John Full Biography Jan 2014
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England LEA/School Code School Name Town 330/6092 Abbey
England LEA/School Code School Name Town 330/6092 Abbey College Birmingham 873/4603 Abbey College, Ramsey Ramsey 865/4000 Abbeyfield School Chippenham 803/4000 Abbeywood Community School Bristol 860/4500 Abbot Beyne School Burton-on-Trent 312/5409 Abbotsfield School Uxbridge 894/6906 Abraham Darby Academy Telford 202/4285 Acland Burghley School London 931/8004 Activate Learning Oxford 307/4035 Acton High School London 919/4029 Adeyfield School Hemel Hempstead 825/6015 Akeley Wood Senior School Buckingham 935/4059 Alde Valley School Leiston 919/6003 Aldenham School Borehamwood 891/4117 Alderman White School and Language College Nottingham 307/6905 Alec Reed Academy Northolt 830/4001 Alfreton Grange Arts College Alfreton 823/6905 All Saints Academy Dunstable Dunstable 916/6905 All Saints' Academy, Cheltenham Cheltenham 340/4615 All Saints Catholic High School Knowsley 341/4421 Alsop High School Technology & Applied Learning Specialist College Liverpool 358/4024 Altrincham College of Arts Altrincham 868/4506 Altwood CofE Secondary School Maidenhead 825/4095 Amersham School Amersham 380/6907 Appleton Academy Bradford 330/4804 Archbishop Ilsley Catholic School Birmingham 810/6905 Archbishop Sentamu Academy Hull 208/5403 Archbishop Tenison's School London 916/4032 Archway School Stroud 845/4003 ARK William Parker Academy Hastings 371/4021 Armthorpe Academy Doncaster 885/4008 Arrow Vale RSA Academy Redditch 937/5401 Ash Green School Coventry 371/4000 Ash Hill Academy Doncaster 891/4009 Ashfield Comprehensive School Nottingham 801/4030 Ashton -
1 Engaging Minds, Informing Practice Tutors and Presenters Alice White, MA, BA (Hons) Embracing Social Media Alice Graduated
Engaging Minds, Informing Practice Tutors and Presenters Alice White, MA, BA (Hons) Embracing Social Media Alice graduated from Trinity Laban Conservatoire of Music and Dance in 2015 with a First Class Honours degree in Contemporary Dance, and went on to gain an MA in Dance Performance at the University of Chichester. Currently the Lead Press and Communications Officer at the Royal Academy of Dance, Alice has previously worked in marketing and communications at organisations such as Trinity Laban and The Place, gaining an in depth and confident understanding of social media strategy. Amelia Wilkinson, MSc Physiotherapy (pre-reg), MSc Dance Science, BA (Hons) Sociology, APPI certified Pilates Instructor Enhancing Silver Swans® Provision Amelia originally trained as a dancer at The Royal Ballet School and is now a dance science educator, physiotherapist and Pilates instructor. Her expertise in health and wellbeing is informed by both her dance for health and physiotherapy research. Most recently she examined community dwelling stroke survivors’ perceptions of upper limb dysfunction and its impact on quality of life. She currently works as a Health and Performance Enhancement Tutor across two Centre for Advanced Training programmes and delivers dance science CPD courses across the UK and internationally for the RAD. Caroline Palmer, ARAD (Dip. PDTC) Analysing Discovering Repertoire Choreographic Style with Benesh Notation Caroline trained in classical ballet in London with Andrew Hardie and Maria Fay. She danced professionally for 10 years mainly with the Deutsche Opera in Dusseldorf. In 1979 Caroline retrained as a teacher at the Royal Academy of Dance and subsequently taught on the degree course at Laban, London. -
British Ballet Charity Gala
