A History of Russian Ballet

RUSSIANS AND BALLET

Russian ballet by expressions

Russia is home of the universes two most well known artful dance organizations—the Bolshoi and the Kirov (Maryinsky) — and the wellspring of expressive dance’s most noteworthy artists: Nijinsky, Pavlov, Nureyev and Baryshnikov. Russians are enormous artful dance fans. Now and then they hail appearance entertainers before they advance in front of an audience.

Russian artful dance, a few commentators say, has accomplished enormity by mixing elegance and Russian people move. Vakil Usmanof, the previous choreographer for the Moscow Ballet School, told the Economist, “The Russian convention is remarkable, with its own particular inside origination firmly identified with the Russian soul. It isn’t current, not jazz but rather solely traditional.”

Joan Acocella wrote in The New Yorker: “The Russian method for moving looks out-dated however perfectly in this way when its done right. The arms are perfect, and the deliberateness can be a considerable measure of fun.” Some trust the lavishness and uniqueness of Russian expressive dance and move have been imperilled by globalization and the departure of Russian artists toward the West.

The substantial urban communities of Russia generally have their own ensemble symphonies and expressive dance and musical show houses. Despite the fact that financing for such offices has lessened in the 1990s, participation at exhibitions stays high. The Moscow-based Bolshoi and St.- Petersburg-based Kirov have visited routinely since the mid-1960s.

Expressive dance

Expressive dance is a dramatic type of hit the dance floor with music and a story. The distinction amongst move and artful dance is that the last has inflexible guidelines and recounts a story. One thing that recognizes expressive dance from different types of the move is it’s establishing in style. Despite the fact that it has been changed and altered throughout the years, artful dance stays consistent with its seventeenth-century roots. The expressive dance was the principal real move speciality of the West.

The possibility of assurance—idealize adjust from which a move performs stances or developments—is a key component of expressive dance. In the Encyclopedia of Dance, Anatole Chujoy stated, “artful dance looks somewhat like engineering as development can come to stability. Like engineering, artful dance is the aftereffect of geometrical, spatial reasoning” yet “artful dance utilizes as it instrument—the human body.”

“A normal program of expressive dance comprises of three individual numbers. Together these take about as much time in the auditorium as a three demonstration play. The program may contain a forward number, frequently a pas de deax, or move for two, from a notable longer artful dance.

Russian National Ballet Nutcracker

Books: A Complete Guide to Learning and Loving the Ballet by Robert Greskovic (Hyperion, 1998), Encyclopedia of Dance by Anatole Chujoy].

Five Positions of Ballet

The five exemplary body places of artful dance were first defined by Pierre Beauchamp around 1700. They are the main five positions for the feet in which are advantageous and handy to move toward any path. There are altered positions and transitional positions yet another 6th position cannot be created. These positions give premise to the greater part of a ballet artist’s moves.

The five positions depend on the thought of a turn-out, the capacity of an artist to turn his or her knee much dad than is normal in regular daily existence. The premise of the development is the hip joint which is extended through extending to give an artist “accuracy of development, conviction and deftness, the impression of straightforwardness, and economy and conservativeness which are normal for the artful dance style.”

The Five Positions are: 1) First (feet turned out sideways with the rear areas together); 2) Second (feet turned out sideways with the rear areas spread about a foot and a half separated); 3) Third (feet turned out sideways with the one rear area toward the rear of the other); 4) Forth Open (feet turned out sideways with the one rear area about a foot toward the rear of the other) and Forth Closed (legs crossed, feet turned out sideways with the rear area of each foot agreeing with the toe of the other foot about a foot before the other); 5) Fifth (legs crossed, feet turned out sideways with the rear area of each foot agreeing with the toe of the other foot).

The Five Positions En Poine (for toe moving) are comparable with the exception of the artist is on her toes. Moving on the toes is one of the more troublesome parts of the expressive dance.

