DOCSLIB.ORG

YOU Dance Streams Live Across Canada

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
YOU Dance Streams Live Across Canada Conten ts 2 Stage Manager Ernie Abugov Retires After 42 Years 8 The National Ballet of Canada: Building Our Cultural Heritage by Caroline Dickie centre Today’s Performance 14 Dancer Biographies First Soloist Keiichi Hirano. The National Ballet of Canada Summer 2015 Photo by Aleksandar Antonijevic. Mr. Hirano retires this season after Per forman ce 16 years with the National Ballet. n National Ballet Editors: Julia Drake and Belinda Bale n RJ Performance Media Inc .: n President and Publisher: Joe Marin o n CEO: Frank Barbosa n Finance: Gina Zicari n Secretary Treasurer: Rajee Muthuraman n Art Director /Design: Jan Haring a n Graphic Artist: Glenda Moniz n National Account Directors: Gary Bel l , Tom Marino The National Ballet of Canada’s edition of Performance magazine is published quarterly by RJ Performance Media Inc., 2708 Coventry Road, Oakville, Ontario, L6H 6R1. All rights reserved. Reproduction in whole or in part without written consent is prohibited. Contents copyright © Performance Inc. Subscriptions available by contacting publisher. Direct all advertising enquiries to [email protected] or Telephone 905-829-3900 . 1 2015_LaDifference_06 P P Stage Manager Ernie Abug ov Ernie Abugov Retires Ernie Abugov backstage backstage at ballet. The SM also assists the lighting designer in the on tour, 1980s. Alice’s Adventures After 42 Years placement of lighting changes (light cues) and compiles in Wonderland . Photo by Sian Richards. he National Ballet of Canada’s beloved Stage Manager a book of cues to be used during the performance and T Ernie Abugov retires at the end of the Summer Season produces cue sheets, i.e. paperwork used by crew members after 42 years. He has worked with every Artistic Director from to guide them during the ballet. Celia Franca to Karen Kain and has travelled with the company around the world touring to Israel, Asia, Europe, Mexico and What is happening backstage during a performance? throughout Canada and the US. Sheer chaos! Just a little joke. Unless something goes wrong Ernie took a break from rehearsals to answer a few (which is always a possibility), things are calm. The crew is questions about his long career. standing by, waiting to execute their next cue. The dancers hang out in the wings or the rehearsal hall, stretching and What is a Stage Manager: relaxing prior to their next entrance. ERNIE ABUGOV : The Stage Manager (SM) has been described as “the link between the idea and the actuality”. Ballet is a live art form and anything can happen. He or she gives commands (or cues) to members of the Do you have any particularly memorable mishaps that crew during the performance. The crew acts on these cues, have happened onstage? physically making the show happen i.e. lighting changes, Obviously, we have had to deal with the heartbreak of dance- scenery moves, etc. related injuries that occur on stage. Very occassionally, they Prior to the performance, the SM assists in and services are serious. Notwithstanding that, I’ll never forget when the rehearsals. This allows them to learn the workings of the 10+ metres high main column in The Sleeping Beauty Page 2 national.ballet.ca Page 3 (along with the audience). Oh yes, and then there was the time that power died in NYC in 1977 right in the middle of La Fille mal gardée , also at the Met! Do you have a favourite production and why? I adore Giselle . When the curtain rises on Desmond Heeley’s forest glade with two houses, it’s breathtaking. I also love Alice’s Adventures in Wonderland because it is so entertaining and theatrically sophisticated and I have a very soft spot for Chroma . It’s exquisite. How has the art of ballet changed over the last 42 years? Without hesitation, I feel that I can state that the dancers are WAY better, stronger, finer and simply more capable than when I joined the company in 1973. The ideas coming out of choreographers are light years ahead of what was around four decades ago. Stage Manager Ernie Abugov backstage. Photo by Bruce Zinger. Ernie Abugov backstage at La Bayadère . Photo by Bruce Zinger. crashed to the stage floor of the O’Keefe Centre (now Sony Centre), breaking in two, seven minutes before the curtain went up. It narrowly missed about 10 people. The pieces were dragged offstage, the ballet began and our production staff rebuilt the column in a few days. I also remember the back wall of gates falling right over in the middle of Les Patineurs . They just stayed there – nothing we could do! The best was when the electric boat in The Sleeping Beauty died mid-stage at the Metropolitan Opera House in New York City in the 1970s with Rudolf Nureyev riding on it. He promptly got off, swore and continued the journey minus the boat. I sent two big stagehands out in