Dance in Canada Magazine Number 5, Summer, 1975

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Dance in Canada Magazine Number 5, Summer, 1975

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One copy of Dance in Canada Magazine Number 5, Summer 1975

Contains the following articles:
- Editorial by Susan Cohen
- Dance in Dollars: Interview with the Canada Council
- Profil: René Picard
- Noticeboard
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Dance in Canada Magazine
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Ballet Dance in Canada Association René Picard Susan Cohen Anna Wyman Dance Theatre Toronto Dance Theatre Modern Dance Funding Schools Training Dance in Canada Conference Celia Franca David Haber Murray Farr The National Ballet of Canada Contemporary Dance Helen Jones Karen Kain Monique Michaud Peter Brinson Timothy Porteous Vincent Warren Les Grands Ballet Canadiens National Ballet School Royal Winnipeg Ballet School Giselle Tam Ti Delam Award in Choreography Budgets Grants L'Ecole Superieure de Danse
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01/07/1975
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Dance in Canada Magazine Number 5, Summer 1975
Dance Collections Danse

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Editorial ; Susan Cohen Editor/ Redactrice The third annual Dance in Canada conference (June 2225, 1975) had many results in attendance, ideas and support generated in Edmonton. But one of the most important events-one which will not be covered in the conference report to be issued this year-came unexpectedly at a gracious banquet on the weekend when Timothy Porteous, associate director of the Canada Council, announced to delegates the gist of a report made by Peter Brinson, head of the United Kingdom and Commonwealth Branch of the Gulbenkian Foundation, on the state of ballet training in this country, as well as the Council's new funding policy toward dance training institutions and the Council's thinking on the future of dance in this country (and thus its criteria for support). A number of misunderstandings, due to the vocabulary Porteous used in the speech , and a great deal of discontent with the assumptions behind the Brinson report, made his audience very vocal and the atmosphere a lively one. In an attempt to clear up those misunderstandings, and especially, to set forth publicly the thinking of the Council on many matters, the Dance Canada magazine conducted an interview with him and Monique Michaud , the Council's dance officer, which we are printing verbatim in this issue because of its importance. We hope you will read it carefully and respond to us or directly to Council on the points it raises. Our second piece this summer is by Rene Picard, formerly dance critic of Le Devoir, on his own formation as a writer and observer of dance. We thought it was an . appropriate moment to profile Picard, and no better person to write that profile than Picard himself. Picard is leaving for a three-year stint as a member of the Delegation general du Quebec in Paris and his pieces will no longer be a part of the local scene. However, he will begin writing a regular letter from Europe for the Dance in Canada magazine in the next issue. You will also notice a different format this time. Rather than having translations of English and French appear side by side, we are publishing contributions only in the lan guage of origin. We believe this format is still in keeping with our policy of bilingualism. We hope our readers will be encouraged to develop a facility iri both languages. However, and unfortunately, the major reason for this change is because the magazine simply could not sustain the enormous financial burden which translation has placed on it in the previous four issues. The costs were simply too great to enable us to continue this practice. This new format will allow us to increase content in the future within practical economic limitations. English and French translations of any published material may still be provided on request from the Dance Canada office. We hope you w ill find this issue informative and useful. As always, we would appreciate any comments from our readers on the content and the format of the magazi ne. La troisieme Conference annuelle de Danse au Canada, tenue du 22 au 25 juin cette an nee s 'est avereedes plus fructueuses aux points de vue des presences, des idees et de l'appui qu'elle a suscites a Edmonto n. L'evenement le plus important de ces journees fut le grand banquet au cours duquel M. Timothy Porteo us, directeur associe du Conseil des Arts du Canada, fit connaitre , aux delegues, la nouvelle politique de financement envers les institutions d'enseignement de la danse et la pensee du Conseil sur l'avenir de la danse dans not re pays (et par lases criteres d'appu i); i I y rend it egalement public un rapport de Peter Brinso n . dirigeant de la Fondation Gulbenkian de Landres, sur la situation de nos trois principales ecoles professio nnelles de ballet, le Ballet National du Canada, Les Grands Ballets Canadiens et le Ballet Royal de W innipeg. Les quelques malentendus attribues a la terminologie employee par M. Porteous et le grand mecontentement provoque par les sous-entendus d u rapport Brinson ant rendu !'assistance assez