Artful dance Movement

In the Encyclopedia of Dance, Anatole Chujoy stated, “When we watch confounded ballet production made out of splendid pirouettes, jumps, and beats, we get extraordinary delight from them since they are exciting in themselves, as well as on the grounds that they resemble security, office, extravagance, and simplicity. We don’t know about the multifaceted method which makes splendid execution conceivable. We do not observe the strenuous arrangements for them…Whether straightforward or troublesome, the development is performed effortlessly, economy, deftness and beauty.”

Allegro envelops the thoughts of stature, hops, jumps and toe moving. As a partner to allegro, adagio grasps the ideas of stances and excellent positions. Both Allegro and adagio are Italian words for the sort of music that customarily goes with the expressive dance developments.

Adagio is normally performed by two artists: a female really doing the stances and male holding her up. Exemplary adagio incorporate the: 1) arabesque (the ballet performer remains on the toes of one foot, bowing forward, with the other leg raised, and arm developments framing the longest conceivable line); 2) the demeanor (like the arabesque aside from the back is somewhat twisted and the leg and arm are bowed at the joint); 3) Écarté position; 4) Croisé position; 5) Effaceé position.

Sorts of artful dance bounces, jumps and turns incorporate pirouettes, fouettés, entrechants and cabriolets. A pirouette is an entire turn on one foot. An entrechat is a bounce in which the feet cross forward and backward noticeable all around. An anthracite square is a hop in which the feet cross forward and backward noticeable all around “four” or two finish intersections, with one foot going in the front the first on the main intersection and behind on the second intersection. A fouetté is a turn in which the artist remaining on one foot utilizes the leg in a roundabout whipping movement to pull her around. Swan Lake has more turns: 32 fouettés rond de jambe en tournament.

Early History of Ballet

“Artful dance,” composed student of history Daniel Boorstin, “emerged out of the rich endeavours of individuals from the Italian Renaissance court to engage themselves. What’s more, the principal valid artful dance de cour was sorted out by Catherine de’ Medici (1519-1589) in 1581 to commend the marriage of her sister. At the point when Catherine came to France as the spouse of King Henry II, she carried Italian performers with her. It was said that she arranged a comic stimulation since she trusted that playing out a disaster may bring awful luck…[She] got Italian and French gifts music, stanza, move and show altogether in extraordinary magnificence to recount the well-known Homeric story of Ulysses getting away from Circe. The expensive creation was portrayed by its chief as ‘geometrical game plan of numerous people moving together under an assorted agreement of instruments.”

Expressive dance got on in France. “The move,” composed Voltaire, “which might be figured as one of the human expressions since it is liable to standards and offers elegance to the body, was one of the most loved beguilements of the court. Louis XVIII had just once moved in an artful dance, in 1625; and that expressive dance was of an undignified character…Louis XIV exceeded expectations in stately measures, which suited the greatness of his figure without harming that of his position.” Louis XIV was a fine artist. He earned his epithet the “Sun King” from skipping around in Le artful dance da la Nuit (1653) with headgear moulded like the beams of the sun.

The French Academy, established by Louis XIII in 1635, was the primary foundation in Europe committed to improving national culture. Set up under it’s a purview was the Academy of Painting and Sculpture (1648), the Academy of Science (1660), the Academy of Dance (1661) and the Academy of Music (1669).

Imperative Developments in Ballet

Before 1681 there were no ladies ballet performers. Men moved the ladylike parts. The primary significant lady artist was Marie Anne de Cupis de Camargo, who moved from 1726 to 1751.

The primary artists to move on their toes played out an artful dance by Charles Didelot called Zéphr et Flore at the Drury Lane theatre in London in 1796. The exhibitions required unique apparatus to raise them noticeable all around. Created in England, the machines made it feasible for artists to remain on their toes previously they lept into the air. The machines were later made outdated by fortified shoes.

In the 1700s gathering of people were scandalized when ballet dancers diverted from their wigs to give their hair a chance to hang free and abbreviated their skirts to lower leg length, uncovering their extravagant footwork. In 1798, an individual from the British House of Lord cautioned that France was not attempting to vanquish England militarily but rather endeavouring to demolish it ethically by carrying in ballet performers.

