DOCSLIB.ORG

The Magazine of the British Ballet Organization Order Your Official BBO Dance Uniform with IDS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Magazine of the British Ballet Organization Order Your Official BBO Dance Uniform with IDS Dancerthe 2014 The Magazine of the British Ballet Organization Order your official BBO Dance Uniform with IDS Pink portable barre exclusive to “Best uniform we’ve IDS, visit ids.co.uk for more details. ever had. Very happy... it’s our 7th year with great quality and prices from IDS!” JOHN TRAVIS Chief Executive BBO Made in the UK Logoed bags and hooded tops also available! Trade Order your official BBO uniform now at Exclusive Enquiries Wholesale Only ids.co.uk +44 (0)1626 36 32 32 Prices The British Ballet Organization FOUNDERS Edouard Espinosa Louise Kay FOUNDER PRESIDENT Dame Ninette de Valois OM, CH, DBE PRESIDENT Order your Dame Beryl Grey DBE PATRONS official BBO Thomas Edur CBE Wendy Ellis Somes Dance Uniform Bonnie Langford Tandy Muir-Warden with IDS Agnes Oaks CBE Peter Schaufuss Wayne Sleep OBE Doreen Wells, Marchioness of Londonderry BOARD OF THE TRUSTEES Nicholas Espinosa (Chairman) Nigel Copeland FCA Laura Hartong Dame Sally Powell DBE Peter Rostron FCA JOINT CHIEF EXECUTIVE OFFICERS Pink portable barre exclusive to “Best uniform we’ve John Travis IDS, visit ids.co.uk for more details. Robin Bloor ever had. Very happy... it’s our 7th year with great quality and prices from IDS!” Contents JOHN TRAVIS 2 From the President – Dame Beryl Grey 24 BUSY BOYZ – the Ballet Boyz, Michael Nunn Chief Executive BBO 3 From the CEO – John Travis and William Trevitt, talk about their new projects 4 From Strength to Strength 30 BBO Annual Teaching Qualifications Awards 6 Discovering Dance at BBO Dance Days 2014 33 Your Legacy is the BBO’s Future Made in 10 Is Competitiveness Fashionable? 34 A Chance to Flourish – Learning from the UK 14 New BBO Scholars 2014 Positive Psychology 18 Quadruple Threat – Chris Hocking talks 36 News from BBO Patrons about his passion for Musical Theatre 37 A Royal Welcome for Rambert 20 A Passion for Teaching – The Royal Ballet 38 Quality Training Begins at a Young Age – Schools’ new Director, Christopher Powney, LSC’s new Junior Programme talks about his new post 39 IDS Dance School of the Year 22 Dance’s Miss Marple – the V&A’s Curator of Dance, Jane Pritchard MBE 40 BBO Personnel Cover Photo: Beryl Grey as Odette in Swan Lake c1959. the Logoed bags Photo: BBO trained, Adele Crisp, at Dance Days 2014. and hooded tops Photo by Tim Cross. also available! The BBO has made every effort to source and include Dancer photography credits within this issue of The Dancer. 2014 BBO LONDON HEADQUARTERS Trade Order your official BBO uniform now at Exclusive Tel: +44 (0) 20 8748 1241 1 Down Place Design and Print by Enquiries Wholesale Email: [email protected] Hammersmith Web: www.bbo.org.uk London W6 9JH Tel: 01895 619 900 – Email: [email protected] Only ( ) Prices ids.co.uk +44 0 1626 36 32 32 © The Dancer 2014 BBO The Dancer Magazine – 2014 1 From the President – Dame Beryl Grey DBE “I would like to extend my thanks to all dance teachers who work so hard bringing something of true value into so many lives.” Dame Beryl Grey at the BBO Teachers’ Dinner in 2009. Photo by Elaine Mayson. “As the BBO heads confidently towards its 85th Change is inevitable and must be embraced; but “Long may the BBO anniversary year, it is a pleasure and an honour to not without remembering one’s origins and the preside as its President. In the tradition of the very foundations upon which one’s philosophies thrive and long may great Espinosa family, the Organization has grown have been built. The BBO has celebrated its past it inspire generations significantly over the years. Through dedication, and the Espinosa family’s unique contribution to loyal teachers, continuity, achievement and sheer dance across three centuries. Thankfully, it has of dancers and their determination, the BBO has earned its reputation always had a firm grip on its future too. Over the teachers.” as one of the very best dance training providers in past year, the BBO has faced more transition and the country. I am proud that my links with an change than ever before and it is so reassuring, as organisation, with such a distinguished pedigree, President, to witness the ambition and conviction go back to my childhood – 1931 to be precise! with which it is developing and securing its future for the next 85 years and beyond. It was with the BBO, and its Founder – Edouard Espinosa, that I took my very first ballet Dance has so much to offer and teachers today examination. I was three years old and it has are more important than ever to society. Dance become a most treasured memory. It was the first teaching is an art form and carries with it of many happy visits to the BBO which, over the tremendous