Journal articles and newsletters from Ausdance and industry partners.
The cost of dancing the dream Linley Wilson & Alison Lee
Dance scholar, Dr Maggi Phillips, gives us an idea of what it might have been like to earn a living in the world of legitimate or avant-garde theatre in Perth during the early decades of the twentieth century.
‘Crazy link-ups all over the place’
Dance scholar Maggi Phillips has chosen a particular intersection of destinies to illustrate the unpredictable and complex lineages of dance. Her focus here is on three major and influential Perth artists: Boris Kniaseff, Lucette Aldous and Barry Moreland.
The Bolshoi ballet only the strong survive
In the 90s both the Mariinsky (Kirov) Theatre in St. Petersburg and the Bolshoi Theatre in Moscow—homes to two of the world’s most famous ballet and opera companies—have been struggling to survive in the radically changed socio-economical environment of post-communist Russia. Dance writer and photographer Marc Haegeman, talks about these companies and their ability to survive.
Tivoli a tribute
No-one should be surprised that it was Graeme Murphy who conceived the idea of a dance musical to honour the Tivoli, the variety show that entertained audiences around the nation for over seventy years. Dance writer and critic Lee Christofis tells the story.
The classical pas de deux a descendance of the ‘classical’ suite?
Rodney Edgecombe, an English literature scholar with a passion for dance, speculates on the origins and influences of the "classical" suite in the world of classical ballet.
Moving mind: the cognitive psychology of contemporary dance
The production, performance and perception of music has been studied in detail by cognitive psychologists. Music has been recognized as a window into cognition. The status of dance, however, is less clear. The authors propose that contemporary dance too affords insight into human cognition and can be powerfully communicative.
Mischa Burlakov and the first Australian ballet
Anne Gollan speaks from personal experience about the great teacher Mischa Burlakov and his studio/home in Sydney during the 1940s and 50s.
Destroying illusion or ‘the unmasking of ballet’
Dance writer/critic, Stephanie Glickman gives an in-depth exploration and analysis of Philip Adams’ Amplification, which she concludes is a 'contemporary ballet....that exposes not only the painful process of performing the dance technique....but also works to express his obsession with 'morbidly beautiful' aspects of death that often remain latent in Romantic ballet'.