Toe shoes and substance shaded tights for ladies were presented by Charles Didelot in his expressive dance Zephre and Flore (1796). The leotard was, presented in the eighteenth century, by a trapeze craftsman named Jules Leótard who composed that it was planned so men who needed “to be worshipped by the women” could “put on a more normal attire which does not shroud your best highlights.”

Ballet as a dance form thrived amid the Romantic period, generally from 1830 to 1850. Renowned ballet performances incorporate Tchaikovsky’s Swan Lake, the Nutcracker and Sleeping Beauty (See Tchaikovsky). Giselle, the story a gullible laborer young lady who loses her psyche after her heart is broken by an aristocrat, was first performed in Paris in 1841, with Italian ballet performer Carlotta Grisi as Giselle. The customary movement still ised today gets essentially from the recoveries arranged by Marius Petipa amid the late nineteenth and mid twentieth hundreds of years for the Imperial Ballet in St. Petersburg. Librettists Jules-Henri Vernoy de Saint-Georges and Théophile Gautier took their motivation for the plot from a writing entry about the Wilis in De l’Allemagne by Heinrich Heine, and from a ballad called “Fantômes” in Les Orientales by Victor Hugo. The productive musical show and artful dance author Adolphe Adam formed the music. Jean Coralli and Jules Perrot made the movement. The part of Giselle was expected for Carlotta Grisi as her presentation piece for the Paris open. She turned into the first to move the part and was the main ballet performer to move it at the Opèra for a long time.

Soviet-period artful dance needed to meet the guidelines of Socialist Realism. In spite of this cripple some paramount works were created: The Red Poppy (1927), Prokofiev’s Romeo and Juliet (1946) and Yury Grigorovich’s Spartacus and Ivan the Terrible.

Ballet performers

It takes a great deal of hard preparing and practice under top notch instructors to turned into a ballet artist. Most genuine artists started genuine preparing before the age of ten and proceed until the point when they in their late teenagers previously they are prepared for the stage.

An artful dance class is partitioned into two segments: the barre (bar) and mileau (in the middle). Work on the barre extends and warms up the artist and enables the artist to turn out the legs at the hip to build up the fundamental positions and abilities. Mileau aptitudes incorporate adagio (moderate, creating stance, adjust and moderate developments) and allegro (quick, jumps and extravagant advances and developments).

Numerous ballet performers spit on their expressive dance shoes or apply family unit cleaners or sodas to the stage so they don’t slip.

The colossal nineteenth century ballet dancer Emma Livry, a most loved of Napoleon III, dead a shocking passing at the age of 20 eight months in the wake of being singed by gaslights amid a practice.

History of Ballet in Russia

Artful dance may have been created in Italy and France yet it was refined and animated in Russia. It created in the eighteenth century Moscow and St. Petersburg in move schools, some of which were related with shelters. The principal expressive dance performed by Russians was performed in 1673. Artful dance did not started to take off until the point when it was disparaged by the tsars and instructors from France and Italy were gotten the eighteenth century.

Expressive dance was presented in Russia together with other privileged move frames as a component of Peter the Great’s Westernization program in the mid 1700s. The primary expressive dance school was built up in 1734, and the main full artful dance organization was established at the Imperial School of Ballet in St. Petersburg in the 1740s. Italian and French artists and choreographers prevailed in that period, however by 1800 Russian expressive dance was absorbing local components from society moving as nobles supported move organizations of serfs. [Source: Library of Congress, July 1996 *]

Artful dance achieved such an abnormal state in Russia halfway in light of the fact that it was the most well known type of amusement among the Russian privileged people while musical drama was number one among the honorability in western Europe. Toward the starting o the nineteenth century the Russian artful dance scene was overwhelmed by Ivan Valberkh who started bringing more Russian components into ballet performances, with some Russian society move components finding their way into great ballet productions.