responsibility. I would like to extend years, have included award ceremonies, reunions my thanks to all dance teachers who work so and special anniversary galas. Most recently, I was hard bringing something of true value into so asked to speak at the farewell gathering, following many lives. the sale of Woolborough House –the BBO’s much-loved home in Barnes, London. This was Having been closely associated with the BBO for particularly nostalgic for me, having spent many many years, I am continually impressed with the happy and memorable times there. quality of its work and greatly admire the principles upon which it is based. I am enjoying helping to shape the future of this inspiring organisation which plays a pivotal role in the dance world, both in the UK and internationally. 2 BBO The Dancer Magazine – 2014 From the Chief Executive – John Travis John Travis with special guests, Max Maslen and Brandon Lawrence of the Birmingham Royal Ballet, at Dance Days 2014. The past year has been one of great change in the world of the BBO, as Beginning with the ballet, then moving onto modern and tap, we are we bade farewell to Woolborough House and moved the Organization to undertaking a detailed consultation process involving industry experts, with its temporary Headquarters in Hammersmith. As we continue the search careful consideration being given to the feedback provided by our members. for larger premises in central London, which will allow us to expand our programmes and realise our vision for the future, the innate strength and The idea is not to completely overhaul our existing syllabi, but to build upon ambition at the core of the Organization have never been more apparent. the success of the current work and ensure that our syllabi are available The BBOis entering a new era in its history and we are primed for the through a wider range of media, including via the website. Teachers can challenges ahead. be assured that the Organization will provide all the support necessary for teachers to learn the new or reviewed work. Alongside ourongoing search for a new home, which we hope will be concluded in time for our 85th Anniversary in 2015, the BBO is firmly In addition to strengthening our presence in the UK, we are also focused focused on strengthening communication with its members and updating on developing our infrastructure overseas. Earlier this year, following its brand, to ensure that it is providing the most relevanttraining in the most the reorganisation of our Australian and New Zealand branches, BBO accessible ways. Australasia was born. This had been under review for some time and I am delighted that it has now come to fruition. I am very grateful to all our Our proposed rebrand will place our vision for development at the heart teachers and examiners from both countries for their support in this venture, of every facet of our business, offering the fresh, bold identity we need and particularly, to Liz Derby, for heading up BBO’s Australasian operations, to support our ambitious expansion plans. The rebrand, which we aim supported in New Zealand by Ann Judson and Heather Brunsdon. to launch in early 2015, will be reflected in a new logo and revised digital strategy, comprising an updated website and more prominent social media presence. At the BBO, we pride ourselves on our commitment to reaching I would also like to pay tribute to Prue Gooch for the many years out to young people through dance and it is imperative that we establish a of hard workshe devoted to raising the standards of BBO New more robust digital platform from which to reach further into communities. Zealand. Her passion for dance and knowledge of the ballet syllabus in particular, was second to none. On behalf of the New Zealand An integral part of the rebrand will also involve reviewing our syllabi to Teachers and the entire Organization, I would like to say a very ensure they retain their reputation for artistic quality, whilst being informative, special thank you to Prue, who recently took the decision to stand up to date with current practice and user-friendly. down from her position with the BBO. BBO The Dancer Magazine – 2014 3 From the Chief Executive – John Travis John Travis with BBO President, Dame Beryl Grey at Markova House at the 2013 reunion for London Festival Ballet Members. Photo courtesy of Photobox. I had the pleasure of visiting Australia and New The BBO was deeply saddened to hear of the Zealand again this year, (with Simon Horrill and passing of two prominent figures from the dance Damien Delaney), and judging by the success profession this year; Gailene Stock CBE AM of Dance Days and the various BBO events we (1946-2014) and David Wall CBE (1946-2013).
Load more

Recommended publications
  • The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
    UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community.
