Posts filed under: From the studio

  • Interpreting Concerto: three ballerinas tell
    Juliet Burnett and Andrew Killian in Concerto. Photography Jess Bialek
  • Interpreting Concerto: three ballerinas tell
  • Interpreting Concerto: three ballerinas tell

Interpreting Concerto: three ballerinas tell

The same choreography can transform when filtered by different sensibilities. Juliet Burnett talks with colleagues Miwako Kubota and Amber Scott about their approaches to MacMillan’s Concerto.

The second-movement pas de deux in Sir Kenneth MacMillan’s Concerto is widely considered to be one of the most precious jewels of 20th-century ballet. The ballerina who created the central role, Lynn Seymour, describes it as “a romantic impressionistic sequence which resulted from Kenneth slyly observing me working alone, an hour on pointe before evening rehearsals. He transported curving movements of concentrated simplicity – an arm slowly dropping, a leg stretching sensuously – into a joyous pas de deux.”

Many ballerinas have performed the central role created by Seymour since its premiere in 1966. This year in the British Liaisons program, Amber Scott, Miwako Kubota and yours truly have been given this honour. In an abstract ballet like Concerto, and while respecting the parameters of the choreography and music, one dancer’s interpretation is going to be different to the next. This is especially true for a pas de deux, where partnership dynamics and chemistry come into play. I am always fascinated by how different one piece of choreography can look on other dancers – not just owing to the different shape of movement that another physicality will articulate, but to the personal nuances that dictate a different mood or emotional intent. For this pas de deux, individual expression is at the crux of its beauty. To illustrate this, I thought I would offer you an insight into three different interpretations by asking Amber and Miwako for their thoughts, and then offering my own too. (more…)

19 August 2011

Poetry in Motion, part two: Jim McFarlane and the art of ballet photography
Robyn Hendricks and Daniel Gaudiello in Wayne McGregors Dyad 1929. Photography Jim McFarlane

Poetry in Motion, part two: Jim McFarlane and the art of ballet photography



In part one we explored the inception of Jim McFarlane’s career. In part two we traverse the art of ballet photography with one of The Australian Ballet’s favourite shutterbugs.

To succeed in ballet photography, Jim McFarlane says: “you’ve got to be ahead of the motion”. Perfect technique is vital and the main challenges come with capturing fast motion in low lighting conditions and lighting changes. Jim relates shooting the “fast, exciting and dynamic” Dyad 1929 as a real test for any photographer. “With classical ballet you have a bank of lights and the follow spots, but with modern ballets the lighting is extremely contrasted and dim, which makes it very hard.” (more…)

13 October 2010

Poetry in Motion, part one: Jim McFarlane and the art of ballet photography
Vicki Attard in costume for Maina Gielgud’s The Sleeping Beauty Ueno Market, Tokyo. Japan tour 1993 Photography Jim McFarlane

Poetry in Motion, part one: Jim McFarlane and the art of ballet photography

The inception of Jim McFarlane’s career as a photographer for The Australian Ballet also reveals the power of ballet to transcend political boundaries, writes Anna Sutton.

The recent production of Peggy! was a nostalgic moment for Jim McFarlane.

His first assignment was to photograph Dame Peggy van Praagh’s farewell speech in Melbourne. That memory is a throw back to the old days, when The Australian Ballet was based in the former tyre factory and Jim’s partner Yvonne (who is now the company’s director of special projects) was also working there, after coming from a ballet teaching background herself. (more…)

11 October 2010

A new path for Jane Casson
Jane Casson. Photography by James Braund

A new path for Jane Casson

After nearly a decade with The Australian Ballet Soloist Jane Casson is hanging up her pointe shoes to pursue other passions: motherhood and her own business. Jane has performed much of the classical and contemporary repertoire and has been lauded for her versatility and comedic portrayals. With a business already under her belt, Jane is looking forward to the new challenges ahead. Interview by Lydia Gibala

As a native Kiwi, you began your ballet career with the Royal New Zealand Ballet and joined The Australian Ballet three years later. What enticed you to make the move?
In short, I would say love. My now husband joined The Australian Ballet a year earlier and the long distance relationship was really hard. I also wanted new challenges, new repertoire and the opportunity to work with great choreographers. I never looked back, so it was a great decision on my behalf.