the dry ice to rescue the boat. As they got there, the boat came to life and took off. The dry ice dissipated and there were two silly looking guys that could be seen running offstage, killing themselves laughing Page 4 national.ballet.ca Page 5 What made you stay with the National Ballet for so many years? I love the company and, at least for the next few weeks, will still have the best stage management gig in the world. That is no exaggeration. What will you miss most? Everything. What do you plan to do in your retirement? I will hunt and fish, take up taxidermy and study to be a combat helicopter pilot. Another little joke… I do not hunt and fish and don’t care for “stuffed” animals except roast fowl but, if my girlfriend wouldn’t MURDER me, I might take ultra light flying lessons. I am leaving this amazing company in order to have some time to worry about what on earth I will do with the next chapter of my life. We shall see what comes next. Dancers retiring this June: First Soloist First Soloist Second Soloist Corps de Ballet Corps de Ballet Keiichi Hirano Patrick Lavoie Christopher member member retires after retires after Stalzer Juri Hiraoka James Leja 16 years with 18 years with retires after retires after retires after The National The National 8 years with 13 years with 13 years with Ballet of Canada. Ballet of Canada. The National The National The National Mr. Hirano will Mr. Lavoie will Ballet of Canada. Ballet of Canada. Ballet of Canada. be attending the be pursuing a Mr. Stalzer will Ms. Hiraoka is Mr. Leja will be Southern Alberta degree in Life be attending exploring various enrolling in the Institute of Science at the the University opportunities Computer Science Technology to University of Toronto to including ballet programme at study Electrical of Toronto. complete a education. the University Engineering. degree in of Toronto. Economics. Page 6 national.ballet.ca Building Our “BALLET ON ICE MEETS ” Cultural CIRQUE DU SOLEIL. Heritage –The Sunday Telegraph by Caroline Dickie ince its inception in 1951, The National Ballet of Canada S has participated actively in the artistic life of this country, helping to build a cultural heritage that all Canadians can share in. As an ambitious performing arts organization, we are always striving to advance our art form, develop new audiences and strengthen our reputation for excellence. Intrinsic to these objectives – and the source of our legacy – is a deeply held obligation to spread awareness and enjoyment of dance, and to give Canadians a sense of history, belonging and future excellence in the arts. We are incredibly thankful for the many donors who support us in PERFECT OUTING this mission with continued and often extraordinary acts of generosity and goodwill. FOR THE WHOLE FAMILY! The National Ballet of Canada has performed for over 10 million people during its 64 years, bringing the immense NOVEMBER 20 – 21 joy and benefits of dance to audiences of all kinds. In addition to our annual Fall, Winter and Summer Seasons, the company | sonycentre.ca Guillaume Côté with has toured in Canada, the US, Great Britain, Germany, the Artists of the Ballet in Netherlands, Israel, Hong Kong, Japan, Italy, and Mexico. Group Discounts 8+: 647-438-5559 | 1-866-447-7849 | thegrouptixcompany.com rehearsal for Le Petit Prince . Within each performance year, the company offers education Photo by Aaron Vincent Elkaim. and outreach programmes for youth and families who might 1 FRONT STREET EAST, TORONTO 1.855.872.SONY (7669) sonycentre.ca Page 8 national.ballet.ca have limited access to live performances. For these families, the benefits of exposure to the arts can be particularly transformative, ranging from improved academic performance to heightened empathy, creativity, self-confidence and more. This year, the National Ballet was able to share these benefits with more young people than ever by live streaming our popular YOU dance programme to communities from coast to coast. YOU dance offers free performances and movement-based workshops for children in grades four to six, led by Education and Outreach Manager, and former National Ballet Soloist, Lisa Robinson. With the national live stream, students throughout Canada – from Paulatuk, Northwest Territories to New Ross, Nova Scotia – watched YOU dance performances in a real time broadcast from the Betty Oliphant Theatre in Toronto. This initiative would not have been possible without the generous donors who stepped forward in support of our Spark A Movement Campaign. Their contributions gave thousands of children a chance to engage with the National Ballet in meaningful and memorable ways, and to see that dance is for everyone, including them. Karen Kain with One of the most powerful ways that we can instill a sense Guillaume Côté, Michael of collective pride and belonging in our art form is by creating Levine and Kevin Lau.
