Author S. Pinto- Duschinsky

Ballet Rambert’s ‘Dark Arteries’ at Sadler’s Wells, London May 2015

Ballet Rambert’s  ‘Dark Arteries’ went under- appreciated this year: it deserved more praise for its experimentation and for the capability of its dancers: Let me introduce you to some members of the company.

The ‘Murga Interlude’ with Dane Hurst

‘Jeremiah’ with Dane Hurst

Dane has created a magnificent piece of choreography which the Rambert Company needs to mount called ‘O’dabo’ to Paul Gladstone Reid’s, ‘Symphony of Dust and Air’.

Another talented choreographer in the company is Simone Damberg Wurtz. Her creation ‘Rift’  for Rambert’s ‘New Choreography’ was witty, charming and off-the-wall.

Another of the talented company members is Miguel Altunaga:

A glimpse of this excellent company at work:

In the programme called Dark Arteries, ‘Frames’ by Alexander Whitley involved the cast in the complicated use of props, tubes which could fit together to form different shapes. The transience of dance was in contrast to the more permanent tubular structures.

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The movements of the dancers grew from the nature of the tubes, from attaching them and after, releasing them to form a new pattern.This made the type of movement concise and economical, geared to the task at hand.

The shapes were reminiscent of film with the same movements portrayed from different angles and light as the driving force behind many visual ideas (the dancers carried handheld lights at one point attaching them to the frames and lighting other dancers or throwing them into shadow.) There was a  hypnotic feeling of an assembly line or of a film coming together in an edit. The moments  of freedom when dance expanded or the stage darkened and lights on the frames appeared were like a fresh rain falling.

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‘Four Elements’ by Lucinda Childs was particularly interesting to me because it marked a change from the Lucinda Childs I had known in New York in 1960-61 at Sarah Lawrence College, who became part of the Judson Memorial Church experimental group. Here is an early Cindy Childs:

The dancers in this  piece included Luke Ahmet, Lucy Balfour, Simone Damberg Wurtz, Dane Hurst, Vanessa Kang, Adam Park, Hannah Rudd and Stephen Wright. The choreography seemed especially composed for the particular attributes of the dancers and was woven together with great skill.There was something quite sensitive about this, which sets by Jennifer Bartlett helped to enforce.

Four Elements

‘Dark Arteries’ was powered by Tredegar Town  Band for whom Gavin Higgins had composed the music. The sound of brass was haunting and exciting and gave birth to some almost classical contemporary dance by Mark Baldwin.I thought the chaps in neon orange slightly interrupted the tone of the composition. But Viva the experimentation. Here is a brief clip:

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This company is a showcase for new choreography and deserves major attention from those who donate and from those who love adventure and wonderful dancing. Sometimes, when every dancer in a performance is talented, the audience doesn’t quite realise how exceptional this is.

Brand New Interview with Lindsay Kemp to celebrate his 77th birthday.

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Ballet Rambert, David Bowie and Kate Bush.

The documentary maker Nendie Pinto-Duschinsky has spent eight years working on a film about the performer and director Lindsay Kemp, who turned 77 earlier this month. In these clips, Kemp talks about watching soulful Ballet Rambert productions in his youth and his subsequent time dancing with the company. He also remembers hanging out in Soho with David Bowie and their collaboration on Pierrot in Turquoise, as well as meeting Kate Bush when she took his classes at the Dance Centre in London.

See the videoclip about Marie Rambert, David Bowie and Kate Bush in today’s

Guardian Newspaper here.

Full interview:

Interview with Lindsay Kemp for ‘Lindsay Kemp’s Last Dance”. [Part 1]. from nendie pinto-duschinsky on Vimeo.

Farewell to Maya Plisetskaya who has died at 89.

Maurice Bejart created his work ‘Bolero’ for Plisetskaya. Sylvie Guillem then famously recreated it.

Here are both versions: [Above] Maya Plisetskaya, ‘Bolero’, choreography Maurice Bejart music by Ravel:

Sylvie Guillem performs ‘Bolero’ by Bejart:

When I was young, Ulanova was dancing. Now Plisetskaya, who was to succeed her, has died, and Sylvie Guillem is soon to retire. It is true that a person of beauty is a joy forever, but my debt for being a witness during the lives of these supreme artists is to encourage the next generation to rise up. Art is never finished. I hope that Slvie Guillem will go on to teach or even to choreograph.

Art requires a life of dedication and discipline. There is simply no new gadget which can speed up the process of a great talent maturing. Talent is a gift and a mystery, but hard training is not. I am a bit sorry that our sense of history has become so brief, so now. An artist needs a long perspective.

Maya Plisetskaya, La Rose Malade:

Plisetskaya, Mahler, ‘The Death of the Rose':

Plisetskaya, ‘The Dying Swan.

The Dying Swan, Anna Pavlova and Vera Karalli 1907 and 1914:

Plisetskaya meets Bach:

Maya in ‘Don Quixote” 1959

Sylvie Guillem at 22 in Swan Lake.

Who will follow in such toe steps?

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