CZECH NATIONAL BALLET PREMIERE Online the SLEEPING BEAUTY a Ballet by Marcia Haydée Based on a Fairy Tale

Total Page:16

File Type:pdf, Size:1020Kb

CZECH NATIONAL BALLET PREMIERE Online the SLEEPING BEAUTY a Ballet by Marcia Haydée Based on a Fairy Tale PRESS RELEASE Filip Barankiewicz The Artistic Director of The Czech National Ballet ballet CZECH NATIONAL BALLET PREMIERE ONLINE THE SLEEPING BEAUTY A ballet by Marcia Haydée based on a fairy tale The narrative ballet The Sleeping Beauty, choreographed by Marius Petipa, was first performed in 1890 in St Petersburg. The music was composed by Pyotr Ilyich Tchaikovsky. Now its adaptation as crafted by the legendary prima ballerina Marcia Haydée is set to become part of the Czech National Ballet’s repertoire, as a remarkable artefact of the classical ballet spiritual legacy. Since its premiere in 1987 designed by world famous Jürgen Rose, Marcia Haydée’s The Sleeping Beauty has been performed with different stage designs to great acclaim in Australia, Belgium, Chile, Germany, South Korea and Sweden. This original version of the sets and costumes for The Czech National Ballet was designed by Prague-born Pablo Núñez. The recently refurbished State Opera in Prague will host the balletic parable of bringing beauty back to life, and the eternal struggle between Good and Evil. The National Theatre feels immensely honoured that Marcia Haydée has come to Prague to prepare in person the new production of her choreography with the Czech National Ballet dancers. Her visit was an exceptional cultural event, also serving as a prime example of tenacity and artistic involvement amid the coronavirus pandemic. In addition to having the opportunity to watch a recording of The Sleeping Beauty, you can look forward to seeing online an exclusive interview with Marcia Haydée, recorded during March 2021 in Prague. The ballet based on Charles Perrault’s fairy tale about a cursed sleeping kingdom has become truly topical. We have been waiting a whole year to receive its live premiere in front of an audience. During the filming, the State Opera Orchestra was not allowed to play. The music was recorded by the Santiago de Chile Philharmonic Orchestra, to whom we extend our gratitude. We thank them for the goodwill and cooperativeness they have shown at this fraught time. The Czech premiere of Marcia Haydée’s The Sleeping Beauty will be streamed on the Czech National Ballet’s official YouTube channel, free for seven days. The recording of the performance at the State Opera of the classical narrative ballet will be available from Thursday 29 April 2021 at 7 pm. PRESS RELEASE This will be the Czech National Ballet’s contribution to the celebration marking International Dance Day 2021. Watch here: Youtube The Sleeping Beauty – trailer: Photos The universal struggle between Good and Evil Before creating her own version of The Sleeping Beauty, Marcia Haydée had encountered Marius Petipa’s classical choreography on numerous occasions: it was the very first ballet she, as a little girl, saw, and, later on, as a dancer, she would appear in a number of its versions. When, in 1961, Marcia auditioned for John Cranko, she danced variations from The Sleeping Beauty, and she made her debut with the company performing Princess Florine Florine (a Bluebird pas de deux). Her profound knowledge of the work thus afforded Marcia a solid foundation on which she would later on build her own interpretation of The Sleeping Beauty, the very first ballet she choreographed. Besides Princess Aurora and Prince Désiré, she primarily foregrounds the character of Carabosse, who is constantly present throughout the ballet. Haydée continues to focus on the wicked fairy until the very end, when Carabosse appears at the wedding feast so as to remind us that Evil is a constant part of the world and will not go away. Marcia Haydée described her vision as follows: “For me, The Sleeping Beauty is the story of Carabosse. … I think we all carry within aspects of both positive and negative energy. Their struggle is universal, one we can all relate to.” Her Carabosse, a tour de force role she created for the legendary dancer Richard Cragun, has never failed to fascinate audiences. PRESS RELEASE With Petipa’s The Sleeping Beauty, which received its world premiere on 3 January 1890 at the Mariinsky Theatre in St Petersburg, ballet arrived at the end of the Romantic period and reached the climax of the Classical style. On its journey to audiences’ hearts, the masterpiece has become one of the pillars of the world’s cultural heritage. Today, in 2021, The Sleeping Beauty continues to serve as great inspiration, a true artistic gem of engrossing beauty. Synopsis After many years of childlessness, a daughter is born to the King and the Queen. The baptism celebrations are attended by six fairies, bringing good wishes. The master of ceremonies, Catalabutte, has