Load more

Recommended publications
  • English 252: Theatre in England 2006-2007 * [Optional Events
    English 252: Theatre in England 2006-2007 * [Optional events — seen by some] Wednesday December 27 *2:30 p.m. Guys and Dolls (1950). Dir. Michael Grandage. Music & lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows. Based on a story and characters of Damon Runyon. Designer: Christopher Oram. Choreographer: Rob Ashford. Cast: Alex Ferns (Nathan Detroit), Samantha Janus (Miss Adelaide), Amy Nuttal (Sarah Brown), Norman Bowman (Sky Masterson), Steve Elias (Nicely Nicely Johnson), Nick Cavaliere (Big Julie), John Conroy (Arvide Abernathy), Gaye Brown (General Cartwright), Jo Servi (Lt. Brannigan), Sebastien Torkia (Benny Southstreet), Andrew Playfoot (Rusty Charlie/ Joey Biltmore), Denise Pitter (Agatha), Richard Costello (Calvin/The Greek), Keisha Atwell (Martha/Waitress), Robbie Scotcher (Harry the Horse), Dominic Watson (Angie the Ox/MC), Matt Flint (Society Max), Spencer Stafford (Brandy Bottle Bates), Darren Carnall (Scranton Slim), Taylor James (Liverlips Louis/Havana Boy), Louise Albright (Hot Box Girl Mary-Lou Albright), Louise Bearman (Hot Box Girl Mimi), Anna Woodside (Hot Box Girl Tallulha Bloom), Verity Bentham (Hotbox Girl Dolly Devine), Ashley Hale (Hotbox Girl Cutie Singleton/Havana Girl), Claire Taylor (Hot Box Girl Ruby Simmons). Dance Captain: Darren Carnall. Swing: Kate Alexander, Christopher Bennett, Vivien Carter, Rory Locke, Wayne Fitzsimmons. Thursday December 28 *2:30 p.m. George Gershwin. Porgy and Bess (1935). Lyrics by DuBose Heyward and Ira Gershwin. Book by Dubose and Dorothy Heyward. Dir. Trevor Nunn. Design by John Gunter. New Orchestrations by Gareth Valentine. Choreography by Kate Champion. Lighting by David Hersey. Costumes by Sue Blane. Cast: Clarke Peters (Porgy), Nicola Hughes (Bess), Cornell S. John (Crown), Dawn Hope (Serena), O-T Fagbenie (Sporting Life), Melanie E.
    [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]
  • Full Page Photo
    Editorial Susan Cohen Editor I Redactrice In this issue Dance in Canada celebrates the twenty-fifth Ce numero de Danse au Canada celebre le vingt­ anniversary of the National Ballet of Canada. On cinquieme anniversaire du Bal let National du Canada. Le November 12, 1951, Cel ia Franca and her dancers stepped 12 novembre 1951, Celia Franca et ses danseurs on the boards as a company for the first time; exactly 25 montaient sur les planches pour la premiere fois a titre de years later the company salutes the occasion with a gala compagnie. Exactement 25 ans plus tard, la compagnie opening and a special season at Toronto's O'Keefe commemore cet evenement par une premiere de grand Centre. This celebration is a reminder, not just of how far gala et une saison toute speciale au Centre O'Keefe de one company has come, but also of how far the field has Toronto. Cette celebration n'est pas un simple rappel du progressed in that quarter of a century. The National is chemin parcouru par la compagnie, mais aussi des one example of the excellence, diversity and maturity of progres realises dans le domaine de la danse au cours de dance in Canada. ce quart de siecle. Le Ballet National est l'un des exemples de l'excellence, de la variete et de la maturite de la danse In a magazine as small as ours, the decisions about what au Canada. to cover and what to leave out are heartbreaking. We would like to mention all the individuals who contributed L'espace restreint de notre revue rend toujours penible to the company, but we have chosen to focus on the la decision quant au contenu de chaque numero.