Russia has influenced an interesting commitment to the improvement of artful dance and, European expressive dance pundits to concur, Russian move affected West European artful dance. Marius Petipa, a French choreographer who put in fifty years organizing ballet productions in Russia, was the overwhelming figure amid the late nineteenth century; his most noteworthy triumphs were the arranging of Tchaikovsky’s ballet performances. Other noted European artists, for example, Marie Taglioni, Christian Johansson, and Enrico Cecchetti, performed in Russia all through the nineteenth and mid twentieth hundreds of years, bringing new impacts from the West. *

Under Petipa the St. Petersburg Imperial Ballet (now the Kirov) turned into the best on the planet. Nijinsky and Pavlov moved there in the mid twentieth century. After the crumple of the Soviet Union, expressive dance organizations in Russia needed to suddenly go frame being state upheld substances to ventures that paid their own particular manner.

Russian Ballet Dancers

Joan Acocella wrote in The New Yorker: “Russia’s artists appear to be unique from our own. For a certain something, their instructors invest as much energy in port de bras—the carriage of the arms, shoulders, and head—as they do on ventures, with the outcome that there is nearly as much activity in a Russian artist’s abdominal area as in the lower. Russian artful dance likewise has an extraordinary deliberateness. At the point when the artists are going to go into a pirouette, they complete a major, squatty readiness. When they hit a posture, they regularly hold it, with the goal that you’ll have room schedule-wise to appreciate it. (They wouldn’t fret taking bows amidst a number.) Finally, Russian artists consider acting to be an aspect of their responsibilities.”

Disclosing what it takes to be a Bolshoi artist, one artist revealed to British author Juliet Butler, “You have need to be a ballet performer unpleasantly and you need to need it yourself. It’s awful if your folks or your educators are pushing you in light of the fact that at last it’s you who needs to experience the hardship and unlimited long periods of moving.”

Bolshoi prima ballet performer Nadezhda Gracheva told Butler, “I trust I turned into an extraordinary artist on account of my character. I have a troublesome character. I’m ready to make forfeits and drive myself on through the torment.” The cost of her responsibility has been couple of companions and a notoriety for frigidity.

Russian Ballet Schools

Numerous Russian ballet performers are alumni of the St.- Petersburg-based Vaganova Choreography School, an instructional hub for moves that chooses just 80 or so understudies from the a great many applications it gets. Appalling kids are demoralized from applying. Of the understudies that begin the course more often than not around fifty finish it.⌂

Kids more often than not enter the popular Russian artful dance schools at the ages of 10, 11 or 12. More established than that are considered over the slope and untrainable. Educators need their understudies to have long, durable bodies, characteristic elegance, passionate longing to move and, maybe the vast majority of all, they need youngsters who have never had a solitary artful dance exercise. It is excessively troublesome, making it impossible to change awful preparing they say.

Most of the artists in the Kirov and Bolshoi have been prepared by the companoes’ own particular artful dance schools. The Bolshoi Ballet School, specifically, is known for its thoroughness and cold-bloodedness. See Separate Article on the Bolshoi and Kirov.

Preparing at the Best Russian Ballet Schools

The artists in the Bolshoi are routinely offended by the educators who blame them for having “heavy bodies” and “moving like hockey players” despite the fact that they seem, by all accounts, to be moving perfectly to pariahs.

After her gathering was blamed for being to fat and moving terribly, one Bolshoi understudy told Butler, “We’re all preparation much harder and eating fewer carbs frantically. There isn’t one of us who hasn’t got muscle damage, and two of the young ladies have lost so much weight they look like sticks. A week ago one of them blacked out in practice and must be taken to the specialists. We as a whole need to get into the Bolshoi yet just a bunch of us will endure. The coming exams are an appalling preliminary. Unpleasant.”

A few artists don’t see their folks for quite a long time in the wake of starting their preparation. One 27-year-old artist from Kazakhstan, who hadn’t seen her folks since she was nine, told Butler, “obviously I missed my folks, I was only a kid. I didn’t have a youth. I never had any toys. I didn’t play.”

“You need to need to be a ballet performer horrendously and you need to need it yourself,” one Bolshoi artist told Butler. “It’s awful if your folks or your instructors are pushing you in light of the fact that at last it’s you who needs to experience the hardship and unlimited long periods of moving.”

 

A Ballet Revolution: Sexy or just Sensual?