bruyante et agitee. Dans le but de dissiper le malentendu, et particul ierement, d 'enoncer publ iquement et par ecrit les diverses idees du Conseil, la revue Danse au Canada a obtenu une entrevue avec M. Porteous et Moniq ue Michaud , off icier de la danse au Consei I. A cause de so n importance, nous reproduisons cette entrevue verbat im dans ce numero. Nous vous encourageons a la lire attentivement et a transmettre , a la Revue ou au Consei l des Arts, vos opinions sur les differents points soul eves. Notre deuxieme article nous vient de Rene Picard. ancien critique de danse au journal Le Devoir, qui no us parle de sa propre formation d'ecrivain et d'observateur de la danse. II nous semblait bien apropos d'offrir u profil de M. Picard (et qui mieux que lui-meme pourrai nous le tracer) al ors qu'il part sous peu pour un sejour de trois ans dans la Ville-Lumiere a titre de membre de la Delegation generale du Quebec a Paris et que ses articles n'animeront pl us la scene canadienne de la danse. Cependant , M . Picard nous ecrira regulierement. Vous remarquerez egalement un changement de format dans ce numero. Plut6t que de produire les traductions fran9aises et anglaises cote a cote , nous ne publierons maintenant les articles que dans leur lang ue d'origine. Nous crayons que ce format respecte toujours notre politique de bilinguisme. Et no us esperons que nos lecteurs se sentiront encourages a acquerir une maftrise des deux langues . La raisor majeure de ce changement est que, malheureusemen • la revue ne peut plus supporter la lourde responsabi lite financiere que la traduction lui a imposee pour les quatre derniers numeros. Les COL.its etaient trop eleves pour nous permettre de continuer cette pratique. Le nouveau format nous permettra, a l'avenir, d'augmente le contenu de la revue dans des limites econom iques pratiques. On pourra toutefois se procurer de traductions anglaises ou fran9aises de tout article par en s'adressant au bureau de Danse au Canada. Nous esperons que vous trouverez ce numero ut ile einstructif. Comme toujours , nous aimerions recevo ·r de la part de nos lecteurs , tout commentaire su r = contenu de la revue et particulierement sur son nouvea format.• Edi tor / Redactrice: Susan Cohen Design / Dessinateur: Page Publications Translator / Traduction: Louise Meilleur Advertising Representative: Gitta Levi SUMMER 1975 ETE Dance and Dollars: Interview with the Canada Council Profil: Rene Picard Noticeboard Photos: Murray Mosher Comtemporary Dancers Art Gallery of Ontario National Ballet Michel Fontaine Jack Mitchell Special Thanks to / Sinceres remerciements ii: The Ontario Arts Council The Canada Council Cover/Couverture: The National Ballet of Canada in Giselle. Dance In Canada is published quarterly by Dance in Canada Association. The views expressed in the articles in this publication are not necessarily those of Dance in Canada. The publication is not responsible for the return of unsolicited material unless ac companied by a stamped self -addressed envelope. Subscription: $6.50 per year . Single copy $2 .00. The publication Dance in Canada is included with membership in Dance in Canada Association. · Danse au Canada est publi -ee trimestriellement par !'Association de la Danse au Canada. Les opinions exprimees dans les articles de cette publication ne sont pas obi igatoirement eel les de Danse au Canada . Le redaction n'assume c1ucune responsabil ii e quant au renvoi de materiel non sollicite, moins que celu1ci ne soit ac compagne d ' une enveloppe -reponse affranchie et adressee . Abon nement: $6.50 par an. Prix du numero $2.00. Les tarifs de publicite seront fournis dans le prochain numero. Les membres de I' Association de la Danse au Canada recevront d'office la revue Danse au Canada . All rights reserved. No part of this publication may be reproduced without prior written permission of the individual contributor and the Dance in Canada magazine. Tous drois reserves. 11 est defendu de reproduire toute partie de cette publication sans avoir prealablement obtenu le consentement ecrit de .tout auteur et de la revue Danse au Canada . a Dance in Canada: 314 Jarvis Street, Suite 103, Toronto, Ontario MSB 2C5. ISSN 0317-9737 Monique Michaud, dance officer Timothy Porteous, associate director of the Canada Council Danee and Dollars: Interi,iem With The Canada Council Susan Cohen and Murray Farr 2 CM: Mr. Porteous , because I suppose it is the first time at t he policy of the Canada Council toward dance has een stated publicly , I would like to discuss some of the oints you made last night-the division between ballet and modern , the way you see it in terms of funding , the in d of support and the future of the support that's being g i e n to the three major ballet companies . PORTEOUS: I don't think the proper distinction to make s between ballet and other forms of dancing. But I think ere is a distinction to be made between large com panies, companies that have 20 or 30 or more ancers, medium-sized companies, perhaps between 1O and 20 dancers-I'm just putting this very roughly-and ina lly, extremely small , portable and probably highly expe rimental companies of five dancers or less. It seems o th e Council that if you are to have dance activity which covers a satisfactory range artistically in this country , you