redondanse
Nous concevons le théâtre comme une véritable opération de magie
Lauren Anderson
Born at Houston, Texas, Miss Anderson was seven when she entered the Ben Stevenson Academy, Houston Ballet’s School. In 1983, she joined Houston Ballet where she danced until her retirement from the stage in 2006. In 1990, she was appointed the first Afro-American principal of Houston Ballet, one of the very few Afro-Americans ever to be appointed principal in a major classical troupe anywhere in the world. Both in the USA and on tour internationally, she danced the lead in almost every great classical ballet.
Ben Stevenson created the title role in Cleopatra for her, in which Anna Kisselgoff, the New York Times’ critic, compared her to the legendary Italian actress Eleonora Duse. In 1990, Miss Anderson received the Special Jury Award at the USA International Ballet Competition and in 1996, the International Critics Award in Chile. In April 1999, Dance Magazine featured her as the cover story. She has been the subject of articles in People and Pointe magazines, and appeared on American television programmes such as A&E Breakfast with the Arts, CBS News Sunday Morning or To Tell the Truth. She has been the recipient of many awards, notably from the Martin Luther King Foundation, the Texas State Legislature, the US Congress, the Coalition of 100 Black Women, the Urban League, the Asian Chamber of Commerce, or Houston Municipal Council.
In January 2007, Miss Anderson was appointed Artistic Outreach Associate with Houston Ballet. She gives conferences and master classes in Houston public schools, and guest-teaches internationally, most recently in France (April 2014) where she taught at the Centre de Danse du Marais, the Paris, Rambouillet and Boulogne-Billancourt Conservatories, and at Grigny where a dance studio has been named in her honour.
Born at Houston, Texas, Miss Anderson was seven when she entered the Ben Stevenson Academy, Houston Ballet’s School. In 1983, she joined Houston Ballet where she danced until her retirement from the stage in 2006. In 1990, she was appointed the first Afro-American principal of Houston Ballet, one of the very few Afro-Americans ever to be appointed principal in a major classical troupe anywhere in the world. Both in the USA and on tour internationally, she danced the lead in almost every great classical ballet.
Ben Stevenson created the title role in Cleopatra for her, in which Anna Kisselgoff, the New York Times’ critic, compared her to the legendary Italian actress Eleonora Duse. In 1990, Miss Anderson received the Special Jury Award at the USA International Ballet Competition and in 1996, the International Critics Award in Chile. In April 1999, Dance Magazine featured her as the cover story. She has been the subject of articles in People and Pointe magazines, and appeared on American television programmes such as A&E Breakfast with the Arts, CBS News Sunday Morning or To Tell the Truth. She has been the recipient of many awards, notably from the Martin Luther King Foundation, the Texas State Legislature, the US Congress, the Coalition of 100 Black Women, the Urban League, the Asian Chamber of Commerce, or Houston Municipal Council.
In January 2007, Miss Anderson was appointed Artistic Outreach Associate with Houston Ballet. She gives conferences and master classes in Houston public schools, and guest-teaches internationally, most recently in France (April 2014) where she taught at the Centre de Danse du Marais, the Paris, Rambouillet and Boulogne-Billancourt Conservatories, and at Grigny where a dance studio has been named in her honour.
Julie Cronshaw
Born at London in 1966, Julie Cronshaw began her dance studies with Stella Mann. At the Royal Ballet School, her encounter was the great Cecchetti specialist Richard Glasstone was decisive to the rest of her artistic life. As a professional dancer, she worked in the USA with John Prinz, Violette Verdy, Magali Messac and Lupe Serrano. She later became ballet master and company teacher for Boulder Ballet (Colorado), choreographer for the Regional Dance America Festival, ballet master and teacher at Western Ballet Theatre (Palo Alto) and, under Maria Tallchief, teacher at Chicago City Ballet’s School.
After returning to London Miss Cronshaw founded Highgate Ballet School in September 1995, to provide Cecchetti training to young pupils; they currently number over 500. She also undertook intense study with Roger Tully and the Cecchetti specialist Cara Drower.
Now a Fellow of the Imperial Society of Teachers of Dancing, she holds the Enrico Cecchetti Diploma and the Royal Ballet School’s Teachers Training Course Diploma. She is also a founding member of the Société Auguste Vestris.
Born at London in 1966, Julie Cronshaw began her dance studies with Stella Mann. At the Royal Ballet School, her encounter was the great Cecchetti specialist Richard Glasstone was decisive to the rest of her artistic life. As a professional dancer, she worked in the USA with John Prinz, Violette Verdy, Magali Messac and Lupe Serrano. She later became ballet master and company teacher for Boulder Ballet (Colorado), choreographer for the Regional Dance America Festival, ballet master and teacher at Western Ballet Theatre (Palo Alto) and, under Maria Tallchief, teacher at Chicago City Ballet’s School.
After returning to London Miss Cronshaw founded Highgate Ballet School in September 1995, to provide Cecchetti training to young pupils; they currently number over 500. She also undertook intense study with Roger Tully and the Cecchetti specialist Cara Drower.
