Category Lindsay Kemp

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.

Extraordinary friendships: Lindsay Kemp, Patrick Dupond, Zizi and Roland Petit.

Lindsay Kemp’s work has a deep background in classical dance and a continuum may be drawn from The Ballets Russes and Nijinsky to Lindsay and the visual refinement and intellectual depth of his creations. If Diaghilev had been alive today, he would surely be seeking to make Lindsay Kemp star of his company. These pictures wonderfully illustrate that link, showing the appreciation and friendship of some of the greatest names in the ballet world.

Lindsay Kemp will be performing the World Premiering of Peter and the Wolf On May 27 at 21:00 THEATRE 4 MORI – Livorno with the Orchestra of The Mascagni Musical Institute to celebrate the 60th anniversary of the foundation.

Lindsay Kemp, Roland Petit and his wife Ballerina Zizi Jeanmaire.

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Photograph courtesy of Lindsay Kemp.

Roland Petit in more depth:

“Petit helped set up dance company Les Ballets des Champs-Elysees in 1945 and is credited with revolutionising ballet for his theatrical choreography.

France’s Culture Minister Frederic Mitterrand paid tribute to him, saying he was “one of the major choreographers of the 20th Century”.

Petit is credited with creating more than 100 ballets during his career.

He married dancer Zizi Jeanmaire in 1954 and choreographed a number of pieces for her.

“With his muse Zizi Jeanmaire, he wrote some of the most beautiful pages of contemporary music hall,” Mr Mitterrand said.

Born in 1924, Petit joined the Paris Opera Ballet when he was nine years old, but left when he was 20 to create and perform his own works at the Theatre Sarah Bernhardt in Paris.

After forming Les Ballets des Champs-Elysees, he remained at the company for three years as principal dancer, ballet master, and choreographer.

He then formed the Ballets de Paris in 1948, where he created The Young Girls of the Night for Margot Fonteyn.

In 1949, it was Jeanmaire’s performance in Petit’s production of Carmen in London that thrust the dancer into the spotlight.

Petit married dancer Zizi Jeanmaire in 1954.

It was not long before Hollywood came calling and Petit spent four years in the US choreographing films including Hans Christian Andersen, The Glass Slipper, Daddy Long Legs and Anything Goes.

In 1965 he returned to the Paris Opera Ballet to create two new ballets – Adage et Variations and Notre Dame de Paris.

He served as artistic director for the company 1970 but resigned after six months to buy the Casino de Paris concert hall in which he staged revues that starred his wife, Jeanmaire.

In 1972 Petit helped found the Ballet de Marseille, which he would lead as director for 26 years.

During this time, he created such works as Pink Floyd Ballet, Puss in Boots, The Queen of Spades and The Cheetah.

After his tenure, Petit continued to tour the world with his new ballets.

Last year he returned to the Paris Opera Ballet with three of his favourite ballets, The Young Man and Death, Le Rendez-vous and The Wolf.

“Each time he came it was like the return of the prodigal son,” said Brigitte Lefevre, artistic director of the Paris Opera Ballet where Petit trained as a dancer.

[Extract from Roland Petit:

Lindsay Kemp and Patrick Dupond.

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Photograph courtesy of Lindsay Kemp.

Patrick Dupond:

“After experimenting with sports and martial arts as a child, Patrick Dupond found himself taken with the dramatic flair of classical music coupled with the gracious movements of dance. He was recognized as a great talent immediately, but it was not until Max Bozzoni became his teacher that Dupond was able to rise to the level of the elite. After working tirelessly with Bozzoni, he quickly progressed and eventually secured a place within the Paris Opera Ballet Company. In 1980 he became a ballet celebrity after winning the Gold medal at the Varna International Ballet Competition in Bulgaria.

After the victorious competition, Patrick’s dream of becoming principle dancer for the Company was finally made a reality, allowed him the opportunity to dance alongside legends such as Rudolf Nureyev and Alvin Ailey. He was named Artistic Director of the French ballet in Nancy in 1988. Two years later, Dupond returned to the Paris Opera becoming its Dance Director.

In 2000, Dupond was in a nearly fatal car accident that forced him to relearn the art of dance from scratch. His old mentor, Max Bozzoni, came back to Dupond’s aid, patiently retraining the dancer, and allowing him to continue his resounding career, enchanting audiences with his captivating and communicative dancing.”

A Tribute in dance for Paula Rego, ‘Artist of the Extraordinary’.


‘Dancing Ostriches’ (1995)

I wish to try to thank Paula by  sending her a message in my language of dance.  Paula was born in Portugal, and so I commence with a sound of Portugal, the Fado;

Here is a Life Painting from 1954 of a woman. Perhaps, one would say that the life of universal womanhood was to become a primary concern: 


‘Life Painting’  1954, Oil on Canvas.


‘Unidentified No. 1’ , 1998.


Girl Reading (2002) , lithograph.

Since 1996 Anthony Rudolf has been Paula’s friend, companion and principal male model on her journey. He is depicted here in ‘The Company of Women’ (1997).


The Company of Women (1997).

In her Triptych after ‘Marriage a la Mode’ by Hogarth (1999), Anthony’s position is made to resemble Christ in Michelangelo’s  ‘Pieta’ in the Vatican:


There is another variation on this theme:


Wendy under the Ground (1992)

Lindsay Kemp:

War 2003 by Paula Rego born 1935

‘War’ (2003)

Kazuo Ono:


‘St. Christopher ‘(2009)

Ikeda Carlotta


‘Moon  Eggs’ (2005)

Martha Graham


The Dance (1988)

Also Alvin Ailey

Pina Bausch


‘Nursery Rhymes: Ring-a-ring o’ Roses’ (1989)

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‘Untitled No. 2’ (1998)


‘The Coop'(1997)

Sylvie Guillem:


‘Girl with Chickens'(1997)p.162 Sword]


‘Jane Eyre:Jane'(2002).


Jane Eyre:Jane Eyre’ (2001-2002)


Photo of Paula Rego

Jiri Kylian:


‘Crivelli’s Garden’ ( 1990) p.295 woman with bowl]

Svetlana Zakharova:


Lamentation ‘ (2009)


‘Protector’ (2009)

Jessica Lang :


Bondage (2009).

Diana Vishneva:


Tree Muse’ (2009-10).



Paula aged three.


Child drawing at desk


‘The Dance’ (1988)

Credits: The Marlborough Gallery, London. On-line’ Paula Rego-Marlborough Fine Arts Gallery’.

‘Paula Rego’, John McEwen,  3rd edition, Phaidon Press.

‘paula rego: the complete graphic work’,T.G.Rosenthal, Thames & Hudson (2003 and 2012).

‘Paula Rego’,September 25-December 30,2007. Museo Nacional Centro de Arte Reina Sofia, Madrid.: conversations with Marco  Livingstone ,  Robert Hughes and Paula Rego.