forgotten to invite the fairy Carabosse. She appears and, offended and angry, curses the baby, predicting that on her sixteenth birthday Princess Aurora will prick her finger on a spindle and die. The consternation of all those present is ameliorated by the Lilac Fairy, who counters Carabosse’s malediction: after pricking her finger, Aurora will not die but fall into a hundred-year sleep, from which she will be awakened by a kiss of true love. The curse comes true. Nevertheless, a century later, Prince Desiré has a vision. In a dream, the Lilac Fairy shows him Aurora and leads the young man to the sleeping Princess. Enchanted by her charm, Désiré awakens Aurora with a kiss. Love is the most powerful force against Carabosse’s malevolence. The wedding of Aurora and Désiré is celebrated as a lavish masked party, with every member of the court disguised as a fairy-tale character. The Lilac Fairy blesses the union of the two young lovers. Yet Carabosse watches them from a distance … Good and Evil continue to be a part of life. PRESS RELEASE Marcia Haydée (b. 1937) One of the most celebrated prima ballerinas of the second half of the 20th century, Marcia Haydée has also attained recognition as a choreographer and ballet director. An immensely charismatic figure, she has inspired a number of renowned choreographers and served as a model for dancers, while also influencing the development and form of classical ballet. Born in Brazil, Marcia Haydée studied with several masters, including the Czech dancer Václav Vlček. At the age of 15, she moved to Europe, where she attended the Royal Ballet School in London, before becoming a member of Le Grand Ballet du Marquis de Cuevas, with which she stayed for four years. In 1961, she joined the Stuttgarter Ballett, where she was named a prima ballerina. The Muse of the company’s director John Cranko, she participated in the creation of the “Stuttgart Ballet Miracle”. The legendary choreographer assigned to Marcia lead roles in virtually all the repertoire works, including Romeo and Juliet, Onegin, The Taming of the Shrew and Carmen. Other roles were created for her by Kenneth MacMillan, John Neumeier, Maurice Béjart, Glen Tetley, Jiří Kylián and other distinguished choreographers. A truly mesmerising dancer and convincing actor, Marcia Haydée performed with companies all over the world, alongside such towering ballet figures as Rudolf Nureyev, Mikhail Baryshnikov, Jorge Donn and Richard Cragun, who was also her partner beyond the stage. Between 1976 and 1996, she was the artistic director of the Stuttgarter Ballett. In the second half of the 1990s she also helmed Chile’s Ballet de Santiago, the post of whose director she held again from 2003 to the end of 2020. Currently living in Germany with her husband Günther Schöberle, a yoga teacher, Marcia Haydée regularly travels around the world to stage her choreographies. She became a choreographer in 1987, when she conceived for the Stuttgarter Ballett an original adaptation of the classical fairy-tale ballet The Sleeping Beauty, which now, following triumphs in Australia, Belgium, Chile, Germany, South Korea and Sweden, has entered the Czech National Ballet’s repertoire. Other acclaimed choreographies of hers include The Firebird, Enas and Giselle and the Willis. Marcia Haydée has garnered a number of accolades, with the most prestigious being the German Dance Prize, the Vaslav Nijinsky Award, the Brazilian Ordem do Mérito Cultural and the Prix de Lausanne – Lifetime Achievement Award. International Dance Day International Dance Day has been celebrated worldwide since 1982, on 29 April, the birthday of Jean-Georges Noverre (1727–1810), a great ballet reformer, dubbed by his contemporaries the “Shakespeare of Dance”. This year too, we will celebrate dance as a universal, enormously diverse art form. International Dance Day strives to encourage participation and education in dance. It is a celebration for those who can see the value and importance of dance, and acts as a wake-up call for governments, politicians and institutions that have yet to recognise its value to the people. Our partner PRECIOSA adorns this production with jewellery. PRESS RELEASE THE SLEEPING BEAUTY Choreography: Marcia Haydée, after Marius Petipa Music: Pyotr Ilyich Tchaikovsky Sets and costumes: Pablo Núñez Master electrician: Jan Dörner Choreologist: Pablo Aháronian Staged by: Filip Barankiewicz Ballet masters: Alexey Afanasiev, Michaela Černá, Nelly Danko, Jiří Kodym, Barbora Kohoutková, Tereza Podařilová Music recording: Santiago de Chile Philharmonic Orchestra Performed by Czech National Ballet soloists and Corps de ballet, Prague Dance Conservatory students, National Theatre Ballet Preparatory School pupils and extras. Contact: Helena Bartlová P. R. of The Czech National Ballet M: +420 737 205 899 [email protected] www.narodni-divadlo.cz PARTNER OF THE SLEEPING BEAUTY.
