Tiler Peck – Dancer of the Year 2021

Nominated by TANZ -Magazine for Ballet, Dance and Performance

More about this stunning Prima Ballerina

Tiler Peck is not just an international award-winning Principal Dancer with the New York City Ballet – one of the most prestigious Ballet Companies in the world, she also is a successful actress, designer and choreographer.

„This woman can’t be topped: an excellent dancer whose art glitters like fairy dust – even on the monitor.“ Quote by Tanz – Magazine for Ballet, Dance and Performance.

Interview with Tiler Peck, Bakersfield Native and Principal Dancer with the New York City Ballet, 10.10.2020
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The Origins Of Ballet

A brief history

My friends often ask me who invented ballet. I already wrote some posts about it and just found this amazing TED-Ed video on youtube.


The origins of ballet – Jennifer Tortorello and Adrienne Westwood, 07.03.2016 by TED-Ed
View full lesson: http://ed.ted.com/lessons/the-origins… Can you imagine a party where every movement and every visual detail were governed by a complex system of rules and procedures? For centuries, such rituals were commonplace for European nobility. And while they’ve gone out of fashion, we recognize the components under a familiar label: ballet. Jennifer Tortorello and Adrienne Westwood outline the history of this graceful and precise dance.
Lesson by Jennifer Tortorello and Adrienne Westwood, animation by Moran Barak Studio.
Weiterlesen „The Origins Of Ballet“

Struggling To Find Where I Fit In

DOCUMENTARY ABOUT Ella Havelka – The first Aboriginal Ballerina IN THE AUSTRALIAN BALLET

I just saw this movie on Amazon Prime and was totally fascinated of the outstanding artist, ballerina, choreographer and role model Ella Havelka.

‚I think my heritage gives me a unique understanding of the way movement works and the way in which it resonates within my body,‚ she said in a report by NITV.

Weiterlesen „Struggling To Find Where I Fit In“

What It Means To Be A Man In Ballet

Book release on 17 August by James Whiteside

I can’t wait to read James’ memoir-in-essays. James Whiteside is a multi-talented artist telling us the story of how he got to be a primo ballerino.

Get a glimpse in his works:

Weiterlesen „What It Means To Be A Man In Ballet“

Big news: Cathy Marston wird neue Ballettdirektorin in Zürich

Christian Spuck geht nach Berlin

  

Meine herzlichen Glückwünsche an Cathy Marston, eine der international renommiertesten Choreografinnen, und an Christian Spuck, unseren überaus geschätzten Ballettdirektor in Zürich seit 2012, der ab 2023/24 die Intendanz des Berliner Staatsballetts übernehmen wird.

Auch wenn es sehr zu bedauern ist, dass Christian Spuck das Zürcher Ballett verlässt, freue ich mich schon jetzt auf viele Berlinbesuche, um die grösste Compagnie in Deutschland unter seiner Leitung zu bewundern. Mit über 90 Tänzerinnen und Tänzern kann er aus dem Vollen schöpfen. Was für eine fantastische Herausforderung für diesen äusserst kreativen Choreografen!

Christian Spuck © Roman Novitzky

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The Statement by Crystal Pite

A battle inside mind

I can’t stop watching this outstanding 9-minute piece created by the renown Canadian female choreographer Crystal Pite. So I want to share this snippet with all of you. You still can see it online for 16 £ – link below!

„…….. (The characters).. are locked in a battle for control and are confronting the morality of their actions.“ Ouote by Crystal Pite in the interview.

Rehearsal and interview with Crystal Pite

Join The Royal Ballet as they rehearse Crystal Pite’s The Statement and Solo Echo, part of the Company’s 21st Century Choreographers programme, which will be livestreamed on 28 May 2021: https://stream.roh.org.uk/products/21…

Following the Olivier award-winning success of her poignant Flight Pattern, the extraordinary imagination of Canadian choreographer Crystal Pite is demonstrated again in two works created for Nederlands Dans Theater and performed for the first time by The Royal Ballet. The shadowy depths of human nature and boardroom politics are explored in the riveting dance-drama of The Statement contrasted with an atmospheric evocation of winter in Solo Echo, inspired by a poem by Mark Strand and the melancholy beauty of Brahms’s sonatas for cello and piano.

Next Live Performances

Great News: Crystal Pite is coming to Opernhaus Zurich to present 2 works „EMERGENCE“ and ANGELS‘ ATLAS – Premiere on 1 Oktober 2021, dancing by the amazing Ballet Zurich.

Angels‘ Atlas 01, 08, 15, 16, 21, 23, 31 Oct; 05 Nov 2021; 27 Mar; 02, 06, 08 Apr 2022

As all my followers know EMERGENCE is one my favorite TOP 3 contemporary performances. More than worth watching!