    [Show full text]
  • Narrator Bio 2012
    Veronica Tennant, C.C. Narrator Bio During her illustrious career as Prima Ballerina with The National Ballet of Canada, Veronica Tennant won a devoted following on the international stage as a dancer of extraordinary versatility and dramatic power. She danced for 25 years across North and South America, Europe and Japan, with the greatest male dancers of our time, including Rudolf Nureyev, and Mikhail Baryshnikov. Tennant gave her farewell performances in Romeo and Juliet and in a subsequent gala – A Passion For Dance – Celebrating the Tennant Magic in 1989. Particularly celebrated as a gifted musical dancer and as an actor, Veronica Tennant has appeared extensively as narrator/creator on the concert stage. She has performed with all the major orchestras across Canada, including; The Toronto Symphony and The National Arts Centre Orchestra, and debuted her own musical narrative of The Nutcracker with The Vancouver Symphony. Her highly successful The Little Match Girl, combines narration, an original music score by Christopher Donison, and choreography for her and a young child dancer. Premiering at Harbourfront, Toronto December 1995, it was invited again in 1996 as well as with The Edmonton Symphony. Warmly received, The Little Match Girl has been presented in 1997, with The Victoria Symphony and The Vancouver Symphony, and in 1998 with The Calgary Philharmonic. Veronica Tennant has been a frequent guest with The Festival of the Sound in a number of collaborations. She performed Patrick Cardy’s The Snow Queen, with The St. Lawrence Quartet; and Godfrey Ridout’s Exile – drawn from the journals of Susanna Moodie. She devised and performed with pianist Marc Andre Hamelin, a drama/dance piece, Maud, drawn from the journals of Lucy Maud Montgomery.
    [Show full text]
  • Contribution to Dance (1964-2019)
    VERONICA TENNANT, C.C. Contribution to DANCE in CANADA 1964-2018 During her illustrious career as Principal Dancer with The National Ballet of Canada, Veronica Tennant won a devoted following on the national and international stage as a dancer of versatility and dramatic power. At 18, the youngest Principal Dancer in the company Tennant was chosen by Celia Franca and John Cranko, for her debut as Juliet. She went on to earn accolades in every major classical role as well as having several contemporary ballets choreographed on her. She was chosen by, and worked with the legendary choreographers: Sir Frederick Ashton, Roland Petit, Erik Bruhn, John Neumeier and Jiri Kylian – and she in turn nurtured a younger generation of Canadian choreographers including James Kukelka, Anne Ditchburn, Constantin Patsalas and David Allan. For 25 years she danced across North and South America, Europe and Japan, dancing with the greatest male dancers of our time including; Erik Bruhn, Rudolf Nureyev, Anthony Dowell, Mikhail Baryshnikov, Edward Villella, Fleming Flindt, Peter Schaufuss, Niels Kehlet, Fernando Bujones, Ivan Nagy, Jean Pierre Bonnefous and Richard Cragun. She was blessed with her Canadian partners, from Earl Kraul (her first Romeo), to Lawrence Adams, Glenn Gilmour, Frank Augustyn, Sergiu Stefanschi, Kevin Pugh, Rex Harrington and Raymond Smith (her tenth Romeo). Two of the CBC television performances with Tennant in the title role; Cinderella and The Sleeping Beauty, won Emmy Awards. Her first, in Norman Campbell’s 1965 production of Romeo and Juliet won Le Prix Barthelmy in Monte Carlo. Veronica Tennant gave her farewell performances in 1989 – dancing her signature role in, Romeo and Juliet and in the Gala – A Passion For Dance – Celebrating the Tennant Magic.
