To Sir Frederick Ashton’s fast footwork and musicality belongs the Australian Ballet’s double bill “The Dream” and “Marguerite & Armand.” To the charming misadventure distillation of Shakespeare’s A Midsummer Night’s Dream bubbles “The Dream.” To the legend of Margot Fonteyn and Rudolf Nureyev, dovetails Amy Harris’s Marguerite, in Harris’s last stage role before her retirement. After 22-years with the company, Harris bids farewell in a delicious camellia-bloom, echoing Marguerite’s own departure (thankfully for altogether different reasons; Harris is retiring from the stage, whereas her character Marguerite is dying of tuberculous).FREE ARTICLE
Rosalind Crisp was born in Omeo (East Gippsland), Australia. She studied classical and contemporary dance at Melbourne’s Victorian Ballet School, and in the Netherlands at the European Dance Development Centre. Rosalind has maintained a solo and collaborative, studio research practice for 40 years, at Omeo Dance Studio, Sydney, which she founded in 1996; at Atelier de Paris, Paris; where she was Associate Artist for ten years; and now at the Orbost Studio for Dance Research, which she founded in 2021 with Andrew Morrish.
Rosalind has been awarded a NSW Women & Arts Fellowship (1996); a MO Award for best Australian female dancer of the year (1997); a Masters by Research from the University of Western Sydney (1998); a choreographic fellowship from the Australia Council (2000–2001); and in recognition of her influence on a generation of Australian dancers, in 2014 the University of Melbourne-VCA made her an honorary fellow. To her long list of accolades, in 2015 France made her a Chevalier de l’Ordre des Arts et Lettres (Knight/dame of the Arts).
Since 2013, her solo and collaborative works have engaged with the environmental devastation occurring across her home country of East Gippsland, interacting with science and local knowledge to develop complex aesthetic responses. In 2017, Rosalind’s initiated DIRt (Dance In Regional disasTer zones) to explore how dance and collaborative arts practice might respond to the unfolding extinction crisis, and it is from this awareness that Gracia Haby and Louise Jennison met with Rosalind after the final performance of “The real time it takes...” especially for Fjord Review.
When a choreographer takes on volcanic and iconic works from American musical giants like Leonard Bernstein and John Adams one move they could take is to cool them down with a couple of more soothing European works in between.Continua a leggere