My review in German: https://balletloversblog.com/2018/05/16/ein-bienenschwarm-zum-schwarmen/

Biography Crystal Pite by Ballet Zurich

Crystal Pite ist eine der gefragtesten Choreo­gra­finnen der Gegenwart. Die gebürtige Kanadierin tanzte im Ballet British Columbia und in William Forsythes Ballett Frankfurt. Seit ihrem professionellen Debüt als Choreografin 1990 beim Ballet British Columbia entstanden Stücke für über 40 renommierte Compagnien, u.a. für das Nederlands Dans Theater, das Ballett Frankfurt, das National Ballett Ballett of Canada, Les Ballets Jazz de Montréal (Choreographer in Residence, 2001-2004), das Cedar Lake Contemporary Ballet, das Ballet British Columbia und das Royal Ballet, London. Sie ist Associate Choreographer des Nederlands Dans Theaters und Associate Dance Artist am Canada’s National Arts Center. 2013 wurde sie zum Associate Artist des Londoner Sadler’s Wells Theatre ernannt. 2002 gründete Crystal Pite in Vancouver ihre eigene Compagnie Kidd Pivot, die zu einem unver­wech­selbaren Stil gefunden hat. Klassische Tanzelemente verbinden sich mit einer komplexen improvisatorischen Freiheit und einer starken theatralischen Sensibilität voller Humor und Fantasie. Stücke wie Dark Matters und Lost Action waren international auf vielen Tour­neen zu sehen. Im Künstlerhaus Mousonturm in Frankfurt/Main hatte die Compagnie von 2010-2012 eine Residenz, dort entstanden mit The You Show und The Tempest Replica zwei wei­tere international gefeierte Stücke. 2015 hatte Betroffenheit, eine Koproduktion mit dem Autor und Schauspieler Jonathon Young und dem Electric Company Theatre, Premiere. Für das Ballett der Opéra de Paris entstanden die Stücke The Seasons‘ Canon und Body and Soul. Crystal Pite wurde mit vielen Auszeichnungen geehrt, u.a. mit dem Jessie Richardson Theatre Award, dem Dora Mavor Moore Award, dem Govenor General of Canada’s Performing Arts Award, dem Lola Award, dem Jacqueline Le­mieux Prize und dem Laurence Olivier Award. Das in Koproduktion mit dem Ballett Zürich entstandene Ballett Angels‘ Atlas wurde 2021 in Toronto uraufgeführt.

See Header Image Q&A with Choreographer Crystal Pite – The Kennedy Center © medium.com

What Dance Can Do? Bring Dance To Children!

Dance changes lives. We have seen it happen.

Interview with Aurélia Sellier, Founder and President of „The What Dance Can Do Project“ in September 2020.

I just wanted to give you a quick update for 2021 as COVID did not totally stop this non-profit organization although some projects obviously had to be put on hold. New activities happened last year in New Zealand (primary school), Morocco (orphanage), Paris (hospital Necker and young migrants). 
This year THE WHAT DANCE CAN DO PROJECT started weekly ballet classes for underprivileged children in Tunis Tunisia. Also they will launch in June a partnership with a new hospital in Paris, George Pompidou. In Fall Aurélia Sellier hopes to be able to resume her work with Kinderspital in Zurich, a hospital in Bruxelles and hopefully start projects in the UK, perhaps with the Royal Ballet in London.  This organization was recognized of public interest in Switzerland (all donations are deductible) and now is in the process of registering in France and New Zealand.

Weiterlesen „What Dance Can Do? Bring Dance To Children!“

Endlich! NOTHING LEFT am Tanzfestival Steps

Tanz kann den Trauerprozess fühlbar machen

Nach 3 Absagen findet endlich die Tournee von NOTHING LEFT statt, choreografiert von Tabea Martin. Auftakt in Basel am 12. und 13. Juni 2021!

TELEFONISCHES INTERVIEW MIT TABEA MARTIN AM 9.3.2020

Die Basler Choreografin Tabea Martin beschäftigt sich in ihrer Trilogie („This is my last dance“ 2018 und „Forever“ 2019) mit dem Tod. Das dritte Stück NOTHING LEFT sollte im Rahmen einer Koproduktion mit dem Migros-Kulturprozent Tanzfestival Steps und dem Veranstalternetzwerk Expédition Suisse am 25.4.2020 in der Kaserne Basel uraufgeführt werden, musste aber abgesagt werden.

Wie würden Sie sich als Choreografin beschreiben?

Ich bin neugierig. Ich bin ein Teamplayer, der den Austausch mit den Tänzern und dem Team sucht. Ich schätze Humor und Absurdität d.h. ich will nicht alles zu ernst nehmen und mich selbst relativieren. Mich interessieren gesellschaftlich relevante Themen. Ich nutze die Möglichkeit zu fragen und kritisch zu sein.

2018 THIS IS MY LAST DANCE Tabea Martin & Simona Bertozzi – Short Trailer from Tabea Martin on Vimeo. Erster Teil der Trilogie von Tabea Martin
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Most Physically Demanding Job


Dance is #1 on this study

Ballet and Dance Lovers know how hard dancers have to work every single day to stay in shape. But I was really astonished when I saw this article in the Dance magazine written by Madeline Schrock on Jan 24, 2020 (Source: https://www.dancemagazine.com/most-physically-demanding-jobs-2644898194.html?rebelltitem=2#rebelltitem2)

Dance Ranked Most Physically Demanding Job in the U.S.

Dancers certainly don’t need anyone to tell them how physical their profession is. But now, we have the data to prove it.

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Why Are Some Stages Raked?

A blessing for the audience, NOT for the dancers

A raked (or inclined) theatre stage is built on an angle that slopes upward and away from the front the stage, away from the audience. It improves the view, supports the illusion and help make choreographic designs clear. Raked stages are nowadays usually with a rake of 5 degrees or less. There are far more common today in Europe, with its deep theatrical traditions in the Middle ages. Almost all American stages have flat floors, except the Philadelphia Academy of Music and a few Broadway productions f.e. the version of the musical Billy Elliot.

Visiting professional dancers have been known to experience vertigo when they first set foot on raked stages. Balance is completely different. It takes a good deal of adjustment during the first few days on a raked stage, especially when turning. Even the risk of injury increases by three times for dancers on raked stages.

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