Dansportalen

Artiklar från 2008 – till idag

Artiklar från 2008 – till idag

tag_tueren_2015©zenna_web_D33B0866

Jason Beechey teaching classical ballet at the Palucca University of Dance Dresden. Photo Ida Zenna

28 feb
2021

 »I think the Prix de Lausanne gives a great opportunity for young dancers to get into the international dance field«

In Montreux I met with Jason Beechey director of the Palucca University of Dance Dresden, one of the prestigious schools that are associated with the Prix. Jason has also been a member of the Artistic Committee of the Prix de Lausanne since 2009. Jason presents the daily live streamed sessions that can be seen on Arte Concert TV and on the Website of Prix de Lausanne.

Capture d’écran 2020-02-21 à 12.34.29

Jason Beechey presenting the daily live streamed sessions from Prix de Lausanne.

What is the task of the artistic committee?
The tasks have changed over the years. When I joined the committee, we were the artistic direction for the Prix. We were a group of directors from different countries that shared everything amongst us that had to be done. We realized that we needed someone that was able to be involved all year because there is a lot of meetings with the potential sponsors and daily work to do. Amanda Bennett director of Basel Ballet School then became part time artistic director for the Prix but we were still involved to help assist to discuss about the artistic issues.

The board was handling the administrative work. After a while it became clear that the Prix wanted to change the function of the board, they wanted to find one person that could handle everything, both artistic and administrativ issues. Shelly Powell left the Houston Ballet Academy and took over the directorship after her Kathryn Bradney became the director. Before Kathryn had been involved in the juries, working with the media and the network. Nowadays my main task is to work with the live streaming and a new Artistic Committee is in place with Mavis Staines, Elisabeth Platel, Christopher Powney and Samuel Wuerstein.

For how many years has the live streaming gone on?
This is the 6th year.Before they did a blog Kathryn Bradney was filming all day to collect material to put on line.

The first year of live streaming we were sitting in a little box with a screen by the stage in Lausanne. When we were going on line there was no moderator so I was asked to comment. I was not prepared at all so I just had to improvise. Apparently it went well since I was asked to do it again.

Now we are live streaming six hours a day and we have more than a million viewers.

What impact has the live streaming had?
We have much more applicants. The candidates that come to the Prix now come up to me and tell me that they have looked at the live streaming and that they are much more aware of what the Prix is about before they come here,

tag_tueren_2015©zenna_web_D33B0824

Jason Beechey teaching classical ballet at the Palucca University of Dance Dresden. Photo Ida Zenna

What other changes have you been part of during your time?
There has been a rotation of the teachers, the juries and the variations. The networking forum where the non-prize winners can be seen and invited to partner schools and companies has also developed. it is more controlled and the Prix follow up every candidate during the year of scholarship or apprenticeship that they have been offered.

There has also been a change in the selections. There are more preselections and a big change in the video selections.

I’ve been involved in the video selections for about ten years. In the beginning we came to Lausanne for a weekend. We were divided into small groups that got a pile of videos to watch. Now all nine people in the jury watches all the videos and discuss the applicants together.

At the Prix 2021 a new project was presented, a creation works competition.
Students age 14-20 all over the world had sent in a video with a two minutes creation they had done. The jury watched the contributions and selected the winners who will be able to present their solos at the Prix next year, where it will be danced by the candidates in the competition.

Capture d’écran 2020-02-21 à 12.25.46

Emma Sandell prize winner Prix de Lausanne 1994 and Jason Beechey presenting the daily live streamed sessions from Prix de Lausanne.

You are a permanent jury member of Youth America Grand Prix, in what way is that and other competitions different from the Prix?
Prix de Lausanne is much more about the learning process during the whole week. Normally the jury gets a chance to really know and see the candidates. This year was different, due to the pandemic the competition had to be done on line.

Youth America is a huge competition that take place in different parts of the world with about 12.000 participants yearly. From this competitions about 1000 candidates are selected to go to the finals. Compared with the Prix that had 399 applicants this year of whom 82 was selected for the Prix.

Youth America has a much bigger age range than the Prix and the competitions are done in a short time. The dancers only present a classical variation. At the Prix the dancers have to present a classical and a contemporary variation.

Youth America is changing now, we jury members get to teach the students more to get a chance to know them better. You can not assess the potential of a student from seeing only one variation.

The intentions of Youth America and the Prix are the same, to find talent get the students into good schools and to make contact.

Palucca University is a partner school in both competitions. This makes it possible to find students for the school without almost any other auditions. We have students from all over the world now.

Three years ago a new competition for young dancers started in Australia. ”The Brisbane’s International Contemporary Dance Prix ”. It was founded by Louise Deleur. It is based on the same idea as the Prix de Lausanne with one week of workshop but focused on contemporary dance. The Prix is fifty ballet and fifty contemporary nearly all the other competitions are only focusing on ballet.

