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 Post subject: Re: Michael Clark Company - Old and new works
PostPosted: Sun Oct 28, 2001 10:15 pm 
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Location: London, England; Tallinn, Estonia
<B>Dance: No drugs, just fags and ouzo -- Michael Clark goes Greek</B><BR>By Luke Jennings in The Sunday Herald<BR> <P>'Try this,' says Michael Clark, and launches into a sequence which resolves itself into a crouching balance over one leg. His five female dancers flicker doubtful glances then try the sequence. It doesn't look quite the same. Clark smiles. 'We're all a bit knackered,' he murmurs.<BR>The piece Clark is rehearsing is called Rise. It has its Scottish premiere this week, when the brilliant, Aberdeenshire-born dancer/choreographer brings his company home.<P><A HREF="http://www.sundayherald.com/19571" TARGET=_blank><B>click for more</B></A>


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 Post subject: Re: Michael Clark Company - Old and new works
PostPosted: Mon Oct 29, 2001 9:29 am 
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Location: London, England; Tallinn, Estonia
<B>The fallen angel's back - so give him a big hand</B> <BR>JENNY GILBERT in The Independent on Sunday reviews Michael Clark Company and 'Don Q' by The Royal Ballet: <P><BR>He will. He won't. He might. Anyone would think Michael Clark was some kind of fluff-headed diva, the number of times he changed his mind over whether to appear in his own comeback show at Sadler's Wells. Now approaching 40, the fallen angel of modern dance is said to have had qualms about his ability to meet the technical challenges he sets in his latest work. He was also curious to see how well his early post-punk material would stand up without his physical presence on stage. But would the fans still turn out if he blanked it? What's a Michael Clark event without Michael Clark? <P><A HREF="http://globalarchive.ft.com/globalarchive/article.html?id=011028002811&query=ballet+or+dance" TARGET=_blank><B>click for more</B></A><p>[This message has been edited by Stuart Sweeney (edited October 29, 2001).]


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 Post subject: Re: Michael Clark Company - Old and new works
PostPosted: Wed Oct 31, 2001 1:44 am 
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<B>Return of the enfant terrible<BR>Dance rebel Michael Clark makes his first hometown appearance in 15 years this weekend. He talks to Susan Mansfield of The Scotsman about family, survival and turning 40 </B><P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>The approach of the age of 40 tends to bring on fits of introspection. Suddenly one realises one has an allotted span in this world, and it’s getting used up. Thinking is done. Things change. Michael Clark, bad boy of British ballet, fallen angel, erstwhile punk, rebel and drug addict, is 39. He’s thinking, and it’s changing him. <P>Such introspection is often accompanied by a homecoming, a retreading of old territory. Perhaps that is one of the reasons why, this weekend, Clark will be dancing at His Majesty’s Theatre in Aberdeen for the first time in 15 years. He also wants his family to see his new show, Before and After: The Fall. "It’s important to share these things with the people who have given you so much. <HR></BLOCKQUOTE><P><A HREF="http://www.thescotsman.co.uk/index.cfm?id=119902&keyword=ballet" TARGET=_blank><B>more...</B></A><BR><p>[This message has been edited by Stuart Sweeney (edited October 31, 2001).]


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 Post subject: Re: Michael Clark Company - Old and new works
PostPosted: Sun Nov 04, 2001 1:36 am 
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Location: Guildford, Surrey, UK
Article in the Sunday Times<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><BR>The ancient Egyptian god Atum was thought to have created the entire world through mastur- bation, although the precise mechanics were never made clear. Michael Clark's ambitions weren't nearly as grandiose - to make his first piece of dance in nearly three years - but he has gratefully seized upon the same methodology. Rise, the second half of his new show Before and After: The Fall, is not so much a dance as a quick tour through an imaginary theme park called Wankland. <HR></BLOCKQUOTE><P><A HREF="http://www.sunday-times.co.uk/news/pages/sti/2001/11/04/sticuldnc02001.html?" TARGET=_blank> <B> MORE </B> </A><BR>


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 Post subject: Re: Michael Clark Company - Old and new works
PostPosted: Mon Nov 05, 2001 12:29 am 
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Location: Guildford, Surrey, UK
Review in The Herald<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>The only Scottish port of call on the Michael Clark Company tour was Aberdeen, the choreographer's home town - which, if memory serves me right, has not seen Clark dance since he was one of the children in Scottish Ballet's Nutcracker back in the early seventies. In truth, the audience did not catch more than a glimpse or three of him this time round, for Clark - now approaching 40, though still as arresting as ever - is focusing more on making dance than performing it these days.<HR></BLOCKQUOTE><P><A HREF="http://www.theherald.co.uk/arts/archive/5-11-19101-23-24-0.html" TARGET=_blank> <B> MORE </B> </A>


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 Post subject: Re: Michael Clark Company - Old and new works
PostPosted: Fri Nov 09, 2001 5:57 am 
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Here's a review from Luciana Brett from elsewhere in the forum:<P><BR>MICHAEL CLARK<BR>SADLER’S WELLS, 24 - 28 OCTOBER 2001<P><BR>It is hard to say whether Michael Clark shocks us or disappoints us.<P>Of course, in Clark’s dances of the early 80’s, bare bums, exposed breasts, platform boots and wigs looked naughty, especially coming from a dancer originally trained at<BR>the Royal Ballet School.<P>But revived today as the first part of "Before and After: The Fall", 80’s punk music and provocative behaviour doesn’t shock us, instead one could say it amuses us. <P>The irreverent nature of the piece survives only in its ironies, the way, for example, the dancers demonstrate a tough, sexy attitude, dressed in ‘military’ shirts and fluffy pants, while maintaining an immaculate classical technique. <P>Moving on nearly two decades from this youthful impudence, and Clark has far from mellowed. In the program’s second half he collaborates with Sarah Lucas, considered<BR>to be one of the most ‘in-yer- face’ of the Young British Artists. <P>Clark’s new piece "Rise", with Lucas as designer, certainly packs the stage with jaw-dropping effects. Fluorescent light tubes carried above their heads by the dancers, a film showing a man masturbating (thankfully he is turned away from us), a 23 foot forearm and fist, which moves up and down, insinuating the same thing, and a giant ball of metal wire rolled across the stage manipulated by a dancer walking inside it.<P>Within the space of twenty minutes Clark manages to show off each of these startling images, in quick succession, but without really exploring any one of them in depth. <P>The initial impact is not sustained and each section tails off in anti-climax. It is quite intriguing, for example, when the light tubes first appear but then all we are offered are a few slow, simple formations by the dancers, followed by the lights going out one by one, to no particular effect.<P>While the technique of Clark’s movement is highly energetic, powered with precision and accuracy, it seems rather feebly related to Lucas’ ham-fisted (literally!) designs.<P>The end result was surprise rather than thought-provoking depth. <P><BR>


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