A choreographer’s life is of course so dependant on funding etc so keeping a few fires burning enables me to keep working and keep thinking.. What first sparked your interest in dance? Stick with joy and passion because as you get older, you realize that you are moving into a profession, an industry, show ‘business’. Choreographically I am picking up more commissions these days particularly in Sweden where I have been working with Skanes Dance Theatre and as bgroup develops I hope to focus more time on my ensemble.
At the beginning of my third year, I auditioned for Sir Matthew Bourne and he gave me a role in New Adventures in 1991, after two years of training. A: The initiative aims to bring more dance into rural locations, to audiences that don’t necessarily having wide experience of seeing dance. He made his Royal Opera debut in 2016 as choreographer for Boris Godunov, directed by Richard Jones. That is what I feel.
First Name Ben. After reading David’s book In The Shadow Of Crows I promptly asked him if he’d be interested in collaborating on a new work for bgroup. We start to build it, the idea. In 2004 you won a NESTA Fellowship to explore relationships between choreography, directing and film – was that a useful creative experience? There is a resonance with that, at the moment where I have not run a large scale MPO company before.
Point of Echoes is on tour across the UK, for venues, dates and tickets visit: www.chinaplatetheatre.com/point-echoes, For more info on Ben visit: Benwright.info.
The work follows on from a personal growing investigation to build work that gently massages the boundary between audience and performer, both thematically and physically.
A: I guess the advice would gently shift depending on where the person was in life. And Lucy Hamson is the lighting designer from The Place, that I am building a new relationship with. This would be the first time I had attempted to work with a writer. The Little Mermaid. Ben Wright Is A Member Of . I met my partner, Theo Clinkard, on the job 15 years ago and have friends all over the planet as a consequence.
I am going to Seoul in 3 weeks with Candoco, with my new job as the one of the Associate Co-Director of the company.
Ben Wright. We’ve got an amazing double bill programme by Yasmeen Godder. We premiered the first version of the project at the end of 2013 – the staging of an album by the Icelandic band Sigur rós called “Go”, who Jonsi (the lead singer) gave me permission to stage it as a piece of theatre. Dick Straker who worked on video for the project is a new collaborator and I am fortunate to have a partner who is also a costume designer so Theo has been with me for years in this capacity. What qualities do you look for in your company members/dancers? Working with Matt was a golden period for me…as an older performer I still wonder if one day he’ll consider me for a ‘character role’ or something?!
Ben Wright talks about the symbolism behind this new artwork. Point of Echoes is in a way an experimental piece. In 2008 he launched his own company bgroup creating a number of works for the ensemble. He danced in work by the likes of Mark Morris, Stephen Petronio, Christopher Bruce, Angelin Prejlocaj, Russell Maliphant, Aletta Collins and Improbable Theatre’s Phelim McDermott.
It has been broadcast all over Scandinavian television.
In 1995 he co-created the role of the prince in Matthew Bourne's Swan Lake and performed the role in seasons throughout the UK, London’s West End, Los Angeles, Broadway, Japan and Korea. It will include a reworking of my disco work This Moment is your Life. Not a new concept I know but one that is close to my heart. In the 2019/20 Season he directs and choreographs The Lost Thing, a co-production between The Royal Opera and Candoco. It’s a story and I try to twist the way that story is told.
We are trying to work on how to get it here in the UK, but it is for me clear identification in terms of what I think my voice is and it is a total collision of singing, dancing, and theatre and it has a linear narrative. Credited with Copyright © 2020 The The Wonderful World of Dance, All rights Reserved. Dancing was a real revelation, that I was able to be physically expressive and I have never even considered it. The environment, although it is static, circular lighthouse-esque thing in the middle of the room, we try to find a way of shifting space. Movie Actor. Registered in England and Wales No: 883094. The decision to close the website was announced in summer 2019 and no new content has been published since then.
Fear of loss, grief, doubt, despair, laughter, passion and obsession; hope, the need for meaning and belonging, the awe that moves us forward, the desire to be at peace with ourselves, our innate capacity for surrender and, therefore, love. We then go to Korea to premiere the work of company Eun-Me Ahn, which is part of the cultural Olympiad. Choreographer and dancer Ben Wright is a real-life Billy Elliot who’s touring Point of Echoes across rural UK Choreographer and former dancer Ben Wright has an inspiring personal journey that we discovered during…
Search where Ben Wright and . Point of Echoes is in a way an experimental piece.
CREDITS Broadway; Swan Lake (Oct 08, 1998 - Jan 23, 1999) Performer: Ben Wright [Dancer] MusicalBalletOriginal. It is a different environment where we live now, a different system, and I still believe this is a life-changing force in dancing. There is a fair range of talents on show in The Lessening Of Difference and the joy of drawing on their skills as individuals is very energizing. During his performing career he toured the USA with Stan Wont Dance and has worked for Adventures in Motion Pictures, Ricochet, London Contemporary Dance Theatre, Richard Alston and Amanda Miller’s Company: Pretty Ugly. He choreographs widely for theatre and opera, credits including La bohème (Washington National Opera), The Perfect American (English National Opera), Le nozze di Figaro (Glyndebourne Festival), Don Giovanni (Metropolitan Opera, New York), The Cunning Little Vixen (Grange Park Opera), The Adventures of Mr Broucek and Roméo et Juliette (Opera North), La fanciulla del West, Macbeth, Faust and Dead Man Walking (Malmö Opera), Tobias and the Angel (Young Vic), The Insatiable, Inflatable Candylion (National Theatre Wales), My Night with Reg and Twelfth Night (Donmar Warehouse) and A Midsummer Night’s Dream and Privates on Parade (Michael Grandage Company).
I had just done a piece on Malmö Opera, which is one of the biggest stages in Northern Europe with a 19 metre stage. The responsibility to ensure that we are upholding and enriching the legacy and inheritance that we already have, but also thinking how will we begin to move this into an expanded sense if you like. As long as you are content in what you are doing, that is what ultimately matters.
Kirk Douglas. With Candoco it’s an entirely new trajectory. How did your latest production – The Lessening of Difference come about?
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He made his Royal Opera debut in 2016 as choreographer for Boris Godunov, directed by Richard Jones. Ben is also an experienced independent teacher who regularly mentors younger artists, and teaches nationally and internationally. Fit & Famous exclusive models naked.
I think one of the things I’m ruminating on the moment is how do we shift perception of inclusivity.
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