Helpful Links
Rambert:
rambert-1966-2002-a-level-study-pack.pdf - Rambert Study Guide
https://www.youtube.com/watch?v=o_Zf_1cvTMA - Vintage Rambert: Behind the scenes documentary
https://www.rambert.org.uk/explore/videos/ - Videos of Rambert works
https://www.rambert.org.uk/performance-database/timeline/ - Rambert Timeline
https://www.rambert.org.uk/performance-database/works/ - Database with information about each Rambert work
https://www.rambert.org.uk/performance-database/people/ - Database with information on every person associated with Rambert
https://www.rambert.org.uk/about-us/ - Overview of Rambert
https://www.rambertschool.org.uk/school/history/ - Rambert History
https://culture.pl/en/artist/marie-rambert - Marie Rambert History
https://www.youtube.com/user/rambertdancecompany - Rambert YouTube
https://www.theguardian.com/stage/2016/jun/06/rambert-dance-company-at-90-dance-stardust - Article on Rambert
rambert-1966-2002-a-level-study-pack.pdf - Rambert Study Guide
https://www.youtube.com/watch?v=o_Zf_1cvTMA - Vintage Rambert: Behind the scenes documentary
https://www.rambert.org.uk/explore/videos/ - Videos of Rambert works
https://www.rambert.org.uk/performance-database/timeline/ - Rambert Timeline
https://www.rambert.org.uk/performance-database/works/ - Database with information about each Rambert work
https://www.rambert.org.uk/performance-database/people/ - Database with information on every person associated with Rambert
https://www.rambert.org.uk/about-us/ - Overview of Rambert
https://www.rambertschool.org.uk/school/history/ - Rambert History
https://culture.pl/en/artist/marie-rambert - Marie Rambert History
https://www.youtube.com/user/rambertdancecompany - Rambert YouTube
https://www.theguardian.com/stage/2016/jun/06/rambert-dance-company-at-90-dance-stardust - Article on Rambert
AQA Information on Rambert:
The development of the art of ballet in Western Europe in the early part of the twentieth century was supported by the work of Diaghilev’s Ballets Russes. Through this company, dancers and choreographers were trained who were to continue the expansion of ballet after Diaghilev’s death in 1929. Marie Rambert was a member of Diaghilev’s company and was already beginning to develop her involvement with dancers in Britain before Diaghilev’s death. Before the 1920s there was no British tradition of ballet. This situation began to change when Marie Rambert formed her own school in 1920, which became known as Ballet Rambert from 1935. Her early involvement with Diaghilev, Stravinsky and the Ballets Russes developed her appreciation of collaboration and the importance of composers and artists being commissioned to work with new choreographers.
By the 1950s public support for the art of ballet was established but the arrival of the Martha Graham Dance Company for a two-week season in 1954 met with a negative response from the audience. However, the enthusiasm of Robin Howard and the appreciation of dance critic Richard Buckle heralded the start of a process to introduce modern dance to Britain. Ballet Rambert played a key part in this development and the 1960s saw a period of change in the company. In 1966 Marie Rambert was encouraged by Norman Morrice, associate director, to make changes to the company.These included:
• a reduction in the size of the company
• the preservation of the best of the company’s original works
• the creation of new works
• in addition to ballet, the inclusion of modern dance ie Graham technique in the training of the dancers
• the contribution through teaching and choreography of a range of practitioners from within the company and from America, eg Glen Tetley
• regular seasons in London and a tour schedule in the provinces and abroad.
John Chesworth, a company member and former Rambert student, assisted the directors in the reorganisation of Ballet Rambert. He was made associate director in 1970 and became artistic director in 1974 when Norman Morrice left. Chesworth continued Morrice’s policies with the promotion of new work from company members and the expansion of the repertoire through guest choreographers. He was also instrumental in developing Rambert’s educational activities in order to give young people an understanding of choreography and the staging of works. During the 1970s the repertoire of the company was dominated by the works of Glen Tetley and Christopher Bruce, leading to two large-scale productions: Cruel Garden (Bruce and Kemp, 1977) and The Tempest (Tetley, 1979).
Bruce became associate director in 1975 and then associate choreographer in 1979. From 1975 to 1985 the two main dance companies in Britain were London Contemporary Dance Theatre and Ballet Rambert. London Contemporary Dance Theatre began to focus on the development of work by company members whereas Ballet Rambert began to include works from a range of choreographers in its repertoire.
There were also links between the companies through the use of choreographers, eg the input of Robert North and Richard Alston to Ballet Rambert. In the 1980s the repertoire of Ballet Rambert focused on the work of three British choreographers: Robert North, Christopher Bruce and Richard Alston. After John Chesworth’s departure in 1980, Robert North directed the company from 1981 to 1986. He was keen to develop the physicality, musicality and dramatic quality of the dancers. He encouraged the creation of new choreography and continued to include works by visiting choreographers in the repertoire.
Alston became resident choreographer in 1980 and artistic director in 1986, consolidating the Cunningham influence. The name of the company changed to Rambert Dance Company in 1987 and Marie Rambert’s original policy to encourage new approaches to choreography, design and music was continued. Bruce returned to the company in 1994 as artistic director and continued its development with:
• the inclusion of a wide range of techniques
• the continued development of new choreographers
• the creation of his own new works
• the contribution of guest choreographers
• a repertoire of neo-classical and modern works.
In 2002 Bruce was succeeded as artistic director by Mark Baldwin.
