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 Post subject: Edinburgh Festival 2002
PostPosted: Sun Jul 28, 2002 10:18 pm 
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<img src="http://www.eif.co.uk/images/2002_updates/eif-logo-small.gif" alt="" />

Preview article in The Times.

Quote:
WESTERN traditionalists are unlikely to be tickled by this Festival’s dance line-up. You can almost hear them moan, “Where has all the ballet gone?” Made for the Royal Ballet of Flanders, Jan Fabre’s Swan Lake (Playhouse, August 20-24) is not exactly a typical, tutu-clad little girl’s dream. Nightmare is more like it, what with a cut-throat dwarf, Rothbart sporting a live owl for a hat and sundry other surreal oddities upstaging demonstrations of the academic vocabulary.
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And Judith Mackrell's preview in the Guardian.

Guardian Preview

<small>[ 08-12-2002, 02:31: Message edited by: Stuart Sweeney ]</small>


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Fri Aug 02, 2002 4:59 am 
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The Scotsman have developed a comprehensive site for The Festival.<P><A HREF="http://www.edinburgh-festivals.com/" TARGET=_blank> Edinburgh Festival </A>


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Sat Aug 03, 2002 1:57 am 
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interview with Brian McMaster - Director of the Edinburgh festival in the FT.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>It's all about one man's prejudices, and Brian McMaster, director of the Edinburgh festival for the past 11 years, is far from defensive about it.<P>"Since 1947, the definition [of the festival programme] has been 'one man's opinion'. Rightly, I think. It's the only way to do it. And there's one f***er you can make answer for it."<P>McMaster is discussing, in his characteristically quiet but pungent way, the general drift of British culture, and where Edinburgh's international festival stands in relation to it. Should McMaster's programme, subsidised by the taxpayer to the tune of £2m each year, reflect what is successful and popular, or should it follow one man's prejudices?<BR><HR></BLOCKQUOTE><P><A HREF="http://news.ft.com/servlet/ContentServer?pagename=FT.com/StoryFT/FullStory&c=StoryFT&cid=1028185351377&p=1016625900929" TARGET=_blank> <B> MORE </B> </A><BR>


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Mon Aug 05, 2002 12:04 am 
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Article in the Guardian that links in the latest skateboarding craze with Bounce.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Over the past couple of years, anyone walking around their local park or shopping centre will have noticed a startling change in the habits of their neighbourhood youth. Boys (and a few pioneering girls) who used to pass invisible lives in front of their computer and TV screens are now congregating enthusiastically in the open air. All of them are dressed in saggy jeans and outsize shirts (sporting with earnest loyalty the logos of their favoured rock bands) and all are carrying skateboards. They are the growing band of teen and pre-teen adherents of the skate revival that is currently racketing through the streets of the UK.<HR></BLOCKQUOTE><P><A HREF="http://www.guardian.co.uk/arts/features/story/0,11710,769197,00.html" TARGET=_blank> <B> mORE </B> </A><P>And an article on Bounce in The Scotsman.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>ANTHONY VAN LAAST, the choreographer behind hip hop phenomenon Bounce, insists he’s not on a quest for that dance holy grail - the new Tap Dogs. <P>But it looks as if he’s found it nonetheless. Halfway through this explosive hour of breakdancing, jiving and b-boying, our MC invites us to "throw your hands in the air, and wave them like you just don’t care". And tired though that line may be, the resulting image pretty much sums Bounce up - not only did the young boy next to me comply, but the seventy-something lady in front was also happy to oblige. It’s a while since I’ve seen an audience this appreciative, but then it’s hard not to be impressed by the breaking, bodypopping, robotics, headspins and general gymnastic wizardry of these LA streetdancers. <BR><HR></BLOCKQUOTE><P><A HREF="http://news.scotsman.com/index.cfm?id=844152002&rware=QURXHNFGRFLV&CQ_CUR_DOCUMENT=3" TARGET=_blank> <B> MORE </B> </A><p>[This message has been edited by Joanne (edited August 05, 2002).]