need to have some big companies, some medium-sized com panies and some small companies. Historically, when h e Counc il was founded 17 years ago, we just had the big com panies. Initially, our support went in fact to three big comp anies. Now those three big companies are still with J S , and , in fact, they are bigger than they were and their art ist ic standards have risen. I don 't think today's audi ences for the big companies would accept the s an dards that prevailed 10 years ago . The Council feels • at it has an obligation , and it is desirable to provide the esou rces necessary to maintain the large companies and ·o al low them to achieve and to maintain satisfactory arti st ic standards. But it also feels that the total number of comp an ies in any category, and partiularly the total 11um ber of companies in the biggest category, has to be ~ath er severely limited in a country of 22 million people, oart ly because of the question of finding sufficient ~i anci al resources to sustain that type of operation but also because of the necessity of finding sufficient human resources, finding the choreographers and the dancers, : e technicians and the audiences . The first point I was ~rying to make last night was that we still think that in this count ry three large companies are probably the most that e can support, and therefore we would be extremely elu ctant to further diminish the amount of resources we av e available to support b i g companies by cont emplating the existence of additional large com panies from parts of the country where they presently do not exist. However, we think that the future of dance in this coun try depends a great deal on the smaller companies , and in that area we feel that we have been expanding our su pport ; we've been increasing its range and particularly his year, for example, we've increased the proportion of our budget that goes to the smaller companies . D CM: Could you specify the amount of funds the dance offi ce has? PORTEOUS: Last night when I was using the overall stat ist ic of $3.5 million , I was referring not only to the f unds that are at the disposal of Monique. I was also inclu ding the Touring Office funds which are invested in d an cing, and, as it happens, in this year the Touring Office budget has gone up and the major increase has gone into dan ce touring because it was felt that was where the major increase was required. Last year's budget was of the order of $180,000. This year's budget is of the order of $400,000. So t here is a very substantial inc rease right there. In addit ion , the budget that Monique administers is $2.844 mil lion. But also there are grants to individual artists which are not considered to be part of her budget. If you add up the amount of funds that would go to individual dancers I suspect it would be of the order of $200,000 or $300,000 in the course of a year. But that's a calculation I made up in my head . Overall dance funds were $400,000 in 1967. That is a six-fold increase up till last year. Assuming that the amount of money available to us to invest in dance co ntinues to grow, we feel we will be able to support a large number of the medium-sized and smaller compan ies. DCM: So, what led to the misunderstanding last night was the particular vocabulary you used-'ballet' to describe the big companies and 'modern' for all the rest. PORTEOUS: You see it happens by coincidence that the three largest companies would probably describe themselves as ballet companies-and they are. But beyond that there are different perceptions of what peop le are up to. MICHAUD: The fact is at the moment it is divided into disciplines. It shouldn 't be like that and it won 't necessarily be like that. But chamber or concert ballet groups , for example , are very new. We haven 't turned them down . They haven 't really come to us yet. DCM: Well , the great success story is Entre-Six. In less than a year, they have a $100,000 budget and they haven 't even asked the Council for help. DCM: Could you specify the proportions now that will be available, in terms of the overall dance budget, to the major companies and to this expanding chamber dance group? MICHAUD: The easiest figure to use is that we have brought up the smaller companies' budgets by 80 per cent. Even if it's a small amount, 80 per cent is a big percentage . DCM: Is there now a minimum for the smaller companies , a minimum grant? I'm referring to project grants, because that's where most of the chamber companies are really coming in, are they not? PORTEOUS: In theory , there is no minimum , but in practice , yes . MICHAUD : Project grants are where it starts. I've brought them up to $7,500, $10,000, etc . this year. PORTEOUS: to? MICHAUD: Is there an example of one we gave $7,500 Yes , Dancemakers. DCM: So this is the minimum grant for companies like that, recognizing the conditions under which they have to operate? MICHAUD: It is difficult to answer a question like that because for projects we often cover the deficit for a series of performances. They're 'up to' grants, if you like. PORTEOUS: Also, sometimes we have made something special available to companies, for example, the services of a person. MICHAUD: Not very often. We've done that for companies on operations grants but not very often for projects. Projects really have to do with a series o f performances or the creation, choreography or cost of mounting new works. 