Matthew Bourne and His Adventures in Dance (eBook)
768 Seiten
Faber & Faber (Verlag)
978-0-571-27989-0 (ISBN)
Alastair Macaulay has been chief dance critic of The New York Times since 2007, living in New York. Before that, he lived and worked in London. He served as chief theatre critic of The Financial Times (for which he also reviewed dance and music) between 1994 and 2007, as chief dance critic to the Times Literary Supplement, and as a leading examiner and lecturer in dance history at various academic institutions in Britain. In 1983, he was founding editor of the British quarterly Dance Theatre Journal. In 1988 and 1992, he served as guest dance critic to The New Yorker. In 1998, his biography of Margot Fonteyn was published by Sutton Books. He has contributed to books on the choreographers Frederick Ashton, Merce Cunningham, and Mark Morris. He first met Matthew Bourne while a teacher of dance history at the Laban Centre for Movement and Dance where Bourne was then a student. 'Matthew Bourne and His Adventures in Motion Pictures,' was first published in 2000.
Matthew Bourne and His Adventures in Dance is an intimate and in-depth conversation between the prize-winning pioneer of ballet and contemporary dance Matthew Bourne and the New York Times dance critic Alastair Macaulay. In 1987, a small, aspirant dance group with a striking name made its debut on the London fringe. In 1996, Adventures in Motion Pictures made history as the first modern dance company to open a production in London's West End. From this achievement, AMP sailed triumphantly to Broadway - winning three Tony Awards - guided by Artistic Director Matthew Bourne. Even before the inception of AMP, Bourne was fascinated by theatre, by characterization, and by the history of dance. In his early works - Spitfire, Town & Country and Deadly Serious - Bourne brought a novel approach to dance. And in his reworkings of the classics of the ballet canon - Nutcracker, Swan Lake, Cinderella - Bourne created witty, vivid, poignant productions that received great acclaim. In the first decade of the new millennium, the company name was changed to New Adventures, and Bourne's 'classics', as well as Bourne's new works - The Car Man, Play Without Words, Edward Scissorhands and Dorian Gray - achieved levels of box-office popularity that have seldom, if ever, been matched in dance. In addition, his choreography for various musicals - My Fair Lady, Mary Poppins and Oliver! - have run for years in the West End and on Broadway. The detail in which Bourne discusses his work with Alastair Macaulay is unprecedented. The two explore Bourne's upbringing, his training and influences, and his distinctive creative methods. Bourne's notebooks, his sources and his collaboration with dancers all form part of the discussion in this book.
Photographs courtesy of the generosity of AMP.
i Matthew Bourne. Photo courtesy of Matthew Bourne. xxvi
1 Bourne, aged about fifteen, in an amateur piece Mr Bojangles (c. 1974). 2
2 Bourne and Emma Gladstone performing for Transitions Dance Company in 1986 in Ashley Page’s The Organizing Principle. 19
3 From Bourne’s BA course; choreographic coursework, 1984. 27
4 From Bourne’s choreographic notebooks, 1984/85. 28
5 Bourne as the Rt Hon. Remnant Blight in Jacob Marley’s Does Your Crimplene Go All Crusty When You Rub? (1987). Photograph: Chris Nash. 44
6 Buck and Wing. From Bourne’s notes. 50
7 One of the pages of advertisements for male underwear used by Bourne as source material for Spitfire (1988) 51
