In the 1950's in Sweden it was an odd place, stuck between 2 great countires who threatened each other.
Capitalism - An individual has rights and can make the best of themselves.
Communism - Equalling out the classes of people.
Sweden made it clear it was neutral but had to become military to protect itself.
In the 1960's people in Sweden were encouraged to be detectives and look out for war in their own country. The Swedish welfare states were created (people who were less well off were supported) The country was finacilally well off.
1980's - Giselle was choreographed. The health care systel (IMPORTANT BECAUSE OF THE THEMEMS OF MENTAL HEALTH EK USED IN HIS GISELLE)
The health care in Sweden changed, moved on from being focused on the patient and their quality of care and equality to. This made people with mental health feel unsupported. It had changed in the way patients felt - they felt unsupported and negative.
Saturday, 11 February 2012
Nederlands Dans Theatre
Nederlands Dans Theater
From Wikipedia, the free encyclopedia
Nederlands Dans Theater (NDT; literal translation, Netherlands Dance Theatre) is a Dutch contemporary dance company. NDT is headquartered at the Lucent Danstheater in The Hague. In addition to the Lucent Danstheater, NDT performs at other venues in the Netherlands, including Amsterdam's Het Muziektheater and Nijmegen's Stadsschouwburg.
NDT was founded in 1959 by Benjamin Harkarvy, Aart Verstegen and Carel Birnie together with a group of 18 members of the Dutch National Ballet (which was directed by Sonia Gaskell). Their intention was to break away from the more traditionally oriented Dutch National Ballet (Het Nederlands Ballet). NDT focused onto new ideas and experimentation with the exploration of new forms and techniques of dance.
In 1961 the Nederlands Dans Theater got subsidy from the city of The Hague and from the government. In the 1960s the NDTs repertoire comprised classical dance with a strong influence by American modern dance. The NDT got unprecedented recognition and success with the guidance of different persons like Hans van Manen and Jiří Kylián as artistic directors. In the first years of the 1970s there was no clear policy because of various conflicts within the board of the NDT. That changed when in 1975 Jirí Kylian entered the board as artistic leader.
The Nederlands Dans Theater is based in the Lucent Danstheater at the Spui in The Hague since 1987.
Many of the founding NDT dancers have made their mark on Dutch ballet and dance:
- Gérard Lemaître was knighted Order of Orange-Nassau by Queen Beatrix. He retired in 1982 but returned as dancer of the NDT III company till 2006.
- Charles Czarny, Martinette Janmaat and Mabel Alter became well known ballet teachers at the conservatoires and dance academies in Rotterdam and Amsterdam
- Martinette Janmaat was artistic director for the Contemporary dance department at the Nationale Ballet Academy in Amsterdam.
Artistic directors
- Benjamin Harkarvy (1959–1969) as choreographer and artistic co-director (with Hans van Manen). He went on to be the co-director of the Dutch National Ballet and from 1992 he became the director of the Dance Division of The Juilliard School in New York.
- Hans van Manen (1961–1970) He was connected to the NDT from 1960 till 1971 as a dancer (till 1963) and after that as a choreographer and artistic leader. He was also a freelancer at the Nationaal Ballet, as a choreographer. He came back in 1988 as house choreographer at the Nederlands Dans Theater. His repertoire comprises more than 110 ballets (two of which were written for the Nederlands Dans Theater).
- Jaap Flier (1970–1973) became the new artistic director. For this job he stopped dancing but once in a while he made choreographies himself.
- Hans Knill (1975–1977) has worked together for 2 years as artistic director with Jiří Kylián.
- Jiří Kylián (1975–2004), the second artistic director, brought unprecedented recognition and success to NDT. His time as artistic director was from 1975 to 1999 – after he stepped down as artistic director, he remained with NDT as chief choreographer and artistic adviser.[1]
- Marian Sarstädt (1962-1972/1999-2004) has been a dancer and a staffmember of the artistic council as adjunct-director and she made a great contribution to the NDT.
- Anders Hellström (2004 to September 2009) trained at the Royal Swedish Ballet School and danced with the Royal Swedish Ballet and the Hamburg Ballet. He also danced with William Forsythe's Ballett Frankfurt from 1993-1999 before taking over as Artistic Director of Sweden's Goteburg Ballet.
- Jim Vincent (James Francis Vincent Jr.) (2009–2012) He danced for the NDT from 1978 till 1990. After that he went to Spain where he danced from 1990 till 1994 and he was the adjunct-director. After this he worked in Lyon (Opera ballet) and Disneyland Resort Paris (director "corporate and Special Events"). In 2000 he became artistic director of the Hubbard Street Dance Chicago. And in 2009 he became the artistic director of the NDT.
- Paul Lightfoot, who danced with NDT since 1985, and who is resident choreographer since 2002, has been appointed artistic director as of Januari 2012.