    [Show full text]
  • MISS SAIGON: LONDON's LATESTDAZZLER Julian Williams Scoops the Technical Story from Lighting Designer David Hersey
    MISS SAIGON: LONDON'S LATESTDAZZLER Julian Williams scoops the technical story from lighting designer David Hersey September 25th saw the opening, at the some time, going through a number of with stuff. Theatre Royal Drury Lane, of the much drafts, and was designed last year - in a "Obviously , as anyone who has been heralded new musical 'Miss Saigon' by Alain completely different form from the one we around for a while will know , you do Boublil and Claude-Michel Schonberg, are now doing. develop a kind of style of your own. There directed by Nicholas Hytner. The designer "I began serious work on it in April this year are certain kinds of ingredients you like to was John Napier, and lighting designer David to develop the rig," he continued . "The have around as part of your 'kit'. And those Hersey. model was available, and there were certain ingredients you tend to develop from show known elements for a long time . The idea of to show - so there are not always the same The show's opening scene pictures Saigon in using a helicopter was developed some time ingredients, but there is a kind of logical pro­ 1975 as the last of the Ame ricans are prepar­ ago, as was the idea of using moving screens gression. The light curtain is a case in point." ing to leave, and in the Dreamland Night on each side. While talking about equipment , I asked Club there is a 'Miss Saigon' competition in "John Napier's ideas of the set were well David Hersey if there was anything in this progress.
    [Show full text]
  • Catalogue 47 Vs 5.Qxd
    COLOUR FILTERS FOG Swatchbooks . .3 Fog Machines . .46 Supergel . .4 Fog Fluids . .52 Roscolux . .6 E-Colour+ . .8 Cinegel . .10 RoscoView . .18 PAINT RoscoShades . .19 Scenic Paints . .54 Cinegel Kits . .20 Coatings and Glazes . .58 Permacolor . .21 Roscoflamex . .60 Filter Accessories . .23 Paint Accessories . .61 Digital Compositing . .62 BACKDROPS/DIGITAL IMAGING .24 TV/Video Paints . .63 GOBOS STAGE HARDWARE . .64 Steel . .26 Glass . .28 FLICKER CANDLES . .65 Gobo Accessories . .32 FLOOR PRODUCTS LIGHTING EQUIPMENT Floors . .66 X24 X-Effects Projector . .34 Floor Accessories . .70 Vortex 360 Dual Rotator . .35 Gobo Rotators . .36 Controllers . .37 TAPES . .71 Infinity . .38 I-Cue Intelligent Mirror . .39 DESIGNER PRODUCTS . .72 LitePad . .40 Power Supply Units . .41 INDEX . .76 PROJECTION EQUIPMENT THE ROSCO SALES TEAM . .78 iPro Image Projector . .42 LIGHTING DESIGN/CONTROL Keystroke . .44 SCREENS . .45 2 www.rosco.com SWATCHBOOKS Colour filter swatchbooks have been, for many years, the lighting designer’s favourite tool for colour filter selection. Available at Rosco dealers everywhere, the swatchbooks contain samples of every colour and its transmission chart. All Rosco swatchbooks are dated and users are advised to have an up-to-date swatchbook on hand. Contact Rosco or your nearest dealer for a free swatchbook. The Designer Colour Selector and Lightlab Editions will have a charge. Contact Rosco for pricing. Supergel No. 99101 Supergel Swatchbook No. 99018 Supergel Designer Colour Selector approximate size 7.5cm x 15.24cm cm. Roscolux No.9979 Roscolux Swatchbook No. 990109 Roscolux Designer Colour Selector approximate size 7.5cm x 15.24cm The E-Colour+ swatchbook now includes the 5000 series.