BRITISH BALLET CHARITY GALA HELD AT ROYAL ALBERT HALL on Thursday Evening, June 3rd, 2021 with the ROYAL BALLET SINFONIA The Orchestra of Birmingham Royal Ballet Principal Conductor: Mr. Paul Murphy, Leader: Mr. Robert Gibbs hosted by DAME DARCEY BUSSELL and MR. ORE ODUBA SCOTTISH BALLET NEW ADVENTURES DEXTERA SPITFIRE Choreography: Sophie Laplane Choreography: Matthew Bourne Music: Wolfgang Amadeus Mozart – Gran Partita and Eine kleine Nachtmusik Music: Excerpts from Don Quixote and La Bayadère by Léon Minkus; Dancers: Javier Andreu, Thomas Edwards, Grace Horler, Evan Loudon, Sophie and The Seasons, Op. 67 by Alexander Glazunov Martin, Rimbaud Patron, Claire Souet, Kayla-Maree Tarantolo, Aarón Venegas, Dancers: Harrison Dowzell, Paris Fitzpatrick, Glenn Graham, Andrew Anna Williams Monaghan, Dominic North, Danny Reubens Community Dance Company (CDC): Scottish Ballet Youth Exchange – CDC: Dance United Yorkshire – Artistic Director: Helen Linsell Director of Engagement: Catherine Cassidy ENGLISH NATIONAL BALLET BALLET BLACK SENSELESS KINDNESS Choreography: Yuri Possokhov THEN OR NOW Music: Piano Trio No. 1, Op. 8 by Dmitri Shostakovich, by kind permission Choreography: Will Tuckett of Boosey and Hawkes. Recorded by musicians from English National Music: Daniel Pioro and Heinrich Ignaz Franz von Biber – Passacaglia for solo Ballet Philharmonic, conducted by Gavin Sutherland. violin, featuring the voices of Natasha Gordon, Hafsah Bashir and Michael Dancers: Emma Hawes, Francesco Gabriele Frola, Alison McWhinney, Schae!er, and the poetry of -
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. -
Taiwanese Eyes on the Modern: Cold War Dance Diplomacy And
Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tsung-Hsin Lee, M.A. Graduate Program in Dance Studies The Ohio State University 2020 Dissertation Committee Hannah Kosstrin, Advisor Harmony Bench Danielle Fosler-Lussier Morgan Liu Copyrighted by Tsung-Hsin Lee 2020 2 Abstract This dissertation “Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980” examines the transnational history of American modern dance between the United States and Taiwan during the Cold War era. From the 1950s to the 1980s, the Carmen De Lavallade-Alvin Ailey, José Limón, Paul Taylor, Martha Graham, and Alwin Nikolais dance companies toured to Taiwan under the auspices of the U.S. State Department. At the same time, Chinese American choreographers Al Chungliang Huang and Yen Lu Wong also visited Taiwan, teaching and presenting American modern dance. These visits served as diplomatic gestures between the members of the so-called Free World led by the U.S. Taiwanese audiences perceived American dance modernity through mixed interpretations under the Cold War rhetoric of freedom that the U.S. sold and disseminated through dance diplomacy. I explore the heterogeneous shaping forces from multiple engaging individuals and institutions that assemble this diplomatic history of dance, resulting in outcomes influencing dance histories of the U.S. and Taiwan for different ends. I argue that Taiwanese audiences interpreted American dance modernity as a means of embodiment to advocate for freedom and social change. -
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. -
Cran Ballet De Montecarlo Compañía, Del Marques De Cuev As Medjcamentos Con La
GRAN TEATRO DEL LICEO TERPORADA DE PRIBA 't'Jo;RA 1950 EMPRESA : JOSE F . ARQUER BABC¡¡;LONA CRAN BALLET DE MONTECARLO COMPAÑÍA, DEL MARQUES DE CUEV AS MEDJCAMENTOS CON LA I.A -~CA Of CONFIANZA LA QUÍMICA COMERCIAL Y FARMACÉUTICA, S. A. BARCELONA lo'AOJIO - ti\IAO - SEVIllA - v¡.UNCIA - VIGO Nombre• y Morc'ot reghttodot I GRAN TEATRO DFL UCEO El tono de Elegancia B & R CELOIW& EMPRBSA : DESU DISTINCION PE~SONAL JOSÉ F. ARQUER EXTIENDALO AL HOG~ EMBE DIRECCIÓ~ ARTÍSTICA : LLECIENDO SU AMBIENTE CON tA NAPOLEONE ANNOVAZZI Lencerla Arltslica Bordada TEMPORADA CALASANZ DE PRIMAV ERA DE 1950 q_UIEN LE OF&ECB DESDEt.ADE USO COR,&IENTE HASTA LAS GRAN BAL L ET MAS SELfCTAS CREA CI ONES PR.ESENTADAS EN EL MARCO DE MONTECA RLO UN ICO DESUS NUEVOSSA.l.ONES ~ RAMBLA DE CATALUÑA 1~1•Tet 27 9078 COMPAÑÍA DEL BAR e E L.,QNA MARQUÉS DE CUEVAS ORQUESTA SINFÓN1CA DEL GRAN TEATRO DEL LICE.O GRAN BALLET DE MUNIECARLD CDMPARIA DEL MARQUÉS llf CUEVAS Como el ba· llet es un arte expresivo <:n el que no existen obstaou)os d e i di om a, su aprcciación e s universal, y por ello es un arte de gt·an acepta. oión en estos mementos. La significación del ballet consiste en que no es un pretexto pa ' u bttilar, si no que la danza en un bulkt es el medio para ex pre:;ur una ides, o lo que es lo mismo, un arte rítmico y plas tico a la vez, nn movirniento en simbiosis completa con el rit mo, y con la música, y t·esultado o sumn de tres clementos: la música, la coreografia y PI dt>corado a través del movirniento y de la plastica. -