Recommended publications
  • O Brasil Descobre a Dança Descobre O Brasil
    O TALHO NA CMESMIE Os milênios pertencem a ordenações soberanas. Conversas de fim de século geralmente tratam de momentos críticos e decisões irrevogáveis. As de agora, sopram prováveis e variados holocaustos, mas também diversas possibilidades de redenção. Clamam por urgências ecológicas, pela atenção com a saúde pessoal e do planeta; redimensionam questões nacionais, uma vez que as novas tecnologias de informação estão desenhando um mundo por conhecer. Qual o figurino indicado para uma troca de milênio? O motor do ato, aqui, se impele dos traços nascidos nos últimos anos deste 1900, mas não marcha nas hostes milenaristas (como se comportar perante os três zeros das datas que serão cabeçalhos de nossa futura correspondência? Zero-pai, zero-filho, zero-espírito santo, como diz Peter Sloterdijk?). Nem se abriga nas dobras amigáveis de uma historiografia oficial, cronológica na sua seqüência linear. Primeiro, porque ela não está sequer escrita. E depois, singrar outras faces em paisagens conhecidas é o que abre o breu. Na ausência de pernas, cavalgaremos com a ciência. Ciência: do que se desprende o nosso cotidiano. Às vezes, nem atentamos para sua presença. Distraídos, continuamos pensando que se trata de exclusividade de laboratório de cientista. Mas não. Escolher uma hipótese (por que uma, aquela, e não qualquer outra?), testá-la indutivamente e, em seguida, elaborar uma dedução a respeito das conclusões obtidas é o que cada um de nós faz a cada dia quando, por exemplo, abre a janela e escolhe com que roupa vai sair de casa. O ponto de partida, a idéia básica do trabalho, se centra num fenômeno tipicamente brasileiro conhecido por Ballet Stagium.
    [Show full text]
  • Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
    CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
    [Show full text]
  • CATALOGUE 2018 This Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 CATALOGUE 2018 Plus New Additions to the Catalogue
    CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 CATALOGUE 2018 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany WORLD SALES CEO: Jan Mojto C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager All information is not contractual and subject to change without prior notice. [email protected] & Marketing [email protected] All trademarks used herein are the property of their respective owners. [email protected] Date of Print: February 2018 © UNITEL 2018 All rights reserved Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet [email protected] [email protected] ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES AVAILABLE FOR THE FIRST TIME FOR GLOBAL DISTRIBUTION LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
    [Show full text]
  • BEETHOVEN-BALLETS Hans Van Manen / Mauro Bigonzetti 3 Aufbruch!
