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by Matthew Bourne

Download Matthew Bourne and His Adventures in Motion Pictures. fb2, epub

ISBN: 0571235883
Author: Matthew Bourne
Language: English
Publisher: Faber & Faber; Main edition (November 1, 2011)
Pages: 432
Category: Performing Arts
Subcategory: Art
Rating: 4.4
Votes: 724
Size Fb2: 1375 kb
Size ePub: 1249 kb
Size Djvu: 1844 kb
Other formats: lit mobi docx lrf


Sir Matthew Christopher Bourne OBE (born 13 January 1960) is an English choreographer. His work includes contemporary dance and dance theatre

Sir Matthew Christopher Bourne OBE (born 13 January 1960) is an English choreographer. His work includes contemporary dance and dance theatre. He has received multiple awards and award nominations, including the Laurence Olivier Award, Tony Award and Drama Desk Award, and he has also received several Honorary Doctorates of Arts from UK universities. Bourne was knighted in the 2016 New Year Honours for services to dance.

бесплатно, без регистрации и без смс. Matthew Bourne and His Adventures in Dance is an intimate and in-depth conversation between the prize-winning pioneer of ballet and contemporary dance Matthew Bourne and the New York Times dance critic Alastair . . Matthew Bourne and His Adventures in Dance is an intimate and in-depth conversation between the prize-winning pioneer of ballet and contemporary dance Matthew Bourne and the New York Times dance critic Alastair Macaulay. In 1987, a small, aspirant dance group with a striking name made its debut on the London fringe

If you don't know Matthew Bourne's choreography, CHECK HIM OUT! He's brilliant

If you don't know Matthew Bourne's choreography, CHECK HIM OUT! He's brilliant. I really enjoyed this book, but I do think you'd first want to have at least a passing familiarity with (and affection for!) either Bourne's work or the classical ballets he has updated, or else some of the discussions might be a little too detailed to sustain interest. With a minimal background knowledge, though, it really deepens your appreciation & enriches your enjoyment of his work.

Sir Matthew Bourne OBE is widely hailed as the UK’s most popular and successful choreographer and director

Sir Matthew Bourne OBE is widely hailed as the UK’s most popular and successful choreographer and director. For over 30 years he has been creating and directing dance for musicals, theatre, film as well as his own highly successful, award-winning companies. In addition to being a prolific choreographer, Matthew supports the wider dance industry and its future.

Ten years ago the Adventures in Motion Pictures dance company was started by Matthew Bourne. His Swan Lake production was critically acclaimed, winning an Olivier award; it has since been added to the A level syllabus. This is the story of that success, a story of innovation and determination.

August 6, 2010 History. Matthew Bourne and His Adventures in Motion Pictures. 1 2 3 4 5. Want to Read.

Matthew Bourne was the artistic director of his first company, Adventures In Motion Pictures, from 1987 until 2002. Matthew Bourne and His Adventures in Motion Pictures: In Conversation with Alastair Macaulay. London: Faber and Faber. During those 15 years AMP became the UK’s most innovative and popular dance/theatre company, creating an enormous new audience for dance with its groundbreaking work both at home and internationally (works include: - Spitfire, The Infernal Galop, Town and Country, Deadly Serious, Nutcracker!, Highland Fling, Swan Lake, Cinderella and The Car Man).

Matthew Bourne and His Adventures in Dance is an intimate and in-depth conversation between the prize-winning pioneer of ballet and contemporary dance Matthew Bourne and the New York Times dance critic Alastair Macaulay.

In 1987, a small, aspirant dance group with a striking name made its debut on the London fringe. In 1996, Adventures in Motion Pictures made history as the first modern dance company to open a production in London's West End. From this achievement, AMP sailed triumphantly to Broadway - winning three Tony Awards - guided by Artistic Director Matthew Bourne.

Even before the inception of AMP, Bourne was fascinated by theatre, by characterization, and by the history of dance. In his early works - Spitfire, Town & Country and Deadly Serious - Bourne brought a novel approach to dance. And in his reworkings of the classics of the ballet canon - Nutcracker, Swan Lake, Cinderella - Bourne created witty, vivid, poignant productions that received great acclaim.

In the first decade of the new millennium, the company name was changed to New Adventures, and Bourne's 'classics', as well as Bourne's new works - The Car Man, Play Without Words, Edward Scissorhands and Dorian Gray - achieved levels of box-office popularity that have seldom, if ever, been matched in dance. In addition, his choreography for various musicals - My Fair Lady, Mary Poppins and Oliver! - have run for years in the West End and on Broadway.

The detail in which Bourne discusses his work with Alastair Macaulay is unprecedented. The two explore Bourne's upbringing, his training and influences, and his distinctive creative methods. Bourne's notebooks, his sources and his collaboration with dancers all form part of the discussion in this book.

Comments:

რฉςh
This book is a collection of conversations between Matthew Bourne (now a Sir) and dance critic Macaulay, Bourne's earliest dance history teacher. There are two editions of the book, so be sure to get the later version (2011), which includes all the earlier material and catches up with Bourne's work to about 2009. These are in-depth question and answer sessions covering Bourne's history, influences, inspirations, and methods, accompanied by rehearsal and performance photos, choreographic diagrams, and illustrations from costume and set designs by Lez Brotherston. The title refers to the name of Bourne's first company (Adventures in Motion Pictures); in the early 2000s he started a new company named New Adventures.

For someone interested in Bourne or this type of production, the book is a treasure trove. He talks in detail about each of his major works up till the late 2000s, including Swan Lake, Cinderella, The Car Man, Dorian Gray, Edward Scissorhands, Play Without Words, Highland Fling, and Nutcracker!, His method for directing and choreographing is to allow for a huge input from each performer. Even members of the corps are asked to provide biographies for their characters, and dancers are given films and books for character research. Much of the choreography is designed in rehearsal with individual dancers. When you watch a performance you can see how all the dancers have their own little moments while the main action is taking place - this is definitely not old-school ballet, where the corps stands around in groups watching the stars. There's a wonderful moment in Act III of Swan Lake (the ballroom scene, in which the Stranger, traditionally the Black Swan, shows up in leather and dances up a storm with just about everyone, men and women) when the Stranger is sitting off to the side as the corps starts dancing, and at the end you realize he's now on the other side of the stage, sitting at a table with someone else's girlfriend and making out with her. I had to go back to watch and see how this happens, but things like this are always happening in Bourne's productions, which he considers theater as much as dance. One of Bourne's goals has been to provide male dancers the chance to do more than serve as props for ballerinas, and his Swan Lake was designed to give men long, lyrical performance opportunities. Most of his work has a similar goal. Bourne makes no bones about his inclusion of gay scenes in his work, although all the full-length works are for both men and women. For instance, although the Swan, Prince, and swan corps are danced by men, Bourne's Queen is a highly sought-after part for retired prima ballerinas, and the ballroom scene revolves around the Prince being introduced to various princesses.

This book is a must-have for Bourne fans, and I'll be going back to it again and again as I have the opportunity to see new tapes. If you fall in love with his work, you'll want it too.
Dog_Uoll
Macaulay misses no opportunity in this detailed and sometimes repetitive account of Matthew Bourne's professional dance life to remind the reader that he is there at every step. Could use some editing and pruning.

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