3 Ann a Wym an Danc e Thea tre PORTEOUS: Normally, project grants would be $7,500 and up. DCM: And what about operating grants? What is the minimum there? MICHAUD: It's $60,000. DCM: So that means the four major contemporary companies are all up to at least $60,000. (In the case of the Contemporary Dancers of Winnipeg, this Council decision means a jump this year from a $25, 000 grant to $60,000.) DCM: Do you think the distinction will fade between the four major moderns, if you could call them that , and the emerging sector that is now on project grants? 4 PORTEOUS: To go from a project grant to an operation s grant, we make much more severe judgments on artistic quality and we also start making more severe judgmen ts on the administrative side of the company, because if we are going to give a company $60,000 we need to have some assurance that there is somebody there who know s what to do with the $60,000. So the answer to yo ur question depends first on the existence of artistic qual ity which is justified and secondly on the combination wi tti administration. DCM: In the immediate future do you see any more of t he chamber companies getting operating or sustaini ng grants? MICHAUD: It depends on how many of the criteria th e,, -=' en Jon es of Toronto Dance Theatre - no more companies will join o n operating grants. -ee bec ause the Council is very reluctant to·withdraw its s~ port. It really labours over that before it does that. en we make an operations grant, it's a long-term - olvement. But at the moment there is no company ;raduating from project grants to operating grants. DCM: You were saying that university companies are a ;;'eat p roblem for you . Is that because they fall into that ~ o between art and education? ICHAUD: Yes, and they often come out of physical e-:: cat io n or mouvement corporel/e. The line is difficult to ::•a . Al so . they get special financial consideration from :-e u n iversity and are able to do things an outside : rnpany would never be able to do. Sometimes they have a . ish, beautiful studios compared to a company on the street struggling. They don 't have to pay rent. They study for MA's and such and get together once in a while to perform. It's a very different situati~!ogether. DCM: Could you also elaborate on the special conditions that make dance so financially distinct from the othe r performing arts? PORTEO U S: The question is where to start. But I tried to make the point last night that dance is mainly a group activ ity. It is possible to have ind ividual recitals and small groups, but the vast majority of dance activity that does take p lace involves not only bringing people togeth er ov er a peri o d long enough for them to develop collectively as artists. This is different from opera, for example , where you ·just b ring people together for a short time and put o n 5 Entre -Six: New chamber ballet com pan your performance and then disband. It's different from theatre in that theatre can change the size of its productions, or change the actors who are performing or can make all kinds of variations-and still be the same company . But in dance you really have to bring together one group of people and keep them together, and they have to devote themselves exclusively to that activity. Secondly, I said that the ratio between rehearsal and performance is much higher in dance. The other extreme is the symphony orchestra, which can have two or three rehearsals, put on its concerts, put on perhaps two or three different concerts a week; it can take the same group of music lovers and bring them back maybe 12 times a season . A dance company is extremely rich and lucky,if it can bring them back three times in the same season . Therefore, the total number of people that a dance company has to perform to, just to be able to develop the same amount of artistic activity , is much larger than it would be for an orchestra or theatre company . That, of course, is part of the reason why dance companies have to keep moving around the country and can 't stay in one city as an orchestra can or a theatre company can. Added to all the human resources problems-bringing these people together and keeping them together and providing them with long periods of rehearsal and creation, dance companies have all the problems of transporting them around the c·ountry, finding the places for them to perform in and assembling the audiences in those places prepared to come and see them . The other advantage they have in other art forms is that you can have the Royal Winnipeg Ballet or the Manitoba 6 Theatre Centre, and the people of Winnipeg can ide nti very strongly in a municipal sense with tho se organizations. Ninety per cent of the audience th esE companies draw on will be Winnipeggers. I've said t E Royal Winnipeg Ballet, but that in fact is an example of t e reverse, because an extremely large proportion of t e audience the Royal Winnipeg Ballet has toclfaw in order c: survive artistically are not Winnipeggers. They are peop e in Calgary, Vancouver and so on, they don't have the sa me identification with the Royal Winnipeg Ballet, as Winnipeggers would have with the Manitoba Theatre