    [Show full text]
  • Family Arts Conference Friday 13 March, Cadogan Hall & Royal Court
    Family Arts Conference Friday 13 March, Cadogan Hall & Royal Court Theatre, London Delegate list First Name Surname Job Title Company Sam Adams Marketing Co-ordinator Salisbury Arts Centre Jacob Adams Festival Project Manager Attitude is Everything Jill Adamson Head of Engagement & Learning Hull Truck Theatre Sasha Alsop Development Co-ordinator ITC Olivia Amory Communications Co-ordinatory ITC Fiona Anderson Development Director artsdepot Rosie Angus Project manager, Schools Stellar Libraries CIC Susannah Armitage Producer Vox Motus Imogen Armstrong Director of Business development Family and Childcare Trust Katy Arnander Director of Artistic Programme Sadler's Wells Lucy Bampton Relationship Manager, Engagement and Audiences Arts Council England Chris Batstone Juice Festival Artistic Director NewcastleGateshead Initiative Alison Beattie Producer Story Pocket Theatre Stephen Beeny Communications Manager Half Moon Bryony Bell Learning & Participation Manager The Bridgewater Hall Jill Bennison Festival Co-ordinator Northern Children's Book Festival Neil Bennison Music Programme Manager Theatre Royal Nottingham Sudha Bhuchar Artistic Director Tamasha Theatre Company Annie Biddlecombe Regional Programming Ambassador Theatre Group Sarah Bird Director Wild Rumpus Jessica Birtwistle Marketing Campaigns Officer mac birmingham Charles Bishop General Manager Theatre Centre Christopher Block Participation Administrator Bournemouth Symphony Orchestra Matthew Blyth Audience Development Officer Arts Centre Washington Jay Bourley Theatre Manager ATG:
    [Show full text]
  • 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
    [Show full text]
  • Student Non-Academic Misconduct Policy and Procedures
    Conservatoire for Dance & Drama Student Non-Academic Misconduct Policy & Procedures Student Non-Academic Misconduct Policy and Procedures Contents Section of Policy Contents of Section See Page No Introduction 4 1. Scope and Non-academic misconduct 5 Definitions of Professional Conduct Student Misconduct relating to admissions Misconduct Absence and withdrawal/non-engagement relating to this including: process Misconduct and School Rules, Regulations and Obligations Misconduct which is also a criminal offence 2. Definitions and Presumption of Innocence 10 Policies Burden of Proof Legal Context Anonymous Allegations Confidentiality Emergency Powers Complaints regarding the Misconduct Procedures Impact of misconduct procedures on academic studies Timescales Failure to comply with decisions 3. Misconduct Informal procedures 13 Procedures Informal warnings Formal Procedures Suspected Misconduct Concerns: Preliminary Enquiry Preliminary Enquiry Procedure Preliminary Enquiry Interview Process Preliminary Enquiry Findings and Outcomes o Preliminary Enquiry Findings o Preliminary Enquiry Outcomes 4. Misconduct Proceedings of Panel Hearings 17 proceedings: o Representation and Accompaniment; Witnesses General o Evidence Provisions o Adjournment 1 Conservatoire for Dance & Drama Student Non-Academic Misconduct Policy & Procedures 5. Misconduct Terms of Reference 18 Panel What the School will send to the student o Misconduct Panel Misconduct Panel Hearing Procedure Misconduct Panel Outcomes o Outcome Procedure o Finding(s)
    [Show full text]
  • 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.
    [Show full text]
  • ISPA International Society for the Performing Arts
    International Society for the ISPA Performing Arts TODAY’S FUTURE FOR THE ARTS NEW YORK CONGRESS JANUARY 8–10, 2019 Theatre buildings by theatre people for theatre people. Clockwise from top left: Linbury Theatre, Royal Opera House; The Yard at Chicago Shakespeare Theater; Hudson Theatre, Broadway; Studio Theatre, Bristol Old Vic. MESSAGE FROM THE CHAIR OF ISPA Dear Friends, ransitions. We all think about them. Some of us worry about them. But we are all impacted by them. As much as we may try to be present each moment of our days, it is the rare person who does not ponder what comes next. Transitions can be as exhilarating as they are scary. In these times of rapid-fire change and volatility (mostly beyond our personal control), it is Teasy to default to a position of wanting to hang on to what we know. Stay the course. Be steady. Reduce risk. WELCOME Yet continuing to do the same thing that works for us today may be the very act that fails us tomorrow. Our Congress Co-chairs Collette Brennan and Steinunn Ragnarsdóttir have given us a brilliantly provocative theme to consider with an array of thought-leaders from within our field and beyond offering varied perspectives on how we might navigate the inevitability of the transitions we encounter. For me, transitions is a particularly apt theme as I prepare to pass on the chairmanship of ISPA to our colleague Tisa Ho. As an ISPA member for 20 years and board member for most of that time, I have been fortunate to work with so many gifted members who have given selflessly in leading ISPA through incredible Transitions.