Mats Ek - Training and Background
Mats Ek was born 18th April 1945 and he is still alive. Mats Ek's mum was called Birgit Culberg and she was a choreographer and his dad was called Anders Ek and he was an actor. Mats Ek was born into a performing arts background. Mats Ek later became manager of the Culberg ballet. In 1962 he studied dance with Donya Feuer in Stockholm. He studied dance for a few years but preferred theatre. From 1966 - 1973 he worked as a stage director and assistant at the Royal Dramatic Theatre of Sweden and the Marionette theatre in Stockholm. In 1972 he returned to dance and in 1973 he began dancing with the Culberg ballet. He didn't go into choreography un til 1976. From 1980 - 1981 he became a memeber of the Nederlands Dans Theatre. From 1985 - 1993 he was a solo director of the Cullberg ballet, he then continued to choreograph independently after.
His dances were dramantic and very character like. He worked as a director for years so he had a good understanding of lights, props. His productions have lots of lights ect because of his history.
Mats Ek
Mats Ek
From Wikipedia, the free encyclopedia
Mats Ek (born 18 April 1945) is a leading Swedish dance and ballet choreographer, dancer and stage director.[1] He was the manager of the Cullberg Ballet from 1985 to 1993.
Ek was born in Malmö in 1945, the son of the Royal Dramatic Theatre actor Anders Ek and famous choreographer Birgit Cullberg.
At 17, he followed a summer dance course (modern) taught by Donya Feuer. He pursued theatrical studies at the Marieborg Folks College in Sweden. From 1966 until 1973, he acted as the director for the Marionett Theater as well as the Royal Dramatic Theatre in Stockholm.
In 1972, Ek joined the Cullberg Ballet. In 1975, he formed part of the corps de ballet for the Ballett der Deutschen Oper am Rhein in Düsseldorf. And in 1976, he made his first choreography titled The Officer's Servant for the Cullberg Ballet. In 1978, Ek became, together with Birgit Cullberg, artistic director of the Cullberg Ballet, until 1985 when the responsibility became his entirely. This position he fulfilled until 1993. During the season 1980-1981, he was associated with the Nederlands Dans Theater as dancer as well as choreographer.
In some of Ek's former choreographies, traditions of Kurt Jooss and of his mother, Birgit Cullberg may be apparent. He uses classical as well as modern dance techniques. Social engagement of psychological dilemmas combined with subtle humor, form the basis of his choreographies. For Ek, movement is a means of individual expression. Aesthetic value is not his first priority.
He has for thirty years been a highly esteemed choreographer throughout the world. He studied dance and theatre and directed theatre at the Marionette Theatre, the Stockholm City Theatre and the Royal Dramatic Theatre. In 1973 Mats Ek joined the Cullberg Ballet as a dancer. Three years later he began choreographing for the company with immediate success. Saint George and the Dragon, Soweto and The House of Bernarda belong to his earliest ballets. From 1981 until 1993 Mats Ek was the artistic director of the Cullberg Ballet, succeeding his mother Birgit Cullberg. Mats Ek's extensive production of ballets includes more than twenty works for the Cullberg Ballet, among them the sensational reworks of the great classics like Giselle (1982), Swan Lake (1987) and Carmen (1992). After leaving the Cullberg Ballet, Mats Ek became guest choreographer with major international dance companies. He created Sleeping Beauty for the Hamburg Ballet (1996), A Sort Of for the Nederlands Dans Theater (1997), and Apartment for the Paris Opera (2000). Several of Mats Ek's ballets have been adapted for television, two of them received Emmy awards.
Mats Ek is also acclaimed for his choreographic theater works, Don Giovanni (1999) and Andromaque (2001) at the Royal Dramatic Theatre being two of them. With his latest choreography FLUKE, premiered in November 2002 at Dansens Hus in Stockholm, Mats Ek has once again created a work for the Cullberg Ballet, this time in cooperation with the Pork Quartet.
In 2006, he won the Prix Benois de la Danse.
Ek was born in Malmö in 1945, the son of the Royal Dramatic Theatre actor Anders Ek and famous choreographer Birgit Cullberg.
At 17, he followed a summer dance course (modern) taught by Donya Feuer. He pursued theatrical studies at the Marieborg Folks College in Sweden. From 1966 until 1973, he acted as the director for the Marionett Theater as well as the Royal Dramatic Theatre in Stockholm.
In 1972, Ek joined the Cullberg Ballet. In 1975, he formed part of the corps de ballet for the Ballett der Deutschen Oper am Rhein in Düsseldorf. And in 1976, he made his first choreography titled The Officer's Servant for the Cullberg Ballet. In 1978, Ek became, together with Birgit Cullberg, artistic director of the Cullberg Ballet, until 1985 when the responsibility became his entirely. This position he fulfilled until 1993. During the season 1980-1981, he was associated with the Nederlands Dans Theater as dancer as well as choreographer.
In some of Ek's former choreographies, traditions of Kurt Jooss and of his mother, Birgit Cullberg may be apparent. He uses classical as well as modern dance techniques. Social engagement of psychological dilemmas combined with subtle humor, form the basis of his choreographies. For Ek, movement is a means of individual expression. Aesthetic value is not his first priority.