By the 1950s public support for the art of ballet was established but the arrival of the Martha Graham Dance Company for a two-week season in 1954 met with a negative response from the audience. However, the enthusiasm of Robin Howard and the appreciation of dance critic Richard Buckle heralded the start of a process to introduce modern dance to Britain. Ballet Rambert played a key part in this development and the 1960s saw a period of change in the company. In 1966 Marie Rambert was encouraged by Norman Morrice, associate director, to make changes to the company.These included:
• a reduction in the size of the company
• the preservation of the best of the company’s original works
• the creation of new works
• in addition to ballet, the inclusion of modern dance ie Graham technique in the training of the dancers
• the contribution through teaching and choreography of a range of practitioners from within the company and from America, eg Glen Tetley
• regular seasons in London and a tour schedule in the provinces and abroad.
John Chesworth, a company member and former Rambert student, assisted the directors in the reorganisation of Ballet Rambert. He was made associate director in 1970 and became artistic director in 1974 when Norman Morrice left. Chesworth continued Morrice’s policies with the promotion of new work from company members and the expansion of the repertoire through guest choreographers. He was also instrumental in developing Rambert’s educational activities in order to give young people an understanding of choreography and the staging of works. During the 1970s the repertoire of the company was dominated by the works of Glen Tetley and Christopher Bruce, leading to two large-scale productions: Cruel Garden (Bruce and Kemp, 1977) and The Tempest (Tetley, 1979).
Bruce became associate director in 1975 and then associate choreographer in 1979. From 1975 to 1985 the two main dance companies in Britain were London Contemporary Dance Theatre and Ballet Rambert. London Contemporary Dance Theatre began to focus on the development of work by company members whereas Ballet Rambert began to include works from a range of choreographers in its repertoire.
There were also links between the companies through the use of choreographers, eg the input of Robert North and Richard Alston to Ballet Rambert. In the 1980s the repertoire of Ballet Rambert focused on the work of three British choreographers: Robert North, Christopher Bruce and Richard Alston. After John Chesworth’s departure in 1980, Robert North directed the company from 1981 to 1986. He was keen to develop the physicality, musicality and dramatic quality of the dancers. He encouraged the creation of new choreography and continued to include works by visiting choreographers in the repertoire.
Alston became resident choreographer in 1980 and artistic director in 1986, consolidating the Cunningham influence. The name of the company changed to Rambert Dance Company in 1987 and Marie Rambert’s original policy to encourage new approaches to choreography, design and music was continued. Bruce returned to the company in 1994 as artistic director and continued its development with:
• the inclusion of a wide range of techniques
• the continued development of new choreographers
• the creation of his own new works
• the contribution of guest choreographers
• a repertoire of neo-classical and modern works.
In 2002 Bruce was succeeded as artistic director by Mark Baldwin.
Rambert through the decades infographics:
The beginning:
For your exam answers, you will be expected to speak about Rambert Dance Company from 1966-2002, however it is still important for you to know about the origins of the company. This information can be consolidated with knowledge from the history of dance page.
Marie Rambert was born in Warsaw in 1888. In 1910 she went to Jaques-Dalcroze’s School of Eurhythmics in Geneva, and when Diaghilev needed someone to help Nijinsky teach his cast the complicated rhythms of Stravinsky’s Rite of Spring, Dalcroze recommended Marie Rambert. She joined the Ballets Russes in 1912 to teach eurhythmics, assist Nijinsky and dance in those ballets for which she was suitable. She remained with the Company for a year. At the outbreak of the First World War she moved to Britain and supported herself by teaching dance and eurhythmics in schools and private homes in London.
In 1920 she opened her own school of dancing in Kensington and six years later, in 1926, she and her students appeared in a short ballet by one of her pupils, Frederick Ashton, at the Lyric Theatre in Hammersmith. A Tragedy of Fashion is important not only because it was Ashton’s first work, but because it marked the earliest beginnings of Ballet Rambert.
During the Second World War Ballet Rambert became a full time touring company, performing large scale productions at Sadler's Wells. During the war the Company did a great deal of valuable work appearing in a range of venues including factory canteens as well as theatres, and in this way made its own contribution to the war effort. The change in its performance activities, during and immediately after the war, resulted in a new audience. The small but knowledgeable audience of the Ballet Club was replaced by a more general audience whose tastes were less adventurous than those of the Company’s earlier supporters. They began to expect longer ballets in addition to the traditional mixed bills of new works. Ballet Rambert performed several classics, including the well-known Giselle and Coppelia and the first major British productions of La Sylphide and Don Quixote.
Marie Rambert was born in Warsaw in 1888. In 1910 she went to Jaques-Dalcroze’s School of Eurhythmics in Geneva, and when Diaghilev needed someone to help Nijinsky teach his cast the complicated rhythms of Stravinsky’s Rite of Spring, Dalcroze recommended Marie Rambert. She joined the Ballets Russes in 1912 to teach eurhythmics, assist Nijinsky and dance in those ballets for which she was suitable. She remained with the Company for a year. At the outbreak of the First World War she moved to Britain and supported herself by teaching dance and eurhythmics in schools and private homes in London.
In 1920 she opened her own school of dancing in Kensington and six years later, in 1926, she and her students appeared in a short ballet by one of her pupils, Frederick Ashton, at the Lyric Theatre in Hammersmith. A Tragedy of Fashion is important not only because it was Ashton’s first work, but because it marked the earliest beginnings of Ballet Rambert.
During the Second World War Ballet Rambert became a full time touring company, performing large scale productions at Sadler's Wells. During the war the Company did a great deal of valuable work appearing in a range of venues including factory canteens as well as theatres, and in this way made its own contribution to the war effort. The change in its performance activities, during and immediately after the war, resulted in a new audience. The small but knowledgeable audience of the Ballet Club was replaced by a more general audience whose tastes were less adventurous than those of the Company’s earlier supporters. They began to expect longer ballets in addition to the traditional mixed bills of new works. Ballet Rambert performed several classics, including the well-known Giselle and Coppelia and the first major British productions of La Sylphide and Don Quixote.
