Rambert Flashcards

1
Q

Who founded Rambert?

A

Dame Marie Rambert

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2
Q

What style of ballet did Marie Rambert teach?

A

The cechetti method

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3
Q

When were Marie Rambert and Norman Morrice Artistic Director?

A

1966-1974

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4
Q

When was Robert North Artistic Director?

A

1981-1986

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5
Q

When was Richard Alston Artistic Director?

A

1986-1992

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6
Q

When was Christopher Bruce Artistic Director?

A

1994-2002

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7
Q

Why was Alston dismissed?

A

Cunningham, abstract, audience’s weren’t fans of his work.

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8
Q

What was Ballet Rambert’s key focus until 1966?

A

Being a touring ballet company, eg Giselle, Coppelia, Don Quixote, La Sylphide

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9
Q

Who brought around change in 1966? What changes?

A

Norman Morrice invited Marie Rambert to America to see the new developments in dance and to study with major choreographers including Graham herself. Morrice encouraged Marie Rambert to return to the company’s original ethos, reduce the size of the company, daily classes in Graham and ballet, creating new works and preserving the best of their classical works. This is called the 1966 Policy.

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10
Q

What roles did Bruce play as a principal?

A

Leading male soloist roles in Don Quixote and Coppelia.
Played Pierrot in Pierrot Lunaire, alongside Mark Baldwin.

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11
Q

When was Bruce’s first piece of choreography performed?

A

George Frideric in 1969

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12
Q

Between 1975 and 1987 what were Bruce’s roles within the company?

A

He was Associate Director (1975-79) then Associate Choreographer (1979-1987)

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13
Q

Where did Tetley train?

A

He dropped out of medical school and moved to NY to train in modern dance with Hanya Holm and Martha Graham.

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14
Q

Who was Tetley’s main stylistic influence?

A

Martha Graham

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15
Q

When did Tetley begin his relationship with Ballet Rambert?

A

In 1966, Morrice brought in several American choreographers to create new works for Rambert, including Tetley, who created Ziggurat (1967) and Pierrot Lunaire (1967).

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16
Q

What impact did he have on the company?

A

His provocative works shocked audiences and “bridged the gap that looms between academic ballet and free dance”.