8 Spitfire (1988). From Bourne’s notebook. 52
9 Spitfire. From Bourne’s notebook. 53
10 Spitfire. David Waring, Keith Brazil, Joachim Chandler and Matthew Bourne. Photograph: Chris Nash 54
11 The Infernal Galop: Keith Brazil as the Merman in ‘Fruits de Mer’. Photograph: Chris Nash. 58
12 One of Brassaï’s classic photographs of Paris used as source material for The Infernal Galop. Photograph: Brassaï, 1932 59
13 The Infernal Galop (1992 revival). Scott Ambler, Ally Fitzpatrick, Matthew Bourne, Etta Murfitt, Andrew George and Simon Murphy. Photograph: Chris Nash. 59
14 Town & Country (1991): Matthew Bourne and Scott Ambler in ‘Dearest Love’ in the ‘Town’ section. Photograph: Michael Daks. 66
15 Town & Country. Ally Fitzpatrick, Matthew Bourne, Ben Wright, Etta Murfitt, Scott Ambler and Jamie Watton in the ‘Brief Encounter’ episode of the ‘Town’ section. photograph: Chris Nash.69
16 Town & Country. Photograph: Chris Nash. 72
17 Deadly Serious. From Bourne’s notes for the second half. 87
18 Deadly Serious. Photograph: Michael Daks. 88
19 Deadly Serious. Matthew Bourne as Max de Wynter. photograph: Michael Daks. 89
20 Nutcracker (1992): pre-production photograph. Matthew Bourne, Etta Murfitt, Simon Murphy as orphanage children;Scott Amber and Ally Fitzpatrick as the Dross children. photograph: Hugo Glendinning. 97
21 Nutcracker: pre-production photograph. Andrew George,Simon Murphy and Leslie the dummy. Photograph:Hugo Glendinning. 103
22 From Jean Vigo’s film Zéro de conduite (1933). Photograph courtesy BFI Stills, Posters and Designs. 107
23 Nutcracker, Act One. Clara (Etta Murfitt) suddenly sees the Nutcracker (Andrew George) transformed as the leader of agroup of ‘beefcake’ young men. Photograph: Donald Cooper. 111
24 Nutcracker, Act One. The orphans in a display dance. photograph: Donald Cooper. 122
25 Nutcracker, Act One. Princess Sugar (Ally Fitzpatrick), lifted during the skating scene. Photograph: Steve Hanson. 126
26 Nutcracker, Act Two. The Cupid characters. Photograph:Hugo Glendinning. 127
27 Nutcracker, Act Two. Two Gobstoppers: Phil Hill and Jason Lewis. Photograph: Hugo Glendinning. 129
28 Nutcracker, Act Two. Princess Sugar (Ally Fitzpatrick) and the Nutcracker (Andrew Gorge), with Clara (Etta Murfitt). photograph: Donald Cooper. 131
29 Nutcracker. From Bourne’s notes on the counts for the Children’s display scene for the Governors in Act One. 138
30 Highland Fling (1994). Publicity handout. 152
31 La Sylphide (1832): opening image. Marie Taglioni as the Sylphide in the original Paris Opéra production, with her brother Paul as the sleeping James. 152
32 Highland Fling. Maxine Fone as the Sylph and Scott Ambleras James. Photograph: Hugo Glendinning. 153
33 Highland Fling. Maxine Fone as the Sylph. ‘Our sylphs doa lot of jumping.’ Photograph: Hugo Glendinning. 153
34 Highland Fling. Scott Ambler as James, Maxine Fone as the Sylph. The Sylph as Vampire. Photograph: Hugo Glendinning. 173
35 Highland Fling. Bourne’s initial notes on the music for theend of Act Two, supplemented by notes made in rehearsal. 181
36 Swan Lake. Adam Cooper as the Swan: pre-production photograph. Photograph: Hugo Glendinning. 190
37 L’Après-midi d’un faune: Vaslav Nijinsky as the Faun,with his sister Bronislava Nijinska as a Nymph, in 1912. 192
38 Swan Lake: Stuart Dawes as the young Prince, Isabel Mortimer as the Queen, Scott Ambler as the adult Prince. pre-publicity photograph. Photograph: Hugo Glendinning. 195
