New Baltic Dance 2005
By Suart Sweeney - May 3-9, 2005, Lithuanian National Drama Theatre, Vilnius, Lithuania
New Baltic Dance festival is the most important annual event in the Lithuanian contemporary dance calendar and with 15 domestic and visiting companies taking part this year was well worth a visit.
Lithuanian National Ballet - 'Carmina Burana: profane Songs'
By Julija Kalpokienë - February 2003, Opera House, Vilnius, Lithuania
Speaking about Orff’s cantata, Wang says: “Everything is integral in nature; and everything keeps repeating itself. Our human existence is in a constant state of change: we are born helpless, then grow up quickly, and we travel through our days confident that we can control our fate."
Introduction to Tallinn and the Augusti Tantsu Festival 2003
By Stuart Sweeney - August 20, 2003, Tallinn, Estonia
The centre for modern dance and the Augusti TantsuFestival is the Kanuti Gildi Saal in the heart of The Old Town. With its castellated roof and large statues on its front projection, it gives pause for thought that in the Soviet era it was a phone tapping centre for the KGB.
Renate Keerd and Claire Croizé - 'mobile home', 'Blowing Up'
By Stuart Sweeney - August 13, 2003, Kanuti Gildi Saal, Augusti TantsuFestival 2003, Tallinn, Estonia
... however, in the faded beauty of the Kanuti Gildi Saal with its peeling, Soviet-blue paint and the high Gothic windows providing a back-drop, the work impressed me much more. Croizé studied at PARTS and Jonathan Burrows' collaborator Jan Ritsema assisted in the creation of this, Croizé's first dance solo.
Claire Croizé - 'Blowing Up'
By Nele Suisalu - August 18, 2003, Kanuti Gildi Saal
Augusti TantsuFestival 2003, Tallinn, Estonia
Most of the time I saw the strength or the heaviness. Her movements were minimalistic, repetitive and physically exhausting. She put several jackets on -- one on top of another. I could feel the hotness and tightness inside of those: a sensation of oppression.
Z00/Thomas Hauert - 'Verosimile'
By Tiit Tumalu - August 15, 2003, Kanuti Gildi Saal
Augusti TantsuFestival 2003, Tallinn, Estonia
Another level of interpretation derives from the title, which in Italian means ‘similarly to the real’ or ‘almost like real’. In other words – Hauert and ZOO unlock the illusion of reality that theatre is trying to produce in the viewer.
The Beginning of a New Era:
New Baltic Dance 04
By Jurate Terleckaite - April-May, 2004, Vilnius, Lithuania
It is also important that it took place when Lithuania joined the European Union on the 1st May, 2004 and symbolised the beginning of a new era, welcoming Lithuania back into the family of independent countries, into another political space.
By Stuart Sweeney - March 18-20, 2005, Tallinn, Estonia
With established artists, those making their way, and student participation, Uustants can sometimes feel like London’s Resolution! festival, with the good, the bad, the indifferent and including some pleasant surprises. Around thirty companies took part over 54 hours, including an indigestible 6-hour Marathon on Sunday evening.
Estonian National Ballet - 'Shannon Rose'
By Stuart Sweeney - March 17 , 2005 -- Estonian Opera House, Tallinn, Estonia
The Estonian National Ballet already has a fine example of contemporary ballet theatre with Luciano Cannito’s “Cassandra”, and now they have added a second with their recent premiere of “Shannon Rose” by Youri Vàmos.
Estonian National Ballet - 'Cassandra'
By Stuart Sweeney - March 2003, Opera House, Tallinn, Estonia
“There are many scenes to savour - Paride (Paris) returns from America in a burst of show-biz steps and jetées performed by Jacksonville Gold Medallist, Sergei Upkin. Cassandra’s father, the Mayor played menacingly by Vitalo Nikolajev, has a deliciously pompous dance for his declamation at the unveiling of a statue.
Autumn in Tallinn - Modern Dance and Ballet in Estonia
By Stuart Sweeney - December 2003, Tallinn, Estonia
“Autumn comes early in the Baltics and by the end of August it is already time for warm gloves. Nevertheless, there are compensations including the chance to see cutting edge modern dance in a mediaeval walled city.
