附註:The fifties / interviewees, Brian Macdonald, Grant Strate, Yves Cousineau, Angela Leigh, Lois Smith, Lawrence Adams, Lilian Jarvis, Robert Ito. Topics include the founding of the company in Toronto; its early seasons and tours; the partnership of Lois Smith and David Adams (brother of Lawrence Adams).
[Dance excerpt:] Les sylphides: nocturne / recorded on location at the National Ballet School Theatre; staged by Magdalena Popa after Michel Fokine; music, Frédéric Chopin; danced by Chan Hon Goh, Sonia Rodriguez, and Aleksandar Antonijevic; piano, Ormsby Wilkins.
The sixties / interviewees, Veronica Tennant, Nadia Potts, Victoria Bertram, Lorna Geddes, Vanessa Harwood, Joysanne Sidimus, Timothy Spain. Topics include the founding of the National Ballet School by Celia Franca and Betty Oliphant; the company's production of John Cranko's Romeo and Juliet; Erik Bruhn's engagement as guest artist.
[Dance excerpts:] Romeo and Juliet: first, second, and third madrigals / recorded on location at the National Ballet School Studio; choreography, John Cranko, staged by Reid Anderson; music, Sergei Prokofiev; danced by Heather Ogden and Guillaume Côté.
The seventies / interviewees, James Kudelka, Karen Kain, Frank Augustyn, Tomas Schramek, Mavis Staines, Peter Ottmann. Topics include Rudolf Nureyev's engagement as guest artist, and his partnership with Karen Kain; tours of Europe and the U.S., including seasons at the Metropolitan Opera House in New York City; the partnership of Karen Kain and Frank Augustyn, and the recognition they gained for Canadian dancers upon winning the International Ballet Competition in Moscow.
[Dance excerpt:] The sleeping beauty: grand pas de deux [adagio] / recorded on location at the National Ballet School Theatre; choreography, Rudolf Nureyev after Marius Petipa; music, Peter Ilich Tchaikovsky; danced by Greta Hodgkinson and Aleksandar Antonijevic.
The eighties / interviewees, Kevin Pugh, Rex Harrington, Jeremy Ransom, Gizella Witkowsky, Sabina Allemann. Topics include Erik Bruhn's term as artistic director, and the strong contingent of male dancers he fostered; the achievements of Glen Tetley as artistic associate.
[Dance excerpt:] The merry widow: waltz, Act III / recorded on location at All Saints Anglican Church, Ottawa; choreography, Ronald Hynd; music, Franz Lehár; musical adaptation, John Lanchbery; danced by Xiao Nan Yu and Rex Harrington; piano, Ormsby Wilkins; violin, Fujiko Imajishi.
The nineties / interviewees, Dominique Dumais, Aleksandar Antonijevic, Chan Hon Goh, Sonia Rodriguez, Xiao Nan Yu, Guillaume Côté. Topics include Reid Anderson's artistic directorship; the present-day state of the company.
[Dance excerpt:] The nutcracker: snow trio / recorded on location at the National Ballet School Theatre; choreography and libretto, James Kudelka; music, Peter Ilich Tchaikovsky; danced by Heather Ogden, Guillaume Côté, Etienne Lavigne.
[Dance excerpt:] Romeo and Juliet: Romeo's solo / recorded on location at the National Ballet School Studio; choreography, John Cranko, staged by Reid Anderson; music, Sergei Prokofiev; danced by Guillaume Côté.
[Dance excerpt:] The contract (in creation) / recorded on location at the Walter Carsen Centre; choreography, James Kudelka; libretto, Robert Sirman; music, Michael Torke; danced by Martine Lamy.
家用版
摘要:Documentary on the history of the National Ballet of Canada, as seen through the dancers' eyes. The program opens with reminiscences by Celia Franca, the company's founder and first artistic director, filmed in St. Lawrence Hall in Toronto, the company's original home. Each decade of the company's history, from the 1950s to the 1990s, is represented by a group of dancers who joined during that time. They are depicted in the present day, practicing at the barre in St. Lawrence Hall, while archival footage and still photographs portray them in past performances, rehearsals, and classes. They discuss their experiences in the company: their artistic aspirations; their favorite ballets and roles; their working relationships with other dancers, choreographers, and company directors. Interspersed among these segments are excerpts of ballets performed by present-day company members. At the close of the program, artistic director James Kudelka is seen in the studio, working on the choreography for his ballet The contract with dancer Martine Lamy.