39 Sketches of Tippi Hedren and the children’s climbing-framei n Alfred Hitchcock’s 1963 film The Birds. Courtesy BFIS tills, Posters and Designs © Universal City Studioes. 199
40 Swan Lake, Act Four. The swans on the Prince’s bed. photograph: Bill Cooper. 199
41 Swan Lake. Adam Cooper as the Swan. Pre-publicity photograph. Cooper extends one bent leg forwards while folding his arms in front of his torso and arching his neck and spine backwards and sideways. Photograph: Hugo Glendinning. 212
42 Swan Lake. Adam Cooper as the Swan. Pre-publicity photograph. Cooper bending forwards with swept-back‘wing arms’, and staring straight into the camera. photograph: Hugo Glendinning. 213
43 Anna Pavlova (1881–1931), famous for dancing The Dying Swan, with one of her famous and beloved swans at Ivy House, her London home 218
44 Swan Lake. A publicity image of Scott Ambler as the Prince with a live swan. Photograph: Hugo Glendinning. 218
45 Swan Lake. Costume sketch by Lez Brotherston for the Private Secretary. 224
46 Swan Lake. From Bourne’s annotated breakdown of Act One of the score: the beginning of the Waltz 231
47 Swan Lake. From Bourne’s annotated breakdown of the score for Act One: the Prince’s solo. 236
48 Swan Lake. Costume sketch by Lez Brotherston for the males wans. 238
49 Swan Lake. Scott Ambler as the Prince, Adam Cooper as the Swan (or Stranger), Fiona Chadwick as the Queen, rehearsing Act Three, in 1998. Photograph: Hugo Glendinning. 246
50 Swan Lake, Act Four. Arthur Pita leading one row of swans. The Nijinsky-like motif of crossing the arms around and above the head. Photograph: Bill Cooper. 250
51 Swan Lake, Act Two. The corps of swans. The zig-zag pattern. Photograph: Bill Cooper. 251
52 Swan Lake, Act Two. Scott Ambler as the Prince, Adam Cooper as the Swan, and chorus of male Swans. The Faune pose. Photograph: Leslie Spatt. 252
53 L’Après-midi d’un faune. Lydia Nelidova and Vaslav Nijinsky in Nijinsky’s ballet. Photograph: Baron de Meyer. 252
54 Swan Lake. From Bourne’s annotated breakdown of the score for Act Two: the Swans’ Waltz 254
55 Swan Lake. From Bourne’s choreographic notes for floor-patterns and phrases in the Swans’ Waltz. 255
56 Swan Lake, Act One. Fiona Chadwick as the Queen, Barry Atkinson as the Private Secretary, Emily Piercy as the Prince’s Girlfriend. Photograph: Leslie Spatt. 261
57 Swan Lake, Act One. The ‘Soho’ scene, set in a ‘retro club’ peopled by figures of scandal from the 1960s. A bit of jiving. photograph: Hugo Glendinning. 270
58 Swan Lake, Act Four. Adam Cooper as the Swan, throwing himself from the bed into the chorus of Swans. Photograph:Hugo Glendinning. 274
59 Swan Lake, Act Two. Will Kemp as the Swan; Ben Wright as the Prince. Photograph: Bill Cooper. 275
60 Swan Lake. Act Three. Adam Cooper as the Swan(or Stranger), Lynn Seymour as the Queen. Photograph: Craig Schwartz. 278
Erscheint lt. Verlag | 15.11.2011 |
---|---|
Verlagsort | London |
Sprache | englisch |
Themenwelt | Literatur ► Biografien / Erfahrungsberichte |
Kunst / Musik / Theater ► Film / TV | |
Kunst / Musik / Theater ► Theater / Ballett | |
Sachbuch/Ratgeber ► Sport ► Tanzen / Tanzsport | |
Schlagworte | Ballet • matthew bourne dvd • My Fair Lady • New Adventures • Nutcracker • swan lake matthew bourne • tchaikovsky |
ISBN-10 | 0-571-27989-9 / 0571279899 |
ISBN-13 | 978-0-571-27989-0 / 9780571279890 |
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eReader: Dieses eBook kann mit (fast) allen eBook-Readern gelesen werden. Mit dem amazon-Kindle ist es aber nicht kompatibel.
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