Centre. So again this means you need a much hig her concentration of resources just to maintain in artis ti existence a dance company than you would a compan y o' similar reputation or similar artistic quality in anot he• discipline. This means that given an equivalent amount o• resources to invest in the dance as you might have ir music or theatre, you have, in fact, to invest in fewe r companies . With the same amount of public support, yo can support many more theatre companies than danc e companies, many more types of music than dance. T he Council's philosophy about dance or music or theatre relates to the nature of the activity itself. DCM: The other point you brought up last night was t he whole question of education, of the standards of dance teaching in this country . You chose that opportunity to announce publicly the gist of a report made by Peter Brinson (founder of Ballet for All and head of the United Kingdom and Commonwealth Branch of the Gulbenkian foundation). Could you please discuss that? TEOUS: In the past, the Council has b~en n;s:r cti ng its support for institutions giving professional g to dancers to one institution, the National Ballet I. There were several reasons for that. One was that an institution itself requires a great deal of resources s rv ive or maintain acceptable artistic standards, and aoe 'e l t hat the resources available to us were probably ~eq uate for that. Secondly, we have felt and we have lllee ad vised by people that we have consulted on this _ io n that the standards of teaching at the National e Sc hool were superior to anything else in the _., ry. Thirdly, the National Ballet School has had a :::ierat e policy of bringing its students from all parts of ::::ou ntry and of offering them courses in both official g ag es . That gave it a national character which was an _ _ en t in relation to obtaining funds from the federal e• ment. fo r all those reasons, we have been providing ort t o the National Bal let School , but t hat has been :> ly dance training institution that we have been ding support to. About a year ago , we asked Pete r son to take a look at three ballet schools (the National , =roy al Winnipeg and Les Grands Ballet Canadiens) · eport on what he found and make recommendations ·:: wh at Council's policies toward them should be . ' ade the case that in ballet-you see his report was ed to the discipline of ballet , but I said last night that s of its recommendations had implications which would apply to dance generally-experience showed that to have a great ballet company you had to have a great training institution associated with it. And that these two were mutually dependent. Therefore, insofar as the Council was interested· in maintain ing the artistic standards of ballet companies, it should also have an interest in the level of training that was being provided for the dancers who wou ld become av11ilable for those companies. Peter Brinson felt, secondly, that the level of support for the train ing institutions was far too low, and he inc luded the National Ballet School in that. He said that the salary level at those schoo ls was too low in relation to salaries paid in other aspects of dance and also in other educa ti onal institut i ons . So, in general, his recommendation was that some part of the support that we are providing for the discipline of ballet should be directed toward raising the standards of the training of dancers. He also made the third point that in most countries where ballet has developed there has been a standard of teach ing and tra ining to which all teaching insti t utions could refer and to which all students could have some access. In Canada, because of our geography and constitution and so on , training institutions have sprung up without any kind of central standard. Some of them, of course, have related to t he standa rds of British institutions . He recommended that in a count ry like Canada, if we wish to develop our ballet and our own dance, we shou ld attempt to develop Canadian standards of dance instruction and establish qualifications for C o n temporary D ancers: U p to $60,000 teachers. He pointed out that one of the things we have in Canada is an enormous variety of regions, temperaments, physiques and so on, and he felt that this should be used to our advantage and shouldn't be just boiled down into a great homogeneous pot. We, nevertheless, should work toward developing some kind of standards in that area, if we were really thinking of the future of dance in this country. Of course, that brings us into very dangerous territory. As a federally-funded institution, when we try to ask for funds for that purpose, we often don't get a very enthusiastic reaction. We're met with the argument that that is really part of education and that is provincial responsibility. In fact, many people who are in the training and educational field feel that they should be autonomous within their own provinces, and it's an unnecessary interference to have anything that goes beyond the provincial boundaries. So it's a field in which there are a lot of difficulties. But, on the whole, I think that many of the points that Peter Brinson made in his report are valid and deserve consideration by the responsible provincial · authorities and particularly by