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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Sat Aug 10, 2002 12:58 am 
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Review of Realm of Desire.

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IS IT art? Is it porn? Yes, Shakti’s back, posing the same question she does every year. When is an erotic dance not simple erotica - when it’s in a theatre rather than a peep show? The Japanese legend has long been a law unto herself, and you either love or hate her no-holds-barred approach.
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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Sat Aug 10, 2002 10:40 pm 
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Article on Emio Greco and PC in the Sunday Herald.

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What a surprise, then, to meet a pair of artists who not only embrace labels but have penned an entire philosophy around their work. Italian-born dancer/choreographer Emio Greco and Dutch dramaturge Pieter C Scholten (known creatively as Emio Greco & PC) are the egg-heads of the dance world -- and not just because Greco sports a close-shaven crown. Profoundly intelligent, the Hague-based collaborators approach dance as if it were scientific research: their talk is of 'proving' ideas, and, rather than carrying distinct 'themes', each consecutive work simply involves a continuation of ideas developed in the last.
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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Sat Aug 10, 2002 10:42 pm 
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Article on the Indian aspects that are taking over the festival.

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FESTIVAL life in Edinburgh this month is not so much of an Indian take-away, more of an Indian takeover. The International, Fringe and Film festivals are all offering an enchanting variety of drama, dance, music and film. But how representative are these events of India today?
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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Sat Aug 10, 2002 10:43 pm 
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Review of Bounce and all of the weeks dance at the festival in The Sunday Herald.

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If you liked Riverdance, Stomp or, at a push Tap Dogs, you'll love Glasgow-born Anthony Van Laast's tribute to the unbridled energies of street dance. Bounce -- while it lacks the ingenuity of the big-hitting Dogs -- is precisely in that vein of heavily-produced shows that takes vibrant, organic dance traditions and homogenises them until they are as easily marketable as a can of Coke.
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<small>[ 08-11-2002, 00:44: Message edited by: Joanne ]</small>


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Sun Aug 11, 2002 10:47 pm 
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Review of Luma in The Guardian.

Quote:
Everything that goes flash in the night, from fireflies to fireworks, has caught the attention of Luma, an American touring company of jugglers, who use glow-in-the-dark special effects on their black clothing to bring to life a range of characters and scenarios. Green worms dance in the air; fluorescent constellations shatter and re-form; glittery fairground hoops spin; geometric shapes mesh and unmesh in complex, balletic movements, and a luminous stick-man jumps in on the act for a laugh every so often.
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And Luminous in The Herals.

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Light as air . . . The familiar phrase starts taking on altered meanings, an additional energy when you talk with Saburo Teshigawara about Luminous (which opens the Edinburgh Festival dance programme tonight.) For, as he explains how breathing is the key to his dance-making, and then expands into how light - reflected, refracted, direct, or actually absent - is the springboard for this company piece, a whole slew of shining associations come to mind. The word "enlightenment" expands beyond the spiritual and intellectual spheres to take on a physical dimension.
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<small>[ 08-12-2002, 00:51: Message edited by: Joanne ]</small>


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Sun Aug 11, 2002 10:58 pm 
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A clutch of four reviews from The Scotsman.

Quote:
héâtre-élévision

Kelly Apter

We’ve come to expect the unexpected during the Festival, but I can virtually guarantee this is the most unusual show in Edinburgh this August. French choreographer Boris Charmatz has created a work so unique that even if you don’t like it, it’s worth the £5 admission just to talk about it at dinner parties.
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Taekwon ‘Diamond’

Louisa Pearson

AT FIRST glance, Taekwon ‘Diamond’ strikes you as the dance equivalent of a Manga cartoon. Primal forces are set against each other in a stylised fusion of the martial art of Taekwondo with jazz dance and hip hop. The Korean cast are fiercely energetic yet highly controlled, their movements always sharply defined. Through a series of set pieces we join them on a journey through conflict and love, then finally to unity.
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Empire Of The Senses

Chloe Veltman

THE Empire of The Senses, a frenzied ode to physical and spiritual ecstasy, Fringe doyenne Shakti flails around for 45 minutes in a variety of chiffon and silk. Backed by a Vangelis-like soundtrack, she shakes, wiggles and gyrates her body with hyperactive passion.
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The Government Inspector

Maxie Szalwinska

The Government Inspector’s name strikes fear into people’s hearts.

