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Cunard cruise line partners with English National Ballet

Cunard cruise line partners with English National Ballet
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English National Ballet: Solstice review – smitten swans, chiseled abs and thumping techno

English National Ballet: Solstice review – smitten swans, chiseled abs and thumping techno
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The week in dance: Reunion; 21st-Century Choreographers reviews – a joyous return

Sadler’s Wells; Royal Opera House, London Cue rapturous applause – and backbends – as the stars of ENB and the Royal Ballet storm back to live performance in two bold, future-facing programmes ‘Accelerating mayhem’: members of English National Ballet perform Arielle Smith’s Jolly Folly. Photograph: Dylan Martinez/Reuters ‘Accelerating mayhem’: members of English National Ballet perform Arielle Smith’s Jolly Folly. Photograph: Dylan Martinez/Reuters Sun 23 May 2021 04.00 EDT Ballet is back, and it’s the little things I’ve missed. The slap of a sole on the floor, the skitter of a pointe shoe. That sudden intake of breath before a leap. The swoosh of a turn. Those tiny sounds of effort and release are signifiers of the bigger thing that makes live dance unique: its ability to embody a wide range of emotion in a tangible form.

Reunion, Sadler s Wells, review: a flashy return for the English National Ballet

Reunion, Sadler s Wells, review: a flashy return for the English National Ballet
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Best of 2020: Dance

Best of 2020: Dance by Jenny GilbertThursday, 31 December 2020 Beach ready: Some of the 38 dancers from 14 African countries rehearsing Pina Bausch s Rite of Spring, on the coast of Senegal in March. The world tour was cancelled just days before the premierephoto: Florian Heinzen-Ziob Hard as it is to recall how it felt to sit elbow to elbow in a red plush seat, plenty of us did that during the first 10 weeks of 2020, with no heed at all to who might be breathing over us. I have since wondered what proportion of the dance sector had any inkling of the wrecking ball that was about to hit. None, to judge by the many weeks it took for dance companies and theatres to reinvent themselves online, and to start dredging their archives for decently recorded material.

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