    [Show full text]
  • Trust News Editor: Carole Long Membership Secretary: Carol Martin
    MARCH, 1985 Vol 9 No 2 ISSN 0314 - 0598 A publication of the Australian Eli zabethan Theatre Trust Cats Opens in July CATS by Andrew Lloyd Webber Based on 'Old Possum's Book of Practical Cats' by T. S. Eliot Directed by Trevor Nunn Assistant Director and Choreographer: Gillian Lynne Designed by John Napier Lighting design by David Hersey Theatre Royal he eagerly awaited Australian pro­ T duction of the Andrew Lloyd-Weber musical CATS opens in Sydney in July. The production will feature an all­ Australian cast (yet to be announced) with the London production team. CATS, which has been playing in Lon­ don since May 1981, is the first major musical written by Andrew Lloyd Web­ ber without the collaboration of Tim Rice. Their previous successes were JOSEPH AND THE AMAZING TECHNICOLOR DREAM COAT (1967), JESUS CHRIST SUPERSTAR (1970) and EVITA (1975). CATS is based Footrot Flats An on T. S. Eliot's "Old Possum's Book of Practical Cats" which was published in October 1939. Eliot had a great affection Hilarious Musical Frolic for cats and 'Possum' was his nickname There is little attempt at plot. The show among his friends. Based on the cartoon strip by Murray Ball Most of the poems compris'ing the book Written {or the stage by Roger Hall works instead through a series of sket­ have been set to music complete and in Music by A. K. Grant ches within the framework of some their originally published form; a few Lyrics by Philip Norman familiar themes: town against country, have been subject to a minor revision and Directed by Brian Debnam conservation against expediency, and, Musical direction by Denis Follington last but not least, the love of a good eight lines have been added to "The Song Choreography by Kevan Johnston woman against anything that stands in of the Jellicles".
    [Show full text]
  • Rosco-Gobo-Catalogo.Pdf
    s Page Page t n e Custom Gobos Glass Colour 54 t n Online Catalogue 3 Abstract 54 o Breakups 55 C Effects Glass 4 Rotation 55 f Colorizers 4 Scene 57 O Prismatics 4 Image Glass 5 Sizes, Holders,Tech Info 59 e l ColorWaves 6 Details for choosing the right gobo size, type b and holder for the fixtures you’re using. a T Steel 7 Custom Gobos 61 Breakups 7 Tips and details for ordering a custom-made gobo. Foliage Breakups 11 Trees & Flowers 14 Abstract 16 Gobo Rotators 63 Graphics 19 Graphics & Grills 22 iPro Image Projector 64 Rotation 23 Symbols & Signs 27 X24 X-Effects Projector 65 World Around Us 28 Churches & Heraldics 32 Equipment 66 Windows, Doors & Blinds 33 Rosco’s Infinity and I-Cue Intelligent Mirror Boundaries & Wildlife 36 Clouds & Sky 37 Creative Combinations 67 Water & Sky 38 Combining gobos and rotating them can Fire & Ice 40 create stunning effects. Architectural & Retails 41 Occasions & Holidays 42 Index, Numerical 69 Text 47 Index, Alphabetical 75 Glass B/W 48 Abstract 48 Breakups 50 Rotation 51 Scene 52 Rosco Gobo 77785 Number DHA Gobo 238-285 Number Gobo Sharp Breakup (Medium) Name Tom Skelton Gobo Designer ©1984 – 2016 Rosco Laboratories, Inc. (“Rosco”). Copyright claim includes but is not limited to all Rosco Gobo patterns/designs. The names and numerical designations of Rosco Gobo patterns/designs are trademarks of Rosco. Rosco reserves all copyright and trademark rights. 2 Custom Gobos s o Rosco has long been involved in the production of gobos, catalogue and custom, metal and glass, monochrome and colour.
    [Show full text]
  • Catalog 10-29-04
    TABLE OF CONTENTS FILTERS . .3 SCREENS . .35 Supergel . .4 Cinegel . .6 PAINT/SCENIC PRODUCTS . .36 E-Colour+ . .5 Permacolor . .11 DIGITAL COMPOSITING . .44 Filter Kits . .13 Specialized Filters . .14 STAGE HARDWARE . .46 Filter Accessories . 15 Filmmaking Tools . 16 SOFTWARE . .47 GOBOS . .18 FOG . .49 Steel . .18 Machines . .49 Glass . .20 Fog Fluid . .55 PROJECTION/LIGHTING FLICKER CANDLES . .56 EQUIPMENT . .25 ImagePro . .25 FLOORS . .57 iPro Slides . .26 Tape . .62 Gobo Rotators . .28 Accessories . .30 Infinity . .31 DESIGNER PRODUCTS . .63 Power Supply Units . .32 I-CUE . .32 INDEX . .66 X-Effects . .33 Rosco is not responsible for errors or omissions, and specifications are subject to change without notice. 2 www.rosco.com FILTERS Supergel Cinegel E-Colour + Supergel, the most widely used colour filter The Rosco Cinegel range includes over Rosco’s comprehensive system of European range in the world, currently offers more than 147 tools for controlling light. Since it’s colour filters for film, theatre and video 125 colours and diffusers. Its popularity is introduction in 1970, Cinegel has production. E-Colour+ includes different due partly to the wide choice of colours, but continually developed and grown to meet filters and materials for colour correction, also because this engineered plastic is the the working needs of the professional. In colour effects, diffusion and reflection. most durable filter available. 1974, Cinegel won an Academy Award They’re manufactured with the latest dye for technical achievement. formulations and bonding technology to Virtually the entire range of colours is assure the highest levels of reliability. tri-extruded (three rolls of plastic film extruded simultaneously) on a polycarbonate base.
