The history of Western ballet over the past 40 years can easily be divided into two chapters: the pre- and post-William Forsythe eras. In the early Eighties, the multitalented American-born dance-maker brought Postmodernism into ballet, challenging formulae and tenets that were 400 years old. His radical approach to the old art made some scream with
Legend has it that when the Romantic ballerina Marie Taglioni gave her farewell performance in St Petersburg a group of wealthy fans bought a pair of her slippers, and cooked and ate them as a token of their admiration. Shoe-fetishism has since reached new heights, thanks to Sex — on heels — in the City.
Those who believe that ballet today is often no more than a grotesque physical display ought to have seen American Ballet Theatre’s performance of Jardin aux Lilas last week. Those who believe that ballet today is often no more than a grotesque physical display ought to have seen American Ballet Theatre’s performance of Jardin aux
The Royal Ballet could not have timed better its new run of Swan Lake. Swans — and black ones, in particular — are all the rage these days. The Royal Ballet could not have timed better its new run of Swan Lake. Swans — and black ones, in particular — are all the rage these
Ballet is a dying art, according to Jennifer Homans’s bestselling history of ballet, Apollo’s Angels. Ballet is a dying art, according to Jennifer Homans’s bestselling history of ballet, Apollo’s Angels. Sensationalist as it may sound, this claim is cogently argued at the end of the book, which turns dreary ballet history into an engaging narrative.
English National Ballet has a long history of Nutcrackers, each memorable in its own way. This one, created by ENB’s artistic director Wayne Eagling for the company’s 60th anniversary, is no exception. Contrary to today’s trends, Eagling has opted for a fairly traditional staging, steering away from the lure of modern readings, satirical reinterpretations and
Put the life of a legendary music-maker/campaigner in the hands of a controversial choreographer and you’ll possibly end up with some explosive stuff. Put the life of a legendary music-maker/campaigner in the hands of a controversial choreographer and you’ll possibly end up with some explosive stuff. This is what the Broadway producer Stephen Hendel might
According to the programme note, the message in Thierry Smits’s To the Ones I Love ‘does not direct itself to the mind but to the senses’. According to the programme note, the message in Thierry Smits’s To the Ones I Love ‘does not direct itself to the mind but to the senses’. Well, his work
Emanuel Gat’s Winter Variations is not just another male duet. It is also an intense dance piece which captivates viewers from the opening sequence with its unique interplay of movement, music and enthralling performance. Emanuel Gat’s Winter Variations is not just another male duet. It is also an intense dance piece which captivates viewers from
Sadler’s Wells Contrary to some claims, the late Pina Bausch did not invent Tanztheater. Contrary to some claims, the late Pina Bausch did not invent Tanztheater. Nor did all her productions stick to the mind-boggling aesthetic she is universally known and remembered for. Just look at the Iphigenie auf Tauris she created in 1974, shortly
Postmodernism must be the key motif of this year’s autumn dance season in London, because almost everything there is to see at the moment abides by the uncertain rules of that much-debated artistic movement. Postmodernism must be the key motif of this year’s autumn dance season in London, because almost everything there is to see
Once upon a time, in America, a group of dancers and performance artists gathered in the Judson Church Theater and challenged long-held artistic tenets. The historical significance of their provocative aesthetics led scholars to label their art ‘postmodern dance’, even though there was more to their creations than just dance. A few decades later, their
The Dance Umbrella season has always been a unique window on international choreography, as well as a great platform for national talent. This year is no different, and the number of international visitors is delectably high. As always, blockbusters share the season with smaller but no lesser entities. Last week I went to see two
According to some, Onegin is the ultimate expression of John Cranko’s choreographic and theatrical genius. According to some, Onegin is the ultimate expression of John Cranko’s choreographic and theatrical genius. I disagree, for I think that other works are a much better testament to his unique creativity. But I like Onegin because it is one
Choreographic legacies are tough to handle; there is always the risk of turning a once vibrant dance into a theatrically dead museum piece. The preservation of choreographic milestones is certainly paramount, but so is the need to provide artists with new challenges, especially within those companies that, having formed and thrived around a prominent artistic
Cinderella English National Ballet’s 60th birthday London Coliseum The post-second world war decade saw a flourishing of independent ballet companies all over Europe. Those that strove to emulate the Ballets Russes provided an alternative to the companies that aimed at nurturing home-grown talent — such as the Ballet Rambert and what became the Royal Ballet
Le Corsaire, Don Quixote Bolshoi Ballet, Royal Opera House For many years in the West, Le Corsaire was just a pas de deux, a dazzling bravura number historically associated with male ballet legends such as Rudolph Nureyev and Mikhail Baryshnikov. Then, in the mid-Eighties, the Kirov Ballet, now Marijinsky Ballet, came along with a fast-paced,
Bolshoi Ballet Royal Opera House, until 8 August At the beginning of the second week of its new London season, the Bolshoi Ballet presented the classic Giselle, a ballet which, not unlike other 19th-century works, underwent myriad changes, cuts and choreographic adaptations. It was only after Mary Skeaping attempted to restore the original text in
Triple Bill Royal Ballet, in rep until 11 June After a number of successfully conceived and well-performed mixed programmes, the Royal Ballet’s latest triple bill, its last offering of the season, was a bit of a let-down. This was a pity, for the dancing was good and sometimes phenomenal. One of the problems was that
Triple Bill Royal Opera House, last perf. 15 May There was a time when the thrill of a ballet première could be sensed the moment you entered the theatre. Today, the disillusioned public, tired of the high percentage of choreographic garbage it is frequently subjected to, takes little or no notice. It’s a pity, for