    Triple Bill BEETHOVEN-BALLETS Hans van Manen / Mauro Bigonzetti 3 Aufbruch! Triple Bill BEETHOVEN- BALLETS Hans van Manen / Mauro Bigonzetti Presented by Adagio Hammerklavier Einssein Große Fuge 3 Aufbruch! Triple Bill BEETHOVEN- BALLETS Hans van Manen / Mauro Bigonzetti Presented by Adagio Hammerklavier Einssein Große Fuge 4 5 Ta Ta Taaaa – Dance! Ta Ta Taaaa – Dance! TA TA TAAAA – DANCE! Beethoven and ballet, it was said for a long time, are a bad fit. The choreographers Mauro Bigonzetti and Hans van Manen prove the opposite with their highly individual works set to the music of this acclaimed genius. There are statements which develop a life Olympus of Viennese classical music, Haydn of their own. Such is the case with this sen- and Mozart – rejected appointments at prin- tence by the great choreographer George cely courts in order to be free and subjective Balanchine: “Dance should leave Beethoven in his art. The consummate, ultimate artist well alone – there’s no choreographing to to whom nothing need be added – not even his music.” It would seem that these words the dance. The Ta ta taaaa of his Fifth Sym- have been echoing between stages and phony or the beginning of his piano piece studios for decades, for indeed: there are Für Elise have become acoustic knowledge far fewer pieces to Beethoven than to the world-wide. Which is exactly what George music of other composers. John Cranko, for Balanchine was referring to: “While listening example, did not choreograph a single ballet to composers like Beethoven and Brahms, to Beethoven, John Neumeier did not stage every listener has his own ideas, paints his his first full-length Beethoven ballet until own picture of what the music represents … fifty years after his debut.
    [Show full text]
  • Glen Tetley: Contributions to the Development of Modern
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. GLEN TETLEY: CONTRIBUTIONS TO THE DEVELOPMENT OF MODERN DANCE IN EUROPE 1962-1983 by Alyson R. Brokenshire submitted to the Faculty of the College of Arts and Sciences Of American University In Partial Fulfillment of The Requirements for the Degree Of Masters of Arts In Dance Dr.
    [Show full text]
  • Ballet Notes Cover: Greta Hodgkinson and Guillaume Côté (2005)
    The Taming of the Shrew March 2007 Ballet Notes Cover: Greta Hodgkinson and Guillaume Côté (2005). This page: John Cranko with Stuttgart Ballet’s Marcia Haydée and Richard Cragun in rehearsal (c.1969). The Taming of the Shrew A ballet in two acts after William Shakespeare Choreography: John Cranko Copyright: Dieter Graefe Produced and Staged by: Reid Anderson Originally Reproduced from the Benesh Notation by: Jane Bourne Music: Domenico Scarlatti, arranged by Kurt-Heinz Stolze, published by Edition Modern AG Set and Costume Design: Susan Benson Lighting Design: Robert Thomson Assistant to Miss Benson: Marjory Fielding This production entered the repertoire of The National Ballet of Canada on February 13, 1992; Walter Carsen, O.C. totally underwrote the original production and generously sponsored the 2006 refurbishment. Presenting Sponsor: 3 Synopsis Baptista, a rich gentleman of Padua, has two Scene 4: A street daughters. The elder, Katherina, an intelligent, All the neighbours gather to attend Katherina’s outspoken woman, is thought to be a shrew by wedding. They find it hysterical that she has the townsfolk. What Katherina really resents is the agreed to marry such a man. Bianca’s suitors preferential attention paid to her silly, vain sister, gleefully join them in a playful, silly dance. Bianca, by everyone. Despite her objections, Scene 5: Baptista’s house Katherina is married to Petruchio. Petruchio mar- Katherina is dragged to her wedding kicking and ries Katherina for her money and sets out to bully screaming by her father. Petruchio arrives late her into submission. But who tames whom, the and behaves outrageously.
