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Which clippings match 'Ballet' keyword pg.1 of 2
04 FEBRUARY 2016

Retailer uses drones to playfully respond to social media censorship

"clothing retail store BUYMA recently produced a creative commercial that strictly wants you to buy their clothes. Since Japanese TV programs are legally obligated to cover sensitive body parts, BUYMA uses drones to fully censor two professional belly [sic] dancers while they dance their routine naked."

[This Buyma ad which was created for television clearly plays with concepts around censorship - both in the context of Japanese broadcast media and perhaps more importantly in the context of social media where it will likely have most traction. In doing so the ad playfully references contemporary restrictions in place on sites such as Facebook.]

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2015ballet • Buyma (retailer) • censorshipcheekyclassical balletclothing retailercomedy of mannerscultural conventionsdancedroneetiquette • flying drone • high-technology • hoverJapan • Japanese online retailer • morality • naked ballet dancing • naughty • nude man • nude women • nudity • obscenity • obscuring nudity • online retailer • playful provocation • playfulnesspolite societyquadcoptersexual taboo • social media censorship • social shopping service • tabootv adtv advertveiledviral advisual gag

CONTRIBUTOR

Simon Perkins
08 MARCH 2014

The Magic Canvas (1948): An animated quest for freedom

"After the war years the studio made this beautifully fluid experiment in animation, a remarkable achievement before computers were born. The film shows how the union of the material and spiritual natures of man can lead to fulfilment. John Halas with the Hungarian designer Peter Foldes produced and directed Magic Canvas with an original score by Matyas Sieber, a student of Bella Bartok."

Year: 1948; Length: 10 mins; Production: John Halas, Joy Batchelor; Direction: John Halas; Script: John Halas; Design: John Halas, Peter Foldes; Animation: Wally Crook; Music: Matyas Sieber.

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19482D animation • abstract score • animation • associative images • balletbirdBritish animationcel animationdanceenvironment as antagonistescapeexistential insightexistentialismfreedomfulfilmentHalas and Batchelorhand-painted stop motion animationimprisonmentJohn HalasJoy Batchelor • Matyas Sieber • Peter Foldes • separation • struggling to be free • surrealist style • The Magic Canvas (1948) • traditional animationtrapped • visual association • visual metaphor • Wally Crook • war years

CONTRIBUTOR

Simon Perkins
08 JANUARY 2013

The arts and sciences are drawn more closely together by technology

"A passion for bringing together expertise in the arts, computing and technology is inspiring the University of Greenwich's new Professor of Digital Creativity.

Gregory Sporton, who joins in January [2013] from Birmingham City University, has spent much of his academic career researching the impact of new technology on the visual and performing arts. He is a former professional dancer and has also researched the history of ballet in Soviet times.

He is excited about introducing a new and original focus on the arts to Greenwich. 'I aim to gather together the expertise we have in so many disciplines, such as creative arts, computing, visualisation and all the rest, and make something new and interesting,' Professor Sporton says.

'The arts and sciences are drawn more closely together by technology: there is less differentiation than people think, and at Greenwich I want to build a research environment to explore that."

(University of Greenwich News, 17 December 2012)

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2017artsarts and sciences • ballerina • ballet • Birmingham City University • Birmingham Institute of Art and Designbodycomputingcreative artsdancerdigital creativityGreenwich • Gregory Sporton • impact of new technology • institutional strategic agenda • MotivePro Suit • performerperforming artsposture • Professor of Digital Creativity • research agenda • research environmenttraining • University of Greenwich • visual artsvisualisationVisualisation Research Unit

CONTRIBUTOR

Simon Perkins
03 APRIL 2012

William Forsythe: choreography as a reflection of social spheres

"In his installation performances such as Human Writes or Heterotopia, to which Forsythe has dedicated an increasing amount of his time in recent years, choreography becomes a social practice. Forsythe's installations are controlled test arrangements in which all the participants can observe themselves, their bodies and their movements together. When a performance like Human Writes deals in substance with the difficulties surrounding universal human rights, it becomes clear where the potential of dance and movement can lie. After all, it's not abstract universal laws alone that guarantee our co–existence. It is much more our physical actions, our daily movements that create and shape the community. Herein lies the political meaning of Forsythe's notion of dance. He creates spaces where he places people in a new, unknown relationship to themselves so that they reflect differently on their (social) spheres and in so doing explore their own potential scope for action."

(Gerald Siegmund, May 2008, Goethe–Institut)

Fig.3 Dominik Mentzos, "Human Writes", performance–Installation by William Forsythe and Kendall Thomas [http://www.theforsythecompany.com/pressphotos/humanwrites/].