Now a Fellow of the Imperial Society of Teachers of Dancing, she holds the Enrico Cecchetti Diploma and the Royal Ballet School’s Teachers Training Course Diploma. She is also a founding member of the Société Auguste Vestris.
Noella Pontois
One of the foremost French theatrical artists of the 20th Century, Noella Pontois enjoys universal admiration and esteem in the profession. A disciple of Huguette Devanel, she was entirely trained at the Paris Opera School, and can be said to represent the traditions of the French School in its very purest and noblest form. Thanks to a technique of great economy and intelligence, free of all strain, throughout a long and brilliant career both in France and as a guest star abroad, Mlle Pontois danced every major role in the repertory as well as many modern works, without ever suffering serious injury. Amongst her partners were Nureyev, Vladimir Vassiliev, Peter Schaufuss, Fernando Bujones, Cyril Atanassoff … Simple, truthful and heartfelt, her interpretations remain renowned and discussed to this very day. For fifteen years after her retirement, Mlle Pontois taught within the Paris Opera, and brought a new generation of soloists to prominence. She continues to be greatly in demand as a guest teacher and was recently the subject of an exhibition and media-display at Elephant-Paname, organised by her former student, the soloist Fanny Fiat. Among Mlle. Pontois’ many distinctions, she has been made Officer of the Légion d’Honneur and Commandeur des Arts et des Lettres
One of the foremost French theatrical artists of the 20th Century, Noella Pontois enjoys universal admiration and esteem in the profession. A disciple of Huguette Devanel, she was entirely trained at the Paris Opera School, and can be said to represent the traditions of the French School in its very purest and noblest form. Thanks to a technique of great economy and intelligence, free of all strain, throughout a long and brilliant career both in France and as a guest star abroad, Mlle Pontois danced every major role in the repertory as well as many modern works, without ever suffering serious injury. Amongst her partners were Nureyev, Vladimir Vassiliev, Peter Schaufuss, Fernando Bujones, Cyril Atanassoff … Simple, truthful and heartfelt, her interpretations remain renowned and discussed to this very day. For fifteen years after her retirement, Mlle Pontois taught within the Paris Opera, and brought a new generation of soloists to prominence. She continues to be greatly in demand as a guest teacher and was recently the subject of an exhibition and media-display at Elephant-Paname, organised by her former student, the soloist Fanny Fiat. Among Mlle. Pontois’ many distinctions, she has been made Officer of the Légion d’Honneur and Commandeur des Arts et des Lettres
Marie Josée Redont
Miss Redont entered the Paris Opera School at the age of eight, was trained there, and danced with the Paris Opera throughout a long and brilliant career as a soloist, during which she focused on accurate and deliberate mastery of the major styles. Between 1969 and 1987, she had the great good fortune to interpret – and often have created on her – works typical of the most advanced trends. Such choreography, often very taxing to the body, proved the lasting worth of the tradition passed on to Miss Redont through her masters. Amongst the latter, Yves Brieux-Ustaritz comes foremost. Thanks to the store of knowledge she gained in Maître Brieux’s studio over twenty-five years (Brieux’ knowledge of anatomy applied to classical dance was most unusual for the period, and he also happened to be a skilled musician), Miss Redont performed in virtually every style and technique on the world’s great stages for near-on thirty years, without suffering a single serious injury.
Miss Redont entered the Paris Opera School at the age of eight, was trained there, and danced with the Paris Opera throughout a long and brilliant career as a soloist, during which she focused on accurate and deliberate mastery of the major styles. Between 1969 and 1987, she had the great good fortune to interpret – and often have created on her – works typical of the most advanced trends. Such choreography, often very taxing to the body, proved the lasting worth of the tradition passed on to Miss Redont through her masters. Amongst the latter, Yves Brieux-Ustaritz comes foremost. Thanks to the store of knowledge she gained in Maître Brieux’s studio over twenty-five years (Brieux’ knowledge of anatomy applied to classical dance was most unusual for the period, and he also happened to be a skilled musician), Miss Redont performed in virtually every style and technique on the world’s great stages for near-on thirty years, without suffering a single serious injury.
Flemming Ryberg
The Dancing School of Denmark’s Royal Theatre was founded in 1771. It was sixty years ago, as a pupil there, that Flemming Ryberg first stepped out on stage. In 1957, he joined the troupe, and studied with Vera Volkova, Hans Brenaa and Erik Bruhn from whom he acquired the ease, lightness and elegance which were to make him a renowned interpreter of Bournonville. At the age of 26, in 1966, he was appointed Solo Dancer (principal), and danced all the great roles. Later, as Principal Character Artist, he danced Coppelius, Drosselmeyer, Madge, Peppo in Napoli, Mirevelt in La Kermesse à Bruges, Monsieur Dufour in Le Conservatoire and so many others.