Rambert Dance Company 1966 -2002:
In 1966 Ballet Rambert could no longer afford to tour large scale classical productions, so transformed into a medium-scale classical touring company with a smaller ensemble, led by Norman Morrice.
Works:
Diversities (1966) – Jonathan Taylor
Singular Moves (1966) – Amanda Knott
Intermede (1966) – Pierre Lacotte
Numeros (1966) – Peirre Lacotte
Time Base (1966) – John Chesworth
Night Island (1966) - Rudi van Dantzig
Peirrot Lunaire (1967) – Glen Tetley - https://www.youtube.com/watch?v=2ykNVFkhIEY
Ricercare (1967) – Glen Tetley
Hazard (1967) – Norman Morrice
Desserts (1967) – Anna Sokolow
inochi (1967) – David Toguri
Freefall (1967) – Glen Tetley
Ziggurat (1967) – Glen Tetley
'H' (1968) – John Chesworth
Tic-Tack (1968) – John Chesworth
Remembered Motion (1968) – Geoff Moore
Solo (1968) – Clover Roope
1-2-3 (1968) – Norman Morrice
Them and Us (1968) – Norman Morrice
The Act (1968) – Linda Hodes
Emrace Tiger and Return to the Mountain (1968) – Glen Tetley
Pawn to King 5 (1968) – John Chesworth
George Frideric (1969) – Christopher Bruce
Pastorale Variee (1969) – Norman Morrice
Living Space (1969) – Christopher Bruce
Blind-Sight (1969) – Norman Morrice
Bertram Batell's Sideshow (1970) – Johnathan Taylor, Pietje Law, Joseph Scoglio, Ann Whitley, Peter Curtis, Amanda Knott
Opus '65 (1970) – Anna Sokolow
Four According (1970) – John Chesworth
The Empty Suit (1970) – Norman Morrice
'Tis Goodly Sport (1970) – Jonathan Taylor
That is the Show (1971) – Norman Morrice
Metaflow (1971) – Joseph Scoglio
Wings (1971) – Christopher Bruce
Rag-Dances (1971) – Glen Tetley
Solo (1971) – Norman Morrice
4 Pieces for 6 Dancers (1972) – Pietje Law
Ad hoc (1972) – John Chesworth
“for those who die as cattle” (1972) – Cristopher Bruce
Full Circle (1972) – Gideon Avrahami
Sonata forTwo (1972) – Johnathan Taylor
Theme and Variations (1972) – Graham Jones
This Seems to Be my Life (1972) – Peter Curtis
Ladies Ladies! (1972) – Norman Morrice
Stop-Over (1972) – Joseph Scoglio
Pattern for an Escalator (1972) – John Chesworth
Considering he Lilies (1972) – Lar Lubovitch
Listen to the Music (1972) – Jonathan Taylor
Totems (1972) – Graham Jones
There was a Time (1973) – Christopher Bruce
Cantate (1973) – Graham Jones
Magic Theatre – not for everyone (1973) – Leigh Warren
Les Saltimbanques (1973) – Joseph Scoglio
yesterday and yesterday (1973) – Julia Blaikie
tutti-frutti (1973) – Louis Falco
Duets (1973) – Christopher Bruce
Isolde (1973) – Norman Morrice
Interim 3 (1973) – Nanette Hassall
Twice (Sock it to me) – Hans van Manen
Imprints (film ) (Jan 1974)
In 1974 Morrice was succeeded as Artistic Director by John Chesworth, assisted by Christopher Bruce as assistant director. The company produced several major works including:
Spindrift (1974) – Norman Morrice
Weekend (1974) – Christopher Bruce
Sake (1974) – Manuel Alum
Project 6354/9116 Mk 2 (1974) – John Chesworth
Almost an Echo (or A Celluloid Dream) – Jonathan Taylor
Take a Running Jump (1975) – Julia Blaikie, Nicholas Carroll, Judith Marcuse, Sally Owen, Joseph Scogolio, Marilyn Milliams
baby (1975) – Judith Marcuse
The Parades Gone By (1975) – Lindsay Kemp
Running Figures (1975) – Robert North
The Night Dances (1975) – Joseph Scoglio
Table (1975) – Cliff Keuter
Mueste de Taverni (1975) – Cliff Keuter
Ancient Voices of Children (1975) – Christopher Bruce
Steppes (1976) – Blake Brown
Two Minutes and Fifty Seconds in the Life, Times and Ultimate Rejection od Ailuj Kaibile (1976) – Sally Owen
Four Working Songs (1976) – Judith Marcuse
Moveable Garden (1976) – Glen Tetley
Black Angels (1976) – Christopher Bruce
Reflections (1976) – Robert North
Five Brahms Waltzes in the Manner of Isadora Duncan (1976) – Frederick Ashton
Girl with Straw Hat (1976) – Christopher Bruce
The sea whisper'd me (1976) – Norman Morrice
Window (1976) – Sara Sugihara
Promenade (1976) – Christopher Bruce
Musical Offering (1976) – Zoltan Imre
The Pool (1977) – Leigh Warren
Kuyaiki (1977) – Gary Sherwood
The Accident (1977) – Zoltan Imre
Episode 1 (1977) – Jaap Flier
Echoes of a Night Sky (1977) – Christopher Bruce
Frames, Pulse and Interruptions (1977) – Jaap Flier
Cruel Garden (1977) – Christopher Bruce - https://www.youtube.com/watch?v=duxtr1KFOfc
Smiling Immortal (1977) – Norman Morrice
Sleeping Birds (1977) – Sara Sugihara
Praeludium (1978) – Glen Tetley
Laocoon (1978) – Zoltan Imre
Nuthouse Stomp (1978) – Leigh Warren
Dancers – a film (1978)
Echoi (1979) – Japp Flier
The Tempest (1979) – Glen Tetley
Changes (1979) – Micha Bergese
Celebration (1979) – Siobhan Davies
I'll Be in Touch (1979) – Sally Owen, Leigh Warren
Night with Warning Moon (1979) – Christopher Bruce
Sidewalk (1979) – Christopher Bruce
Bell High (1980) – Richard Alston
Passing Through (1980) – Lucy Bethune
Preludes and Song (1980) – Christopher Bruce
Landscape (1980) – Richard Alston
Rainbow Ripples (1980) – Richard Alston
Figures of Wind (Feb 1981) -Cliff Keuter
Paper Sunday (Feb 1981) – Sally Owne
Room to Dance (Feb 1981) – Cliff Keuter
The Rite of Spring: Pictures of Pagan Russia (March 1981) – Richard Alston
In 1981 Robert North became Artistic Director. North developed a repertoire that proved popular with audiences both at home and abroad.
