Browse Items (13 total)

Bloom talks about his work on the film A Chorus Line. The interview begins with a discussion of the pressures of joining a production already in progress, and the unique aspects of editing a film with dance as its focus. He goes on to describe the…

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John Ashford discusses his directorship of the contemporary dance and performance center, The Place. He addresses funding, audience attendance, and programming. In addition, he reflects on the nature of international styles and language of…

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Sonnabend discusses collaboration in her work with Kenneth MacMillan and others and describes music as the primary influence of her work. She also talks about her experiences seeing other productions of Swan Lake as well as some specific sets she has…

Lt. Col. Edward Armitstead discusses his administrative role as overseeing officer in planning the annual Trooping of the Color Ceremony celebrating the Queen of England's birthday ceremony in 1985.Biographical note:Edward Armitstead served as a…

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Alston describes his influences and creative process when choreographing The Rite of Spring (1981), Night Music (1981), and Pulcinella (1987), which he was in the process of creating at the time of this interview.Biographical note:Richard Alston was…

Wright discusses the Sadler's Wells Royal Ballet's upcoming tour. He elaborates on ballet touring abroad and the role of the company as ambassadors. He goes on to reflect upon how to chose a successful touring repertory, noting the differences in…

Gavin Henderson discusses the Brighton Festival, which he has been director of since 1984. The festival gives Brighton's arts and artists exposure and brings new art to the city.Biographical note:Born in 1948, Gavin Henderson is a native of Brighton,…

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Leonard discusses his work in publishing books on dance. He elaborates on coverage of Russian Ballet (the Bolshoi), and photography books of dance.Biographical note:David Leonard is the managing director of Dance Books Ltd., the English bookselling…

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In anticipation of its opening, Schouvaloff defines the Theatre Museum's scope, mission, and its importance within the context of contemporary London culture.Biographical note:Descended from Russian aristocrats, Alexander Schouvaloff was born in…

Grey discusses her notion of a "musical dancer" which was a term often used to describe her style. Grey discusses the importance of a good conductor in ballet performances, learning about the role of Giselle from Audrey De Vos, and the challenge of…

Gable discusses what makes a great solo: appearing organic and adding to the story, instead of stopping the story. Good choreography, he feels, should be an expression of an emotion, not an expression of dancing. Gable discusses the difficult work of…

Wall discusses the balcony scene in Romeo and Juliet, the emotional life of the characters, and applying the narrative dynamics of the play to the ballet.Biographical note:David Wall was born in 1946 and trained at the Royal Ballet School. He toured…

Sibley discusses her training at Sadler's Wells School and her roles in classical ballet, focusing on Swan Lake. She explains what it means to be a musical dancer and the huge impact music played in helping her interpret roles. Sibley speaks about…
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