Dance

Dance

Dance at the Sydney Festival – Sidi Larbi Cherkaoui and Damien Jalet’s ‘Babel’, Martin del Amo’s ‘Anatomy of an Afternoon’ and Gideon Obarzanek’s ‘Assembly’

Parody as a technique of satire ought to suit theatrical dance well. Irish poets, known as some of the greatest masters of this form, in imitating and reversing the meter of their victim’s poems in order to devastate them are said to have used the same technique as Russian witches: "they walk quietly behind their victim, exactly mimicking his gate; then when in perfect sympathy with him suddenly stumble and fall, taking care to fall soft while he falls hard." [1] Sidi Larbi Cherkaoui and Damien Jalet's piece Babel (words) takes on the modern world, in a deliberate mixture of satire, serious avant-garde dance, science fiction, declamatory monologues and something bordering on a three-ring circus.
Dance

Graeme Murphy Choreographs a New Romeo and Juliet for the Australian Ballet

William Shakespeare, though he did not of course invent all his stories, rather drawing them from history or myth, makes them seem like his in his vivid tellings. His characters gain real personalities by virtue of the dense poetry but also from their actions and behavior in the plays and the strong linkages of cause, motivation, effect, imagery and expressive action from foot to foot, line to line, scene to scene and act to act give the plays strong coherence through the internal logics, whether ‘real’, poetical, linguistic or dramatic. In a phrase, he had a sense of theater, he magically created real worlds, not just existing in his private imagination, but in seemingly solid words and acting which create in the theater believable atmospheres of battle, or forest serene or sinister, or anything else from any part of the world. Perhaps most of all the stories we grant Shakespeare possession of that of Romeo and Juliet. Ballet has a history of borrowing Shakespeare’s pieces, though it may seem self-defeating to leave the Bard’s words and take only the story, many are successful as theater in their own right, perhaps because they avoid a direct translation into mime and movement rather taking across the essence of their drama and characters.

Dance

The Australian Ballet Dances a Renovated Merry Widow

The Merry Widow as a ballet was invented by the Australian Ballet and it has their spirit written all over it: irreverence without sarcasm or cynicism, joie de vivre and any feelings of desperation generally surmountable. It was Robert Helpmann's brainchild, the Australian actor and dancer who got his launch in the 1930's in Ninette de Valois' Sadler's Wells company becoming a very fine dancer especially in the character and demi-character rôles and a legendary Shakespearean actor too. The idea to make the famous operetta into a ballet came in 1975 when Helpmann was the Artistic Director and the Australian Ballet was only 13 years old and in a bit of a financial pickle. The Merry Widow on the one hand was created to be popular and bring in some money from the box office and succeeded in this, but it was really a very ambitious and visionary idea for it was the company's first new full length ballet, a genre Ninette de Valois, speaking from experience, emphasized as very important for a growing company to undertake — in the full 'three act' ballet in the imperial Russian and earlier French tradition a company must tell a single story over an entire evening. The way Hynd, Heeley and Lanchbery went about putting the idea on the stage goes far beyond mere populism which they knew wouldn't have helped the young company at all.

Coming Up and Of Note

The Australian Ballet’s 50th Anniversary Season – 2012 Season Preview and Schedule, David McAllister, Artistic Director [*UPDATED* with new anouncements]

The boronia and the pink eriostemon are at the height of their bloom, most of the wattles are just finishing, the parrots, lorikeets and galahs are busy eating and nesting while the magpies are belligerent again and the air has taken on that warm, sweet, dusty polliniferous fragrance of spring. At least it has in this neck of the woods around 33 degrees South, but it isn't so unlike May in New England. It was when these times came around my piano teacher in school would drop everything to play something with sharps — nothing too hairy, G or D or A major, say. As spring suggests sharps, seeming to say 'up,' so does ballet. In the classical technique one seems to dance always thinking 'up': relevé, sauté, piqué, even in a simple run across the stage or studio, the feet press up, up, up. Even standing in place, the hips tip up and the body seems to lift buoyantly. Even coming down from a jump, the feet and legs push up as the dancer lands. A dancer maintains a respectful and gentle relationship with the ground, as the surfer to the sea. Naturally, it is spring the Australian Ballet announces its new season and we turn our thoughts to a new year of ballet, but those already looking for wildflowers in the Bush need not turn their heads far.

A London Summer with Huntley Dent

The English National Ballet’s Tribute to Roland Petit

Stilettos, ready! To keep the audience entertained, the postwar French choreographer Roland Petit resorted to high jinks, low jinks, whatever jinks he could summon. He's a one-man, nonstop coup de theatre. Petit's women, long-legged and aloof, aren't asked to be graceful so much as dangerous and strange: they slither, prance and stamp, opening and closing their knees in insectoid twitches and mechanical jerks. It's as if they are perched on high-heeled toes. The men must earn advanced degrees in acrobatics (with post-graduate liniment for their abused muscles) to perform Petit's Cirque de Soleil cartwheels, tumbling, and feats of strength (such as forming a human bridge for the ballerina to stretch out on — at least she doesn't walk over it in stilettos). These antics were on display in a triple bill mounted by the ever-ebullient English National Ballet, the romping younger sibling of the Royal Ballet, which soberly covets its right of primogeniture.
Dance

Fauré’s Requiem as Theatre: Stephen Baynes Choreographs the Australian Ballet

Resident Australian Ballet choreographer Stephen Baynes just in the act of choosing Fauré's Requiem mass for a new ballet for the (Australian) Federation Centenary in 2001 clearly stated his concept. He bravely steered to a huge and personal topic in creating a ballet around death with that intimate choral music, and his keen understanding of the music and inventive choreography insure that neither the dancing nor the musical elements step on the other's toes, as it were. On the contrary the close marriage of choreography and music, though of course not written with the slightest intention for the ballet, sets it as an excellent example of 'old' music though already near perfect, benefiting from the added dancing, the choreography finding new depths, no deeper or shallower than the music's alone, but different depths found only in theatrical arts. Indeed, Stephen Baynes' ballet introduced me to new approaches to Fauré's music. Beyond Bach, the other ballet in this all-Baynes double bill showing only in Melbourne, is powerful enough to stand alongside Requiem with neither overshadowing the other. It is almost abstract and shows a deep love for history and J. S. Bach.

Dance

New Faces Choreograph for the Australian Ballet in ‘Bodytorque’ (CORRECTED)

The Australian Ballet has of course a long history of commissioning new works, often from Australian choreographers. For the last several years, the Company has encouraged this activity under the 'Bodytorque' moniker — five dancers from the company with an interest in choreography are given the opportunity to create a short (15-20 minute) ballet with dancers from the company, which they produce for the general public in a smaller theatre (smaller than the opera house, anyway) — a safe enough environment for experimentation. We balletomanes get the opportunity to see fresh creativity and serious, experimental modern ballet choreography and dancing, as well as what the future holds for the larger national company. This year's program is certainly varied in inspiration and execution even though, or perhaps because the scale of the productions is small. Some have plots and some have concepts, more like 'interpretive dance,' if I can use that term without a negative connotation.

WP2Social Auto Publish Powered By : XYZScripts.com