Watch the premiere of Chloe Leong's Self, featuring dancers Callum Linnane and Drew Hedditch. Subscribe for more original dance content: https://bit.ly/3DePqf2
Choreographer's Note: ‘Self’ is that moment in our individual journey where we are able to pause, look through a wider lens, without the perception of who you think you are or even yet, others perceptions of who they think you are and question, “who am I really?”. It takes courage to do this introspective work, more often than not, it takes us to do dark places within. Vulnerability, risk, compassion, letting go and surrendering are essential so that we may learn to acknowledge and accept what needs to be brought into the light and when that happens, we are able to become our whole self, our truest self.
Тема, конечно, "клюквенная"... Однако, мне понравилось. Балет сюжетный, почти редкость для современного нашего времени. Все составляющие спектакля показались органичными: и музыка, и хореография, и исполнение воодушевляют его посмотреть пристально и целиком!
Да конечно,.. но Callum Linnane был совершенно великолепен в новом балете Уилдона "Оскар Уайльд" в главной роли! Думается, что и Нижинский будет на таком же высочайшем уровне...
As we prepare for our season of Don Quixote in Tokyo, Artistic Director David Hallberg and Sylvie Guillem coach Principal Artists Jill Ogai and Marcus Morelli on the iconic wedding pas de deux. Subscribe to our channel: https://bit.ly/3hBJ2WH
We can't wait to be back on the Tokyo Bunka Kaikan stage, marking our first time back in Japan in 15 years. This landmark tour will showcase the Company's renowned production of Don Quixote, Rudolf Nureyev’s celebrated ballet and a cornerstone of The Australian Ballet’s repertoire.
The Australian Ballet’s 2025 Japan tour has been enabled by the generous supporters of the International Touring Fund and is supported by the Australian Government through the Australia-Japan Foundation of the Department of Foreign Affairs and Trade.
The Australian Ballet’s production of Don Quixote is generously funded by Lady Potter AC CMRI and the individuals who established The David Hallberg Fund, and The Barry Kay Fund.
The Australian Ballet. Caring for tradition, daring to be different. Find us online to get to know our artists and to see more from our upcoming performances.
#австралийскийбалет Австралийский балет публикует статью, посвящённую влиянию версии "Ромео и Джульетты" Леонида Лавровского на последующие версии. С конкретными примерами. В статье также идёт речь о роли Лавровского в становлении жанра драм. балета. "Cranko’s ballet, choreographed for Stuttgart Ballet in 1964 and first danced by The Australian Ballet a decade later, gleams with small, pearlescent details borrowed from Lavrovsky: the dying Mercutio strums his rapier in forlorn musical jest; Juliet signs the dawning of adult’s arrival by placing her hands on her breasts; Capulet and Montague wield ancient family swords; Romeo raises Juliet kneeling to his chest in a lift conceived by Lavrovsky for their meeting and transposed by Cranko to their wedding scene.
Cranko, of course, adds innovations of his own, like the three street dancers, who MacMillan borrowed for the Royal Ballet’s 1965 production. Cranko also eschews – and MacMillan likewise – the heroic style of Lavrovsky’s choreography to emphasise the leaner athleticism and conspicuous flexibility of his generation. For both Cranko and MacMillan, Romeo and Juliet was an important pathway to their future masterworks. Without Lavrovsky’s influence, we may never have had Cranko’s Onegin or The Taming of the Shrew or experienced MacMillan’s Manon and Mayerling, all of which owe their origins to a benchmark set by Lavrovsky for complex, narrative-driven storytelling through dance." https://australianballet.com.au/blog/la … AwMDUwMgS2