    [Show full text]
  • Prima Ballerina Bio & Resume
    Veronica Tennant, C.C. Prima Ballerina Bio & Resume Veronica Tennant, during her illustrious 25-year career as Prima Ballerina with The National Ballet of Canada - won a devoted following on the international stage as a dancer of extraordinary versatility and dramatic power. Born in London England, Veronica Tennant started ballet lessons at four at the Arts Educational School, and with her move to Canada at the age of nine, started training with Betty Oliphant and then the National Ballet School. While she missed a year on graduation due to her first back injury, she entered the company in 1964 as its youngest principal dancer. Tennant was chosen by Celia Franca and John Cranko for her debut as Juliet. She went on to earn accolades in every major classical role and extensive neo-classical repertoire as well as having several contemporary ballets choreographed for her. She worked with the legendary choreographers; Sir Frederick Ashton, Roland Petit, Jiri Kylian, John Neumeier, and championed Canadian choreographers such as James Kudelka, Ann Ditchburn, Constantin Patsalas and David Allan. She danced across North and South America, Europe and Japan, with the greatest male dancers of our time, including Erik Bruhn (her mentor), and Rudolf Nureyev, Anthony Dowell, Peter Schaufuss, Fernando Bujones and Mikhail Baryshnikov (immediately after he defected in Toronto, 1974). She was cast by Erik Bruhn to dance his La Sylphide with Niels Kehlet when Celia Franca brought The National Ballet of Canada to London England for the first time in 1972; and was Canada’s 'first Aurora' dancing in the premiere of Rudolf Nureyev's Sleeping Beauty September 1, 1972 and at the company's debut at the Metropolitan Opera House in New York, 1973.
    [Show full text]
  • Poetry and Performance: Listening to a Multi-Vocal Canada
    0Poetry and Performance: Listening to a Multi-Vocal Canada by Katherine Marikaan McLeod A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English, University of Toronto © Copyright by Katherine Marikaan McLeod (2010) ii Poetry and Performance: Listening to a Multi-Vocal Canada Doctor of Philosophy (2010) Katherine Marikaan McLeod Graduate Department of English, University of Toronto 1Abstract Performances of poetry constitute significant cultural and literary events that challenge the representational limits and possibilities of transposing written words into live and recorded media. However, there has not been a comprehensive study of Canadian poetry that focuses specifically on performance. This dissertation undertakes a theorizing of performance that foregrounds mediation, audience, and presence (both readerly and writerly). The complex methodology combines theoretical approaches to reading (Linda Hutcheon on adaptation, Wolfgang Iser on the reader, and Roland Barthes on the materiality of writing) with poetics as theorized by Canadian poets (namely bpNichol, Steve McCaffery, Jan Zwicky, Robert Bringhurst) in order to argue that performances of poetry are responsive exchanges between performers and audiences. Importantly, the dissertation argues that performances of poetry call for a re-evaluation of reading as listening, thereby altering the interaction between audience and performance from passive to participatory. Arranged in four chapters, the dissertation examines a range of Canadian poets and performances: The Four Horsemen (Rafael Barreto-Rivera, Paul Dutton, Steve McCaffery, and bpNichol), dance adaptations of Michael Ondaatje’s poems, George Elliott Clarke’s poetic libretti, and Robert Bringhurst’s polyphonic poetry. Following the Introduction’s iii outlining of the term performance, Chapter One examines processes of recording and adapting avant-garde sound poetry, specifically in the sound and written poetry of Nichol and McCaffery.
    [Show full text]