A first for DanceTabs in covering the Polish Dance Platform event - 3 days of contemporary dance and big thinking in Lublin. Lucy Ribchester, who has covered much dance at the Edinburgh festivals, reports on a wide ranging event...
Author - Lucy Ribchester
Lucy Ribchester is a dance and fiction writer based in Edinburgh. Her dance writing has appeared in The List, Fest, Venue and Exeunt magazines. Her short fiction has appeared in various journals, and her debut novel The Hourglass Factory will be published by Simon & Schuster in spring 2015. You can find her on Twitter: @lucyribchester
It may be his name only on the posters, but Richard Alston firmly shares the limelight with Martin Lawrance in this quadruple bill, which sees the premiere of Lawrance’s new work, Burning, placed alongside three of Alston’s own pieces.
Earthy and gothic character-driven dance from balletLORENT
One of the most interesting things about Scottish Ballet’s changing double bill ...is the way it subtly changes the atmosphere of the show as a whole, re-contextualising the first piece, iWitness
There’s a clean, healthy lightness that runs through TaikaBox’s meditation on the limits of the body
‘I was not interested in the image of womanhood as it is presented by the media, nor in its visual aspect,’ says Vagnerová...
Eclectic, fascinating choreography is danced with precision and passion by this fine-tuned company...
Almost 20 years since it first premiered, Matthew Bourne's sharp, satirical and exquisitely beautiful Swan Lake feels as up to the minute as if it were choreographed last week.
Perhaps it's the case that our receptors for beauty lie close in the brain to those for horror: what else could explain how a story about two young lovers dying a needless, violent death should be so passionately, tragically beautiful.
There's a thread connecting the elemental ancient to the here and now, trailing slowly but firmly through Scottish Dance Theatre's double bill of new works.
Christopher Hampson's production, set to Engelbert Humperdinck's 1893 opera score, dances round traditional perceptions of good and evil, raising sinister notions about the invisibility of danger lurking in the real world.