Ghost Dances (1981) – Christopher Bruce - https://www.youtube.com/watch?v=E0o2PEewTu8
Dancing Day (1981) -Christopher Bruce
Night Music (1981) – Richard Alston
Unsuitable Case (1981) – Sally Owen
Lonely Town, Lonely Street (1981) – Robert North https://www.youtube.com/watch?v=8_GZf7iBzSE
Berlin Requiem (1982) – Christopher Bruce
Airs (1982) – Paul Taylor
Pribaoutki ('A Telling') (1982) – Robert North
The Kitchen Table (1982) – Bill Cratty
Apollo Distraught (1982) – Richard Alston
Fantasie (1982) – Richard Alston
Scriabin Preludes (1982) – Robert North
Chicago Brass (1983) – Richard Alston
Fielding Sixes (1983) – Merce Cunningham
Concertino (1983) – Christopher Bruce
Murderer Hope of Women (1983) – Glen Tetley
Colour Moves (1983) – Robert North
Entre dos Aguas (1984) – Robert North
Intimate Pages (1984) – Christopher Bruce
Voices and Light Fottsteps (1984) – Richard Alston
Wildlife (1984) – Richard Alston - https://www.youtube.com/watch?v=tGKzv-n6Kd4. https://vimeo.com/269342907
Sergeant Early's Dream (1984) – Christopher Bruce
Death and the Maiden (1984) – Robert North https://vimeo.com/269342924
An Occasion For Some Revolutionary Gestures (1985) – Dan Wagoner
Mythologies (1985) – Richard Alston
Dangerous Liaisons (1985) – Richard Alston
Light and Shade (1985) – Robert North
Java (1985) – Richard Alston
Dipping Wiings (Continual Departing) (1985) – Mary Evelyn
Soda Lake (1986) – Richard Alston https://www.youtube.com/watch?v=kMNCorAtQPY
It's a Raggy Waltz (1986) – Lucy Bethune
Songs of the Ghetto (1986) – Frances Carty
In 1986 Richard Alston became Artisitc Director. Under his name Ballet Rambert became known for the use of Cunningham technique and had a repetoire of mainly abstract works. In 1987 the company was renamed to Rambert Dance Company to more accurately reflect the style and nature of its current form. (Shortened to Rambert in 2013). Richard Alston left in 1992.
No Strings Attached (1986) – Sara Matthews
Zansa (1986) – Richard Alston
Mercure (1986) – Ian Spink
Swamp (1986) – Michael Clark
Ceremonies (1986) – Christopher Bruce
Carmen Arcadiae Mechanicae Perpetuum (1986) – Ashley Page
Dutiful Ducks (1986) – Richard Alston
Pulcinella (1987) – Richard Alston
Rushes (1987) – Siobhan Davies
Strong Language (1987) – Richard Alston - https://www.youtube.com/watch?v=yy7BRHu4djU
Wolfi (An Allegory) (1987) – Lynn Seymour
Septet (1987) – Merce Cunningham
Rhapsody in Blue (1988) – Richard Alston
Trace (1988) – Mary Evelyn
Mates (1988) – David Gordon
Hymnos (1988) – Richard Alston
Soldat (1988) – Ashley Page
Embarque (1988) – Siobhan Davies
Cinema (1989) – Richard Alston
Opal Loop (1989) – Trisha Brown
Sounding (1989) – Siobhan Davies
Calm (1989) – Mary Evelyn
Pulau Dewata (1989) – Richard Alston
Doubles (1990) – Merce Cunningham
Currulao (1990) – Ashley Page
Dealing with Shadows (1990) – Richard Alston
Longevity (1990) -Gary Lambert
Signature (1990) – Siobhan Davies
Four Elements (1990) – Lucinda Childs
Roughcut (1990) – Richard Alston
Plain Song (1991) – Siobhan Davies
Slippage (1991) – William Tuckett
Hiding Game (1991) – Herve Robbe
Completely Birdland (1991) – Laurie Booth
Island to Island (1991) – Mark Baldwin
Winnsboro Cotton Mill Blues (1992) – Siobhan Davies
Still Dance (1992) – Paul Old
Cat's Eye (1992) – Richard Alston
Touchbase (1992) – Merce Cunningham
Phillidor's Defence (1992) – Guido Severien
Gone (1992) – Mark Baldwin
Land (1993) – Christopher Bruce
Spirit (1993) – Mark Baldwin
Christopher Bruce was AD from 1994 and achieved great success globally. He was AD until 2002. Baldwin was a former dancer in the company.
