5 Questions to Sarah Crompton about her new book “Sadler’s Wells – Dance House”
Press Release 12 March 2013 SCOTTISH BALLET presents DANCE ODYSSEYS Edinburgh International Festival Festival Theatre Edinburgh Friday 16 – Monday 19 August 2013 Scottish Ballet invites Edinburgh International Festival audiences to experience dance…
Possokhov’s Rite of Spring is a mixture of mostly good choices with a few that seem rather odd to me.
Teresa Reichlen – known as Tess by friends and colleagues – is an immediately striking dancer: tall, pale, preternaturally serene. She could be a Madonna in a painting by Botticelli.
Working backwards from the title song that ends Two Cigarettes in the Dark, it’s possible to discern a theme in Pina Bausch’s 1985 piece…
18 pictures by Dave Morgan as part of our overall review…
Essakow has continued to evolve as a choreographer, thanks to his association with The Print Room. Its high standards of presentation attract first-rate collaborators and performers, and by including spoken and projected words, Flow attracts non-dance-specialist audiences.
Dance is a difficult thing to experience outside of the theatre, but for the sustainability of the artform it has to find a way to make itself more widely available.
One issue that arose is the fact that too many people in the Rain Room – whether dancers or audience – really starts to destroy the illusion of controlling the rainfall or being enclosed in the rain.
Freedom came when the performers were allowed to dance. And that just wasn’t often enough.
It’s the name of the game that one does not necessarily appreciate all plans (or indeed how they crystallise out in practice) but I have to say that Sadler’s Wells set a benchmark re new work/experiences and for where you want a progressive art to be.
Shivalingappa first caught my eye at the 2007 Fall For Dance festival, where she danced Varnam, a Kuchipudi solo. I was immediately struck by her musicality, the power and precision of her footwork, and the absolute clarity of her movements. And to the grace of her upper body and a jump that seems to comes out of nowhere, light and airy as a cat’s.
The Director of her own company at the Saarbrucken Opera House, she is in London to choreograph a new work, Labyrinth of Love, for Rambert Dance Company, the centrepiece of their autumn tour…
Waltz is about big ideas in ‘Continu’ but if you don’t pick up on them there is not a lot of choreography to keep you going.
This is the third mounting of the work since its première in 1976 at the Avignon Festival, where it quickly became the stuff of legend. What was this strange, endlessly-repetitive, oddly compelling work?
Bausch is a mystery. To some, she represents the summit of poetry and expression, worthy of a cult-like following. Clearly, these dancers derive great emotional sustenance from performing her work. And it suits them. But, with the exception of Gillot’s solo and a few moments here and there, it left me cold.
‘We do not describe a city’, Bausch is quoted as saying. ‘We describe the feelings we have picked up there.’