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<table cellpadding="3" cellspacing="0" width="100%" class="forumline"> <thead> <caption><table border="0" cellspacing="0" cellpadding="0" width="100%" class="forumheader"> <tr> <td align="left" valign="bottom" width="25"><img src="http://picsrv.fora.pl/AcidTechTiger/images/hdr_left.gif" width="25" height="27" alt="" /></td> <td align="center" class="forumheader-mid">Topic review</td> <td align="right" valign="bottom" width="25"><img src="http://picsrv.fora.pl/AcidTechTiger/images/hdr_right.gif" width="25" height="27" alt="" /></td> </tr></table></caption> </thead> <tbody> <tr> <th class="thCornerL" width="22%" height="26">Author</th> <th class="thCornerR">Message</th> </tr> <tr> <td width="22%" align="left" valign="top" class="row1"><span class="name"><a name=""></a><b>read0mgh2zk</b></span></td> <td class="row1" height="28" valign="top"><table width="100%" border="0" cellspacing="0" cellpadding="0"> <tr> <td width="100%"><img src="http://picsrv.fora.pl/AcidTechTiger/images/post_old.gif" width="12" height="9" alt="Post" title="Post" border="0" /><span class="postdetails">Posted: Mon 10:38, 11 Apr 2011<span class="gen"> </span> Post subject: airmax 90 Contemporary Dance in Scot nike air max</span></td> </tr> <tr> <td colspan="2"><hr /></td> </tr> <tr> <td colspan="2"><span class="postbody">If Scottish Ballet are Glasgow&rsquo;s home team <a href="http://www.airmaxclub.net/nike-air-max-90" target="_blank">airmax 90</a>, then Edinburgh has both David Hughes Dance and The Curve Foundation. Both of these companies have incredibly impressive connections: for Curve&rsquo;s anniversary performance, they hosted a guest act from Merce Cunningham&rsquo;s company, while David Hughes has solos from Rambert&rsquo;s Christopher Bruce and Siobhan Davies. Hughes is perhaps the most radical collaborator in Scotland: his Fringe hit The Red Room brought in Al Seed, a ferocious physical theatre master <a href="http://www.airmaxclub.net/nike-air-max-90" target="_blank">nike air max 90</a>, better known for his dark clowning than dance. <br />A Diversity of Techniques <br />A Rumble from Further North <br />The frequent visits from Les Ballet C de La B and associated artists over the past decade has doubtless left its mark on Scottish dance&rsquo;s evolution: their restless experimentation, engagement with original scores and respect for improvisation can be seen <br />Coming from Dundee, Scottish Dance Theatre has been equally enthusiastic about modern work: they have exclusive rights to Hofesh Shechter&rsquo;s Dog and engaged Liv Lorent to create the mysterious and lavish romance Luxuria. Their annual presence at Zoo during the Edinburgh Fringe has established their popularity, and their constant touring, even to China, demonstrates how what could be seen as a provincial compay are, in fact, internationally recognised. <br />Scottish Ballet and the Trend to Contemporary Dance <br />Part of the reason for the central belt&rsquo;s dance health lies with the presence of two major schools: Dance House in Glasgow and Dance Base in Edinburgh. Dance Base, under the energetic direction of Morag Deyes, takes full advantage of the August Festival to run a programme of small scale, yet challenging, choreography from across Europe. This year saw premieres from Company Chameleon, Tony Mills, Iona Kewney and many others, mixing up local artists with international players. It also introduced the first daily Fringe publication. <br />Scottish choreographers cover a huge range of styles and approaches: Natasha Gilmore introduces a broad humour to her work, without ever loosing a serious intent; Company Cordelia rampantly deconstruct; Tony Mills does hip-hop that nods to contemporary moves. There is a general respect for a foundation in classical dance, although there are many companies who are far away from ballet: DanceIhayami has an Indian heritage and Nic Green, perhaps more a physical theatre director than a choreographer, evokes the spirit of American agitators Goat Island in her formal use of movement. <br />The Schools of Dance <br />Over the past twenty years, Tramway, a former industrial space now converted to a multi-arts venue on the Southside of Glasgow, invited the most radical continental choreographers to perform on and, along with regular visits from The Netherlands Dance Theatre to both the Edinburgh Festival Theatre and Glasgow&rsquo;s Theatre Royal, this seems to have inspired a generation of Scottish dancers to adapt a striking avant-garde outlook. <br />East Coast Modernists <br />Read on <br />Acrobats <a href="http://www.airmaxclub.net/nike-air-max-tn" target="_blank">air max tn</a>, Ceilidhs and Kilts <br />Defining Indian Dance for Scotland <br />The Making Of Doubt <br />Visiting influences <br />In many ways, this experimentation has been reflected in the recent development of Scottish Ballet. In the last five years, with the arrival of Ashley Page from The Royal Ballet, their critical reputation has rested more on the contemporary pieces than the lavish classical ballets. Having invited London&rsquo;s Richard Allston to create his first narrative ballet, and letting Scotland&rsquo;s own Ian Spink update Petruskha, they have a repertoire that increasingly puts balletic technique at the service of more modern approaches.</span></td> </tr> </table></td> </tr> <tr> <td colspan="2" class="spaceRow"><img src="http://picsrv.fora.pl/AcidTechTiger/images/spacer.gif" alt="" width="1" height="1" /></td> </tr> </tbody> </table>
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