people in the dance field itself. DCM: One of the things Peter Brinson said which you quoted yesterday was that the standards were "dangerously uneven", which is a very striking phrase. Will there be any attempt made by the Council to discuss this with the dance community and with the people concerned with education? PORTEOUS: Yes, I think we'd like to have some reaction from the dance community itself. It would have to be said that the immediate reaction we had last night was not entirely positive. I think an organization like Dance Canada, for example, could do some very valuable work in getting people together and getting some consensus on how to resolve these problems in the peculiar country that we happen to live in , and the Council would certainly be prepared to participate in that kind of activity. DCM: Well, I felt last night in your speech that you on behalf of the Council showed a willingness to open a dialogue on sensitive issues that had more or less not been discussed openly and particularly among those who are most concerned with it. Although there were mumblings of discontent within the large banquet room during your speech, it was pretty low key, I should think, compared to things Council has run into before in public hearings. MICHAUD: Sure. In a certain way I was glad to get a reaction. Often the dance community does not react. DCM: There's a growing maturity in the Canadian dance world . PORTf;OUS: Dance itself-this is a thing which always amazes me-is so young as a separate activity. That is true in a world sense. It's much truer in the Canadian sense. You know the original generation of professional Canadian dancers is still active in the profession as choreographers, artistic directors and teachers. We don't even have the children of the first generation yet. In other words there is nobody whose parents had an involvement. Whereas if you look in music for exa.mple, the people who are professional musicians have been brought up in music. Very often, it's the same thing in theatre. But with dance, certainly in Canada, we're right at the beginning and we're asking the questions for the first time. There are lots of mistakes the Council hasn't got around to making yet. 8 DCM: There is a definite indigenous dance world ... Canada now. It's not been rirafted or transposed. PORTEOUS: An indication of that is that this year ·the first time the artistic directors of the three larg es companies are all people who've been brought up in t s country and got most of their professional experien::e here. I certainly do not believe that we don't need to bripeople from other parts of the world to enrich what we r doing, but we also have to be in a position to devel op own artists. And I think that's an indication that we moving in that direction. MICHAUD: A recurring sentence in Brinson's repo that, 'You can't work fast in dance: You're thinking o :_ years and ten years and ten years.' PORTEOUS: He said it takes ten years to establ is" dance school so that it's not just going from week to weetl. then it takes ten years after that to really develop itsel' as an artistic entity; and then it's going to take another: years before the students it's been training have real! ;; themselves into the dance world. A total of 30 yea rs. MICHAUD: PORTEOUS: That's the age of the Royal Winnipeg Ba So it's easy to be too impatient. DCM: Were you making any implications in speech about the modern companies? 1 PORTEOUS: Yes, I think some of the implicatior_ what Peter says in his report could be extended be : the particular discipline of ballet. But it depends course, on finding the necessary resources, and we're going to cut down on the institutions we are presesupporting or withdraw our support from the m additional activities have to be funded out of ad dit :resources that come to us. In the past, we have bee to get additional resources . MICHAUD: The panels of juries at the Counc il ... been very concerned with the quality of teac hi modern dance. They've been talking about it more more in the last year. , PORTEOUS: Many years ago there was, in fact , on l _ serious possibility for the training of dancers National Ballet School. The Council has been sup p it over the years and over the years the scli oo maintained its pre-eminence from an artistic point of It has been the school that has been recognized o • Canada as being our best ballet school. However, as dance itself evolves in this country, the demand for tra dancers expands beyond the possibility of a sin gle tution to provide it. So , therefore, while mainta ini r;; quality of this pre-eminent institution, we also ha,e think about building up the quality of other possi ble tutions for training our dancers. In Peter Brinson 's re:: he emphasizes the relationship which has historica isted between performing ballet companies and sc" and the likelihood that a really good company has c a school related to it and vice versa. So the Cou ... considering various possibilities for raising the star, of training dancers in institutions other than the Na:_ Ballet School. Now, like all the other Council prog rathe future, this of course depends on additional res o~ being made available. But as a modest first tentat i E,, in this direction, this year we will make a very sm al ;to the professional