I think the Prix de Lausanne is really the pioneer that has turned the competition into an amazing week of workshop for the participants. During the week the candidates work intensively in daily classes and coaching sessions with some of the most respected professionals in the dance world. Let us hope that next year will get back to normal again and that all the candidates can meet in Lausanne and experience this.

Capture d’écran 2020-02-21 à 12.29.40

Jason Beechey and Emma Sandell interviewing Armando Braswell, director Braswell Arts Center and contemporary teacher.

What would you say is important for the Prix in the future?
For the future I hope we will be able to keep the Prix going, that we will be able to get the contributions we need. The Prix is on a good way having a huge importance on healthy training a good support system and taking really good care about the candidates.

Usually all the school directors are at the Prix and that give us a great opportunity to meet and talk, to discuss and exchange experiences.It can also set an example for what company directors are looking for.

I hope the Prix will continue to be progressive and a good example of how a competition can be and to open up possibilities for young dancers.

There are so much dance in the media today which is great. Dance is so present but a lot of it is very acrobatic commercial. What I hope for the Prix is that we can continue to keep a really high artistic line.

Margareta Lidström
Stockholm/Montreux


  • Laura Persson SVB
    Kulturstipendium till ung talang vid Svenska Balettskolan
    Laura Persson, 15 år, har tilldelats ett stipendium ur Västsvenska Kulturfonden. Stipendiet skulle hon få mottaga vid en festlig ceremoni den 28 november.

  • Transit SDT Carl Thorborg
    Nya verket Transit är en ursinnigt utförd ritual, en kamp för överlevnad och förändring
    Jag fick tillfälle att se premiären av Skånes Dansteaters Transit på Malmö Operan den 17 oktober. I en lokal som rymmer ca 1500 åskådare var det tillåtit att endast ha en publik på högst 50 personer.F...

  • Dansmuseet
    Ballets Suédois 1920–1925 på Dansmuseet
    Dansmuseet i Stockholm uppmärksammar hundraårsdagen av Svenska balettens i Paris premiärföreställning den 25 oktober 1920 med en jubileumsutställning under mottot ”OM NI INTE GILLAR DET KAN NI DRA ÅT ...

  • Saluts démos 2015
    Everything is in our bodies, says Madame Elisabeth Platel, director for Paris Opera Ballet School
    Leaving the plane at Charles de Gaulle-airport you are met by large photos of dancers, musicians and other cultural motives along the walls in the airport. A fantastic way to welcome visitors.My goal ...

  • Ekman Operan sep 2020
    Det var som om man blev ännu mer passionerad av att vara dansare bara för att man inte kunde ge föreställningar
    Dansportalen träffade dansarna Hampus Gauffin och Gabriel Barrenengoa vid Kungliga Baletten i ett samtal om pandemins konsekvenser och om det nya programmet på Operan av koreografen Alexander Ekman.De...

  • Agneta S
    Agneta Stjernlöf-Valcu: Du ska förmedla dansnotationen till dansare så att det blir en föreställning.
    Dansnotationens syfte är inte bara att bevara något som passerat utan först och främst att ge möjlighet till återskapande. En videofilmning är alltid en tolkning av ett koreografiskt verk.Oavsett om a...

  • COW1
    Nationaloperans säsongöppning med en mycket fräsch COW av Alexander Ekman.
    Höstens första danspremiär vid Nationaloperan i Helsingfors hälsades mycket välkommen av premiärpubliken på lördag kväll. Alexander Ekmans COW visade sig vara den energiska laddning som behövs just nu...

  • SHIFT I CACTI
    Höststart på Kungliga Operan – urpremiär av Alexander Ekman
    Den 26 september slår Kungliga Operan åter upp dörrarna för en ny säsong med två premiärer, först ut är Alexander Ekmans SHIFT | CACTI. Därmed flyttas säsongsstarten fram vilket innebär att premiären ...

  • Oscar Salomonsson
    Oscar Salomonsson, premiärdansare – Det udda och uttrycksfullas mästare
    Oscar är utbildad vid Kungliga Svenska Balettskolan och anställdes vid baletten 1997. Mellan 2004 och 2007 dansade han i Madrid, Spanien.Han återvände till Stockholm och fick utmärkelsen Årets dansare...

  • SigridYAGP
    Om finalen som ställdes in och Sigrids drivkraft, engagemang och hårda arbete
    Sigrid Åberg är 13 år och går Alhanko Academy of Ballet i Stockholm. I höstas var hon i Cattolica, Italien och tävlade i Youth American Grand Prix.I vår skulle hon egentligen åkt till New York för att...

  • LesBalletSuedois
    There is no lack of creativity in the house. We just work in different ways.”
    Nicolas Le Riche – Ballet director of Royal Swedish Ballet – gives Dansportalen an update on the current situation of the company and informs about the plans for the future.Upon arrival of Covid-19 Ro...

  • Paul Marque Le Louvre
    Scènes de la vie confinée de Paul Marque
    A Paris, le confinement règne depuis le mois de mars. Pour les Français il est interdit de passer plus d’une heure dehors ou s'éloigner au-delà d’un kilomètre de sa maison, sinon on écope d’une amende...

