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 Post subject: MICHAEL CLARK COMPANY (UK)
PostPosted: Fri Sep 16, 2005 7:09 am 
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MICHAEL CLARK COMPANY (UK)
O


Tue 1 - Sat 5 November, 7.45pm
Barbican Theatre: 0845 120 7553
Tickets £7 - £35

Having taken dance to its Dionysian extreme, Michael Clark wiped the slate clean in a return to order by creating the universally acclaimed
O in 1994. Originally performed by Clark and four dancers, the programme was split into two halves; one almost the antithesis of the other. The core of this new production will be Clark's definitive version of Apollo (previously unfinished) with Stravinsky's score performed live for the first time in the company's history.

Clark takes ideas of fullness becoming empty, the hole becoming whole, negative space becoming positive to create a totally new framework for O - his ground zero.

‘What thrills eye and mind - and heart - is the grace of Clark's movement language... I salute this beautiful and cogent work of art.’ Financial Times

O is commissioned by BITE:05, Barbican and co-produced by Michael Clark Company, BITE:05, Barbican as part of YOUNG GENIUS and Dance Umbrella with Festival de Marseille and Danceworks UK.


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PostPosted: Fri Oct 07, 2005 6:32 am 
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Location: London, England; Tallinn, Estonia
BARBICAN THEATRE 1 – 5 November 7.45pm
£7 16 18 24 30 35
UNDER 26s HALF PRICE TICKETS
BOX OFFICE: 0845 120 7515
More info: www.barbican.org.uk/bite

View event flyer here -
www.dotcog.co.uk/barbican/clark


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PostPosted: Mon Oct 10, 2005 12:06 pm 
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How does the picture of Balanchine and his cat fit into all of this?

Kate


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PostPosted: Sat Oct 15, 2005 10:48 am 
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Apollo of the north
by MAYA JAGGI foe the Guardian

Taking a deep breath, Clark says, "I feel I don't have to be Apollo", though he will dance as Apollo's double - "a shadow, since there's always some kind of duality in my work. It's in my nature - I'm interested in the friction between opposites." He adds, "I'm having an ongoing challenge to see my work outside myself. Till recently, I couldn't address this without getting emotional, so this is a breakthrough. Not dancing is a bereavement - losing the thing that's so much part of your identity."

published: October 15, 2005
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PostPosted: Sat Oct 29, 2005 12:46 pm 
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A young god returns in triumph
by BARBARA NEWMAN for the Daily Telegraph

Often stripping off his clothes or strapping on a dildo, he thrust his insolent manner and choreographic anarchy into contemporary dance, ballet, film, video, fashion and club culture, fulfilling commissions all over Europe and touring the world.

published: October 29, 2005
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PostPosted: Mon Oct 31, 2005 1:10 am 
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Punk, disorderly, but still on his feet
By Luke Jennings for The Times

The first thing that strikes you about the choreographer Michael Clark is his beauty. With his sharply drawn features and per-fectly proportioned dancer’s body, he looks like a skinhead faun. A large safety-pin dangles from his right ear. Unbelievably, the enfant terrible of British ballet is now 43.

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PostPosted: Mon Oct 31, 2005 2:20 am 
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Michael Clark's life and career so far.
"Dance and drugs and rock and roll"
Published in the Daily Telegraph on the 29th of October 2005.


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PostPosted: Fri Nov 04, 2005 12:12 pm 
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Quote:
Michael Clark
by JUDITH MACKRELL for the Guardian

This Apollo is articulated through a language of chiselled shape and hieratical gesture, distilling movement, music and emotion in a series of scintillating visual haikus. Kate Coyne (now, arguably, the finest exponent of Clark's style) reveals how rich this approach can be, especially as the mother figure Leto, ...

published: November 3, 2005
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 Post subject:
PostPosted: Fri Nov 04, 2005 3:32 pm 
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Location: London, England; Tallinn, Estonia
O
By John Percival for The Stage

This show is - excuse the sporting cliché - a game of two halves. In the first act, Michael Clark triumphs with a return to his early choreographic style, elegant and inventive.

The success of his dances is the more remarkable because the members of his new company - three women, four men - are less skilled than his first teams.

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Last edited by Stuart Sweeney on Fri Nov 04, 2005 3:34 pm, edited 1 time in total.

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 Post subject:
PostPosted: Fri Nov 04, 2005 3:34 pm 
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Michael Clark
By Debra Craine for The Times

The great attraction of the famously wayward choreographer Michael Clark is to see what he can do when he sets his mind to it. With his new association with the Barbican (his company is an artistic associate) now in place, we see that determination and focus are starting to pay off.

O, his simply titled new show (part of the Dance Umbrella festival), is his most cohesive and successful in years.

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PostPosted: Sat Nov 05, 2005 3:39 am 
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Quote:
Michael Clark Company
by LOUISE LEVENE for the Daily Telegraph

... but in the current piece he prefaces the earlier work with OO. This opening section is danced not to Stravinsky but to Iggy Pop and various ear-melting numbers by the punk band Wire. Anyone with their brain permanently tuned to Classic FM might think this all sounds frightfully brash and contemporary, but "Mass Production" and Pink Flag both date from 1977 - hard to imagine the young Clark using pop tunes from 1949. In fact, the music for OO is pretty much incidental to the movement, which seems to be danced to its own inner counts.

published: October 6, 2005
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PostPosted: Sun Nov 06, 2005 4:02 am 
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O for obscure
Michael Clark’s Stravinsky project has striking poses but little substance, says David Dougill for The Sunday Times

The Michael Clark Company joined the Barbican Theatre as artistic associates this summer, and last Tuesday saw the first fruits of Clark’s latest enterprise — a three-year Stravinsky project of his own choreography for three of the composer’s greatest ballet scores: Apollo, The Rite of Spring and Les Noces.

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

O is for ordinary
Michael Clark's ambitious double-header lacks vibrancy, while Canadian nudity causes a polite stampede at the Place. By Luke Jennings for The Observer

Michael Clark's latest production, O, was launched on Tuesday to the usual fanfare. No other British dance personality garners as many column inches; none draws such a chic, spiky crowd.

Many of those at the Barbican were once courtiers at the alternative Camelot over which Clark presided in the Eighties, and which embraced designers such as Trojan and nightclub posers such as Leigh Bowery and, as if in the hope of some flowering of the promise of those vanished days, they keep coming.

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 Post subject:
PostPosted: Wed Nov 09, 2005 3:39 pm 
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Quote:
What was that all about?
in the Guardian

According to the Barbican programme, the dance piece plays with "ideas of fullness becoming empty". What did people make of it?

Gary Thorne, 53, London: This made me think about opposites and contrasts, negatives and positives, light and dark.

...

published: November 9, 2005
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