Tanzrecherche NRW: Classical Tradition / Modern Society by Mirjam Otten

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THE INTERVIEWEES It has been a pleasure to interview inspiring leaders and creatives of the European dance scene. Get to know them before reading about their ideas. Classical Tradition // Modern Society 08
MAśDELEINE oNNE dominic antonucci AśNDREW MCNICOL AśLAśSTAśIR MAśRRIOTT KAśTY SINNAśDURAśi BEM RICHAśRD BERMAśNGE CRYSTAśL COSTAś The current Artistic Director of The Finnish National Ballet, looks back on over 16 years experience as a Director of established ballet companies, including the Royal Swedish Ballet and Hong Kong Ballet, as well as a distinguished career as a dancer. The Assistant Director of Birmingham Royal Ballet, has a long history with the company. Before assuming the position, he had a successful dance career of his own and staged various British works and heritage pieces internationally. Freelance choreographer, the Artistic Director of his own company, McNicol Ballet Collective, as well as an Artistic Associate at English National Ballet School. His choreographies are known to use the classical language in an inventive and fresh way. An internationally established freelance choreographer working within as well as beyond the dance industry. Looking back on a successful dance career with the Royal Ballet, his works honour the classical movement vocabulary. The Artistic Director of Brecon Festival Ballet, the first company in Wales to show a full professional production of The Nutcracker. Her exceptional contribution to the dance culture in Wales was honoured with a British Empire Medal in 2020. The Creative Director of English National Ballet Youth Company, a performance company that gives young dancers in training an opportunity to collect company experience, also enjoys a vibrant career as a choreographer and teacher. Staging Akram Khan's World War I memento Dust with Ballett Dortmund at the time of the interview, the Canadian also works as a guest teacher with several international companies. Beforehand, she was a First Soloist with English National Ballet. Classical Tradition // Modern Society 09
Page 1 and 2: C L A S S I C A L T R A D I T I O N
Page 3 and 4: Contents SECTION I Background Intro
Page 5 and 6: SECTION I Classical Tradition // Mo
Page 7 and 8: METHODOLOGY Primary data collection
Page 9: OBJECTIVES & HOW TO USE THIS REPORT
Page 13 and 14: Even though the ballet industry’s
Page 15 and 16: HERITAGE PRESERVATION It is impossi
Page 17 and 18: SECTION II Classical Tradition // M
Page 19 and 20: THE NATURE OF BALLET Classical Trad
Page 21 and 22: VALUE SYSTEM Peter Anastos, former
Page 23 and 24: WORKMANSHIP William Forsythe famous
Page 25 and 26: If you can play classical guitar, y
Page 27 and 28: Howw does the social standing of da
Page 29 and 30: CURRENT AFFAIRS Beyond wider social
Page 31 and 32: Through wwhich structural channels
Page 33 and 34: INTERNATIONAL EXCHANGE Intercultura
Page 35 and 36: AUDIENCE - BUILDING Audiences are n
Page 37 and 38: OUTREACH & ENGAGEMENT Engaging in d
Page 39 and 40: PARTICIPATION CASE STUDY Brecon Fes
Page 41 and 42: Howw can wwe structure an artistic
Page 43 and 44: CLASSICAL COMMISSIONS / RE-WORKING
Page 45 and 46: NEW COMMISSIONS Choreographer Chris
Page 47 and 48: Does the idea of relevance play} a
Page 49 and 50: COMMUNICATION Richard Bermange sugg
Page 51 and 52: Choreography is dialogue with livin
Page 53 and 54: PRODUCTION CHARACTERISTICS Classica
Page 55 and 56: CONTENTS The contents of a ballet p
Page 57 and 58: STORYTELLING It is not only the con
Page 59 and 60: MOOD The tone of a ballet greatly i
Page 61 and 62:
INTEGRATED PRODUCTION ELEMENTS Ever
Page 63 and 64:
FORMAT Andrew McNicol believes that
Page 65 and 66:
people Classical Tradition // Moder
Page 67 and 68:
COLLABORATORS Whilst it is widely a
Page 69 and 70:
ARTISTIC DIRECTORS The Artistic Dir
Page 71 and 72:
Can the dance industry} be structur
Page 73 and 74:
INSTITUTIONS CASE STUDY McNicol Bal
Page 75 and 76:
EQUALITY & DIVERSITY Relevance fund
Page 77 and 78:
CHAśLLENGES It is hoped that the a
Page 79 and 80:
In spite of many remaining challeng
Page 81 and 82:
I would like to say thank you to ev
Page 83 and 84:
Schnell, A. (2014) Ballet’s Cultu
Page 85 and 86:
APPENDIX B INTERVIEW QUESTIONS 1. I
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Tanzrecherche NRW: Classical Tradition / Modern Society by Mirjam Otten

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