schools that are attached to t he::::.: m Winnipeg Ballet and Les Grands Ballets Canadiens . - -~•;.;,r grants will have the objective of helping them t o '- 11111 artistic quality of their training. En 1947, Edwin Denby le grand critique de danse aux Etats-Unis publiait un texte intitule "The Critic" dans lequel i I resumait ce qu'et ait pour lui la format ion et le role d'un critique de danse . En preparant celui-ci j'ai relu le sien pour con stater combien ii demeure val able trente ans apres, et combien Denby s'y attaquait deja a l'essentiel du probleme: "aiguiser la perception". Plusieurs chemins peuvent amener a la critique et la route individuelle de chacun suscitera une approche differente, plus ou moins nouvelle. La mienne a emprunte tant des photos de danse vues , enfan t dans les journaux quotidiens que de la frequentation des mu sees italiens et, d'une formation en science . polit ique. En d'autres termes tout ce qui concoure a nous faire , s' inscrit deja dans le processus de formation du critique . A partir de cette toile de fond i i est poss i ble cependant d'ajouter, dans le but de devenir un critique serieux , des e lements supplementa i res plus precisement orientes a !'acquisition de moyens et de methodes de travail . En critique tout com me en art , s'il y a une partie instinctive ii ne s'y en trouve pas mo ins une autre, eduquee. Le resul t at de cette education que viset-i I? Que cherche a faire le crit ique avant tout? lnteresse par la force de communication d'un art , eel ui de la danse , le critique tente de la rendre de plus en plus evidente en cherchan t a eveiller chez ses lecte "des aspects insoupgonnes de leur propre sensib ili e Habituellement plus au fait de l'histoire de la danse. critique peut apporter des elements de comprehe ns et d'analyse des oeuvres nouvelles ou meme paroffrir une vision nouvelle des anciennes . II sera se ns a !'evo lut ion , au milieu et a l'epoque. Sensible a,... mouvement , essence-meme de la danse, ii !'observ e. retient en vue de le rend re par les mots et, la n'est pas plus facile. II aura a capter des mouvements cla • _ biens rendus, precis , d'autres confus, etrang bizarres, nouveaux , deconcertants , toujours in teg.._ dans une choregraphie et alimentes par l'art e technique du danseur. De traduire par la phras e profonde integration de deux elements peut deven ir 1.. source de cauchemars car c'est la que se situe le c-damental de la danseet la aussi que jaillit son et ince souvent rebel le a l'encre de la plume. Le danseur e· choregraphe exigeront deux approches disti nc EL apres une premiere saisie globale de l'oeuvre. " _ ensemble de rythmes articules dans l'espace et dans _ temps", demande une terminologie specifiq.ue pou· decrire, ii taut l'inventer a tout instant. L'amour de la danse , une conception dynam iq ue:: l'art , un sentiment profond d'independance, une so Serenade de Balan c hine ( Nation al Ballet )-l e genie d 'un certain c hang em en t. , aissance de l'histoire de la danse, la frequentation o us les lieux de spectacles de danse, les : ssions sur le sujet, tant avec des artistes que a_·res personnes aussi interessees enfin peut-etre la -~ entation d'un cours de formation de critique oe--r--eu rent a mes yeux les principales qualifications ettant de se lancer dans le metier. Soulignons tout s it e qu'il ne me semble pas necessaire d'avoir peint _. c omprendre, situer et discuter une oeuvre, de · e la danse se laisse volontiers cerner par l'obSle"" a eur du mouvement. Le fait de n'avoir appartenu a - ne ecole, de n'avoir eJe assujetti a aucun ·es seur peut meme parfois conserver au critique une :::on ibilite plus grande face aux multiples recherches regraphiques contemporaines. _ amour de la danse ou du mains la conviction que la ~se constitue l'un des arts fondamentaux . . . et non Sle'J em ent un divertissement elegant, preside _ a tout ai l de critique. C'est cet interef qui nous fait sans cesse 1lle3 ir, c'esf encore lui qui nous garde constamment en e . Le critique qui ne verrait la danse que sous l'optique _ esthetisme statique comme c'est malheureusement ent encore le cas, aurait vite fait d'epuiser les "Onymes de "beau" et de "cremeux". L'art en general toujours nourrit d'une epoque pour la traduire et meme la devancer; en ce sens son discours s'alimente a deux sources fondamentales, celle de l'histoire des societes et celle de la problematique esthetique vue sous !'angle scientifique d'une evolution continuelle ou encore sous celui d'une evolution-rupture. Decouvrir ces sources, sentir par soi-meme ce cote vivant de l'art, le critique aura du y arriver pour son prop re compte avant de se lancer dans l'ecriture. Je demeure convaincu que cette decouverte peut se faire tout aussi bien a travers la peinture, la musique que l'histoire des idees politiques ou de la philosophie. Par la suite l'histoire de la danse abordee sous ce jour fascinera litteralement. Cette histoire on ne la connaitrajamais.assez. Maitrisee, que de betises pourra-t-elle nous economiser, et que de lumieres nous fournira-t-elle. Souvent j'ai ete etonne par cette candeur que donne !'ignorance des faits historiques, des ecoles, des etapes de la danse, des artistes d'un pays et de !'evolution de l'art, ce tant au niveaudu public que celui de certains artistes ou "historiens". La danse etant dans son produit !'oeuvre ephemere que l'on connail, elle exige de celui qui en parle beaucoup de memoire jumelee a un sens de !'observat ion bien developpe. 