Crossing (1994) – Christopher Bruce
Banter Banter (1994) – Mark Baldwin
The Garden of Earthly Delights (1994) – Martha Clarke
Axioma 7 (1994) – Ohad Naharin
Petite Mort (1994) – Jiri Kylian
Close My Eyes (1994) – Sara Matthews
Rooster (1994) – Christopher Bruce
Swansong (1995) – Christopher Bruce
Meeting Point (1995) – Christopher Bruce
Jupiter is Crying (1995) – Per Jonsson
Dancing Attendance on the Cultural Chasm (1995) -Matthew Hawkins
Stabat Mater (1995) – Robert Cohan
Small Hours (1995) – Sarah Warsop
Kol Smicha (Vocie of Celebration) (1996) – Didy Veldman
Moonshine (1996) – Christopher Bruce
Quicksilver (1996) – Christopher Bruce
Eidolon (1996) – Kim Branstrup
Stram (1996) -Christopher Bruce
Port for Angels (1997) – Per Jonsson
No More Play (1997) – Jiri Kylian
Greymatter (1997) – Didy Veldman
Three Gone, Four Left Standing (1998) – Rafael Bonachela
Gaps, Lapse and Relapse (1998) - Jerome James
August Pace (1998) – Merce Cunningham
Four Scenes (1998) – Christopher Bruce
The Golden Section (1999)
God's Plenty (1999) – Christopher Bruce
Beach Birds (2000) – Merce Cunningham - https://www.youtube.com/watch?v=ciOua-gzz4Q
Seven Deadly Sins (2000) – Didy Veldman
She Was Black (2000) – Mats Ek - https://www.youtube.com/watch?v=JmpOxNHSKb4
The Celebrated Soubrette (2000) – Javier de Frutos
At Any Time (2001) – Rafael Bonachela
Hurricaine (A Pantomime) (2001) – Christopher Bruce
Twin Suite 2 (2001) – Glenn Wilkinson as Kinson Productions
Cheese (2001) – Jeremy James
Symphony of Psalms (2001) – Jiri Kylian
Deritus (2001) – Wayne Mcgregor
Unrest (2001) – Richard Alston
Grinning in Your Face (2001) – Chistopher Bruce
Ground Level Overlay (2001) – Merce Cunningham
Linear Remains (2001) – Rafael Bonachela)
Tree Finger Soup3 (2002) – Glen Wilkinson as Kinson productions
Study from Blackbird (2002) – Jiri Kylian
PreSentient (2002) – Wayne McGregor - https://www.youtube.com/watch?v=qe_GA2xEvz4
In 1966 Ballet Rambert could no longer afford to tour large scale classical productions, so transformed into a medium-scale classical touring company with a smaller ensemble, led by Norman Morrice.
Works:
Diversities (1966) – Jonathan Taylor
Singular Moves (1966) – Amanda Knott
Intermede (1966) – Pierre Lacotte
Numeros (1966) – Peirre Lacotte
Time Base (1966) – John Chesworth
Night Island (1966) - Rudi van Dantzig
Peirrot Lunaire (1967) – Glen Tetley - https://www.youtube.com/watch?v=2ykNVFkhIEY
Ricercare (1967) – Glen Tetley
Hazard (1967) – Norman Morrice
Desserts (1967) – Anna Sokolow
inochi (1967) – David Toguri
Freefall (1967) – Glen Tetley
Ziggurat (1967) – Glen Tetley
'H' (1968) – John Chesworth
Tic-Tack (1968) – John Chesworth
Remembered Motion (1968) – Geoff Moore
Solo (1968) – Clover Roope
1-2-3 (1968) – Norman Morrice
Them and Us (1968) – Norman Morrice
The Act (1968) – Linda Hodes
Emrace Tiger and Return to the Mountain (1968) – Glen Tetley
Pawn to King 5 (1968) – John Chesworth
George Frideric (1969) – Christopher Bruce
Pastorale Variee (1969) – Norman Morrice
Living Space (1969) – Christopher Bruce
Blind-Sight (1969) – Norman Morrice
Bertram Batell's Sideshow (1970) – Johnathan Taylor, Pietje Law, Joseph Scoglio, Ann Whitley, Peter Curtis, Amanda Knott
Opus '65 (1970) – Anna Sokolow
Four According (1970) – John Chesworth
The Empty Suit (1970) – Norman Morrice
'Tis Goodly Sport (1970) – Jonathan Taylor
That is the Show (1971) – Norman Morrice
Metaflow (1971) – Joseph Scoglio
Wings (1971) – Christopher Bruce
Rag-Dances (1971) – Glen Tetley
Solo (1971) – Norman Morrice
4 Pieces for 6 Dancers (1972) – Pietje Law
Ad hoc (1972) – John Chesworth
“for those who die as cattle” (1972) – Cristopher Bruce
Full Circle (1972) – Gideon Avrahami
Sonata forTwo (1972) – Johnathan Taylor
Theme and Variations (1972) – Graham Jones
This Seems to Be my Life (1972) – Peter Curtis
Ladies Ladies! (1972) – Norman Morrice
Stop-Over (1972) – Joseph Scoglio
Pattern for an Escalator (1972) – John Chesworth
Considering he Lilies (1972) – Lar Lubovitch
Listen to the Music (1972) – Jonathan Taylor
Totems (1972) – Graham Jones
There was a Time (1973) – Christopher Bruce
Cantate (1973) – Graham Jones
Magic Theatre – not for everyone (1973) – Leigh Warren
Les Saltimbanques (1973) – Joseph Scoglio
yesterday and yesterday (1973) – Julia Blaikie
tutti-frutti (1973) – Louis Falco
Duets (1973) – Christopher Bruce
Isolde (1973) – Norman Morrice
Interim 3 (1973) – Nanette Hassall
Twice (Sock it to me) – Hans van Manen
Imprints (film ) (Jan 1974)
