Tag Archives: Liam Scarlett

Advancing Creativity


RB choreographic award

 

Advancing Creativity

Posted on February 16, 2015

On Thursday and Friday evening last week we showcased two key strands of our work, the Ursula Moreton Choreographic Award and aDvANCE. These innovative projects provide opportunities for Royal Ballet School students to explore their creativity and develop skills creating original work.

Ursula Moreton Choreographic Award

This year nine 2nd Year students were shortlisted to develop and show their choreography for the Award, which is generously sponsored by Peter Wilson. There was a rich display of ingenuity put before our three distinguished judges Kevin O’Hare, Director of The Royal Ballet, Jeanetta Laurence OBE, Associate Director of The Royal Ballet and Arthur Pita, choreographer. After much deliberation they awarded first prize to Arianna Maldini for Quia Contra (For and Against), a piece of choreography inspired by an imagined meeting of the four elements of nature: water, fire, air and earth. The piece was set to Ezio Bosso’s music Thunders and Lightnings.

Second prize went to Joseph Sissens for his piece inspired by the transatlantic slave trade called Let My People Go. His emotive choreography was set to The Bitter Earth by Max Richter and On the Nature of Daylight by Dinah Washington.

Third prize was awarded to Grace Paulley for Amo, Amas, Amat, which explored the grammar of love, and the luminosity of impressionist art. It was set to Debussy’s Reverie.

 

The Ursula Moreton Choreographic Award has played an important role in encouraging the development of young choreographers since its inception nearly half a century ago. It has provided a launchpad for many influential figures including David Bintley, Christopher Wheeldon, Cathy Marston and Liam Scarlett.

Ursula Moreton was an instrumental figure in the encouragement of emerging choreographic talent in the mid-20th century. By nurturing  great artists, such as Kenneth MacMillan and John Cranko, she played a vital role in the development of the British style. She was Chairman of the Royal Academy of Dance’s Production Club and later became Principal at The Royal Ballet School.

Our thanks to the judging panel for giving up their valuable time and to composer Russell Hepplewhite, who was music consultant to the choreographers. Congratulations to all the choreographers and dancers involved.

aDvANCE

Our aDvANCE scheme is part of our Dance Partnership & Access work, which provides broader access to ballet and the work of the School through an extensive range of primary and secondary school projects. aDvANCE offers our 1st Year students a unique opportunity to work with young people learning dance in other contexts. This year the students collaborated with students from Featherstone High School in Southall, West London. Over the past five months the young dancers have taken part in a series of creative and choreographic tasks as well as visiting each other’s schools to work together on a joint performance. On Thursday and Friday evening, the audience were treated to a performance by each school group separately before watching the collaborative piece Stabilimentum, choreographed by students themselves led by Dani Batchelor with assistance from Bim Malcomson.

The dancers took the tale of Arachne, a talented weaver who antagonised the goddess Athena and was then condemned to live as a spider, and developed it to create their own abstract interpretation of the story.

We are grateful for the generous support of the Department for Education, the Andrew Lloyd Webber Foundation and The Royal Opera House Covent Garden Foundation.

via Advancing Creativity – Royal Ballet School.

beat that! Millepied’s plans for the Paris Opéra


REPOSTED FROM DANCING TIMES

Millepied’s plans for the Paris Opéra : Wednesday, 04 February 2015

Benjamin Millepied has announced plans for the 2015–16 season of the Paris Opéra Ballet, the first he has programmed as director. It’s an ambitious season, with many new works, including one by new associate choreographer William Forsythe and a new production of The Nutcracker, to be choreographed by Arthur Pita, Sidi Larbi Cherkaoui, Liam Scarlett, Edouard Lock and Millepied.

Millepied announced his season alongside Stéphane Lissner, who has been general director of the Opéra since July 2014: the two leaders promise a new level of cooperation between the ballet and opera companies. The new Nutcracker will be performed as a double bill with Tchaikovsky’s opera Iolanta – as these works were performed together at their premiere in 1892. The five choreographers will create separate scenes for the new production.

Millepied has also commissioned new works from Justin Peck, Wayne McGregor, Jérôme Bel and himself. Peck’s work will be danced to Poulenc’s Concerto for Two Pianos and Orchestra, with designs by artist John Baldassari. McGregor’s piece will be set to Pierre Boulez’s Anthème II as part of an evening celebrating the composer.

Millepied, who danced at New York City Ballet (NYCB) from 1995 to 2011, brings an American slant with some of his programming. The season will include Balanchine’s Theme and Variations, Duo Concertant and Brahms-Schönberg Quartet, Jerome Robbins’ Opus 19/The Dreamer, Goldberg Variations and Other Dances. Justin Peck, the resident choreographer at NYCB, is represented by In Creases as well as his new commission; Christopher Wheeldon’s Polyphonia, created for NYCB, also joins the repertoire. The season will also include company premieres by Anne Teresa De Keersmaeker, Alexei Ratmansky and Maguy Marin.

There are just three evening-length revivals: Giselle and Rudolf Nureyev’s productions of Romeo and Juliet and La Bayadère. There will also be works staged in the foyer of the Opéra Garnier. Choreographer Boris Charmatz will stage a new event to open the season, with 20 dancers performing solos from the 20th-century repertoire in the public spaces of the Opéra Garnier.

Millepied and Lissner also announced a new digital platform, “3e Scene”, or “Third Stage”. Hosted on the Paris Opéra website, this will present new work by composers, choreographers, directors, visual artists, filmmakers and writers. There will also be a new Paris Opéra Academy, which will offer residencies to young choreographers from inside and outside the company. The choreographers will be mentored by William Forsythe. Millepied told the New York Times that the academy aimed to teach dance-making as a craft. “We won’t necessarily discover more geniuses, but there will be more competence,” he said. “Composers learn the principles of harmony, counterpoint, technique, and choreography is no different.”

Millepied has also announced touring plans, and works scheduled for later seasons. The company will visit one French city each season, touring to Brest in the 2015–16 season. Major tours to the US are being planned. Guest companies at the Paris Opéra will include Anne Teresa De Keersmaeker’s Rosas, Batsheva Dance Company and English National Ballet, who dance Le Corsaire at the Opéra Garnier in June 2016.

Looking ahead, Millepied has commissioned an evening-length work from Alexei Ratmansky for the 2016–17 season. He also expects to schedule some work by the iconic modern dance choreographer Merce Cunningham. At the press conference, critic Laura Capelle reports, Millepied explained that he had almost left NYCB to dance for the Cunningham company.

Performances for the Paris Opéra Ballet’s 2015-16 season are now on sale.

Picture: Benjamin Millepied at the Opéra Garnier. Photograph: Julien Benhamou

via Millepied’s plans for the Paris Opéra.

PlaybillArts: Features: London Calls


PlaybillArts: Features: London Calls.