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Tue Aug 06, 2002 2:17 am 
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Review of Bounce in The Telegraph.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>There's nothing uplifting about Bounce. One of the most hotly anticipated shows on the Fringe, this attempt to recreate the thrills of street dancing on stage is so lamely executed and so safe in its approach that watching bits of litter whirling around on the pavement outside would be a more fulfilling and authentically urban experience.<P><HR></BLOCKQUOTE><P><A HREF="http://www.telegraph.co.uk/arts/main.jhtml?xml=%2Farts%2F2002%2F08%2F06%2Fbtdcav06.xml" TARGET=_blank> <B> MORE </B> </A><P>And in The Guardian.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Bounce, like Tap Dogs, is a guaranteed crowd-puller: sexy, cheeky dance transported from street to stage, on this occasion a compilation of breakdance, popping, lindy-hop, tap, swing and boogaloo. The 15 dancers are gathered from around the world, and some of them are the genuine article. DJ Hazze, who acts as compere, has a line in robotic popping that will make you question your eyes. Lil' Cesar is a bit of a headcase - he spins on it at dizzying speeds. <HR></BLOCKQUOTE><P><A HREF="http://www.guardian.co.uk/arts/reviews/story/0,11712,769702,00.html" TARGET=_blank> <B> MORE </B> </A><p>[This message has been edited by Joanne (edited August 06, 2002).]


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Tue Aug 06, 2002 2:24 am 
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Review of Dance Base in the Guardian.<BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Rosie Kay whips 30 minutes of dance into soft, perky peaks. At the beginning she is on a table, but soon jumps down, to dart and swing through her birthday and a love affair with shy, modern Daniel Yamada. He comes with a baking kit and makes a cake. She teases. They mask each other with yolk and flour, and kiss; she keeps an unbroken egg in her mouth for some time. <HR></BLOCKQUOTE><P><A HREF="http://www.guardian.co.uk/arts/reviews/story/0,11712,769725,00.html" TARGET=_blank> <B> MORE </B> </A>


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Tue Aug 06, 2002 8:09 am 
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Article on Dance Base in the Scotsman.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><BR>WHO can believe a whole year has gone by since the Prince of Wales tugged the cord and declared Edinburgh’s airy new dance studios open? Much has happened in the first 12 month’s of Dance Base’s life and yet, already, it faces a new incarnation. <P>This Festival, Dance Base is being recognised as an official Fringe venue and, even more astonishingly, has been awarded Scottish Arts Council funding for the venture. This is not only unusual but almost unheard of. Yet artistic director Morag Deyes takes it all in her stride. <BR><HR></BLOCKQUOTE><P><A HREF="http://www.edinburgh-festivals.com/cityguide.cfm?id=840722002&vid=1766" TARGET=_blank> <B> MORE </B> </A><P>And a Review.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>"YOU are cordially invited to my birthday party!" So says the slip of pink paper awaiting us at this Dance Base double-bill. When the stage lights go up, birthday girl Rosie Kay sits contorted on a table, surrounded by balloons, hats, blowers. It is soon apparent that this is no pass-the-parcel event. <BR><HR></BLOCKQUOTE><P><A HREF="http://www.edinburgh-festivals.com/reviews.cfm?id=849542002&sid=958" TARGET=_blank> <B> MORE </B> </A><p>[This message has been edited by Joanne (edited August 06, 2002).]


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Tue Aug 06, 2002 8:12 am 
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Review of Derevo's performance.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>DEREVO’s first huge hit on the Edinburgh Fringe was a show called Once, a fabulous fairytale that left audiences breathless and enchanted. Now, this fabulous troupe of Russian physical theatre artists - working these days out of Dresden - returns with a 90-minute piece that looks more like a confrontation with the darkest forces in life, although it also has its luminous moments of hope and peace, its hints of ways in which those forces can be beaten back. <BR><HR></BLOCKQUOTE><P><A HREF="http://www.edinburgh-festivals.com/reviews.cfm?id=844192002&sid=988" TARGET=_blank> <B> MORE </B> </A><P>And Doodrock (both in the Scotsman)<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>THE Doodrockers were last seen joining in the fun at the World Cup opening ceremony. And judging by the staying power of these energetic South Koreans, it’s no wonder their home team got so far. The show’s publicity promises a lot - percussion, contemporary dance, rock, tap and mime - and they very nearly deliver. <HR></BLOCKQUOTE><P><A HREF="http://www.edinburgh-festivals.com/reviews.cfm?id=849202002&sid=1008" TARGET=_blank> <B> MORE </B> </A><p>[This message has been edited by Joanne (edited August 06, 2002).]