In 1974 Morrice was succeeded as Artistic Director by John Chesworth, assisted by Christopher Bruce as assistant director. The company produced several major works including:
Spindrift (1974) – Norman Morrice
Weekend (1974) – Christopher Bruce
Sake (1974) – Manuel Alum
Project 6354/9116 Mk 2 (1974) – John Chesworth
Almost an Echo (or A Celluloid Dream) – Jonathan Taylor
Take a Running Jump (1975) – Julia Blaikie, Nicholas Carroll, Judith Marcuse, Sally Owen, Joseph Scogolio, Marilyn Milliams
baby (1975) – Judith Marcuse
The Parades Gone By (1975) – Lindsay Kemp
Running Figures (1975) – Robert North
The Night Dances (1975) – Joseph Scoglio
Table (1975) – Cliff Keuter
Mueste de Taverni (1975) – Cliff Keuter
Ancient Voices of Children (1975) – Christopher Bruce
Steppes (1976) – Blake Brown
Two Minutes and Fifty Seconds in the Life, Times and Ultimate Rejection od Ailuj Kaibile (1976) – Sally Owen
Four Working Songs (1976) – Judith Marcuse
Moveable Garden (1976) – Glen Tetley
Black Angels (1976) – Christopher Bruce
Reflections (1976) – Robert North
Five Brahms Waltzes in the Manner of Isadora Duncan (1976) – Frederick Ashton
Girl with Straw Hat (1976) – Christopher Bruce
The sea whisper'd me (1976) – Norman Morrice
Window (1976) – Sara Sugihara
Promenade (1976) – Christopher Bruce
Musical Offering (1976) – Zoltan Imre
The Pool (1977) – Leigh Warren
Kuyaiki (1977) – Gary Sherwood
The Accident (1977) – Zoltan Imre
Episode 1 (1977) – Jaap Flier
Echoes of a Night Sky (1977) – Christopher Bruce
Frames, Pulse and Interruptions (1977) – Jaap Flier
Cruel Garden (1977) – Christopher Bruce - https://www.youtube.com/watch?v=duxtr1KFOfc
Smiling Immortal (1977) – Norman Morrice
Sleeping Birds (1977) – Sara Sugihara
Praeludium (1978) – Glen Tetley
Laocoon (1978) – Zoltan Imre
Nuthouse Stomp (1978) – Leigh Warren
Dancers – a film (1978)
Echoi (1979) – Japp Flier
The Tempest (1979) – Glen Tetley
Changes (1979) – Micha Bergese
Celebration (1979) – Siobhan Davies
I'll Be in Touch (1979) – Sally Owen, Leigh Warren
Night with Warning Moon (1979) – Christopher Bruce
Sidewalk (1979) – Christopher Bruce
Bell High (1980) – Richard Alston
Passing Through (1980) – Lucy Bethune
Preludes and Song (1980) – Christopher Bruce
Landscape (1980) – Richard Alston
Rainbow Ripples (1980) – Richard Alston
Figures of Wind (Feb 1981) -Cliff Keuter
Paper Sunday (Feb 1981) – Sally Owne
Room to Dance (Feb 1981) – Cliff Keuter
The Rite of Spring: Pictures of Pagan Russia (March 1981) – Richard Alston
In 1981 Robert North became Artistic Director. North developed a repertoire that proved popular with audiences both at home and abroad.
Ghost Dances (1981) – Christopher Bruce - https://www.youtube.com/watch?v=E0o2PEewTu8
Dancing Day (1981) -Christopher Bruce
Night Music (1981) – Richard Alston
Unsuitable Case (1981) – Sally Owen
Lonely Town, Lonely Street (1981) – Robert North https://www.youtube.com/watch?v=8_GZf7iBzSE
Berlin Requiem (1982) – Christopher Bruce
Airs (1982) – Paul Taylor
Pribaoutki ('A Telling') (1982) – Robert North
The Kitchen Table (1982) – Bill Cratty
Apollo Distraught (1982) – Richard Alston
Fantasie (1982) – Richard Alston
Scriabin Preludes (1982) – Robert North
Chicago Brass (1983) – Richard Alston
Fielding Sixes (1983) – Merce Cunningham
Concertino (1983) – Christopher Bruce
Murderer Hope of Women (1983) – Glen Tetley
Colour Moves (1983) – Robert North
Entre dos Aguas (1984) – Robert North
Intimate Pages (1984) – Christopher Bruce
Voices and Light Fottsteps (1984) – Richard Alston
Wildlife (1984) – Richard Alston - https://www.youtube.com/watch?v=tGKzv-n6Kd4. https://vimeo.com/269342907
Sergeant Early's Dream (1984) – Christopher Bruce
Death and the Maiden (1984) – Robert North https://vimeo.com/269342924
An Occasion For Some Revolutionary Gestures (1985) – Dan Wagoner
Mythologies (1985) – Richard Alston
Dangerous Liaisons (1985) – Richard Alston
Light and Shade (1985) – Robert North
Java (1985) – Richard Alston
Dipping Wiings (Continual Departing) (1985) – Mary Evelyn
Soda Lake (1986) – Richard Alston https://www.youtube.com/watch?v=kMNCorAtQPY
It's a Raggy Waltz (1986) – Lucy Bethune
Songs of the Ghetto (1986) – Frances Carty
In 1986 Richard Alston became Artisitc Director. Under his name Ballet Rambert became known for the use of Cunningham technique and had a repetoire of mainly abstract works. In 1987 the company was renamed to Rambert Dance Company to more accurately reflect the style and nature of its current form. (Shortened to Rambert in 2013). Richard Alston left in 1992.
