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A cross between The Office and a cage-fight, Australian style: straight from their critically acclaimed performances in Australia, The Farm presents the first UK tour of Cockfight, an exhilarating duet of extreme physical theatre that explores male behaviour and intergenerational conflicts. Coming to Pegasus Theatre on Friday 20 October as part of Oxford Playhouse’s Playhouse Plays Out scheme, it illustrates the interaction between two men from different generations, trapped in an all too familiar and universal environment – the office.

Born out of a very real relationship between performers Joshua (33 years old) and Gavin (50 years old), this is about two men who exist side by side, share space, resources, time and responsibility and justify their existence in relation to each other. Their physical action is underpinned by a fierce co-dependency in a duet of slow-motion fight sequences, interlocking rolls and tackles and Buster Keaton-esque battles of supremacy.

The Farm is an international network of highly respected artists, ranging from choreographers and independent dancers to musicians and designers. The artistic direction of the company is led by Gavin Webber and Grayson Millwood who have been making work together for the past fifteen years across four continents. Performed by Gavin Webber and Joshua Thomson, and developed by The Farm in partnership with guest artist Julian Louis, Cockfight is a powerful physical performance about male dominance and the exhibition of masculinity.

Performance:  Friday 20th October 7.30pm

Venue:  Pegasus Theatre, Magdalen Rd, Oxford OX4 1RE

Tickets:  £19 available from the Playhouse Ticket Office on 01865 305305 or book online at www.oxfordplayhouse.com

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October 2017 marks the 25th anniversary of the death of choreographer Kenneth MacMillan.   The festival Kenneth MacMillan: a National Celebration hosted by the Royal Opera House brings together two weeks of performances of MacMillan repertoire by not only the Royal Ballet, but also Birmingham Royal Ballet, English National Ballet, Northern Ballet, Scottish Ballet and Yorke Dance Project, who will be performing his late work Sea of Troubles in the Clore Studio and on tour.  Oxford Dance Writers pays its own hommage to the master here: Susie Crow, a founder member of chamber company Dance Advance for whom Sea of Troubles was originally made and and herself an original cast member, writes about the work, its genesis, and the experience of reviving it for performance by today’s dancers.

Sea of Troubles was commissioned from Kenneth MacMillan by Dance Advance for touring to small and mid-scale venues.  It was officially premiered on March 17th 1988 at the Brighton Festival.  A tour of over 35 performances in what was then the Southern, South East and Eastern regions followed, culminating in two performances at the Queen Elizabeth Hall in London. In the following year there were further performances by the company including at Madrid’s Festival de Otoño, and the company was supported by the British Council to perform it at festivals in China and Germany.  In 1991 the work entered the repertoire of Scottish Ballet for a few performances; and in 2002 it was performed by an ensemble lead by Adam Cooper and Sarah Wildor at the Exeter Festival in commemoration of the 10th anniversary of MacMillan’s death.  It was revived at short notice by Scottish Ballet for performance at the Edinburgh Festival in 2014; and in 2016 was remounted from the original notation by Jane Elliott for Yorke Dance Project, who are currently touring it and performing it at the Clore Studio at the Royal Opera House as part of Kenneth MacMillan: A National Celebration.  I was called in as a member of the original cast to coach and rehearse a new generation of dancers. (more…)

Following on from the examination of creative process in Rawaa, DANSOX provides an opportunity to examine and discuss the process of building an interpretation for performance. In a fascinating lecture presentation Performing Beckett renowned Irish actress Lisa Dwan discusses her recent work and invites discussion of her repertoire – especially Not I and other stunning dramatisations of Samuel Beckett.  She explores how her dance training enabled her to refine the all-encompassing performance technique and control required to engender the challenging physical requirements of Beckett’s plays.

Date:  Thursday 16 November 2017 5:30pm 

Venue:  Jacqueline du Pré Building, St Hilda’s College

The event is free and open to all but booking essential at Eventbrite here

For further information about Dance Scholarship Oxford events see also http://www.torch.ox.ac.uk/dansox: or contact Professor Susan Jones: susan.jones@ell.ox.ac.uk

Another fascinating DANSOX (Dance Scholarship Oxford) event hosted by St Hilda’s College Oxford bringing together thinking and practice, providing a rare opportunity to glimpse the process of creating a new ballet in an interdisciplinary workshop with writer, Marina Warner, choreographer Kim Brandstrup, pianist and composer Joanna MacGregor, and professional dancers.

Rawaa comes from Arabic – the root for words
 meaning ‘to water’ and ‘to relate’ and provides the dominant metaphorical motif of the ballet’s mood and movement.  Affinities emerge between poetic metre, musical pulse, and water management (water wheels, aqueducts) in Arab culture.  The ballet will offer a counterpoise to the orientalism of Scheherazade, exploring the inner lives and drives of legendary women performers from the Middle East who have attained mythic status.

Venue:  Jacqueline du Pré Music Building, St Hilda’s College, Cowley Place, Oxford OX2 9AZ

Dates:  Sunday 12th – Tuesday 14th November 9.30-6.30pm  Open to the public on Tuesday 14 November at 5.30pm to view the workshop in action.