    [Show full text]
  • (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
    [Show full text]
  • Elizabethan Trust ·· News 300Eng8 Sepg8mber'74 No 12 Contentr Editor: Margaret Leask
    elizabethan trust ·· news 300enG8 sepG8mber'74 no 12 contentr Editor: Margaret Leask The Stuttgart Ballet 3 Interview - Stella Adler and Ron Burrows 4 Fringe Engl ish in Brisbane - Albert Hunt and Richard Fotheringham 6 Puppetry News - The Marionette Theatre of Australia 8 London Scene - Gordon Beattie 9 Theatre in Canberra, Then and Now - Anne Godfrey-Smith 10 Dance Footnotes - Leonard Linden 12 Three Rooms, Harbour View - the ITI at the A.E.T.T: 13 Australian National Playwrights Conference 13 The Poets of Pleasure at N.I.D.A. - Maxlffland 14 Lucette Aldous 16 Melbourne Scene - BarryBalmer 18 Books 19 Australian Elizabethan Theatre Trust Conference 19 The Facts about the Elizabethen Trust Orchestras - Ken Mackenzie·Forbes20 Music - The War Requiem Twelve Years Later 21 Committees' Diary 21 Elizabeth Sweeting talks about Theatre Administration 22 New Opera South Austral ia - Stuart Thompson 24 Stageworld 25 R~o~s W Showguide 27 lHE N~TIONAL 1N5TITUrE IIIIID OF [)R,Al\MTIC ART at the University of New South Wales forme Sydney, Australia offers: Three year full-time training courses NEW for the Professional Theatre in ACTING BLOOD TECHNICAL PRODUCTION Blood is urgently required by the Red Cross Blood Transfusion Service. Help DESIGN save a life - giving blood is simple and harmless. A few minutes of your time Ther~ is a one year post-graduate could mean a lifetime to somebody student director's course for people else. ENROL NOW! already experienced in professional, university or amateur theatre. Sydney - 153 Clarence Street. (telephone 290 2555); Enquiries should be addressed to: Melbourne - 114 Flinders Street.
    [Show full text]
  • Dance & Spectacle
    Proceedings Dance & Spectacle Thirty-third Annual International Conference University of Surrey, Guildford and The Place, London, UK July 8–11, 2010 Society of Dance History Scholars Proceedings Dance & Spectacle Thirty-third Annual International Conference University of Surrey, Guildford and The Place, London, UK July 8–11, 2010 The 2010 SDHS conference, “Dance & Spectacle”, was held July 9–11, 2010, at the University of Surrey, U.K. Each presenter at the conference was invited to contribute to the Proceedings. Those who chose to contribute did so by submitting pdf files, which are assembled here. There was minimal editorial intervention — little more than the addition of page numbers and headers. Authors undertook to adhere to a standard format for fonts, margins, titles, figures or illustrations, order of sections, and so on, but there may be minor differences in format from one paper to another. Individual authors hold the copyrights to their papers. The Society of Dance History Scholars is not legally responsible for any violation of copyright; authors are solely responsible. Published by the Society of Dance History Scholars, 2010. Contents 1. Adair 1 2. Alzalde 9 3. Argade 19 4. Briand 33 5. Carr 49 6. Carter 61 7. Cramer 69 8. David 79 9. Daye 89 10. Friedman 97 11. Grau 109 12. Grotewohl 115 13. Hamp 123 14. Hardin 131 15. Holscher¨ 137 16. Kew 145 17. Klein 153 18. Lenart 159 19. Main 169 20. Mathis-Masury 177 21. Mercer 185 22. Milanovic 195 23. Milazzo 201 24. Monroe 211 25. Mouat 217 26. Paris 229 iv 27.
    [Show full text]
  • HUGO TRAVERS Forrest Gump Da Dança
    Ministério da Cultura, Governo do Estado de São Paulo e Secretaria da Cultura apresentam HUGO TRAVERS Forrest Gump da dança Se a vida de Hugo Travers pudesse ser resumida em apenas uma palavra, ela provavelmente seria aventura. Essas oito letras, porém, ainda são poucas para abarcar as oito décadas de acontecimentos acumulados por esse argentino desde o momento em que decidiu, ainda adolescente, abraçar a dança em todas as suas formas. Tal como o fictício personagem-título encarnado pelo ator Tom Hanks no filme Forrest Gump (1994), de Robert Zemeckis, ele foi impelido a estar no lugar e na hora certos e se tornou ao mesmo tempo testemunha e protagonista da história, tendo sido agente de algumas das experiências mais marcantes dessa linguagem artística, tanto no Brasil, quanto no mundo, na segunda metade do século 20. Nada disso teria acontecido se o jovem Travers não tivesse sido insistente (para viver e para dançar). Nascido em Buenos Aires em 1932, ele brigou contra uma série de doenças até vingar. Caçula de três irmãos, foi em Quilmes – que, localizada a 17 quilômetros da capital argentina, é berço da cerveja homônima – que ele cresceu e despertou para as artes pelas mãos da mãe, Isabel Vicenta (1897- 1989), que costumava levá-lo para assistir a todo tipo de manifestação cultural. Uma delas, conferida aos oito anos, foi a passagem da companhia Piccoli di Podreca com um show de marionetes. As cenas vistas ali foram tão marcantes que ficaram no imaginário do menino. De uma hora para a outra, ele sentiu que poderia também fazer suas próprias interpretações para aqueles trechos de A Flauta Mágica, de Wolfgang Amadeus Mozart (1758-1791) e La Traviata, << [capa] Hugo Travers (foto: Acervo pessoal) < Hugo Travers (foto: Acervo pessoal) de Giuseppi Verdi (1813-1901).