  • Paul Marque Louvre
    Meet Paul Marque and a Soloist Dancers Life Today in Paris
    In Paris, social distancing rules have been in place since March. French people are forbidden to spend more than an hour outside or travelling more than one kilometre from their home. If they do eithe...

  • Carmen Helsinki
    En magisk föreställning av Carmen
    En helaftonsbalett i tre akter till musik av Georges Bizet hade premiär på Nationaloperan i Helsingfors i vår. Produktionen var norsk och koreografen var denna gång Liam Scarlett.Alla föreställningar ...

  • GöteborgsOperan
    Vad händer på våra operahus när världen stängs ner på grund av Covid-19? Katrín Hall, GöteborgsOperans Danskompanis konstnärliga chef om situationen i Göteborg
    Dansportalen har talat med Göteborgsoperans Danskompanis konstnärliga chef, Katrín Hall. Hon berättar att man i dessa dagar får använda all sin kreativitet för att hitta och nå publiken och att vara f...

  • Beyond GO mars 2020
    "Allt som man gör i en uppsättning, vare sig det är teater, dans eller något annat rör det sig om en relation med åskådarna"
    GöteborgsOperans Danskompani backar inte för utmaningar. Efter Sidi Larbi Cherkaouis ”Icon”, med 3,5 ton lera på scenen, och Damien Jalets ”Skid”, där golvet hade en lutning på 34˚, tar de sig nu an ä...

  • Balettpedagogtävlingen
    Många talanger i den nationella balettävlingen
    Den nationella balettävlingen hålls vartannat år av Balettpedagogernas förening i Helsingfors . Den alternerar med tävlingen Ung energi som också anordnas av föreningen. Skolornas intresse stort och ko...

  • Kuckel Foto Mats Bäcker
    Alexander Ekman, highly topical choreographer
    Well renowned choreographer Alexander Ekman , 36, has a voluminous luggage of successes in his baggage. When you open the case, they fly out of it. Eskapist which opened in the spring 2019 at the Stock...

  • Mats Eks "överbord", en del av dansprogrammet Kylián/Ek/Naharin med Kungliga Baletten. På bilden: Dmitry Zagrebinoch Daria Ivanova. Foto: Carl Thorborg
    I det vardagliga livet finns inga rörelser som ser ut som de Mats Ek skapar, men i rätt sammanhang, som på scenen ser det helt naturligt ut.
    Tre av världens främsta koreografer Jiří Kylián, Mats Ek och Ohad Naharin – för första gången tillsammans på Kungliga Operan – varav Mats Eks överbord (Woman with water) är en urpremiär.I en danssal h...

  • MarcoMasiariPDL2020
    I think it’s great to show contrasting sides of youth at Prix de Lausanne, to compete with different ways of dancing and the creative process
    Created in 1973 the Prix de Lausanne is an annual international competition for young dancers age 15-18. Its goal is to discover, promote and support the finest talents. More than 70 of the world's mo...

  • aska 2 Oskar
    Jag hade ingen aning om vad dansyrket var – trodde att det var ett ”gig” på Melodifestivalen
    Henrietta Wallberg, Oskar Landström och Philip Berlin är alla utbildade vid Kungliga Svenska Balettskolans gymnasielinje i modern nutida dans.Tre dansare som efter avslutad utbildning varit verksamma ...

  • Mattheus Bäckström 1
    In the school your main focus is on the training. In the company your focus is on what you are doing on stage.
    Mattheus Bäckström started his ballet training at the Swedish National Ballet School in Gothenburg in 2011. Now on the brink of launching his professional career, he talks to Dansportalen about life a...

  • SVB70 sidan 186
    Man måste lära sig stå still innan man kan dansa
    Sebastian Michaneks tillträde i slutet av 2016 som konstnärlig ledare för Svenska Balettskolan i Göteborg har betytt en ordentlig nytändning för skolan.Nyligen utgavs också den vackra jubileumsboken D...

  • AnastasiaLeppist - 11
    Anastasia går på den berömda, ryska Vaganovaskolan: Utbildningen är få förunnat och att få gå där innebär stora möjligheter.
    När Anastasia och jag träffas senhösten 2019 är hon 13 år och har precis börjat på den anrika balettskolan Vaganova i Ryssland. Hon har som hon själv uttrycker det arbetat hårt för att kunna komma in....


  • 25 år med Dansportalen – fler än 2000 publicerade artiklar
    DANSPORTALEN: Det har gått 25 år sedan jag grundade Dansportalen, för att skapa ett webbmagazin på nätet om dans. En resa som inte varit möjlig utan entusiastiska medarbetare och kunniga skribenter. V...

Redaktion

dansportalen@gmail.com

Annonsera

dansportalen@gmail.com

Grundad 1995. Est. 1995

Powered by

SiteVision

Uppil