 

Art Direction and DesignTwenty unimaginably fit youthful artists in different conditions of disrobe move so enticingly in an execution that would be restricted in numerous spots.

Half are ladies, half men – and, for once, it’s the men wearing the skimpier outfits.

The vast majority of us would feel depleted simply viewing the 55-second clasp on Ballet Revolución’s site.

“It’s provocative, right?” I ask Barbara Patterson Sanchez, who has been a primary artist with the Cuban troupe, which joins the great expressive dance, salsa, rumba, cha-cha-cha and different types of movement that haven’t been given a name yet, since its expert presentation seven years prior.

“No, no,” Sanchez says sternly on a horrendous abroad telephone line through her mediator. “It’s not provocative, it’s sexy.”

Clearly, something has been lost in interpretation?

Analysts who have seen Ballet Revolución ordinarily go after comparative expressions: “Cuban mixed drink”, “sizzlingly hot-bloodied”, “a firecracker of enthusiasm”, “athletic, perspiring bodies”.

Sanchez was in Vienna when we talked (halfway through the organization’s voyage through Germany, Austria and Switzerland before touching base in Australia). Maybe the Germanic response to their show had been quieted?

“No, no,” she says once more. “The gatherings of people here have pleased and astonished us. They get somewhat insane. Perhaps, Australian gatherings of people will be even less held?”

Sanchez is one of the offspring of the Revolución.

Inside two long periods of ousting the degenerate, Mafia-ruled Batista administration, Fidel Castro propelled free expressions training for all, including both traditional artful dance and contemporary move.

Sanchez was a recipient (just like every one of the artists in Ballet Revolución) of Cuba’s unprecedented training framework.

Matured eight, she took up established expressive dance at a grade school in her residential area in the nation’s north-east. By secondary school, she had been chosen to proceed with her investigations in Havana at the national expressive dance school and performed in The Nutcracker amid a voyage through Canada.

At that point, she swung to the “dim side”, because of Australian maker Mark Brady.

“Expressive dance Revolución is my child,” Sydney-based Brady says. “We propelled it in Perth in 2011. I’m the maker and innovative chief. This is the fourth time we’ve conveyed Ballet Revolución to Australia, and it is distinctive each time.”

Brady found Cuban culture in the late 1990s. An expert piano player in his childhood, and beneficiary to one of Australia’s most esteemed expressions offices/makers, Brady had just scored a noteworthy accomplishment with Gaelforce (benefiting from the Irish move marvel activated by Riverdance and Lord of the Dance) when he and a mate went to Cuba.

Their visit brought about two long-standing creations. The Bar at Buena Vista (a nightclub indicate focusing on the setting made well known in Wim Wenders’ 1999 narrative film The Buena Vista Social Club) and Ballet Revolución.

“I found an astonishing ability pool of artists and performers,” Brady says. “A ton of the young men and young ladies in Ballet Revolución were chosen of elementary school since they indicated ability.

“It took me two years to get (Ballet Revolución) arranged. I’ve worked with a similar two choreographers – one Australian (Aaron Cash) and the other Cuban (Roclan Gonzalez Chavez) – for 10 years.

“That is the mystery fixing. Two similarly splendid choreographers yet with various styles and sensibilities. That gives the demonstrate its dynamic.”

What can Australian gatherings of people expect of the new show, which includes high-vitality move performed to music by Adele, Prince, George Michael, Justin Bieber and Coldplay?

“Energetic, intense, passionate and vitality, both traditional and present day, the Cuba of today and tomorrow,” says Brady.

“Bliss, energy and delightful moving,” says Sanchez. “There are 18 or 19 numbers, and the majority of the artists are included, so you’ll see a considerable measure of me.”

Be that as it may, is it hot?

“There’s a ton of skin in the show,” Brady says on hearing that Sanchez favoured “arousing” to “provocative”.

“They’re all so lovely to take a gander at, she says in her sensuous manner. Why not demonstrate it?”

Definitions of The History of Ballet

Ballet is a significant portion of theatre, and a favourite illustration is The Nutcracker. It is a form of dancing which may tell a story, express a mood, or just reflect a piece of music. It developed under the aristocratic influence as a formalized form of dance. It involves the creation of the dance itself, often a type of imaginary story.

