Jump to content


Thursday, October 17


  • Please log in to reply
17 replies to this topic

#16 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 24,840 posts

Posted 19 October 2013 - 11:10 AM

A review of the Birmingham Royal Ballet by Neil Norman in The Daily Express.

David Bintley snatched victory from the jaws of defeat following technical glitches (including two fires during rehearsals) that meant the show began 30 minutes late.

 

He might have chosen his words more carefully, however, when he arrived on stage to apologise for the delay. Insulting Sadler’s Wells will not have endeared him to the management.

 



#17 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 24,840 posts

Posted 19 October 2013 - 11:47 AM

A review of The Forsythe Company in "Sider" by Deborah Jowitt in her blog, "DanceBeat."

 

Forsythe, whose company is based in Dresden and Frankfurt am Main, has said that he keeps “trying to test the limits of what the word choreography means.” You could see that even in his earlier cranky, ice-sharp ballets, such as In the Middle Somewhat Elevated, which grace the repertories of companies worldwide. His influence has been enormous, too, via projects that extend beyond his own choreography—for instance, his 1994 computer application, Improvisation Technologies: A Tool for the Analytical Dance Eye. His company members—a few of whom have been working with him since the late 1980s, when he headed Ballett Frankfurt—are remarkably astute; brilliant mental and physical gymnasts. Imagine what it takes for a performer to cope with Forsythe’s practice in relation to Sider. This is his explanation: “We work here with very powerful formal systems, but I continually shatter their logic by inserting exceptions. But before they notice that, I also shatter that logic by inserting exceptions to that exception.”

 



#18 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 24,840 posts

Posted 24 October 2013 - 12:35 PM

Q&A with James Whiteside.

Time Out New York: But why did you want to take that risk? What started it? Maybe it was gradual.

James Whiteside: No. I had talked to Mikko for maybe three years before I actually left, and I said, “I want to explore different places—maybe ABT, maybe City Ballet, maybe San Francisco, maybe the Royal. I want to try maybe a bigger company to see how I fare, and I want to be around different dancers.” That’s really the way I learn—being inspired by other dancers and other artists. I think that’s the reason I decided to make the change. I wanted new experiences. I didn’t want to be the same dancer for another ten years.

 

 




0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users


Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):