In Gogol’s story a young man with a "great, long dripping nose" dupes small town dignitaries into believing he’s an emissary from St Petersburg checking up on them.
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And a musical.

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I Love You, You’re Perfect, Now Change

Kate Copstick

THIS show is not really a musical, more a collection of song-sketches, each charting a different stage in the boy meets girl, boy asks girl out, continuum. The songs of Jimmy Roberts and Joe di Pietro are witty in that way that only American musicals can pull off. The music is clever and has its own wittiness. It would be tough to make this smart, sassy little show unenjoyable.
[url=http://www.edinburgh-festivals.com/reviews.cfm?id=876802002MORE [/url]


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Mon Aug 12, 2002 10:26 pm 
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Two Reviews from The Guardian. The first on Fallen.

Quote:
Several large, empty picture frames are suspended from the ceiling. On the floor are the chalk outlines of bodies. Do they represent Icarus? Fallen angels? Maybe the people who jumped from the twin towers? Anyone who has fallen in love and crash-landed can lay claim to one of those chalky outlines.
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The second on Nats Nu Dansa.

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Nats Nus Dansa from Barcelona take a cityscape and make it human, using only five people and five man-size blocks. Video adds extras. Remote-control models make surprise appearances and the dancers take acting in their stride. As scenes are layered to build an hour-long, playful picture of city activity and the mechanics of living, everything fits
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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Mon Aug 12, 2002 10:29 pm 
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And a review of Fallen in The Scotsman.

Quote:
IN FALLEN, a hypnotic dialogue with the Great God of Gravity for five dancers and a cellist, American choreographer Jess Curtis catches the feeling of falling in mid-flight. Playing with such sensations as falling in love, falling apart and falling from favour, Curtis capably demonstrates that what goes up must come down.
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And Luminous
Quote:
SABURO Teshigawara likens his work to a "dance of air", and watching the Japanese choreographer in action it is hard to disagree. At times he travels across the stage like a leaf carried on a gentle breeze – then suddenly it's as if he's caught in a cyclone, spinning wildly out of control.

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And Falling Angel, Rising Ape.

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A WOMAN is dancing with an angel across an empty stage. God’s Messenger may be a 6ft mannequin in flowing white robes, manipulated by a puppeteer, but to the woman, the encounter with the heavenly ghost is real.
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<small>[ 08-13-2002, 00:31: Message edited by: Joanne ]</small>


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Tue Aug 13, 2002 11:06 pm 
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Review of Luminous in The Times.

Quote:
AS the choreographer, dancer and designer of the productions of Karas, the company he and Kei Miyata formed in 1985, Saburo Teshigawara has earned international recognition and cult status in his native Japan. His Luminous, a visually daring show built round the sometimes enigmatic interactions of light, sound and motion, launched the Edinburgh Festival’s dance programme on Monday night.
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And in The Guardian.

Quote:
Dancer Stuart Jackson spreads his hands and touches the spotlights above. He cannot see them because he has been blind since birth. His performance in a show about light, Luminous, the opening dance performance of this year's Edinburghfestival, is inspirational. He brings something to his performance that's outside the formal conventions of dance, created without mirrors or the possibility of comparison with others. His movement has the unusual purity of being made entirely from within and is as much a joy to watch as it evidently is for him to perform.
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And from The Scotsman.

Quote:
SABURO Teshigawara likens his work to a "dance of air", and watching the Japanese choreographer in action it is hard to disagree. At times he travels across the stage like a leaf carried on a gentle breeze - then suddenly it’s as if he’s caught in a cyclone, spinning wildly out of control.
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<small>[ 08-14-2002, 01:17: Message edited by: Joanne ]</small>


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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Tue Aug 13, 2002 11:10 pm 
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Article in The Independent on dance at the festival and in particular the Royal ballet of Flanders production of Swan lake.

Quote:
That magic name Swan Lake is guaranteed to sell ballet tickets. No surprise, then, that it features prominently in the dance programme of this year's Edinburgh International Festival. But there are several surprising things about this production.

