard Lock, excerpts of Salt and 2 Dance re-creation: France Bruyère, Louise Lecavalier Dancers: Louise Lecavalier, Keir Knight, with the participation of Patrick Lamothe Lighting design: Alain Lortie Music: Iggy Pop Remixing producer: Normand-Pierre Bilodeau Additional electric
    [Show full text]
  • Chief Executive's Review
    ANNUAL REPORT 2010-2011 Department of the Premier and Cabinet State Administration Centre 200 Victoria Square Adelaide SA 5000 GPO Box 2343 Adelaide SA 5001 ISSN 0816‐0813 For copies of this report please contact Corporate Affairs Branch Services Division Telephone: 61 8 8226 5944 Facsimile: 61 8 8226 0914 . The Hon Mike Rann MP Premier of South Australia 200 Victoria Square ADELAIDE SA 5000 Dear Premier I am pleased to submit to you the Annual Report of the Department of the Premier and Cabinet for the year ended 30 June 2011. The Report has been prepared in accordance with the requirements of the Public Sector Act 2009, the Act’s accompanying regulations, the financial reporting requirements of the Public Finance and Audit Act 1987 and DPC Circular PC013 ‐ Annual Reporting Requirements. It demonstrates the scope of activities undertaken by the Department in meeting our targets for all departmental programs including the South Australia’s Strategic Plan targets for which we have lead agency responsibility. It also provides evidence of our performance in key areas, financial accountabilities and resource management. Yours sincerely Jim Hallion Chief Executive / /2011 Contents Contents ............................................................................................................................................ 2 Chief Executive’s Review................................................................................................................... 4 Our Department...............................................................................................................................
    [Show full text]
  • Juilliard Dance
    Juilliard Dance Senior Graduation Concert 2019 Welcome to Juilliard Dance Senior Graduation Concert 2019 Tonight, you will experience the culmination of a transformative four-year journey for the senior class of Juilliard Dance. Through rigorous physical training and artistic and intellectual exploration, all of the fourth-year dancers have expanded the possibilities of their movement abilities, stretching beyond what they thought possible when entering the program as freshmen. They have accepted the challenge of what it means to be a generous citizen artist and hold that responsibility close to their hearts. Chosen by the dancers, the solos and duets presented tonight have been commissioned for this evening or acquired from existing repertory and staged for this singular occasion. The works represent the manifestation of an evolution of growth and the discovery of their powerfully unique artistic voices. I am immensely proud of each and every fourth-year artist; it has been a joy and an honor to get to know the senior class, a group of individuals who will inevitably change the landscape of the field of dance as it exists today. Please join me for a standing ovation, cheering on the members of the class of 2019 as they take the stage for the last time together in the Peter Jay Sharp Theater. Well done, dancers—we thank you for your beautiful contributions to our Juilliard community and to the world beyond our campus. Sincerely, Little mortal jump Alicia Graf Mack Director, Juilliard Dance Cover: Alejandro Cerrudo's This page: Collaboration
    [Show full text]
  • Swallow Program
    RIVERSIDE THEATRES PRESENTS NATIONAL THEATRE OF PARRAMATTA BY STEF SMITH THEATRE 21 – 30 APRIL FROM THE FROM LORD FROM FROM HON TROY MAYOR CLR NATIONAL ROBERT GRANT MP PAUL GARRAD THEATRE OF LOVE PARRAMATTA DIRECTORATE DEPUTY PREMIER LORD MAYOR DIRECTOR MINISTER FOR JUSTICE AND PARRAMATTA CITY COUNCIL RIVERSIDE THEATRES POLICE, MINISTER FOR THE As Lord Mayor of Parramatta I am Riverside has always wanted and ARTS, MINISTER PAULA ABOOD, excited to welcome you to the first needed a resident theatre company FOR RACING WAYNE HARRISON AM, production from National Theatre of S. SHAKTHIDHARAN, to be truly a lively and distinctive Welcome to the inaugural Parramatta, Swallow. The launch of ANNETTE SHUN WAH performance venue. We need artists production from National Theatre the theatre company last November in situ interpreting local issues of the of Parramatta, Swallow. marked the culmination of years of A new theatre is cause for day, working with the local community celebration. A new national theatre The NSW Government is proud planning and its debut season of and giving the place a creative heart, is an opportunity to capture the to be part of a multi-year funding performances is highly anticipated. an enquiring mind and a soul that can creative diversity of the nation. As agreement in 2015 that lead to the National Theatre of Parramatta is a take flight. Now we have our own the inaugural production of National dream that was National Theatre of wonderful addition to the cultural National Theatre of Parramatta that Theatre of Parramatta, Swallow Parramatta, becoming a reality. On landscape here in the heart of Global aims to put the nation on stage.