The event is free and open to all but booking is essential; register here to attend. Open at other times by request – contact Professor Susan Jones.

 

 

Dance and Academia: Moving the Boundaries, convened by Miranda Laurence, returns this academic year with a thought-provoking series of three seminars exploring the provocative question “What is Dance without an Audience?“. For academics in all disciplines, dance artists and movement practitioners, and anyone else who wants to exchange thinking about dance!

Tuesday 3rd October 6.00-8.15pm: Chloe Metcalfe (Roehampton University)

When non-dancers dance: considerations of audience and performer in contemporary British community-dance events.

Social dance blurs the distinction between audience and performer. Nowhere is this more true than in community barn dances, usually held by non-performance based organisations across England. This evening will feature a brief talk about the concept of performer within this context, drawing upon PhD research of such dances in Buckinghamshire. This will be followed by a fun, practical workshop where the concepts of audience and performer are engaged with.

Tuesday 5th December 6.00-8.15pm: Susie Crow and Maggie Watson (Roehampton University and Oxford dance practitioners)

Looking in and looking out: ballet performance from the perspective of the viewer and the doer

Presentations and discussion which focus on the audience-performer relationship in ballet, seen from different perspectives but both raising questions about the identity of the work.  Maggie Watson uses the example of the first performances of Marius Petipa’s La Bayadère by the Royal Ballet in 1963 to reflect on how the historical and cultural context surrounding performance may colour audience perceptions of a work and understanding of its significance.  Susie Crow draws on her own experience as a ballet dancer and choreographer to reflect on the contribution of space, place and different publics to shaping the work in performance, and in consequence to the development of ballet as a form in itself.

Tuesday 6th February 2018, 6.00-8.15pm: Nicky Clayton and Clive Wilkins (Department of Psychology, University of Cambridge)

What is dance without an audience? An investigation beyond language and the complexity of our social interaction to explore wordless thoughts~ to include demonstrations of tango and magic.

  1. Does an audience have to be real?
  2. Is dance without an audience merely ritual, resulting in an altered state, and ifso, what kind?
  3. Is dance without an audience simply the confirmation of a heartbeat?
  4. Is the introspection of an intimate partner dance audience free, and if so, whatis being explored?
  5. Is dance without an audience the opportunity to invent and explore realitiesthat exist outside of the compass of shared experience?

Dates:  Tuesdays 3 October, 5 December 2017, 6 February 2018 6.00-8.15pm

Venue:  Heritage Learning Centre, Town Hall, St Aldate’s, Oxford OX1 1BX

Tickets:  £5 cash on the door per seminar (£1 off for any repeat attenders).

Please email miranda.c.laurence@gmail.com to reserve your place.

Presented as part of Dancin’ Oxford 2018 www.dancinoxford.co.uk

This autumn the dynamic, dazzling and delightful Ballet Black returns to Oxford Playhouse with a fresh triple bill of dances.  Artistic Director Cassa Pancho once again commissions bold choreography, blending the classical and contemporary, narrative and abstract, for a company comprising British and international dancers of black and Asian descent.

A four-hander characterised by intricate detail and propulsive energy, Captured ebbs and flows to the fiery emotion of Martin Lawrance’s edgy choreography, set to a Shostakovich string quartet. First premiered in 2012, Captured was an instant audience and critical success.  French choreographer, Ludovic Ondiviela, presents Dopamine (you make my levels go silly), a beautiful pas de deux about love, lust and passion, with an original score created by acclaimed British composer, Fabio D’Andrea.  South Bank Sky Arts Award-winner Annabelle Lopez Ochoa turns a popular fairy tale on its head, as Red Riding Hood is given a surprising twist.

“Dash, daring and joie-de-vivre”  The Guardian

“A funny, gutsy spin on the traditional fairytale that’s clearly a riot to dance”  The Guardian on Red Riding Hood

Performance:  Wednesday 4th October,  7.30pm

Venue:  Oxford Playhouse, Beaumont Street, Oxford OX1 2LW

Tickets:  £10 – £25 available from the Ticket Office on 01865 305305 or book online at www.oxfordplayhouse.com

Age guideline: 7 years plus

Find out more about Ballet Black here

Read Susie Crow’s review of their previous performance at the Oxford Playhouse in 2016  here

dotdotdot dance uses flamenco as a medium to create innovative dance, challenge conventional perceptions and explore how traditional flamenco can be expressed in a contemporary context.  In No Frills, they set out to strip flamenco down to its bare essence to access and express the raw and nuanced energy that is awoken in both performer and spectator.

The North Wall are delighted to welcome back Yinka Esi Graves, Noemí Luz and Magdalena Mannion of dotdotdot dance once again following the sell-out success of their show in 2015.  Don’t miss this opportunity to experience these superb dancers and musicians in authoritative and expressive performance.  Read Susie Crow’s previous review of No Frills here

Performance:  Friday 29th September, 8pm

Venue:  The North Wall Arts Centre, South Parade, Oxford OX2 7JN

Tickets:  £16/£13 concessions/£10 members
Book online: https://www.thenorthwall.com/whats-on/no-frills/

PLUS Flamenco Taster Workshop – 5.30pm-6.30pm
£10 per person
Email dotdotdotflamenco@gmail.com for more details

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