- Dance Voices - קולות המחול

Dance Discourses

Iphigenie auf Tauris, a dance-opera by Pina Bausch

The Gran Teatre del Liceu 2010/11 season opened with Pina Bausch's choreographed version of Gluck's opera Iphigenie auf Tauris. With a libretto by Nicolas-François Guillard (1752-1814), the work is inspired by the tragedy of Euripides and was the German choreographer's first dance-opera, choreographed in 1973.

David Dawson's Giselle for the Dresden SemperOper Ballet

The world of the stage has been enriched by David Dawson's subtle reworking of Giselle for the Dresden SemperOper Ballet, shown at the Liceu Theatre in Barcelona.

Yuri Grigorovich in Danza Ballet

As one of the most important choreographers of the second half of the XX century and a living ballet legend, Yuri Nikolaievich Grigorovich (1927) needs no introduction.

Grigorovich graduated from the Choreographic in 1946 and joined the Kirov Ballet (now the Mariinsky Theatre), specializing in demi-caractère roles. Born into an artistic family linked to the Russian Imperial Ballet, husband of one of the greatest prima ballerinas of all time, the immortal Natalia Bessmertnova (1941-2008), his life has been dedicated to mastery of the art of choreography, excellence and carrying on the tradition of Russian classical ballet.

A Tribute to Daniel Nagrin: Russian Jewish Influences in American Modern Dance

On the first anniversary of his death, this paper is a tribute to my former teacher and mentor, Daniel Nagrin. Nagrin (22 May 1917 - 29 December 2008), actor, Broadway dancer, and minor pioneer of American modern dance, was inspired and influenced professionally by three main people. The first major influence was Russian theatre director Constantin Stanislavski, whose method reached Nagrin through three New York-based acting teachers.

Dancing Narratives: An Analytical Approach to the Narrative of the Ballet Fantastique.

To dance stories means to tell stories to an audience. Astonishingly enough, despite the large number of story ballets and works of other dance genres narrating plots, dance analysis has neglected this side of the theatre performance. Thus, current research practice shows a clear focus on issues relating to choreography, movement and the performer. Moreover, the opinion, expounded by Italian lecturer Marco de Marinis (1993) and English dance analyst Janet Adshead (1988), that a performance can only be analysed via audio-visual recordings has resulted in a dogmatic treatment of dance analysis and its methods.

Drawing out the Connections between the Past and the Present

The Lost Dances of Egon Schiele, a video-dance, was created in 2002 by the contemporary British choreographer Lea Anderson and Kevin McKeirnan for her all-male group, The Featherstonehaughs. It was based on The Featherstonehaughs Draw on the Sketch Books of Egon Schiele, a dance that was first performed in London, 1998. Anderson started to choreograph in 1984, with the foundation of her all-female company, The Cholmondeleys (pronounced Chumlees). After establishing a second company, The Featherstonehaughs (pronounced Fanshaws), in 1988, which was concerned with images of masculinity, Anderson’s reputation as a leading choreographer was assured (Hargreaves, 2002).