Copyright Marilyn J. La Vine © 2007 New York –
Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role Commencing with the year 1963, only the first performance of each new work to his repertoire is listed. London March 2,1970 THE ROPES OF TIME # The Traveler The Royal Ballet; Royal Opera House With: Monica Mason, Diana Vere C: van Dantzig M: Boerman London July 24,1970 'Tribute to Sir Frederick Ashton' Farewell Gala. The Royal LES RENDEZ-VOUS Ballet,- Royal Opera House Variation and Adagio of Lovers With: Merle Park Double debut evening. C: Ashton M: Auber London July 24,1970 APPARITIONS Ballroom Scene The Royal Ballet; Royal Opera House The Poet Danced at this Ashton Farewell Gala only. With: Margot Fonteyn C: Ashton M: Liszt London October 19, 1970 DANCES AT A GATHERING Lead Man in Brown The Royal Ballet; Royal Opera House With: Anthony Dowell, Antoinette Sibley C: Robbins M: Chopin Marseille October 30, 1970 SLEEPING BEAUTY Prince Desire Ballet de L'Opera de Morseille; Opera Municipal de Marseille With: Margot Fonteyn C: Hightower after Petipa M: Tchaikovsky Berlin Berlin Ballet of the Germon Opera; Deutsche Opera House November 21, 1970 Copyright Marilyn J. La Vine © 2007 New York – www.nureyev.org Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role SWAN LAKE Prince Siegfried With: Marcia Haydee C: MacMillan M: Tchaikovsky Brussels March 11, 1971 SONGS OF A WAYFARER (Leider Eines Fahrenden Gesellen) # Ballet of the 20#, Century; Forest National Arena The Wanderer With: Paolo Bortoluzzi C: Bejart M: Mahler Double debut evening. -
Chiarts Dance Overview and Audition Guide
CHIARTS DANCE OVERVIEW AND AUDITION GUIDE This guide is designed to help you prepare for the Dance conservatory audions and for considering ChiArts as an opon for your high school. ChiArts is a wonderfully creave and educaonal environment, and we take our work seriously. DECIDING IF CHIARTS DANCE IS RIGHT FOR YOU What can I expect from ChiArts Dance? Our programs are modeled on college-level Conservatory programs and tailored for high school students. It is a rigorous training program that is taught by professionals in their fields who have high standards of excellence and a commitment to training the next generaon of arsts. Classroom instrucon is supplemented by a variety of performance opportunies in which training is put into pracce. Whether or not a student chooses to ulmately pursue a career in the arts, the curriculum will provide a wide variety of learning opportunies and experiences that can benefit them throughout their lives and in whatever field they choose to pursue. What does ChiArts Dance expect from me? The school day at ChiArts is from 8 am to 5 pm and includes some evening rehearsals and events. Students must have stamina and focus throughout the enre day and must be commied to both academic and arts educaon. Students are expected to arrive to each Dance class on me, fully prepared to work with all of their materials and dedicated to their cra and community. Students should be open to praccing sustained focus, taking risks, and providing a safe learning environment for others. Your aendance affects the work of your peers as well as yourself. -
Curriculum Vitae Anjali Austin
Curriculum Vitae Anjali Austin Last Revised: December 13, 2013 General Information University address: School of Dance College of Visual Arts, Theatre and Dance 201 Montgomery Hall Florida State University Tallahassee, Florida 32306-2120 Phone: (850) 644-1024; Fax: (850) 644-1277 E-mail address: [email protected] Postdegree Education and Training 1996 Ballet Teachers Seminar, National Ballet School. Toronto, Canada. 1986–1995 Vocal Training, New York, NY. Studies: Musical Theatre. Instructors: Arabella Hong Young (1990-1995); Phyliss Grandy (1986-1989). 1990 Acting, Herbert Berghof Studios, New York, New York. Studies: Basic Acting Technique; Instructor: Salem Ludwig. 