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About redbookish

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Performing arts academic & adult dance student
  • City**
    Birmingham UK
  1. Today, BBC Radio 4 broadcast a wonderful programme following Crystal Pite's choreographic process in making her new piece for the Royal Ballet, Flight Paths. You can hear it on the Radio iPlayer here: http://www.bbc.co.uk/programmes/b08ynq1q It's called "Behind the Scenes" and it was broadcast on Radio 4 at 9am today (Tuesday 25th July). In my experience, it is possible to listen to BBC Radio overseas (I certainly stream it when in the US), so it should be possible to listen to this - it's very very interesting.
  2. Dr Jane Pritchard will be in conversation with Monica Mason in the February lecture of the Society for Theatre Research lecture series. It's on 7th February, 2017 19:30 at the Swedenbourg Hall in Bloomsbury (just off Bloomsbury Way. (Nearest Tubes are Holborn or Russell Square). They'll be discussing Dame Monica's long career, culminating in her directorship of the Royal Ballet. Many of you will know Jane from her marvellous curation of the V&A Ballet Russes exhibition - she's an ideal expert to draw out the best from Dame Monica. The event is free, open to members & non-m
  3. Many thanks, rg. That is a really helpful list of sources. It is as I suspected and there isn't a neat source I can cite, so as to be able to get on with the rest of my argument. Scholarship was ever thus! Indeed, it'll go into my store of research ideas to follow up, particularly as I hope to have the opportunity to work with the V&A on a related project in the future.
  4. I wonder if experts here can direct me to sources they've found useful on the development of the technology of the pointe shoe? I've read Ivor Guest and other standard histories of the Romantic ballet. Guest mentions in a very brief way, that the block of the pointe shoe didn't emerge until the 1880s alongside the development of the Imperial/classical ballet technique. I've also read the online sources such as the useful (but with no cited references)Gaynor Minden potted history of the pointe shoe. I also had a really good close look at the pointe shoe on display as part of the V&A's Balle
  5. BEHIND THE SCENES AT THE BALLETS RUSSES A Study Day in conjunction with the exhibition Diaghilev and the Golden Age of the Ballets Russes 1909-1929 At the Victoria & Albert Museum, London Saturday 4 December 2010, in the Lecture Theatre, 10.30-17.00 Programme 10.30 Introduction and welcome Diaghilev and the Ballets Russes Geoffrey Marsh (Director of Theatre & Performance, V&A, Co-curator Diaghilev and the Golden Age of the Ballets Russes 1909-1929) Coffee The Choreography of Fokine, Njinsky and Nijinska Professor Claudia Jeschke (University of Salzburg) Igor Stravinsky
  6. I spent most of Sunday (17th October) at the V&A as well. The Ballet Russes exhibition is worth taking some time over, as it includes a lot of innovative material -- it's not your ordinary exhibition, and includes new art works by digital and film artists as well as the standard archival materials. There were the highlights which are likely to be different for everyone, but I loved the front cloths on display. You got a sense of the scale of the productions from those. Jane Pritchard has done an amazing job, and I know just how hard and long she worked on this exhibit. There's a bit of
  7. The Society for Theatre Research announced Julie Kavanaugh's biography of Nureyev as one of five shortlisted theatre books for the annual Theatre Book Prize. Alas, it didn't win (the prize was given to Michael Billington's amazing book on the last 30 years of British theatre), but it was a hot favourite. You can read what the judges thought about the five shortlisted books on the Society for THeatre Research website. Mods: not sure if I can post the link, but will if it's permtted.
  8. Julia Kavanagh's biography has been shortlisted for the Society for Theatre Research Book Prize. It's on a shortlist of 5 out of over a hundred book entered this year. The awards ceremony is at Drury Lane on 1st April -- I'l lbe there & shall report results here.
  9. In a recent documentary about the Royal Ballet, Stephen McRae was featured, and was open about being very ambitious. Good to see he's achieving his ambitions.
  10. I saw this production in its first Sydney season live, and found the whole thing an entirely credible and refreshing reinterpretation of the Nutcracker. You have to realise, also, that there isn't the huge tradition of the Nutcracker at Christmas in Australia or the UK to the same extent as it appears to be in the US (from the evidence of this board and BT4D!). Indeeed, I rarely saw the Nutcracker in 20 years of dance spectatorship in Australia. - well, I saw it as frequently or not as any other ballet from the classical repertoire. One of the very moving things about the opening scenes of
  11. Sylvie Guillem and Akram Khan were interviewed on the excellent arts programme "Front Row" on BBC Radio 4 on Weds 18th April. You can "LIsten Again" via the BBC Radio 4 web site. Here's the link: Front Row Very interesting interview. Guillem is extremely articulate about her work.
  12. It was announced earlier this week that choreographer Robert North (remember his wonderful Troy Games?) will take over as Ballett Direktor at Krefeld Mönchengladbach (NRW, BDR), after the sudden death of Direktorin, Heidrun Schwaarz. His ballet "Bach" was recently made on the company, and is a wonderful joyous and clever piece, showing the dancers beautifully. Great news for the theatre and ballet company to be working with such a choreographer, particularly after their recent shocking loss of Frau Schwaarz. The press release (in German) can be found here: Robert North
  13. What an interesting topic, and fascinating & thoughtful replies. To me, Alexandra's hit the nail on the head, with her observation that small to medium companies are often headed up & led by women and their vision, but whewn we get to big companies, status, and what sociologist of culture, Pierre Bourdieu, would call "cultural capital" it becomes a "man's job." That's the pattern here in the UK, where through my job, I come into contact with a lot of contemporary & experimental dance makers, most of whom are women, whose companies operate on shoestrings of project-based fiunding -
  14. Well, here in the UK, contemporary dance is flourishing. There are several established contemporary dance conservatoire schools (eg Northern Contemporary Dance School in Leeds, or Laban in London), and mostvuniversities which offer dance degrees offer them in contemporary dance, with ballet as training, but they're not aiming to produce ballet dancers as such. There are many small experimental companies based around choreographers - some personal favourites include Vincent Dance, Akram Khan, Volcano, Richard Alston Company. And some of these have become very successful, performing in larger
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