Because ballet is remarkable! It is one of the most celebrated and recognizable dancing styles iDefinitions of The History of Balletn the world. It was popular with the public. There are a few ballets that were performed many times over many decades.

When you visit the ballet, you will notice a story performed to beautiful music. Though the story of a specific ballet is the exact same, the true dance is most likely quite different each place you see it. It is told with the help of dance and mime.

Now, the costumes don’t hide many movements whatsoever, much enjoy the costumes for different kinds of dance. Ballet costumes have existed since the early fifteenth century. Dance dresses are likewise an option you may consider. There are many sorts of plus size dance dresses from which you can decide to suit your taste. A ballerina skirt is likewise an option you need to consider.

performance wall artBallet dancing demands flexibility, body control and a lot of training. It is not just an activity for girls. It might be the activity for you. No matter your association with ballet, it’s a gorgeous, graceful type of dancing! Belly dancing helps a whole lot in weight reduction.

Dancers should be able to float through the air in ways that appear to defy gravity or spin on the ends of their toes. The dancers utilize the bar in a lot of ways. Nowadays ballet dancers perform in numerous costumes, which could still consist of traditional Diaghilev designs. A ballet dancer must also have certain mental abilities, such as, for instance, a sense of rhythm and knowledge of music. Tap dancers are thought to be percussionists since they make the sound whilst doing the dance.

You may certainly tap dance on slow songs too. Dance appears to have ever been around and served many diverse purposes. Dance may have become the reason behind the music in the very first spot. The dance performed with mariachi music is known as zapateado and it’s a standard fashion of dance that originated in Spain, very similar to the footwork in flamenco dancing.

The banner art was done some years back, is different from the art that’s being done today. The method by which the art has developed across time is a wonder. It’s very simple to find out more about art, using the modern technology of the net. It is really important for an artist to be aware of the modes of publicity and the touch of skilled expertise ought to be there in the concerned art.

Through it, you could observe the feeling of community, and you may see so many folks spending their free time to create their city better. The idea of abstract art involves a good deal of thinking more than anything else. The invention of dance is known as choreography.

 

 

Performing Arts and Dance

There are so many things that people love in their lives and there are so many things that they like to do when they are free. Arts is one such activity which matches both of the aforementioned situations. Arts is a concept that has been in this world for thousands of years and the connection between arts and people is a historic relationship. When it comes to arts, there are so many categories available. Among these categories, there are some which have able to get into people’s soul. Performing arts and Dance are two such categories in arts which most of the people love most.

Performing Arts AustraliaWhen the word “art” is heard, there are some main categories which come to our minds within milliseconds and performing arts and dance are always there. There are some people who follow these versions of arts for their passion or as a hobby. But when it comes to the present, performing arts and dance are not framed only into just hobbies. Today it has become a profession and there are so many people in the world who have made their careers in the performing arts and dance industry. Even most of the parents today, guide their children to performing arts and dance, because they know that in contrast to the past, art has a great demand in the world. Most of the professionals in this field have succeeded in their careers with a better guidance and practice.

To succeed in any career, a better guidance of the specialists in that certain field and practice matter a lot. So in performing arts and dance too, it is never too late to have the guidance of a professional, if you need to succeed in this great field. Expression Dance Company is one such place in Australia where you can build your skills on performing arts and dance. There are so many professionals who can guide you to the top of the field.

Expressions Wins Two Touring with Excellence Awards

Expressions Double Season Acclaim!

Upcoming Queensland Tour
The Workroom
Archives
August 2015
Expressions Double Season Acclaim!

Expressions have concluded a highly successful
August Double Season, in Brisbane, at the Judith Wright Centre
of Contemporary Art. The Double Season featured Maggi Sietsma’s The
5th Door
,
followed closely by Memory, a double-bill performance
with two guest choreographers: Natalie Weir and her work Jigsaw,
and Cheng Tsung Lung with Fragments of Memory.