1978–1990 During this period I was a member of Dance Theatre of Harlem and worked with the following critically acclaimed ballet and contemporary teachers and choreographers. My experiences with these individuals included being cast in the restaging of classical and neo-classical ballets, new choreographic pieces, vocal roles and being coached, taught and mentored. Instructors: Geoffrey Holder, Louis Johnson, Frederick Franklin, Arthur Mitchell, Ruth Page, Glen Tetley, Valerie Bettis, John Taras, Terri Orr, Irina Nijinska, Alexandra Danilova, Agnes de Mille, Billy Wilson, John McFall. 1977–1975 Dance Theatre of Harlem - New York, New York. Major Studies: Classical and Contemporary Ballet, Pointe, Variations and Pas de Deux. Minor Studies: Contemporary, Modern, Graham, Jazz, Tap, West African Haitian, Character. 1975-1977 Instructors: Mary Barnett, Carmen de Lavallade, Alice Elliot, Vicki Fedine, William Glassman, Kathleen S. Grant, Mary Hinkson, Tanaquil Le Clercq, Arthur Mitchell, Melvin Purnell, Walter Raines, Victoria Simon, Karel Shook, Carol Sumner, Mel Tomlinson, DRAFT Vita for Anjali Austin Ann Tyus, Patricia Wilde. 1965–1973 Piano Training, San Francisco, California. -
(With) Shakespeare (/783437/Show) (Pdf) Elizabeth (/783437/Pdf) Klett
11/19/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation ISSN 1554-6985 V O L U M E X · N U M B E R 2 (/current) S P R I N G 2 0 1 7 (/previous) S h a k e s p e a r e a n d D a n c e E D I T E D B Y (/about) E l i z a b e t h K l e t t (/archive) C O N T E N T S Introduction: Dancing (With) Shakespeare (/783437/show) (pdf) Elizabeth (/783437/pdf) Klett "We'll measure them a measure, and be gone": Renaissance Dance Emily Practices and Shakespeare’s Romeo and Juliet (/783478/show) (pdf) Winerock (/783478/pdf) Creation Myths: Inspiration, Collaboration, and the Genesis of Amy Romeo and Juliet (/783458/show) (pdf) (/783458/pdf) Rodgers "A hall, a hall! Give room, and foot it, girls": Realizing the Dance Linda Scene in Romeo and Juliet on Film (/783440/show) (pdf) McJannet (/783440/pdf) Prokofiev’s Romeo and Juliet: Some Consequences of the “Happy Nona Ending” (/783442/show) (pdf) (/783442/pdf) Monahin Scotch Jig or Rope Dance? Choreographic Dramaturgy and Much Emma Ado About Nothing (/783439/show) (pdf) (/783439/pdf) Atwood A "Merry War": Synetic's Much Ado About Nothing and American Sheila T. Post-war Iconography (/783480/show) (pdf) (/783480/pdf) Cavanagh "Light your Cigarette with my Heart's Fire, My Love": Raunchy Madhavi Dances and a Golden-hearted Prostitute in Bhardwaj's Omkara Biswas (2006) (/783482/show) (pdf) (/783482/pdf) www.borrowers.uga.edu/7165/toc 1/2 11/19/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation The Concord of This Discord: Adapting the Late Romances for Elizabeth the -
93 the Cleopatra Ballerina Who Stays
SUNDAY TELEGRAPH March 21 1993 The Cleopatra ballerina who stays out in the cold Photo: Matthew Ford In a rare interview the great ballerina Lynn Seymour tells Ismene Brown why she's so wary of public attention A LOT of typewriter ribbon has frayed on the subject of Lynn Seymour. She is 'the greatest dramatic dancer of the era', according to Dame Ninette de Valois. Yet when she joined English National Ballet in 1989, one dancer told a newspaper contemptuously, 'She teaches with a beer can in one hand and a cigarette in the other. Who needs that?' Her image has see-sawed wildly between genius and Bad Girl. Both sides of the image are fed with plenty of material: consistently awestruck reviews of her dancing - and a considerable amount of backstage bitchery about her weight problems. Or drink problems. Or temper problems. Or man problems. Or money problems. These in turn were said to explain her absences from the stage. Where Fonteyn and Sibley sailed through their careers like galleons - in public, at least - Seymour's ship was always taking in water. It is unsurprising, then, that over the years she has avoided the press like the plague. I hadn't realised quite how scarred she is by publicity - or at least by her own view of what her public image is - until I met her last week. She had refused interview requests for her own recent appearances with Scottish Ballet as Lady Capulet, and with Northern Ballet Theatre in A Simple Man, but she agreed to 'do it for Derek's thing' - Derek being the film director Derek Jarman, who asked her to play the Russian ballerina Lydia Lopokova in his new film, Wittgenstein.