    [Show full text]
  • SPLIT PRO 01.Pdf (594.4Kb)
    Presented by Arts House as part of Dance Massive Split A Lucy Guerin Inc Image: Gregory Lorenzutti H S Thu 16 – Sat 18 Mar, 7pm & Thu 23 – Sat 25 Mar, 7pm & Sun 19 & Sun 26 Mar, 3pm 50 mins 1 artshouse.com.au Creative Team Artist Statement Lucy Guerin The inspiration for Split came from ending ways in which women Choreographer/Director Melanie Lane & a desire to get into the studio with must conform to a ridiculous ideal. Lilian Steiner just two dancers. Having worked on In Split it is what the body does Dancers some larger pieces over the last as much as what it is that is Scanner Composer couple of years, I wanted that luxury important. Paul Lim of closeness with the dancers, to Lighting Designer play and search in a low pressure Heartfelt thanks to Lilian and Harriet Oxley Costume Designer environment. This for me is the joy Melanie for their courage and Robin Fox of dance making, a chance to burrow commitment to this work. Their Sound Designer into the pure elements of patience and diligence is very Jessie Oshodi Dancer Understudy choreography; time, space, structure apparent, and the gravity and Tra Mi Dinh and the movement of the human concentration that they bring to Dancer Secondee body. And to allow content to the choreography are vital to its James Lipari Production Manager develop from that process which realisation. Annette Vieusseux has resonance in the world. Producer Their willingness to engage in Claire Bradley Duke Assistant Producer Split shifts between two bodies, the creative process not just as reconciled and in conflict.
    [Show full text]
  • New Breed 2019 August 2019
    Media Release For immediate release Sydney Dance Company and Carriageworks, in conjunction with The Balnaves New Breed 2019 Foundation, announce four Australian choreographers commissioned to create works for the acclaimed New Breed initiative that supports Australia’s next generation of choreographers. Meet the new breed of ‘★★★★ Full of a wonderful sense of adventure, but also with the choreographic and Australian dance theatrical nous to pull off an eclectic and consistently satisfying night of dance.’ – TimeOut creators Co-presented by Carriageworks and Sydney Dance Company – with the generous support of The Balnaves Foundation, New Breed 2019 will provide Australian choreographers Josh Mu (Melbourne), Lauren Langlois (Melbourne), Ariella Casu (Sydney) and Davide Di 28 Nov – 7 Dec Giovanni (Sydney) with an invaluable opportunity to work with Australia’s leading Carriageworks, Sydney contemporary dance company on a newly commissioned dance piece. Showcasing a rich diversity of choreographic ideas, this talented group of emerging choreographers will create brand new pieces on members of Sydney Dance Company. These four new works will comprise the New Breed 2019 season from 28 November to 7 December. The New Breed initiative made its debut in November 2014, supporting five emerging Australian choreographers through the commissioning and presentation of new dance work. Four sold out seasons in 2014, 2015, 2016, 2017 and 2018 ensued. The sixth instalment in the New Breed initiative will see Carriageworks, Sydney Dance Company and The Balnaves Foundation continue their commitment to the future of Australian contemporary dance, by supporting independent choreographers Josh Mu, Lauren Langlois, Ariella Casu and Davide Di Giovanni. From August, these dance makers will benefit from the extensive support of all the departments of Sydney Dance Company in readiness for their premiere season at Carriageworks, later this year.
    [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]