    [Show full text]
  • Graeme Murphys Romeo and
    DANA STEPHENSEN, CORYPHÉE 2011 SEASON MELBOURNE 13 – 24 September the Arts Centre, State Theatre with Orchestra Victoria SYDNEY 2 – 21 December Opera Theatre, Sydney Opera House with Australian Opera and Ballet Orchestra Mum’s lounge room Cavendish Road High School Davidia Lind Dance Centre The Australian Ballet The Arts Centre, Melbourne TELSTRA IS PROUD TO SUPPORT DANCERS AT EVERY STAGE It’s a long journey from those first hesitant steps to a performance on the world stage. Telstra proudly supports Australian dancers through community grants, the People’s Choice Award, and as principal partner of The Australian Ballet. Broadcast Sponsor Supporting Sponsor Supporting Sponsor Principal Sponsor Cover and above: Madeleine Eastoe and Kevin Jackson Photography Georges Antoni TCON1179_D Madeleine Eastoe Photography Georges Antoni NOTE FROM THE ARTISTIC DIRECTOR If you ask any dancer, they’ll say that Romeo This production will be such a valuable and Juliet is a ballet they aspire to dance. To addition to the repertoire and will give us a have the opportunity to have this classic tale new way to engage with this timeless story. created for you by one of the world’s great It is also a wonderful vehicle for the artistry narrative choreographers would be a dream of our talented dancers. Equally it has been come true. That is just what’s been happening an amazing showcase for the artisans who for the last few months! It has been so exciting make the sets, props and costumes, as to watch this new production take shape well as the technical staff who bring them across the company, in the rehearsal rooms, to the stage.
    [Show full text]
  • Shadow on the Prairie: Canada's Royal Winnipeg Ballet By
    Shadow on the Prairie: Canada's Royal Winnipeg Ballet A History in Documents By Kimberly Rokala A Thesis Submitted to the Faculty of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of English University of Manitoba Winnipeg, Manitoba (c) August,2003 THE TINIVERSITY OF MANITOBA FACT]LTY OF GR,{DUATE STUDIES ++++ú COPYRIGHT PERMISSION PAGE Shadow on the Prøíríe: Canada's Royal Winnipeg Ballet A llistory in Documents BY Kimberly Rokala A ThesisÆracticum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirements of the degree of Master of Arts KÍmberly Rokala @ 2003 Permission has been granted to the Library of The University of Manitoba to lend or sell copies of this thesis/practicum, to the National Library of Canada to microfilm this thesis and to lend or sell copies of the film, and to University Microfilm Inc. to publish an abstract of this thesis/practicum. This reproduction or copy of this thesis has been made available by authority of the copyright o\ilner solely for the purpose of private study and research, and may only be reproduced and copied as permitted by copyright laws or with express wriffen authorization from the copyright owner. Rokala I Acknowledgments I gratefully acknowledge my debt to everyone at the Royal Winnipeg Ballet who, over the years, have inspired me with their artistry and particular form of transcendence. I gratefully acknowledge the assistance of Professor David Arnason whose advice and suggestions have been invaluable in completing this project and whose assignment in his I4rinnipeg in Literatur¿ course provided the inspiration for this thesis.
    [Show full text]