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Dancing Under the Umbrella: England Discovers Spice
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17804 |
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Section : |
THE ARTS
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| Issue
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3 / 1990 |
1,970 Words |
| Author
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Barbara Newman
An American in London, Barbara Newman is the dance critic for
Country Life and writes frequently for The Dancing Times. |
Every fall for the last eleven years, a festival of new and experimental dance has lifted the staid English dance scene out of its usual routine and given the more adventurous members of its audience something exciting to cheer about. A vital showcase for performers and groups that would otherwise rarely, if ever, be seen in this country, Dance Umbrella now occupies an important position in Britain's performing arts calendar. The range of activity it embraces gives the viewer an intriguing insight into the latest developments in choreography both at home and abroad.
This year's Umbrella lasted seven weeks; it packed five different London theaters and stretched as far a field as Manchester and Bristol. While the Royal Ballet was serving up the old-fashioned exoticism of La Bayadere, groups from England, France, America, and Japan stripped modern dance down to its bare bones. Dancers from the Royal Ballet's companies and school came together under the Umbrella with examples of their work as choreographers; platform performances highlighted new pieces by independent British choreographers, several to a program; the French Institute mounted an exhibition entitled Cocteau et la Danse, featuring photos, designs, two films, and a video; and classes, workshops, and discussions blossomed all over town.
Current Gallic Style
Since the festival this year turned its brightest spotlight on modern dance from France - acknowledging both the Bicentennial of the Revolution and the recent burst of original choreographic activity there - I made a point of seeing three of the five visiting groups. To the best of those, the Group Emile Dubois, fell the honor of
... (1997 of 12542 Characters)
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