In dance, even the most acclaimed performances quickly become distant shadows in the past. How can we retain – or reclaim – what once was?
Federico Fellini's La Strada, a 1954 film, is undergoing a surprising renaissance in dance this year. Jiří Bubeníček is preparing his version for the Prague Chamber Ballet, and Alina Cojocaru has taken up the same theme in London.
For this winter season at the London Coliseum, the English National Ballet has delved into its archives and decided to stage the well-loved romantic ballet Giselle in Mary Skeaping's 1971 production.
Attending Tanztage Berlin is like diving into a warm, enveloping magma of varied dance vocabulary, where the fluidity of the aesthetic codes presented goes hand in hand with tackling urgent current political themes.
The Burkicom company, headed by choreographer Jana Burkiewiczová, has prepared a new performance for the whole family at Christmas time, simply called The Nutcracker.
Sasha Waltz, often dubbed Germany’s most important choreographer since Pina Bausch, is known for her versatile work that includes site-specific pieces, directing operas, and leading Staatsballett Berlin for one theatre season.
The Moon Wears a White Shirt – Vienna’s Classical Ballet Company Enchants with a Versatile Triple Bill
In an admirable move, the Vienna State Ballet dedicated its latest triple bill to those who rarely get the limelight: the corps de ballet.
DEKKADANCERS is a major dance company, significantly influencing the development of contemporary dance and dance theatre and undoubtedly the taste of the audience in a wider context.
Opera Ballet Vlaanderen’s 23/24 season commenced with a double bill combining a première of Richard Siegal’s brave but inaccessible New Ballet mécanique with the critically acclaimed showstopper Half Life by Sharon Eyal.
In an ever more secular and indulgent world, we often forget about the moral values that our society was built on. Stuttgart’s second biggest dance company asks us to remind ourselves of these values, as well as to examine their relevance in our modern lives.
What does it mean to be radical today? At the vanguard of the Belgian contemporary dance scene, STUK might be as good a place as any to check the temperature.
On the evenings of the 29th and 30th June at the Montpellier Danse Festival, Anne Martin, Pina Bausch Dance Company soloist from 1979 to 1991 and later a teacher at CNSMD in Lyon, presented Umwandlung – her first solo dance piece at the tender age of 68.
As its last première of this spring season, Staatsballett Berlin presented a Stravinsky double-bill, featuring two of the composer’s masterpieces, Petrushka and The Rite of Spring, under the choreographic signatures of Marco Goecke and Pina Bausch.
The Moon Wears a White Shirt – Vienna’s Classical Ballet Company Enchants with a Versatile Triple BillReviews