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Tue Aug 06, 2002 11:40 pm 
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Two reviews from the Guardian. Both on performances at Dance Base.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Peter Shenton and Tom Roden are a hoot. Taking the mickey out of modern dance, they conjure up moves by all the greats, starting with Isadora Duncan swanning around the Louvre and ending in a symphony of Merce Cunningham blue. Props consist of two chairs, a vase and a cardboard box; their idea of a costume change is a false beard in a pocket. <HR></BLOCKQUOTE><P><A HREF="http://www.guardian.co.uk/arts/reviews/story/0,11712,770358,00.html" TARGET=_blank> <B> MORE </B> </A><P>And the second.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Subjects in Construction, a collaboration between Scottish choreographer/ dancer Colette Sadler and Spanish dancer JA Saourin, is sombre, quiet and gently shocking. Sadler tears herself from a mirror; Saourin breaks free from the clingfilm that encases his body. The couple join together - near-naked, they fold into a tight bundle and roll across the floor, to surprisingly tender effect. She has red numbers on her back that suggest the Holocaust. <HR></BLOCKQUOTE><P><A HREF="http://www.guardian.co.uk/arts/reviews/story/0,11712,770206,00.html" TARGET=_blank> <B> MORE </B> </A>


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Tue Aug 06, 2002 11:43 pm 
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Review of Derevo in The Herald.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Somewhere, along the road to heaven, hell, or purgatory, the babushkas lie in wait. Arms full of battered tin mugs, jugs of wine, bread, they rush among us dispensing an uplifting communion of hospitality. Anton Adassinski chuckles when I mention them. True there are no babushkas as such in Dante's La Divina Commedia, but then Derevo isn't an Italian company. <BR><HR></BLOCKQUOTE><P><A HREF="http://www.theherald.co.uk/arts/archive/6-8-19102-22-39-14.html" TARGET=_blank> <B> MORE </B> </A>


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Wed Aug 07, 2002 3:35 am 
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<BR>Our reviewer Luciana Brett is performing in the Edinburgh Fringe in <I>Journey</I> by LamatDance. Here is a message from her to all CriticalDance readers: <P>**************************<P>I am sending you a brief note to let you know I am <BR>dancing in Edinburgh at the fringe. If you happen to be in Edinburgh during <BR>August it would be wonderful if you could come and see us perform!<P>Best regards<P>Luciana<P>****************************<P>LAMAT DANCE COMPANY<P>Title of the Performance: Journey<BR>Dates : Aug 4 - 26<BR>TIME: 20:30. ends 21:30<BR>Place Garage Chapiteau (Venue 85)<P><BR>Journey: Physical, powerful and sensual triple bill.<P>Presents an insight of the intimacy of women through the passion and rhythm <BR>of flamenco and the abstraction of contemporary dance.<BR>"a supreme demonstration of exquisite and enthralling dance". (ScotsGay).<P>CHOREOGRAPHER : CARMEN VILCHES<BR>DANCERS: LUCIANA BRETT, MIRJAM GURTNER, DEBORORAH LIGHT, ELEANOR McDONALD,<BR>CARMEN VILCHES<BR>MUSIC: LORENZO VILCHES: LIBRA<BR>COSTUMES: GABI PAPE<P>Here are further details from the <A HREF="http://www.edinburgh-festivals.com/fringe/[b" TARGET=_blank>Scotsman Fringe website[b]</A>.<P><BR>Reviews of a previous work by LamatDance:<P><BR>REVIEW BY VICKI COSTELLO<BR>Libra combines lyricism with drama, blending influences from flamenco and <BR>contemporary dance. The relationship between the movement and the score <BR>(also titled Libra) is clearly important. Lyrical, tribal and electronic <BR>sounds are meticulously translated into movement. The audience is presented <BR>with a plethora of sweeping limbs, circling torsos and quirky hand gestures. <BR>However, at times there was maybe a little too much to take in on stage at <BR>one time. The performances by the female quintet were powerful, particularly <BR>thanks to their strong focus. The work certainly showed promise. However, <BR>the choreographer now needs to explore the movement deeper, and more <BR>specifically to further develop her choreographic voice.<P>REVIEW BY FRANCES BAILEY<BR>Take six dancers, an eclectic mix of music styles, add a dash of flamenco <BR>rhythms and the result is an unusual yet fascinating performance. With <BR>well-considered lighting and unusual oil-like costumes, Carmen Vilches's <BR>piece gathered momentum as the piece progressed. As the style became <BR>familiar so the dance became increasingly seductive; the result was a strong <BR>and effective performance that suggested a delicious desire for more.<P><p>[This message has been edited by Stuart Sweeney (edited August 07, 2002).]


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Thu Aug 08, 2002 9:15 am 
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The latest from the Festival:

<img src="http://www.londondance.com/images/Thumbnails/ed_fest_logo.jpg" alt="" />

londondance.com has a good guide to the Festival with links to most of the key sites and venues
Edinburgh Festival
from londondance.com

With seven different festivals and thousands of performances it can be a little difficult choosing what to go and see! We have highlighted just a few of the many dance productions just to get you started.

click for more

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Fringe Focus: Life left hanging in the balance
Work on a dance piece was already under way, but, says MARY BRENNAN, the events of September 11 gave it a new, deeper significance.

