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Modern Dance in London
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17203 |
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Section : |
THE ARTS
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| Issue
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2 / 1990 |
2,452 Words |
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Kathrine Sorley Walker Kathrine Sorley Walker is ballet and dance critic of the
London Daily Telegraph (London) and author of Ninette de
Valois: Idealist without Illusions (Hamish Hamilton, London,
1987) and De Basil's Ballets Russes (Atheneum, New York, 1983). |
All over Britain interest in contemporary dance has been built up by small local groups and a set of lively young "dance animateurs" who introduce it into community and educational activities. This development can be traced directly to America. In the sixties-those "swinging" years when Britain exported the Beatles and fashions of Carnaby Street and the King's Road to an eager world - the dance influences came eastward across the Atlantic. Robert Cohan, a New Yorker trained by Martha Graham, was appointed first director of the London Contemporary Dance Theatre, and the historic Ballet Rambert metamorphosed-through Norman Morrice (who had studied in New York on a ford Foundation Fellowship) and with the enthusiastic support of the remarkable Dame Marie Rambert-into the contemporary group now known as the Rambert Dance Company. From these two ventures most of today's talents and accomplishments have emerged.
Over the last twenty years, Cohan became a vital and highly respected factor in the development of modern dance in his adopted country. He has run his own group as well as appearing in musicals on stage and television in America, and has choreographed both in the United States and for the Batsheva company in Israel. He has proved to be the perfect choice for the newly formed London Contemporary Dance Theatre. A gifted creator of dance works with outstanding theater sense, he is also capable of producing dancers and choreographers of distinction.
Prolific Output
The company's repertory owes much to Cohan's prolific choreographic invention. Inevitably, there have been highs and lows in his output, but many memorable productions have
... (1995 of 15263 Characters)
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