Two Feet, Adelaide Festival There are many reasons for a dance choreographer to revisit a work from their back catalogue. Peggy too had seen dancers forced to assume damaging positions. Here was an artistic sensibility entirely new to me. She loved my Australian voice and my humour, she encouraged me to switch rapidly between the comic and the dramatic. But Pina had revealed something deeper and a much darker side of life to me.
Then I would bring my own judgment to bear, and think how my own decisions might have been different from Pina’s. I think this is how it must be for every creative artist. Poets and painters do have that privilege, for it is only when they pronounce a work finished that it is offered for all to see. I am sure it is like that for most of us, we all have to keep moving, keep changing, find new doors to open. Audiences came in huge numbers to see Pina Bausch’s work, but hardly anyone came near the stage door.
Two Feet, Adelaide Festival There are many reasons for a dance choreographer to revisit a work from their back catalogue.
Lindsay Kemp after Pina Bausch: When I think of all the wonderful people who have shared their knowledge with me and who have given me the benefit of their friendship, I am reminded of this harsh obligation to combine artistic imperatives with practical necessities. And the point she thought was “to live everything Dada Masilo’s Giselle is a courageous retelling for our times.
She famously identified with the character, and her interpretation tanmard the tankars, which includes a tragic scene in which she literally dances herself to death, has remained a fixed reference point for all future Giselles.
Great artistic mentors
But is it what we artists are really supposed to be about? I’d never been naked on stage before. For the first time since I had come home, I felt connected to my country.
At the time, I was still under contract to The Australian Ballet and once again Dame Peggy came to the rescue, ensuring my release from this obligation and allowing me to pursue my journey. But of course Lindsay Kemp was different, Lindsay was a painter, an extrovert who believed in the virtue of showing it all, who believed that radical visibility was the essence of esssay art.
Great artistic mentors » Ausdance | Dance Advocacy
I have to say that my mother absorbed this wisdom to make it her own and, of course, the last suggestion was the easiest one for her to follow. When I came back to Australia, I was offered the artistic directorship of the company originally founded by Don Asker in Canberra. The internal logic of the work weaves a twisted but uncannily connected web connecting Osipova and her mental essqy with the extreme, cruel, and sometimes comic ways in which dance is taught and learned.
And now quite a few years down the track, I know how difficult it is for dance artists in our country and that we must find ways to allow choreographers to follow Amagatsu’s advice to go slow and tankxrd our time. For instance, how to turn my childhood ballet classes into tests of endurance during which I realised both the reality of my will power and its limitations.
Alas, time is money, time is not on our side. I was in the back row of the corps, remember, and surely it would not make any difference either to the work or to the audience.
Pina Bausch’s theatre was concerned with intensities and the expression of deep feelings. I could not find an agent to represent me because I did not fit any of the standard categories: Not only because, as a philosopher is supposed to have said, “the one thing, we know, is that we know nothing”, but also because there is no greater pleasure than the pleasure of discovering a new perspective, a different way of doing things or an aspect of our own self with which we had not yet become acquainted.
RealTime Arts – Magazine – issue 47 – How to write about the performing body
There was plenty of magic and make believe which the public loved. But Pina had revealed something deeper and a much darker side of life to me. It is often the case that other people know more about our abilities than we do ourselves.
It is a great pleasure and a great honour to be here this evening. In those first few years back in Australia things like that kept me going.
It was difficult to know what she thought. But I feel a little overwhelmed to find myself only the fourth person to pay tribute to the memory of the great artist who was also a wonderful human being: I leafed through its pages again quite recently, as I was thinking about this address.
It is not entirely clear whether the focus of the book is Australian performance or writings about performance by Australian critics and theorists. It is a task that I welcome, because to me Dame Peggy was the stuff of legend. Ausdance-approved insurance that meets the needs of dance instructors, studios, professional dancers and groups, independent artists and companies.
Quite often I would find myself so completely engrossed with my own contribution that I would lose sight of the whole. I remember that when I was dancing with The Australian Ballet—doing eight shows per week—I was desperate to make little changes with every performance.
And suddenly I found myself in this quiet empty place, with gum trees, rosellas, and the dryness of the outback only a short drive away.