Flemming Ryberg has instructed many of Bournonville’s ballets, and created original choreography for operas (Maskarade, La Traviata, Le Barbier de Séville, Didon & Enée, Manon Lescaut) … and children’s ballets. He has taught Bournonville technique in the Royal Theatre School and for the company, as well as pantomime, in which he is an acknowledged master. For almost a decade, he headed the famed Pantomime Theatre in the Tivoli Gardens, and as an international guest teacher has specialised in Bournonville technique and mime, notably during the annual Biarritz Bournonville Days. Author of essays and books on ballet, guest speaker in Denmark’s public schools, Flemming Ryberg is a Knight of the Dannebrog, 1. grad.
The Dancing School of Denmark’s Royal Theatre was founded in 1771. It was sixty years ago, as a pupil there, that Flemming Ryberg first stepped out on stage. In 1957, he joined the troupe, and studied with Vera Volkova, Hans Brenaa and Erik Bruhn from whom he acquired the ease, lightness and elegance which were to make him a renowned interpreter of Bournonville. At the age of 26, in 1966, he was appointed Solo Dancer (principal), and danced all the great roles. Later, as Principal Character Artist, he danced Coppelius, Drosselmeyer, Madge, Peppo in Napoli, Mirevelt in La Kermesse à Bruges, Monsieur Dufour in Le Conservatoire and so many others.
Flemming Ryberg has instructed many of Bournonville’s ballets, and created original choreography for operas (Maskarade, La Traviata, Le Barbier de Séville, Didon & Enée, Manon Lescaut) … and children’s ballets. He has taught Bournonville technique in the Royal Theatre School and for the company, as well as pantomime, in which he is an acknowledged master. For almost a decade, he headed the famed Pantomime Theatre in the Tivoli Gardens, and as an international guest teacher has specialised in Bournonville technique and mime, notably during the annual Biarritz Bournonville Days. Author of essays and books on ballet, guest speaker in Denmark’s public schools, Flemming Ryberg is a Knight of the Dannebrog, 1. grad.
Atanas Kaïchev, pianist
A pianist and composer, Atanas Kaïchev was born at Yambol in Bulgaria in 1967. After taking a First Prize in composition at the National Conservatory at Sofia, he came to France in 1997 to study at the University of Paris, where in 2000, he took a Bachelor’s Degree in computer-assisted composition. He has written the scores for many documentaries.
Particularly sensitive to the principles and dynamics of movement in classical dance, Atanas Kaïchev is accompanist to ballet classes in the Centre national de la danse, the Conservatoires à rayonnement régional, master classes and special courses. He was also the principal accompanist to the Nuits Blanches du Centre de danse du Marais series of master-classes, and in the summer of 2014, accompanied Monique Loudières’ classes for the Etés de la Danse.
A pianist and composer, Atanas Kaïchev was born at Yambol in Bulgaria in 1967. After taking a First Prize in composition at the National Conservatory at Sofia, he came to France in 1997 to study at the University of Paris, where in 2000, he took a Bachelor’s Degree in computer-assisted composition. He has written the scores for many documentaries.
Particularly sensitive to the principles and dynamics of movement in classical dance, Atanas Kaïchev is accompanist to ballet classes in the Centre national de la danse, the Conservatoires à rayonnement régional, master classes and special courses. He was also the principal accompanist to the Nuits Blanches du Centre de danse du Marais series of master-classes, and in the summer of 2014, accompanied Monique Loudières’ classes for the Etés de la Danse.
Bernard Boucher
At the age of eleven, he entered the Paris Opera School; he continued his studies from the age of fourteen to eighteen at theConservatoire supérieur de musique et de danse de Paris (CNSMDP) with Maître Yves Brieux, and graduated with a First Prize. He then returned to the Paris Opera School for his final year, before joining the Paris Opera, being the first selected out of 70 candidates, only three of whom were accepted. With the Paris Opera, Bernard Boucher danced all the great classics, as well as new work by Skibine, Bejart, Roland Petit, Descombey, Nureyev … and works by Balanchine, Tetley, Limon. The Paris Opera entered him as candidate at the Tokyo International Competition in 1976, where he won Gold for best partner. That year, he was appointed premier danseur (principal), while pursuing his work with Maître Brieux and Serge Peretti. When he retired from the stage, the then-Director of the Opera School, Claude Bessy, appointed him teacher for male students and pas de deux. He is often invited to join the jury at international competitions.
At the age of eleven, he entered the Paris Opera School; he continued his studies from the age of fourteen to eighteen at theConservatoire supérieur de musique et de danse de Paris (CNSMDP) with Maître Yves Brieux, and graduated with a First Prize. He then returned to the Paris Opera School for his final year, before joining the Paris Opera, being the first selected out of 70 candidates, only three of whom were accepted. With the Paris Opera, Bernard Boucher danced all the great classics, as well as new work by Skibine, Bejart, Roland Petit, Descombey, Nureyev … and works by Balanchine, Tetley, Limon. The Paris Opera entered him as candidate at the Tokyo International Competition in 1976, where he won Gold for best partner. That year, he was appointed premier danseur (principal), while pursuing his work with Maître Brieux and Serge Peretti. When he retired from the stage, the then-Director of the Opera School, Claude Bessy, appointed him teacher for male students and pas de deux. He is often invited to join the jury at international competitions.