He has for thirty years been a highly esteemed choreographer throughout the world. He studied dance and theatre and directed theatre at the Marionette Theatre, the Stockholm City Theatre and the Royal Dramatic Theatre. In 1973 Mats Ek joined the Cullberg Ballet as a dancer. Three years later he began choreographing for the company with immediate success. Saint George and the Dragon, Soweto and The House of Bernarda belong to his earliest ballets. From 1981 until 1993 Mats Ek was the artistic director of the Cullberg Ballet, succeeding his mother Birgit Cullberg. Mats Ek's extensive production of ballets includes more than twenty works for the Cullberg Ballet, among them the sensational reworks of the great classics like Giselle (1982), Swan Lake (1987) and Carmen (1992). After leaving the Cullberg Ballet, Mats Ek became guest choreographer with major international dance companies. He created Sleeping Beauty for the Hamburg Ballet (1996), A Sort Of for the Nederlands Dans Theater (1997), and Apartment for the Paris Opera (2000). Several of Mats Ek's ballets have been adapted for television, two of them received Emmy awards.
Mats Ek is also acclaimed for his choreographic theater works, Don Giovanni (1999) and Andromaque (2001) at the Royal Dramatic Theatre being two of them. With his latest choreography FLUKE, premiered in November 2002 at Dansens Hus in Stockholm, Mats Ek has once again created a work for the Cullberg Ballet, this time in cooperation with the Pork Quartet.
In 2006, he won the Prix Benois de la Danse.
Contact Improvisation
The main features of Contact Improvisation are:
- It is a mixture (Aikido + Modern Jazz = Contact Improvisation)
- A great force of Gravity
- Be as fluid ad water
- Be as light as air
- Be grounded like a rock
- Be sparkling like a fire
- Be daring
- Very trusting with your partener.
- It is a mixture (Aikido + Modern Jazz = Contact Improvisation)
- A great force of Gravity
- Be as fluid ad water
- Be as light as air
- Be grounded like a rock
- Be sparkling like a fire
- Be daring
- Very trusting with your partener.
Contact improvisation
From Wikipedia, the free encyclopedia
Contact improvisation (CI) is a dance technique in which points of physical contact provide the starting point for exploration through movement improvisation. Contact Improvisation is a form of dance improvisation and is one of the best-known and most characteristic forms of postmodern dance.
"Man Walking Down the side of a Building"
My thoughts on this are it is very strange. It will be impressive for some people but others will find it boring. When I first watched it I was like "WOW" as it is very clever but I wouldn't class it as performing dance.
Trisha Brown
Trisha Brown
From Wikipedia, the free encyclopedia
Trisha Brown (25 November 1936, Aberdeen, Washington, U.S.) is a postmodernist American choreographer and dancer.
Trisha Brown, the most widely acclaimed choreographer to emerge from the postmodern era, first came to public notice when she began showing her work with the Judson Dance Theater in the 1960s. Along with like-minded artists including Yvonne Rainer, Steve Paxton, and Simone Forte, she pushed the limits of what could be considered appropriate movement for choreography thereby changing modern dance forever. This “hot-bed of dance revolution,” was imbued with a maverick spirit and blessed with total disrespect for assumption, qualities that Ms. Brown still exhibits even as she brings her work to the great opera houses of the world today.
Brown was born in Aberdeen, Washington, and received a B.A. degree in dance from Mills College in 1958. Brown later received a D.F.A. from Bates College in 2000. For several summers she studied with Louis Horst at the American Dance Festival, then held at Connecticut College. After moving to New York in 1961, Brown trained with dancer Anna Halprin and became a founding member of the avant-garde Judson Dance Theater in 1962. There she worked with experimental dancers Yvonne Rainer and Steve Paxton. In 1970 she cofounded the Grand Union, an experimental dance collective, and formed the Trisha Brown Dance Company. Her company soon became one of the leading contemporary dance ensembles. Brown received a MacArthur Foundation “genius” grant in 1991.
Trisha Brown, the most widely acclaimed choreographer to emerge from the postmodern era, first came to public notice when she began showing her work with the Judson Dance Theater in the 1960s. Along with like-minded artists including Yvonne Rainer, Steve Paxton, and Simone Forte, she pushed the limits of what could be considered appropriate movement for choreography thereby changing modern dance forever. This “hot-bed of dance revolution,” was imbued with a maverick spirit and blessed with total disrespect for assumption, qualities that Ms. Brown still exhibits even as she brings her work to the great opera houses of the world today.
Brown was born in Aberdeen, Washington, and received a B.A. degree in dance from Mills College in 1958. Brown later received a D.F.A. from Bates College in 2000. For several summers she studied with Louis Horst at the American Dance Festival, then held at Connecticut College. After moving to New York in 1961, Brown trained with dancer Anna Halprin and became a founding member of the avant-garde Judson Dance Theater in 1962. There she worked with experimental dancers Yvonne Rainer and Steve Paxton. In 1970 she cofounded the Grand Union, an experimental dance collective, and formed the Trisha Brown Dance Company. Her company soon became one of the leading contemporary dance ensembles. Brown received a MacArthur Foundation “genius” grant in 1991.
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