It is that time of the year again, suddenly Christmas is looming with urgent gift shopping imperatives. But don’t worry, once again Oxford Dance Writers is here to help with our round up of dance publications reviewed and received this year, from the highly academic and practical to the entertaining memoir and gorgeously illustrated records of companies and dancers; for the dance lovers in your lives, or to add to your own Christmas wish list… Great thanks once again to all our reviewers! (more…)
December 6, 2016
All I want for Christmas is… Oxford Dance Writers recommends 2016
Posted by susiecrow under Dance and Academia, reviews | Tags: All I want for Christmas 2016, Angela Pickard, Ballet Body Narratives, Ben Spatz, Butoh Dance Training, Dance Dramaturgy, Darcey Callison, Deborah Hay, Gandini Juggling, Jeannie Donald-McKim, Juggling Trajectories, Juju Alishina, Maggie Watson, Miranda Laurence, Paul Arrowsmith, Pil Hansen, Rachel Gildea, Rick Gust, Sir Peter Wright, Susie Crow, The Language of the Soul, Thomas J M Wilson, Using the Sky, What a Body Can Do, What Lies Beneath, Wrights and Wrongs |Leave a Comment
November 18, 2016
Wrights & Wrongs: my life in dance, by Peter Wright with Paul Arrowsmith – Maggie Watson reviews
Posted by susiecrow under reviews | Tags: Brenda Last, Christopher Wheeldon, David Bintley, Giselle, Glen Tetley, Kenneth MacMillan, Maggie Watson, Matthew Bourne, Michael Somes, Oberon Books, Paul Arrowsmith, Royal Ballet, Sadler's Wells, Sir Peter Wright, Tatiana Leskova, Wayne McGregor, Wrights and Wrongs |1 Comment
This is ‘not a conventional autobiography’ but it is a fascinating and inspiring account of 75 years of work in dance and theatre. Immensely humorous, Wright seems to have known almost everybody in the ballet world, and he conjures up vivid images of dips in the freezing January sea with Henry Danton at Eastbourne in the 1940s, Princess Margaret backstage at the Birmingham Hippodrome holding her breath to avoid the whiff from the gents’ loo, or of Michael Somes who could be ‘very difficult’, ‘particularly at full moon’.
For those of us outside the professional ballet world, the book sometimes ‘joins the dots’, and fills the gaps that other, more discreet, accounts have left in obscurity. I imagine that Wright’s colleagues and acquaintances will have looked for their names in the index with some trepidation, for he is almost as frank about the living as he is about the dead. (more…)