No Strings Attached (1986) – Sara Matthews
Zansa (1986) – Richard Alston
Mercure (1986) – Ian Spink
Swamp (1986) – Michael Clark
Ceremonies (1986) – Christopher Bruce
Carmen Arcadiae Mechanicae Perpetuum (1986) – Ashley Page
Dutiful Ducks (1986) – Richard Alston
Pulcinella (1987) – Richard Alston
Rushes (1987) – Siobhan Davies
Strong Language (1987) – Richard Alston - https://www.youtube.com/watch?v=yy7BRHu4djU
Wolfi (An Allegory) (1987) – Lynn Seymour
Septet (1987) – Merce Cunningham
Rhapsody in Blue (1988) – Richard Alston
Trace (1988) – Mary Evelyn
Mates (1988) – David Gordon
Hymnos (1988) – Richard Alston
Soldat (1988) – Ashley Page
Embarque (1988) – Siobhan Davies
Cinema (1989) – Richard Alston
Opal Loop (1989) – Trisha Brown
Sounding (1989) – Siobhan Davies
Calm (1989) – Mary Evelyn
Pulau Dewata (1989) – Richard Alston
Doubles (1990) – Merce Cunningham
Currulao (1990) – Ashley Page
Dealing with Shadows (1990) – Richard Alston
Longevity (1990) -Gary Lambert
Signature (1990) – Siobhan Davies
Four Elements (1990) – Lucinda Childs
Roughcut (1990) – Richard Alston
Plain Song (1991) – Siobhan Davies
Slippage (1991) – William Tuckett
Hiding Game (1991) – Herve Robbe
Completely Birdland (1991) – Laurie Booth
Island to Island (1991) – Mark Baldwin
Winnsboro Cotton Mill Blues (1992) – Siobhan Davies
Still Dance (1992) – Paul Old
Cat's Eye (1992) – Richard Alston
Touchbase (1992) – Merce Cunningham
Phillidor's Defence (1992) – Guido Severien
Gone (1992) – Mark Baldwin
Land (1993) – Christopher Bruce
Spirit (1993) – Mark Baldwin
Christopher Bruce was AD from 1994 and achieved great success globally. He was AD until 2002. Baldwin was a former dancer in the company.
Crossing (1994) – Christopher Bruce
Banter Banter (1994) – Mark Baldwin
The Garden of Earthly Delights (1994) – Martha Clarke
Axioma 7 (1994) – Ohad Naharin
Petite Mort (1994) – Jiri Kylian
Close My Eyes (1994) – Sara Matthews
Rooster (1994) – Christopher Bruce
Swansong (1995) – Christopher Bruce
Meeting Point (1995) – Christopher Bruce
Jupiter is Crying (1995) – Per Jonsson
Dancing Attendance on the Cultural Chasm (1995) -Matthew Hawkins
Stabat Mater (1995) – Robert Cohan
Small Hours (1995) – Sarah Warsop
Kol Smicha (Vocie of Celebration) (1996) – Didy Veldman
Moonshine (1996) – Christopher Bruce
Quicksilver (1996) – Christopher Bruce
Eidolon (1996) – Kim Branstrup
Stram (1996) -Christopher Bruce
Port for Angels (1997) – Per Jonsson
No More Play (1997) – Jiri Kylian
Greymatter (1997) – Didy Veldman
Three Gone, Four Left Standing (1998) – Rafael Bonachela
Gaps, Lapse and Relapse (1998) - Jerome James
August Pace (1998) – Merce Cunningham
Four Scenes (1998) – Christopher Bruce
The Golden Section (1999)
God's Plenty (1999) – Christopher Bruce
Beach Birds (2000) – Merce Cunningham - https://www.youtube.com/watch?v=ciOua-gzz4Q
Seven Deadly Sins (2000) – Didy Veldman
She Was Black (2000) – Mats Ek - https://www.youtube.com/watch?v=JmpOxNHSKb4
The Celebrated Soubrette (2000) – Javier de Frutos
At Any Time (2001) – Rafael Bonachela
Hurricaine (A Pantomime) (2001) – Christopher Bruce
Twin Suite 2 (2001) – Glenn Wilkinson as Kinson Productions
Cheese (2001) – Jeremy James
Symphony of Psalms (2001) – Jiri Kylian
Deritus (2001) – Wayne Mcgregor
Unrest (2001) – Richard Alston
Grinning in Your Face (2001) – Chistopher Bruce
Ground Level Overlay (2001) – Merce Cunningham
Linear Remains (2001) – Rafael Bonachela)
Tree Finger Soup3 (2002) – Glen Wilkinson as Kinson productions
Study from Blackbird (2002) – Jiri Kylian
PreSentient (2002) – Wayne McGregor - https://www.youtube.com/watch?v=qe_GA2xEvz4
Norman Morrice (1931 - 2008)
Dancer with Ballet Rambert 1952-1964; Associate Artistic Director of Ballet Rambert 1966-1970; Artistic Director of Ballet Rambert 1970-1974.
Norman Morrice trained at the Rambert School and joined Ballet Rambert as a dancer in 1953, after performing with the company as a student during its previous season. He choreographed his first work ‘Two Brothers’ in 1958, drawing inspiration from the film ‘East of Eden’. In 1961-1962 he studied modern dance techniques in New York City with Martha Graham among others.
Appointed Associate Artistic Director of Ballet Rambert in 1966, Morrice oversaw its restructuring from a mid-scale ballet company which performed the classics to a small-scale group of soloists who embraced modern dance techniques. He was Artistic Director of Ballet Rambert 1970-1974. He choreographed 18 works for the company.