Falling, as a physical movement, had always been a core element of Jess Curtis's work.

It was an ever-present part of his workshops, his teaching, his choreography, his performing. It's even in the background of his company's name: Gravity Physical Entertainment.

Last summer, when the American dance-maker was about to join forces with fabrik - the Potsdam-based company behind Aurora Nova - he decided that falling should be the main focus of their collaboration. "Most of the work I've done," he says "has been in the metaphor and the movement of the piece, but it's never really been the central theme.

click for more

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<img src="http://images.scotsman.com/2002/08/08/en0808hopb.jpg" alt="" />

Bounce

By Thom Dibdin for The Scotsman

IT smells of animal in the corridors of Circus Krone’s permanent home in Munich. Even in the summer, when the circus beasts are away on tour, the smell lingers on. And on the walls of the corridors are the photos of magnificent wild beasts of the past: tigers, lions and elephants, tamed and brought to heel for entertainment.

There’s no taming the wild passion that is exploding across the circus ring on this summer night, however. As the house lights dim and follow spots come into focus, the roar is not from animal throats, but the deep rumble of bass. The plodding thunder of a hip-hop beat with its scatter of staccato drums on the top.

And the entertainment is the popping, the B-Boy breaking, the MCing and the DJ scratching of hip-hop. Raw street dance that comes without need of a cage, but which can never be tamed or brought to heel, no matter how hard the producers might try.

click for more

**************************************

Street performers face Fringe lottery
Winning the ballot means better ticket sales. By Keily Oakes
for BBC News Online


Street performers are having to fight it out for space at the Edinburgh Fringe Festival - taking a chance on a daily lottery to win a performance space.

Although it is the comedians and controversial shows that catch the headlines, it is the many street performers which add colour and vibrancy to the Scottish city during the day.

But with so many performers wanting to showcase their acts in the packed high street, space and time is at a premium. The battle for an audience is never-ending.

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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Thu Aug 08, 2002 11:57 pm 
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Review in the Guardian of Daksha Sheth Company.

Quote:
The four dancers of the Daksha Sheth Company are phenomenal. They wind like snakes, dance upside-down or fly on a rope as second nature. Don't misunderstand: this is not a circus. This is unusual modern dance, Indian style.
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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Fri Aug 09, 2002 12:05 am 
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Reviews from The Scotsman.

DRIP

Quote:
A WICKEDLY funny and colourful devised piece by a team of seven flawless actors and their table, Drip is everything good Fringe theatre should be. Pace, expression, timing and imagination are all here in abundance.

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A man and a Woman

Quote:
IT’S rough around the edges but, like a grainy record played on an old gramophone, gets you in the end. An unlikely couple pick each other up, knock each other back and prop each other up in quirky, unexpected ways; with a foot, for instance. This is a clever, if slight, piece of movement theatre well worth half an hour.
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<small>[ 08-09-2002, 02:07: Message edited by: Joanne ]</small>


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Fri Aug 09, 2002 12:12 am 
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Reviews of some musicals at the festival. it is obviously a Fiddler year.

Quote:
THE old must give way to the new, rules were made to be broken - Joseph Stein’s classic tale of love and faith in a small Jewish town tells us nothing we don’t already know.

But what endures is Stein’s understanding of the pain and confusion that attend family life. And High Fliers theatre company exhibit a gratifying appreciation of the complexities at work in this thoroughly conventional tale.
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A Midsummer Night's Rock.

Quote:
THOUGH there is the occasional rock allusion in a leather jacket or faux-velvet coat, this Shakespeare adaptation is more pop than rock - and rather too bland to conjure up the ravaged and war-torn world the production claims we live in.

The set appears accidental and the costumes are strangely eclectic: it’s as if the production is only half-convinced by itself. The translation to rock ’n’ roll fails for lack of justification: romance and magic don’t quite equate sex and drugs.
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Merrily We Roll Along.

Quote:
STEPHEN Sondheim’s mordant lyrics wrap damaged souls in diamond-hard wit and create poignancy from pain like no others. This back-to-front tale of love, friendship, dreams and the loss of all three is a tricky one for a cast who are of an age to have lost little more important than milk teeth. And, with the exception of Jon Hewines, the production does lack emotional depth.

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And Dorothy's Friends.

Quote:
THIS show comes directly from somewhere very unusual in theatre these days - the heart. It is T-shirt clad, bare stage, agit-prop theatre.
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