Dancing in Circular Time
Amrita Hepi, a choreographer with Bunjalung and Ngāpuhi roots, has come a long way from her home in the Pacific.
Continua a leggereWorld-class review of ballet and dance.
“New Breed” is the brain child of Sydney Dance Company's artistic director Rafael Bonachela. Now in its second year, the “New Breed” programme gives four up-and-coming choreographers the opportunity to create works on the dancers of the Sydney Dance Company. For these chosen four, “New Breed”provides a springboard to transition from dancer to choreographer. The initiative comes with all the creative support and infrastructure of the Sydney Dance Company—the choreographers have access to dancers, studios, costume and lighting design, and all four works premiere at Sydney’s Carriageworks theatre. The concept is beautifully simple, but still astonishingly rare in performing arts.
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Richard Cilli in Kristina Chan's “Conform.” Photograph by Peter Greig
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Amrita Hepi, a choreographer with Bunjalung and Ngāpuhi roots, has come a long way from her home in the Pacific.
Continua a leggereSir Kenneth MacMillan began his choreography for “Manon” with the pas de deux, and from this shining, central point spun outward. Building the story from its heart, almost as if from the inside out, the pas de deux reveals not only the emotional connection between the two dancers, but their place in the world.
Continua a leggereIf the ballet world now seems inundated with Dracula productions, Frankenstein adaptations are a rarer sight.
Continua a leggereIt’s amusing to read in Pacific Northwest Ballet’s generally exceptional program notes that George Balanchine choreographed the triptych we now know as “Jewels” because he visited Van Cleef & Arpels and was struck by inspiration. I mean, perhaps visiting the jeweler did further tickle his imagination, but—PR stunt, anyone?
Continua a leggere
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