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009 dt september-2015

Inside this month:

Paul Arrowsmith meets ballerina Alessandra Ferri

Graham Watts travels to Bucharest to interview Johan Kobborg

Zoë Anderson previews the UK tour of The Trocks

Dominic Antonucci highlights Birmingham Royal Ballet's emerging male talent

And much more

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Dancing Times - Features

In addition to the feature “Who’s the Boss” printed in the September issue of Dancing Times we are publishing on our website a series of supporting interviews between the author, Graham Watts, and those in administrative and artistic leadership within dance companies. The second of these interviews is with Kathryn Bennetts who was until recently artistic director of the Royal Ballet of Flanders.

In addition to the feature “Who’s the Boss” printed in the September 2012 issue of Dancing Times, we are publishing on our website a series of supporting interviews between the author, Graham Watts, and those in administrative and artistic leadership within dance companies. The first of these interviews is jointly with Amanda Skoog, the managing director of Royal New Zealand Ballet (RNZB), and Ethan Stiefel, former principal dancer at American Ballet Theatre and now in his inaugural season as the artistic director of RNZB.

Choreographers have often evoked the analogy of knitting to describe what they do. Few, however, have made knitting, in the real sense, as integral as does French choreographer Mourad Merzouki in YogeeTi, a highlight of the 2012 Taiwan International Festival of Arts.

Irek and Alban:

Written by Zoe Anderson
dancingtimes_irekmukhamedovalbanlendorf_peterschaufuss_tt-1Irek Mukhamedov and Alban Lendorf will be dancing in the UK this summer, appearing in the Peter Schaufuss Ballet’s Tchaikovsky Trilogy at the London Coliseum. When Zoë Anderson spoke to them for July’s Dancing Times, they had plenty to say, including this discussion of choreographers.

When we entered the Burton Taylor (the tiny studio attached to the Oxford Playhouse, usually given over to student theatre) it was quite dark, apart from a thin shaft of light, and quite empty, apart from the figure of a woman lying in the middle of the floor. We ranged ourselves against the walls, standing. The feeling of anticipation and curiosity is incredible. Suddenly a torch is raised – another woman is caught by its beam in the corner, struggling with a silver coat. The torch bearing man moves round and as it catches the light again the silver glows fiercely, the woman gasps.

I was not sure what to expect from Paulette Mae’s A Suitcase for All Occasions. It was very well attended on March 17, and the atmosphere built up outside as we all waited in the foyer to be let in. The programme seemed to suggest – from Mae’s background and the information we were given – that the three dances would focus on the meaning and unnecessary nature of the material possessions we want and accumulate.

Celebrating Nina:

Written by Jonathan Gray

Jonathan Gray journeyed to Tbilisi in Georgia, to see the celebrations marking Nina Ananiashvili’s 30 years on stage. Here, he offers a personal tribute to a great ballerina

 

Not so very long ago, it was not unusual for a ballerina’s career to last well into her forties and beyond – just think of some of the great names from the past, like Anna Pavlova, Galina Ulanova, Margot Fonteyn, Maya Plisetskaya, Antoinette Sibley or Lynn Seymour.

Why Waste Wayne?:

Written by Group of Dismayed Ballet Lovers and English National Ballet Supporters

In an extraordinary letter sent to Dancing Times, a group of ballet lovers and supporters of English National Ballet, who have asked to remain anonymous, wonder about the reasons behind the resignation of ENB’s artistic director, Wayne Eagling. Titled “Why Waste Wayne?”, the group also questions the judgement of ENB’s Board of Directors. We publish the letter here in full…

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