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abstract universal laws • ballet • bodies • choreography • co-existence • community • confrontational • controlled test arrangements • create and shape • creative problem solvingcritique • daily movements • danceDominik Mentzosdrawdrawing • emplacement • experimentationGoethe-Institutheterotopiahuman rights • Human Writes (performance) • installation • installation performance • language of ballet • movementnomologicalparticipantsperformancephysical actions • political meaning • potential for action • relationshipssocial actionsocial changesocial practices • social spheres • space • the potential of dance and movement • universal human rights • universal laws • William Forsythe

CONTRIBUTOR

Simon Perkins
13 OCTOBER 2011

Arts Alliance Signs Deal with Pillar Group, DigiScreen and Royal Opera House

"Arts Alliance Media has announced an exclusive digital distribution agreement with Montreal–based DigiScreen Corporation, the Pillar Group and the Royal Opera House. Under the terms of the agreement Opus Arte, the opera's TV and DVD production company, will to bring ballets, operas and dance from the Royal Opera House and other international performing arts companies to cinema screens across Europe. The deal encompasses theatres in the UK and Ireland, France, Spain, Portugal, Italy, Germany, Austria, Switzerland, Benelux and the Nordic territories. Filmed in high definition, the screenings will be both pre–recorded and live, projected in digital cinema, with 5.1 surround sound. The inaugural screenings will include the first cinematic performances of ballet, with The Royal Ballet's award–winning production of Frederick Ashton's Sylvia with Darcey Bussell in the title role, and The Royal Opera's production of Le Nozze Di Figaro directed by David McVicar. Other upcoming titles to be screened from the new series will include Sleeping Beauty, Carmen, Romeo and Juliet as well as Cavalleria Rusticana and Pagliacci from Teatro Real in Madrid. Further ballet and opera performances from the extensive Opus Arte relationships will be announced in due course. AAM will be responsible for cinema exhibitor booking negotiation, digital print services, security and tracking, and live event project management, as well as comprehensive marketing and public relations support, in collaboration with Opus Arte, ROH and DigiScreen. Opera in cinemas has recently proved to be a success in Europe for both The Metropolitan Opera and the Arts Alliance Media–distributed La Scala series, with many saying that the experience is like having the best seat in the house and at a fraction of the cost. Cinema audiences are able to see the performers, the costumes and the sets up close and personal, at their convenience, in their local cinema. The Royal Opera House is embracing this new opportunity as part of its audience engagement strategy, committed to reaching wider and more diverse audiences around the world, as well as opening the minds of people to new creative experiences. The agreement signifies how digital cinema is dramatically changing the cinema–going experience, enabling audiences to enjoy alternative entertainment previously only accessible in live venues. Prior to digital cinema projection technology, the high cost of 35mm prints did not allow this type of content to be seen in cinemas. Now, with affordable digital prints and satellite distribution technology, content can be programmed widely into cinemas. In the UK, Odeon and Cityscreen Picturehouse cinemas have initially signed up to exhibit. The first screening will be Le Nozze Di Figaro later this month in thirteen Odeon cinemas, with Picturehouse showing in up to twenty cinemas in June. Other cinema exhibitors across the UK and Europe will be announced in early summer. Paul Chesney, director of business development for AAM says, 'Digital cinema is enabling cinemas to become vibrant cultural entertainment centres, as well as movie houses. We are delighted to be working with the Royal Opera House, Opus Arte and DigiScreen and thrilled to be bringing these stunning performances to cinema exhibitors across the UK and Europe.' In a joint statement Mark Hooper, CEO of DigiScreen and Michael J. St. Clair, Chairman of The Pillar Group, said, 'We are pleased to be working with Arts Alliance Media, one of Europe's leading specialists in implementing the digital cinema deployment, to bring this great content to the Home Market. AAM's local knowledge will be of significant value to us as we work to fulfill the wishes of the ROH and Opus Arte to bring this content to the farthest corners of the UK. With AAM as our partner, we will bring artistic content and independent film from around the world to the European cinemas. The audience is sure to benefit from this relationship.' Tony Hall, chief executive of the Royal Opera House and executive chairman of Opus Arte, says, 'I am excited by this pioneering new direction for the Royal Opera House at the start of the 21st Century. Being at the forefront of the burgeoning digital platform allows us to bring brilliant ballets and operas from the world renowned Royal Ballet and Royal Opera to cinema screens all over the globe. As Opus Arte film more at the ROH, and at other great opera and dance companies, we will have an unbeatable line–up of cinema entertainment for exhibitors around the world. Having experienced the performances first hand, I cannot emphasize enough what an exhilarating experience these screenings live or recorded are, the high def digital technology coupled with Surround Sound is remarkable.' Hans Petri, managing director of Opus Arte says, 'In order to recreate the excellence of the stage performances in a cinematic environment, we have been highly selective about our choice of partners. DigiScreen, The Pillar Group and Arts Alliance Media are market leaders in providing top quality alternative content to cinema chains. We are confident we can provide audiences with the very best digital experience. There is so much more to look forward to.'"

(Digital Cinema Report, 2008)

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2008 • AAM • alternative content • alternative entertainment • Arts Alliance Media • audienceaudience engagementballet • best seat in the house • Carmen • Cavalleria Rusticana • cinema • cinema audiences • cinema exhibitor • cinema screens • cinema-going experience • cinemagoers • Cityscreen Picturehouse • dance • DigiScreen Corporation • digital cinemadigital cinema projectiondigital distributiondigital platformdiverse audiencesexhibitionexperiencehigh-definition • La Scala • Le Nozze di Figaro • livelive eventlive performance on cinema screens • live productions • live screening • local cinema • London • Metropolitan Opera • Montreal • new creative experiences • Odeon • Odeon cinemas • opera • Opus Arte • Pagliacci • performing arts • Pillar Group • pioneering • projected in digital • ROH • Romeo and Juliet • Royal Opera House • Sleeping Beauty • surround sound • Sylvia • Teatro Real • theatreUK • up close and personal • venue • wider audiences

CONTRIBUTOR

Simon Perkins
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