Short History of 20th Century Dance in Lithuania
By Jurate Terleckaite - August 2003, Lithuania
Performances of ballet were recorded in the court of the Lithuanian Empire in the sixteenth century when Lithuanian culture was dominant in Central Europe.read more...
Lithuania National Opera and Ballet - 'Ignis et fides'
By Julija Kalpokiene - 2003, Trakai Castle, Lithuania
The three languages - Lithuanian, Latin and Prussian - used in "Ignis et fides" reflect the historical destiny of Lithuania. The recording of real thunder in the finale is not just an effect: it symbolises Perkunas, the main pagan god to whom Lithuania reverted for 130 years after Mindaugas was killed.
Symposium: 'Text/Tans': Not the Last Word
By Franz Anton Cramer - March 12-14, Kanuti Gildi Saal, Tallinn, Estonia
This aspect of modernity, namely to conscientiously explain with rhetorical fervour and many a word, why the absence of words would be a ennobling of art and body and an augmentation of sense, is then one of the major and characteristic paradoxes of avante garde art-making.
Von Krahl Theatre - 'The Swan Lake': Deconstructing Petipa
By Holly Messitt - December 13, 2003, Dance Theatre, Workshop, New York
“This ballet serves the creators’ purpose well since, as the program notes tell us, the Soviet government broadcast the ballet non-stop during its 1991 putsch , the failed coup against Mikhail Gorbachev.
Ballet of the Polish National Opera - 'Carmen', 'As if': Heavy on Symbolism
By Catherine Pawlick - June 16, 2005, Mariinsky Theatre, St. Petersburg
“As part of the “Viva La Baltica” theme within this year’s White Nights Festival at the Mariinsky theatre, artists from neighboring Baltic countries have come to the Mariinsky stage for performances sprinkled throughout the one-month festival.
Silesian Dance Theatre's XII Annual International Contemporary Dance Conference & Performance Festival
By Catherine A. Peila - July 2005, Bytom, Poland
“This year’s twelfth edition of Silesian Dance Theatre's International Contemporary Dance Conference/Festival is once again an eclectic mix of intriguing educational and performance programming, providing a taste of the far-flung cultural interpretations of how a body moves and communicates through choreography.
Silesian Dance Theatre - 'Glamour of mundane. Dream from a saint': We Venture Inside Ourselves
By Marta Maniecka - June 2005, Bytom, Poland
““Glamour of mundane. Dream from a saint” is what we experience everyday. By meeting people we build different relations with them and we find out the truth about ourselves and about the world.
Bytom Dance Festival - Festival Diary - Day 3: At a Disability 'Home'
By Adrienne Katz - June 2005, Bytom, Poland
The morning class is the hardest, both logistically and emotionally. We work at a group home for adults with disabilities, but the "home" feels more medical and institutional than the name suggests and keeps -- and I really do mean "keeps" -- about 150 residents.
Priit Raud – Modern Dance in Estonia and the Role of 2.tants
By Stuart Sweeney - August 2002, Tallinn, Estonia
"Another landmark was setting up our organisation, originally called The Centre of Dance Information. Nobody got paid and we all carried on with our other jobs. The idea was to spread information about what was going on with dance and organise one guest performance in the season. However, our role expanded beyond information and to reflect that we changed the name to "2.tants."
From Albrecht to Krishna - Interview with Tiit Helimets
By Stuart Sweeney - October 2003
“Giselle” is also one of my favourites. I danced Albrecht in Estonia, but in the Vaganova style. Here in Birmingham, the acting is more natural with real emotion as compared to the Vaganova method. It also brings out the individuality of the dancers, so nobody looks the same.
Interview with Tiit Härm, Artistic Director, Estonian National Ballet
By Stuart Sweeney - 2003, Tallinn, Estonia
“I recently saw Bigonzetti’s new work, based on Dante’s “The Divine Comedy”, which shows that his choreography has moved up to another level. So I would certainly be interested to work with him again. He was very pleased to bring his “Coppélia” here, as he was dissatisfied with the original version for the Rome Opera and was keen to introduce new material ..."
The State of Dance in Estonia - Interview with Tiit Härm and Priit Raud
By Stuart Sweeney - 2003, Tallinn, Estonia
“Our greatest problem is the stage, which is one of the smallest of all the opera houses in Europe. You can imagine the difficulties that arise for dancers and choreographers and the problem of fitting in scenery for the new work we want to bring here..."