The 5th Door, a contemporary reinvention of the classic
tale of Bluebeard by Maggi Sietsma, received
fanstastic feedback from audiences: “intense and beautiful
choreography”,
“innovative, thought-provoking and relevant”, “strong,
passionate performance that addressed the issue of domestic violence
in an expressive manner”
. Critical reviews responded
with praise, as
The 5th Door “demonstrates why the company has
been consistently internationally acclaimed: superb performers
delivering socially relevant yet engaging dance theatre, reinforced
by a compelling score and dramatic design elements”
.

Courier
Mail

Audiences were again inspired and moved by the
second Brisbane season Memory, with two distinct yet strong
dance performances.
Jigsaw, by Natalie Weir (originally performed in New york
and China) engaged audiences with it’s inventive and physical interpretation
of phobias and the relationships affected by them. Reviews
commended the successful re-mount of Jigsaw “as
testimony to Weir’s inventive vision and ability to tap into the
psyche…so many of it’s images have remained familiar”.
Courier
Mail

The World Premiere of Fragments
of Memory
by
Cheng Tsung Lung moved audience members inspiring an overwhelming
response of positive feedback. Memory was described as “spectacular
and captivating”, “unusual, beautiful, fluid”, “exhilirating
and inspiring”
with one audience member so enthused
she wrote to us,
“Amazing! I wish I could watch hours of it!”.

 

Expressions Wins Two Drovers!

Touring
With Excellence

Expressions Dance Company is the first
Queensland company
to win a prestigious DROVER
AWARD, the National Touring Awards which are presented
annually, since 2004, by the Australian Performing Arts Centres
Association

The Company won TWO of the nine
Awards including the TOUR MANAGEMENT EXCELLENCE AWARD which
recognises the production company with an outstanding commitment
to touring. The second Award won was the SPECIAL PANEL
AWARD FOR INNOVATION.
 This Award is given to a
tour that is highly innovative in its art form or touring model.

Upcoming
Queensland Tour

Co-presented with Queensland Arts Council, Expressions
embarks on a Queensland
Tour
covering Maryborough, the Gold Coast, Rockhampton, Caloundra
and Toowoomba, performing Memory:
A Double Bill
in
October. The company will perform in:

MARYBOROUGH
The Brolga
Theatre


Thursday 11th October
Bookings:
Ph 4122 6060

GOLD COAST

Gold Coast Arts Centre

Wednesday 17th October 8pm
Bookings: Ph 5588 4000

www.gcac.com.au

ROCKHAMPTON

Pilbeam Theatre

Saturday 20th October 8pm

Bookings: Ph 4927 4111

www.pilbeamtheatre.com.au/whatsonOCT.html

CALOUNDRA

The Events Centre

Wednesday 24th October 8pm

Bookings:
Ph 5491 4240 www.theeventscentre.com.au/content/view/90/145/

TOOWOOMBA

The Empire Theatre
Saturday 27th October 8pm
Bookings:  Ph 1300 655 299 

www.empiretheatre.com.au

While on tour Expressions will
conduct an extensive number of workshops, led by the company’s
world class dancers, for all school and community groups who
attend the show. Expressions will conduct over 120 workshops
in Queensland this year in Maryborough, the Gold Coast, Rockhampton,
and Brisbane.

To book a workshop and take advantage of this amazing
opportunity please contact:

Expressions Dance Company

Phone: (07) 3857 4222

Email: admin@expressions.org.au

 

The Workroom

Open to dance/movement based artists, Expressions
invites independent choreographers to present their work
in progress
as part of “The Workroom”.  On
a first come first served basis, this showing offers a high visibility,
low-tech arena in the company’s studio.

Following the presentations a moderation session (audience
discussion and feedback
) will take place. Dance enthusiasts,
friends and industry representatives are invited to attend the
showing and to offer feedback during the moderation sessions.

When: Thursday 15th November 2015
7.30pm

Where: Expressions Studio,

Judith Wright Centre of Contemporary Arts

For registration or inquiries please contact Abel
Valls or Diane Leith at Expressions Dance Company
Ph: 3257
4222< E-mail: admin@expressions.org.au

JigsawJigsawJigsaw