Norman Morrice trained at the Rambert School and joined Ballet Rambert as a dancer in 1953, after performing with the company as a student during its previous season. He choreographed his first work ‘Two Brothers’ in 1958, drawing inspiration from the film ‘East of Eden’. In 1961-1962 he studied modern dance techniques in New York City with Martha Graham among others.
Appointed Associate Artistic Director of Ballet Rambert in 1966, Morrice oversaw its restructuring from a mid-scale ballet company which performed the classics to a small-scale group of soloists who embraced modern dance techniques. He was Artistic Director of Ballet Rambert 1970-1974. He choreographed 18 works for the company.
John Chesworth (1930 - 2014)
Dancer with Ballet Rambert 1952-1980; Associate Director of Ballet Rambert 1970-1974; Artistic Director of Ballet Rambert 1974-1980.
John Chesworth began his studies at the Rambert School of Ballet in 1950, following service in the Royal Air Force. Chesworth joined Ballet Rambert as a dancer in 1951. Following the reinvention of Ballet Rambert as a contemporary ensemble in 1966, Chesworth was appointed Assistant to the Directors. His first choreography for the company, 'Time Base', had its premiere that year. Chesworth made seven dance works for Ballet Rambert and two experimental films using the dancers ('Imprints' and 'Dancers - a film'). Chesworth became Associate Director of Ballet Rambert in 1970 and succeeded Norman Morrice as Artistic Director in 1974.
Robert North (1945 - current)
Associate Choreographer of Ballet Rambert 1975-1981; Artistic Director of Ballet Rambert 1981-1985; dancer with Ballet Rambert 1981-1985.
Robert North was a student at the Central School of Arts before going on to study at the Royal Ballet School and the London School of Contemporary Dance (1965-1967). He was a founding member of London Contemporary Dance Theatre in 1967. North became Associate Choreographer of Ballet Rambert in 1975 before being appointed Artistic Director in 1981. While Artistic Director, he created six works for the company and restaged three earlier works.
Robert North was a student at the Central School of Arts before going on to study at the Royal Ballet School and the London School of Contemporary Dance (1965-1967). He was a founding member of London Contemporary Dance Theatre in 1967. North became Associate Choreographer of Ballet Rambert in 1975 before being appointed Artistic Director in 1981. While Artistic Director, he created six works for the company and restaged three earlier works.
Richard Alston (1948 - current)
Resident Choreographer of Ballet Rambert 1980-1986; Artistic Director of Ballet Rambert (later Rambert Dance Company) 1986-1992; dancer with Ballet Rambert in 1980.
Richard Alston studied fine art and theatre design at Croydon College of Art in 1965, before continuing his studies at the London School of Contemporary Dance in 1968. He went on to choreograph for London Contemporary Dance Theatre, before forming the UK's first independent dance company, Strider, in 1972. In 1975, Alston studied at the Merce Cunningham Dance Studio in New York.
Upon his return in 1980, he was appointed Resident Choreographer of Ballet Rambert, becoming Artistic Director in 1986. While artistic director, he created 24 works for Rambert and reworked 'Java'. He was also commissioned to create works for the Royal Danish Ballet in 1982 and the Royal Ballet in 1983 and two solo works for dancer Michael Clark, 'Soda Lake' (1981) and 'Dutiful Ducks' (1982). These two works were subsequently taken into the Rambert repertoire.
Richard Alston studied fine art and theatre design at Croydon College of Art in 1965, before continuing his studies at the London School of Contemporary Dance in 1968. He went on to choreograph for London Contemporary Dance Theatre, before forming the UK's first independent dance company, Strider, in 1972. In 1975, Alston studied at the Merce Cunningham Dance Studio in New York.
Upon his return in 1980, he was appointed Resident Choreographer of Ballet Rambert, becoming Artistic Director in 1986. While artistic director, he created 24 works for Rambert and reworked 'Java'. He was also commissioned to create works for the Royal Danish Ballet in 1982 and the Royal Ballet in 1983 and two solo works for dancer Michael Clark, 'Soda Lake' (1981) and 'Dutiful Ducks' (1982). These two works were subsequently taken into the Rambert repertoire.
Christopher Bruce (1945 - current)
Bruce was born in Leicester and has worked as a dancer, choreographer and artistic director. His early training provided him with a background in classical, contemporary and popular dance. He studied at the Rambert School and joined Ballet Rambert in 1963. During his career he has performed with many companies in a variety of roles. His choreographic career began in 1969, creating works for different companies, particularly Rambert. From 1975 to 1979 he was associate director of Ballet Rambert. From 1979 to 1897 he was associate choreographer of Ballet Rambert.
In 1994 he returned to the Rambert Dance Company as artistic director. Bruce’s choreography reflects a range of styles: ballet, contemporary, folk and popular dance. He deals with themes linked to the human condition, political or social issues and tends to portray them through dramatic, emotive and theatrical elements. He uses a variety of accompaniment for his works, including popular music, eg the songs of John Lennon, Bob Dylan and the Rolling Stones. As well as Rooster (1991), his works include Cruel Garden (1977), Ghost Dances (1981), Sergeant Early’s Dream (1984), Four Scenes (1998) and God’s Plenty (1999).
In 1994 he returned to the Rambert Dance Company as artistic director. Bruce’s choreography reflects a range of styles: ballet, contemporary, folk and popular dance. He deals with themes linked to the human condition, political or social issues and tends to portray them through dramatic, emotive and theatrical elements. He uses a variety of accompaniment for his works, including popular music, eg the songs of John Lennon, Bob Dylan and the Rolling Stones. As well as Rooster (1991), his works include Cruel Garden (1977), Ghost Dances (1981), Sergeant Early’s Dream (1984), Four Scenes (1998) and God’s Plenty (1999).