Monday, January 16
Posted 16 January 2012 - 10:08 AM
The corps de ballet supported the main dancers extremely well, maintaining a fluid, moving background, although at times it did indeed seem that there were rather a lot of people on the stage, which had the capacity to get slightly confusing. These instances were few and far between, however, and both large ensemble pieces were captivating. The changes to the original story were mostly forgotten as the Sugar Plum Fairy and the newly-crowned Clara danced their audience into a trance, and looked genuinely like they were thoroughly enjoying performing.
Posted 16 January 2012 - 10:27 AM
A class of about 40 people is being taught by dancers from the English National Ballet.
Over a period of nine weeks they will learn elements of the Nutcracker.
Posted 16 January 2012 - 10:29 AM
Her thesis is straightforward, non-controversial and widely accepted: without the ferocity of her strong personality, Franca could never have jump-started the National Ballet and driven it to the central position in Canadian performing arts culture that it continues to occupy today. End of story, really. What Bishop-Gwyn has pulled off very well, however, is the detailing of all the incidents, challenges, setbacks, psychological nuances, and consequences that attended this full-throttle, dominating personality.
Posted 16 January 2012 - 10:31 AM
For some of the dancers - handpicked by Trevitt and Nunn at open auditions - The Talent will be their first professional performance, and for audiences it represents a new kind of dance, with backstage video clips breaking down barriers and introducing a more inclusive feel.
Posted 16 January 2012 - 10:32 AM
Mr. Briansky also enjoyed the performance Joyful Little Monks, a humorous dance that portrays apprentice monks cleaning a temple.
Handcrafted costumes, from the warrior’s helmet and armor to the civil official’s headdress and robes are another aspect of Shen Yun, which Mr. Briansky found “beautiful.” Attire from ethnic groups such as the Manchurians, Tibetans, and Mongolians are included in the wide-ranging, colorful costuming.
Posted 16 January 2012 - 01:22 PM
“You have a technique open to any direction you want to take it in,” he said in a phone interview from his home in Montreal. “The type of material it has been associated with for a long time – the more classical narrative stuff – they’re not linked inextricably.
“I think ballet technique is amply able to carry contemporary themes. If the technique is to survive, it has to be a living technique. It has to somehow correspond to the contemporary world and not just reference older work.”
Posted 16 January 2012 - 01:24 PM
He was principal dancer with the RWB for 11 years and he was the first western artist invited to perform in China after the Cultural Revolution.
Born in Libau in 1940, Martin-Viscount first took dance lessons in Selkirk at age 11. There, he was noticed by then-director of the RWB Arnold Spohr, who invited him to enrol with the RWB as a student.
Martin-Viscount only spent a couple of years as a student before he joined as a principal dancer with the company at only 15 years of age.
Posted 17 January 2012 - 10:51 AM
Our New American Talent/Dance project alone has incubated the careers of 12 young dance makers in eight years. From classical in nature to avant-garde, from full-length ballets to miniatures, we strive to live this creative value in large ways
Posted 20 January 2012 - 11:29 AM
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