Christopher Bruce- As Artistic Director Flashcards
What year did Christopher Bruce become artistic director and who did he replace?
1994- replacing Richard Alston who left in 1992
What was Bruce’s relationship with Rambert from 1963 when he joined the company?
1963 = dancer and choreographer
1975-1979 = Associate Director (shared with North and Alston)
1979- 1987 = Associate choreographer
1994 = returned as Artistic Director
2002 = retired from Rambert
What is the significance of Bruce as a choreographer for the company and internationally? List ways
-he is recognised as the last choreographer to be nurtured by Marie Rambert
-Bruce is the first ‘home-grown’ contemporary dance choreographer to have his work performed by a major company
-he has an international reputation e,g working with NDT and Houston Ballet
-he has helped popularise contemporary dance in the UK. Many of his works have been televised e.g Ghost Dances and so have reached larger audiences
Where did Bruce train as a dancer?
-early training at Benson Stage Academy included ballet, tap and acro; styles all still evident in his choreography
-age 13 in 1963 attended Ballet Rambert
-Walter Gore company
-modern based dance training by Morrice, Price, Roope and Tetley
Describe how Rambert were functioning as a company, financial status and audience perception when Bruce returned in 1994.
-Richard Alston was asked to leave in 1992 because his works were proving too intellectual, abstract and avant guarde to attract and please audiences
-the 1980s in Britain was a tricky time anyway however as it was the British Recession so audiences didn’t have free money to spend on tickets
-this left the company struggling to support themselves as they were receiving no income
-they were reduced to skeletal staff
-a very distinct gap was present between ballet and modern
Why was appointing Bruce as Artistic Director wise and successful for the company at this time?
-Bruce had grown up through and with the company so he had a thorough understanding of how it worked, what was well received by audiences and the companies artistic heritage etc and so could use this prior knowledge to help lead the company in the right direction
-by this point he had worked with internationally renowned Ballet companies, so was of international status himself
-critics really liked him and his works so this would draw audiences into his works
-and because of his international status he brought in other internationally renowned choreographers like Jiri Kylian and Ohad Naharin to close gap between ballet and modern
What happened to the status of the company whilst he was Artistic Director?
-it increased rapidly..
-he re-established a wide network of tours both throughout Britain and overseas
-Administrative and technical staff had increased from 3 to 17 which included publicity staff
-they performed in central London at the coliseum for the first time in 4 years
-they were asked to reopen the new Sadlers Wells theatre due to their increased popularity and stable financial status
How did Bruce help preserve Marie Rambert’s original aims for the company?
-to be like the Tate modern- inventive, evolving to embrace contemporary developments
-preserving the best of the past- revisiting Rambert’s early works such as Cohan’s Stabat Matar
-music is still at the heart of the company- London Musici
-nurturing choreographers- Worksop seasons and 3 concerts ‘Music, song and dance’ performed in Westminster, premiered solo works by choreographers chosen by Bruce (Mark Baldwin was one)
By the end of Bruce’s Artistic Directorship, what did Bruce achieve and what did he not manage to do?
-he had created an exciting company still rooted in Marie Rambert’s aims and Graham’s abstract expressionism approach. Alston’s works were still being performed as it remained apart of Rambert’s history, and the company were performing works by LCDT (AD Robert Cohan) to preserve British Modern Dance history after the company folded in 1994.
-however, one thing Bruce wanted to do but couldn’t was to give the company a new premises, however the following AD Mark Baldwin did achieve this.
What are the key impacts that Bruce had on Rambert Dance Company
- Brought in internationally renowned guest choreographers such as Jiri Kylian, Ohad Naharin, Paul Taylor, Twyla Tharp, Siobhan Davies and Merce Cunningham to produce and revive works for the company, bridging gap between ballet and modern
- He increased the size of the company from 18 to 25. A third of the dancers were already in the company, a third Bruce had previously worked with internationally, and a third were brand new through auditions. Created new blood for the company and eclectic casting was easier for Bruce to build a strong ensemble with
- The company he left was exciting and creative. Marie Rambert’s aims of collaboration and nurturing from within were still very much rooted in the company, Graham’s abstract expressionism style seemlessly blended with classical ballet to please all audiences
- Increased administrative and technical staff from 3 to 17 which included publicity
- Bruce brought back triple and even quadruple mixed bills so he could present his most successful works which audiences will always come watch along with new works by developing choreographers. This guaranteed they received high ticket sales whilst gradually presenting new work as well.
- He re-established a wide network of tours both throughout Britain and overseas. For the 70th Anniversary of the company they performed at the London Coliseum for the first time in 4 years and were invited to be the first to perform at the new Sadlers wells theatre. Went on tour internationally to China in 1996, went to St. Petersburg, Moscow, Russia, Oldenburg, and Germany in 1997, and in 1999 went on tour to Austria, Ukraine, Italy, Cyprus and Germany
- Increased Arts council grant to £1.24 million
- London Musici replaced Mercury Ensemble
- New design relationship with wife Marian Bruce
Give some quotes which show Bruce’s relationship and development of Rambert
- “Am I likely to be making a sudden departure? No my intention is to hand the reins over safely to someone else, and I won’t go until I’m satisfied that it isn’t going to crumble if I leave”
- He feels that this is “My time of contribution, repaying what Marie Rambert gave me”
- “It’s great that contemporary dance is playing to a growing audience”
- “A lot of choreographers are knocked on the head too early. You need several goes, two or three pieces at least before you’re making something strong enough for repertory”
- “It’s very important to be allowed to create in a protective environment”
- “It’s been very rewarding to see the development”