    [Show full text]
  • Come up to the Lab a Sciart Special
    024 on tourUK DRAMA & DANCE 2004 COME UP TO THE LAB A SCIART SPECIAL BOBBY BAKER_RANDOM DANCE_TOM SAPSFORD_CAROL BROWN_CURIOUS KIRA O’REILLY_THIRD ANGEL_BLAST THEORY_DUCKIE CHEEK BY JOWL_QUARANTINE_WEBPLAY_GREEN GINGER CIRCUS_DIARY DATES_UK FESTIVALS_COMPANY PROFILES On Tour is published bi-annually by the Performing Arts Department of the British Council. It is dedicated to bringing news and information about British drama and dance to an international audience. On Tour features articles written by leading and journalists and practitioners. Comments, questions or feedback should be sent to FEATURES [email protected] on tour 024 EditorJohn Daniel 20 ‘ALL THE WORK I DO IS UNCOMPLETED AND Assistant Editor Cathy Gomez UNFINISHED’ ART 4 Dominic Cavendish talks to Declan TheirSCI methodologies may vary wildly, but and Third Angel, whose future production, Donnellan about his latest production Performing Arts Department broadly speaking scientists and artists are Karoshi, considers the damaging effects that of Othello British Council WHAT DOES LONDON engaged in the same general pursuit: to make technology might have on human biorhythms 10 Spring Gardens SMELL LIKE? sense of the world and of our place within it. (see pages 4-7). London SW1A 2BN Louise Gray sniffs out the latest projects by Curious, In recent years, thanks, in part, to funding T +44 (0)20 7389 3010/3005 Kira O’Reilly and Third Angel Meanwhile, in the world of contemporary E [email protected] initiatives by charities like The Wellcome Trust dance, alongside Wayne McGregor, we cover www.britishcouncil.org/arts and NESTA (the National Endowment for the latest show from Carol Brown, which looks COME UP TO Science, Technology and the Arts), there’s THE LAB beyond the body to virtual reality, and Tom Drama and Dance Unit Staff 24 been a growing trend in the UK to narrow the Lyndsey Winship Sapsford, who’s exploring the effects of Director of Performing Arts THEATRE gap between arts and science professionals John Kieffer asks why UK hypnosis on his dancers (see pages 9-11).
    [Show full text]
  • 2019-20 Drama School V. University Choosing the Right Path for Your Future out of the Spotlight Speak the Speech, Training and Careers I Pray You
    STUDENT GUIDE TO www.dramaandtheatre.co.uk/SGDE 2019-20 Drama School v. university Choosing the right path for your future Out of the spotlight Speak the speech, Training and careers I pray you... beyond performance Choosing and preparing monologues Comprehensive advice for those applying to study or train in any aspect of the performing arts 001_SGDE_COVER [APPROVED].indd 1 23/07/2019 13:16 Apply for BA (Hons) and Foundation Courses at ArtsEd! Exceptional triple threat training. Revolutionary stage and screen Acting training. ArtsEd was ranked the top Igniting your drama school for overall student satisfaction in the 2019 National Student Survey with over 90% of students passion for happy with their training. Find out more: www.artsed.co.uk performance [email protected] @ArtsEdLondon 0_SGDE_2019/20.indd 2 05/08/2019 12:48 Welcome Extra online STUDENT GUIDE TO material The Student Guide to Drama Education is also available to 2019-20 read free online, where you will elcome to the Student Guide to Drama Education – a guide designed to off er fi nd links to extra comprehensive advice to anyone thinking of applying to study or train in any aspect of pages of course- Wthe performing arts. listings. Visit www. Everything in this guide has been written straight ‘from the horse’s mouth’ dramaandtheatre. – students and graduates of all the major disciplines share what it’s like to study their courses; teaching staff from world-class Higher Education co.uk from institutions tell you what you need to know about applying for their October 2019. courses; and working professionals in the industry off er career tips for those all-important early years in and out of training.
    [Show full text]
  • 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.
    [Show full text]
  • Tracing Ballet's Pedagogical Lineage in the Work of Maggie Black
    Dance Chronicle ISSN: 0147-2526 (Print) 1532-4257 (Online) Journal homepage: https://www.tandfonline.com/loi/ldnc20 Teaching through Time: Tracing Ballet's Pedagogical Lineage in the Work of Maggie Black Jessica Zeller To cite this article: Jessica Zeller (2009) Teaching through Time: Tracing Ballet's Pedagogical Lineage in the Work of Maggie Black, Dance Chronicle, 32:1, 57-88, DOI: 10.1080/01472520802690283 To link to this article: https://doi.org/10.1080/01472520802690283 Published online: 19 Feb 2009. Submit your article to this journal Article views: 1259 Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ldnc20 Dance Chronicle, 32:57–88, 2009 Copyright C 2009 Taylor & Francis Group, LLC ISSN: 0147-2526 print / 1532-4257 online DOI: 10.1080/01472520802690283 TEACHING THROUGH TIME: TRACING BALLET’S PEDAGOGICAL LINEAGE IN THE WORK OF MAGGIE BLACK JESSICA ZELLER Maggie Black, internationally renowned for her anatomically based approach to ballet instruction, helped to shape ballet training and coaching in the late twentieth century. In keeping with the widely recognized concept of ballet as an art form that is traditionally passed down by oral means, the focus of this research is on aspects of Black’s pedagogy that are derived from her teachers, Audrey de Vos and Antony Tudor. This essay explores the pedagogical work of de Vos and Tudor, examines how their respective influences affected Black’s methodology, and indicates characteristics of her work that she developed independently. In the world of ballet, lineage matters.
