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Adelaide Festival 2023 is kicking off this week, and you won’t want to miss some of the exciting dance events happening at this year’s festival. Read on for some of the dance highlights and riveting dance works!
Revisor by Kidd Pivot, created by Crystal Pite and Jonathon Young
(17 – 19 March at Her Majesty’s Theatre)
From the creators of Betroffenheit, the celebrated hit of the 2017 Adelaide Festival, comes an exhilarating new dance theatre work about corruption, deception and the forces of radical change.
Revisor again brings together the extraordinary talents of choreographer Crystal Pite and theatre-maker Jonathon Young. Pite is renowned for her exciting, inventive choreography and is one of the most in-demand choreographers in the world; Young is one of Canada’s best-known actors and a highly respected playwright.
The farcical world of Nikolai Gogol’s The Government Inspector serves as the inspiration for their astonishing new work. Revisor is a true hybrid of dance and theatre with startling depth and complexity. Voiced by actors, the recorded script provides the score for Pite’s arresting choreography, brought to life by the phenomenal dancers of acclaimed Vancouver-based company Kidd Pivot.
Mining the potent relationship between language and body, this is a virtuosic work exploring conflict, comedy and corruption from one of the most exciting dance theatre companies in the world.
For tickets for Revisor, visit www.adelaidefestival.com.au/events/revisor.
Tracker by Australian Dance Theatre, in affiliation with ILBIJERRI Theatre Firm
(10 – 18 March at Odeon Theatre)
In one in all his first works as Creative Director of Australian Dance Theatre, Wiradjuri director-choreographer Daniel Riley evokes an immensely highly effective and private story of his great-great Uncle, Alec “Tracker” Riley.
Alec, a Wiradjuri Elder and tracker, served the New South Wales Police Power for 40 years, main quite a few high-profile instances. As an Elder of his neighborhood, he solid a path between the enforced colonial system during which he labored and his Wiradjuri lore. Tracker takes inspiration from his legacy and examines the battles First Nations individuals have shared for generations.
Weaving collectively dance, music and textual content, Tracker invitations the viewers into an open and transformative ceremonial house. This outstanding story is delivered to life by a staff of celebrated First Nations creatives, together with award-winning playwright Ursula Yovich, co-director Rachael Maza AM, composers James Henry and Gary Watling, visible artist Jonathan Jones, lighting designer Chloe Ogilvie and an all-First Nations solid.
Culturally wealthy and ambitiously unique, this multidisciplinary work rethinks how we interact with and expertise First Nations storytelling.
For tickets to Tracker, go to www.adelaidefestival.com.au/events/tracker.
Jurrungu Ngan-ga [Straight Talk] by Marrugeku
(10 – 12 March at Dunstan Playhouse)
Brimming over with unhappiness, anger, pleasure and steely resistance, Jurrungu Ngan-ga is a deeply affecting and pressing work by one in all our nation’s most progressive dance theatre firms that confronts Australia’s shameful fixation with incarceration.
This breathtaking new work connects the shockingly disproportionate ranges of Indigenous Australians in custody and the indefinite detention of asylum seekers in Australia’s immigration detention centres.
Jurrungu Ngan-ga, translated from Yawuru as ‘straight discuss’, takes inspiration from the phrases and experiences of Yawuru chief Patrick Dodson, Kurdish-Iranian author and former Manus Island detainee Behrouz Boochani, and Iranian-Australian scholar-activist Omid Tofighian.
Mixing motion, music, soundscape, spoken phrase and projection, Marrugeku’s distinctive intercultural work displays the impression of government-sanctioned brutality. The corporate’s exceptionally proficient dancers evoke darkish points of the Australian psyche, drawing on cultural and neighborhood expertise to maneuver deftly between horrific surrealism, truth-telling and gorgeous physicality.
With darkish humour and braveness, Jurrungu Ngan-ga interrogates our capability to lock away that which we worry and shines a lightweight on new methods to withstand.
For tickets to Jurrungu Ngan-ga, go to www.adelaidefestival.com.au/events/jurrungu-ngan-ga.
Messa da Requiem by Ballett Zürich, choreography and manufacturing by Christian Spuck
(8 – 11 March at Pageant Theatre)
Verdi’s mighty Requiem is a sacred oratorio with opera coursing by means of its veins. It runs the gamut from whispered pianissimos to a number of the most shattering climaxes ever written. Christian Spuck – who received the ballet world’s prime award for finest choreographer in 2019 – thrusts this already spectacular work into a brand new orbit, completely integrating the eighty-strong choral ensemble into the maelstrom of his extraordinary staging.
Oratorios have been theatricalised earlier than, however it is a pioneering piece. Each contour of Verdi’s rating is given bodily form. The massive mass of humanity is moulded to grow to be a tidal wave, a ship’s prow, some gigantic reptilian beast, whereas the dancers’ wonderful solos and intertwining ensembles poignantly categorical the composer’s imaginative and prescient of dying as each particular person’s most solitary and mysterious problem.
The Adelaide Pageant has introduced many large-scale theatrical occasions, however this work is unprecedented in its magnitude. Over 170 Adelaide singers and musicians be a part of 36 dancers from one in all Europe’s most revered ballet firms to carry out a complete murals that will likely be talked about for years.
Whether or not you’re keen on opera, dance, choral music, theatre or all 4, a profound expertise awaits.
For tickets to Messa da Requiem, go to www.adelaidefestival.com.au/events/messa-da-requiem.
For the complete program and extra data on this yr’s Adelaide Pageant, go to www.adelaidefestival.com.au.
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