First, it is the only classical ballet included this year, so ballet fans get a mere five days during the whole three-week festival. Second, the company performing it is not exactly one of the most famous. Some of us know the Royal Ballet of Flanders as a lively and homogeneous group of well-trained dancers, but there are only 54 of them, which is rather few for this work. And it isn't by chance that no stars are named in the publicity – it's because their leading dancers, although able enough, are not widely known outside Belgium.

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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Tue Aug 13, 2002 11:18 pm 
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Review of Alice in Wonderland presented by the Burklyn Youth Ballet in the Scotsman.

Quote:
THE sure-footed proficiency of Burklyn Youth Ballet’s 2001 Fringe show, Cinderella, won them The Scotsman Readers’ Choice for Dance. This year they’re back and happily the standard has been retained.

As ever, the lead roles are strong - with Alice, the White Rabbit and the Mad Hatter all striking the balance between technique and storytelling. And Alice encounters many colourful and amusing characters - shimmering butterflies and cheeky playing cards - before incurring the wrath of the nasty old Queen.
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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Tue Aug 13, 2002 11:22 pm 
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Reviews of some more musicals at the festival.

Quote:
Saucy Jack & The Space Vixens

Paul Rhodes

MUSICALS & OPERA: Assembly Big Top (venue 145)

CAMPING in Scotland is difficult at the best of times, so why the producers decided to stage this award-winning musical in a tent on a rugby pitch is beyond me. The surrounding grass has turned to mud and the Portaloos are hardly an amenable environment in which to touch-up your glittery make-up. "It’s been exceptionally hard," a cast member admitted after the show - and I think he was talking about the conditions they work in. Despite this, the actors put on one hell of a show.
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Six Women With Brain Death

Kirsty Knaggs

MUSICALS & OPERA: Pleasance Dome (venue 23)

THIS musical comedy has been a smash hit in the States since its first production in the late 1980s, yet this is the first time it’s been performed in Europe. Why has it taken so long?

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Quote:
A Chorus Line

Kate Copstick

MUSICALS & OPERA: C (venue 34)

I LOATHE the word "considering". As in: "considering the cast are all under 18". It is patronising and damns with faint praise and I think this production deserves better than that.
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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Wed Aug 14, 2002 11:06 pm 
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Review of Luminous in The Telegraph.

Quote:
Time and again, it is the lighting in a show that catches the eye at the Edinburgh International Festival - the other dimension of fantasy and perception that special effects can spread across yards of undistinguished movement, embellishing it, even, on occasion, excusing it. In this year's dance programme - smaller than in recent years - there are three modern choreographer-installationists whose lighting is as much a draw as their dance language.
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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Wed Aug 14, 2002 11:18 pm 
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Two reviews from The Scotsman.

Quote:
Who ever thought that particle physics was hip?

ALASTAIR DALTON SCIENCE CORRESPONDENT

ONE of the most difficult tasks of the Edinburgh Festival Fringe is to make the world of particle physics hip.

But, tomorrow, George Square Theatre will play host to a play which was first performed in the underground tunnels of a nuclear laboratory in Geneva - where cutting-edge experiments that could unlock the secrets of the universe take place.
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Quote:
Luminous

Susan Nickalls

The Edinburgh Playhouse

LIGHT, and its counterpoint darkness, lie at the heart of Luminous, Saburo Teshigawara’s breathtaking exploration of these qualities through dance, music and visual sensations.
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 Post subject: Re: Edinburgh Festival 2002
PostPosted: Sat Aug 17, 2002 12:24 am 
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Review of Boris Charmatz in The Times.

Quote:
THE French choreographer Boris Charmatz is the young darling of the international dance intelligentsia. Three years ago the Edinburgh Festival presented a complete retrospective of his works. All four of them, no two of which were alike. Charmatz was all of 26.
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And in The Independent.

Quote:
It sounds like the ultimate con with its gimmicky title and mould-breaking pretensions, but the French choreographer Boris Charmatz's héâtre-élévision turns out to be oddly compelling.
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<small>[ 08-17-2002, 02:29: Message edited by: Joanne ]</small>


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