Journal articles and newsletters from Ausdance and industry partners.
Dancer Paul White talks about the working process and the evolution of character and movement behind Martin del Amo's solo work Afternoon of a Faun.
Amanda Card talks about her research with Martin del Amo on Anatomy of an Afternoon which was part of a project funded by Critical Path's Responsive Programme. The intent of Martin’s research was to expand and challenge his choreographic process by using a historical source as stimulation as well as experimenting with the transference of his particular choreographic framework onto another dancer.
At a showing at Critical Path in 2011 Erin Brannigan responded strongly to Paul White’s performance of Martin del Amo’s work-in-progress, Anatomy of an Afternoon, believing it to signal a new direction for the choreographer. She shares her thoughts on the transposition of del Amo’s movement style as witnessed in White’s performance.
Martin del Amo talks to Matthew Day about the influence of Vaslav Nijinski in relation to Anatomy of an Afternoon: the thwarting of desire and expectation; the utility of stillness; and the centrality of the quotidian and the animal.
Dancer Kristina Chan reflects on Martin del Amo's choreography and Paul White's performance in Anatomy of an Afternoon. For her the work was a clear and self-effacing exploration of a journey with a creature-like being.
Designer, curator and scholar of contemporary dance, Justine explores two aspects of the performative event of Anatomy of an Afternoon by Martin del Amo. One has to do with its placing; what happens when the avant garde moves to inhabit big ‘C’ cultural institutions. The other concerns its timing; how can work that has entered the canon of the historical avant garde retain newness and experimentation, the power to startle or even shock, in present-day reinterpretation.
Dr Maggi Phillips responds to the imaginative promptings of Chrissie Parrott and Jonathon Mustard's work Baraqoda, delving into its creative proccesses and musing on the changing and enduring relationships between text, music and dance.
One of Rosalind Crisp's dancers and collaborators, Jo Pollitt, talks about the demands of Ros's creative processes and practices as they make dance.
Dr Mark Carroll describes the people, press and politics in Adelaide when Colonel Wassily de Basil arrived for the first Australian tour of his Ballet Russes in 1936.
Dance historian and scholar, Garry Lester continues his discussion of Margaret Barr's achievements at Dartington Hall in Devon during the 1930s.