What are the top highlights of your career?
I won a Green Room Award in 2007 and feel really honoured to have received such a prestigious award. Another highlight was opening night of Graeme Murphy’s Swan Lake in Sydney, 2008. I danced Baroness von Rothbart alongside Principal Artists Robert Curran and Madeleine Eastoe. It was a huge opportunity and very last minute. And on a personal note, developing my second family at The Australian Ballet. Even though I’m leaving, the company will always be a part of my life. (more…)

1 October 2010

The inexplicable need to dance

George Balanchine famously stated: “I don’t want people who want to dance, I want people who have to dance”. I was reminded of this quote when I had the privilege of seeing the incomparable Stephen Fry talk at the Regent Theatre in Melbourne. Regaling us with charming and often hilarious tales of discovering and pursuing his passions, at one point he recounted the scene from the cinematic masterpiece The Red Shoes in which our aspiring ballerina Victoria Page first encounters ballet company impresario Boris Lermentov:

Lermentov: Why do you want to dance?
Page: Why do you want to live?
Lermentov: Well I don’t know exactly why, er, but I must.
Page: That’s my answer too.

Fry used this analogy to exemplify the difference between mere desire and inexplicable need. Like involuntary functions as mundane but vital as breathing – for Fry, writing became his lifeblood; essential to his existence. I walked away from Fry’s talk feeling inspired and compelled to introspection. I was fascinated by this notion of want versus need and how pertinent it is in shaping one’s destiny. I also wondered whether, like an involuntary function, its manifestation is so natural, so right, that it is imperceptible, or whether someone has to experience a single defining moment to know that they are fulfilling their true calling. I’m often asked at what point in my life I decided to become a ballet dancer. My answer is always vague, a patchwork of various turning points and epiphanies (the day that my teacher Mrs Jenkins suggested to my parents, when I was ten years old, that I come in for private ballet lessons after school because she recognised talent in me; going to see Sydney Dance Company in Graeme Murphy’s Berlin aged 12; watching Alessandra Ferri and Julio Bocca perform the ‘Balcony Pas de Deux’ from Romeo and Juliet on video, aged 14; witnessing the pride and enjoyment it endlessly gave my parents and those around me and realising that I shared those feelings in my dancing). Is the fact that I am now eight years into a happy career and have been dancing for a total 21 of my 26 years enough to confirm that dancing was my lifeblood? Do I want to dance or do I need to dance?

Juliet Burnett. Photography Jo Duck

(more…)

31 August 2010

Olivia Bell’s top five ballets

Since joining The Australian Ballet 15 years ago, Principal Artist Olivia Bell has performed many powerful lead roles: Clara’s dream ballerina the Sugar Plum Fairy in The Nutcracker, the warrior-like Flavia in Spartacus and the duplicitous Manon. After a short hiatus, Olivia returns to The Australian Ballet to perform the leading lady in red in Stephen Baynes’ At the edge of night. As she prepares for the role, Olivia shares some of her favourite performances to date.

The Nutcracker, Sugar Plum Fairy
Tchaikovsky’s score makes this magical ballet a favourite of mine. The Sugar Plum Fairy solo in act two is one of ballet’s most recognised pieces of music and, for me, epitomises the music of mystical dancing fairies. I have one particularly special memory of performing this role at the Sydney Opera House with my family in the audience as I was promoted to principal artist and presented flowers on stage by my husband, Nicholas. A moment I hold close to my heart.

Other Dances
This is a pas de deux choreographed by Jerome Robbins originally for Natalia Makarova and Mikhail Baryshnikov, two of my all-time favourite dancers. I was plucked from the corps de ballet to perform this ballet. It contains all the elements I love about dancing. The dance gradually builds up in intensity and technical complexity until it finally explodes in a flourish of fluid and luxurious movements. It also combines subtle Russian undertones that reflect my heritage. (more…)

25 August 2010