    [Show full text]
  • The Republican Presidential Debate
    2011_04_18 upc_cover61404-postal.qxd 6/14/2011 6:53 PM Page 1 July 4, 2011 49145 $4.99 DANIEL FOSTER on Mamet l ROB LONG on Weiner HowHow toto OutgrowOutgrow $4.99 thethe ObamaObama Years Years 27 Alan Reynolds l Kevin A. Hassett l Chris Chocola l Reihan Salam Veronique de Rugy l Keith Hennessey l David Beckworth l Jim Manzi Samuel Gregg l Kevin D. Williamson 0 74820 08155 6 www.nationalreview.com base_milliken-mar 22.qxd 6/13/2011 11:32 AM Page 1 “ The commitment to safety among nuclear plant operators is second to none.” ÊÊ Douglas Cobb, Shift Manager-Operations at the Surry nuclear energy facility in Virginia. ÊÊÊÊÊÊÊÊÊÊÊÊÊ ommunities have the right to know the safety record Plant operators undergo intensive training and are frequently of their nuclear energy plants. We are proud to tested on simulators that are exact replicas of their plant C share it. Professionals like Doug Cobb work every control rooms. They are held to the highest of standards by day to exceed already stringent federal safety standards at independent Nuclear Regulatory Commission inspectors who America’s nuclear power plants provide ongoing oversight at every reactor every day. American nuclear plants are among the safest in the world American energy companies are the world leaders in nuclear because they are managed and operated by leading engineers, energy, with 104 reactors producing one-fifth of our electricity. scientists and licensed reactor operators. They undergo Providing affordable electricity and ending our dependence significantly more oversight and have more safety measures on foreign energy sources simply cannot be achieved in place than reactors in other countries.
    [Show full text]
  • Staging Dance to Normanmorrice and Maria O'connor Staging Dance
    Staging Dance To NormanMorrice and Maria O'Connor Staging Dance Susan Cooper Forewordby David Wall CBE ~l Routledge ! ~ Taylor & Francis Group LONDON AND NEW YORK First published1998 A & C Black (Publishers)Limited This edition published2016 by Routledge 2 ParkSquare, Milton Park, Abingdon,Oxon , OX14 4RN 7ll Third Avenue,New York, NY 10017,USA Routledgeis an imprint ofthe Taylor & Francis Group, an informa business © 1998Susan Cooper All rights reserved. No part of this publicationmay be reproduced in any form or by any means-graphic,electronic or mechanical,including photocopying,recording, tapingor informationstorage and retrievalsystems - without theprior permissionin writing of the publishers. A CIP cataloguerecord for this book is availablefrom the British Library. ISBN 978-0-87830-081-5(pbk) CIP catalogrecord available at the Library of Congress. Typesetin 10 on llY.!pt Palatino Cover photos Front Main photo by Pete Jones is of Cyn Dee Too in Pleasant and Correct by Kazia Rudewicz for Royal Academy of Dancing College Workshop'95. Smaller photo (above) by Bhajan Hunjan is of 'fire' section from Samsaraproject 1995 , showingthe floor paintingdescribed on page126 . Smaller photo (below) by ChristopherBaines is of the Jiving Lindy Hoppers. Back Photoby Focuson Danceshows Greasepaint School of Make-up makingup a youngdancer for Horoscopeby Gail Taphouse. FOREWORD There is of courseno substitutefor experience,but to be able to sharein that of othersis invaluable. As a young dancer, performing the roles of Siegfried in Swan Lake, Colasin La Fille Mal Gardee,Albrecht in Giselle, Romeoin Romeoand Juliet, for the first time, I had the help of not only thechoreographers, choreolo- gists and ballet mastersbut more importantly was able to sharein the experiencesof Rudolf Nureyev,David Blair andChristopher Gable.
    [Show full text]