'Si l'un ou l'autre venait a faire defaut ou encore si des evenements s'etaient produits avant nous ii faut immediatement songer aux gravures ,' aux photographies, aux films, aux temoins, aux livres . tort, soit en lui donnant raison , s'il a su distinguer u e valeur creatrice avant !'acceptation generate. Un crit ique s' il nail toujours d'un m il ieu et en porte a marque ne doit P~!:> n,oins se connailre lui-meme s'i nteresser ace qui se passe en dehors de son m il ie Pour s'en assurer le critique elargit ses horizons e multiplie ses point s de references , visant ai nsi ,. certain equilibre, lequel deviendra un element importa.:-' de son "objectivite" . En fait ii faut voir, voir et voi r e core de la danse, de la bonne, un peu de mauvaise de a pauvre, de la riche , de la conservatrice, de l' innovat rice de la vieille , de la jeune, de la revolutionnaire , et e . mains possible de decadante ce , partout ou ell e trouve. Cette frequentation des spectacles et a jouissance d'un inventaire le pl us complet possi .. evite bien des erreurs et permet souvent de ne chercher le nombril du monde la ou ii ne se trouve pas Les yeux bien ouverts permettant de vo ir vraiment ce est produit valent mieux que des yeux plisses cherc haun quelconque horizon. Jeanne Renaud-un nouveau /angage a/ors inconnu Ces derniers, du mains les meilleurs deviennent des allies . Comme tel its aiment etre confrontes et compares , et pa r les plus perspicaces , meme lus entre les lignes . II se produit une chose merveilleuse avec l'h istoire de la danse, la verite h istoriq ue fi n it toujours par percer et etre retablie tant par une force in nee a celleci que par le travail des historiens competents . Al Ions plus loin , meme des hist oriens biaises en enongant des enormites ou en oubliant !' importance reelle decertains faits finissent par nous rend re service en nous devoi lant les culs de sac dans lesquels ils ont pu s'engager. Si la critique aborde l'art de la danse avec un senti ment de gratitude envers les historiens et les biographes inversement ii mene son metier dans un ctimar d'independance. Sans doute comme les artistes des autres media et peut-etre encore plus, le choregraphe et le danseur sont le plus souvent convaincus au depart de la grandeur de leur creation ou de leu r talent. Parfois c'est le cas, parfois ii n'en est rien . Ce sera au critique de decouvrir lui-meme ces talents et ces genies. Si un communique de presse cherche par tous les adjectifs possibles a stimuler l'interef pour un spectacle, soit en fin de compte de le vendre, le critique le lira et l'oubliera. L'envoutement d'une salle, les applaudissements d'un soir plut6t que de lui dieter ses adjectifs, inciteront le crit ique a se demander pourquoi et a cerner leur fonde ment. Comme le soulignait un jour un p ianiste repute: " On a retenu de chaque epoque a peine 10% de sa prod uction art istique ... ", le critique de danse, du rant sa carriere sera appele a voir cette production en danse. De ce lot ii cherchera ces creations qu i depasseront une mode, une ville ou meme un pays, ii pointera du doigt celles qui t ranscen dent. Encore la le temps pourra devenir son meill eur allie, so it en lui permettant de se retracters'il aeu 12 J'ignore si cela t ient au caractere ephemere de a danse mais j'ai constate que tous ceux qui s'y adon fr et s'y interessent ont beso in d'en parler. Que momen ts aux cours desquels la danseuse no us .:. tretiendra de sa conception d' un role , des granc f igu res qu i l'ont precedee , ou le choregraphe devoi une problematique qui l'interesse ou en fin des critiq~ souhaiteront comparer leur perception des oeuvres, qualites des interpretes, !'evolution d'une carr iere choregraphe etc. . . Ces moments s'averent so ~ enrichissants, puisqu'ils permettent parfois de sa isir nouveaux points de vue et mettre a l'epreuve ses proc idees . Ceci ne signifie en rien que d'une part le cri ::: se laisse dieter ses approches et que d'autre pa:-cherche l' unanimite chez ses collegues. Enfin le critique aura tout avantage a prof ite r cours de critique de danse com me ii en ex iste qu elo uns maintenant ou ii lui sera poss i ble de mettre un : d'ordre dans ses idees, mieu x se connartre et ce ::ie fagon quas1 -systemat ique en regard des choses ae danse et de cerner les dimensions de son ignora Sans doute cet effort de retrospection sur la forma· d' un critique lui confere une allure quelq ue : theorique , ii n'en demeure pas mains le fru it experience, la mienne. Tout ce qui m'a amene au tra de critique ne m'a jamais consciemment condu its • chem in ou si peu , ce furent beaucoup plus les re su :a d'une lente evolution et d'une sensibilisation qu i donne l'audace de plonger. Cette sensibilisatio n e ete marquee d'experiences esthetiques e tellectuelles precises. ' Al ors que j'etais enfant nous recevions a la maiso journaux de Montreal. Que de pas de deux im mo que d'arabesques figees j 'ai pu voir dans les pa., artistiques de ceux-ci . En province meme en 1950 or voyait pas de danse et ii me semble drole de ::: aujourd 'hui que c'est peut-etre ce manque qui m'a a: vers elle. Combien d'amateurs qui s' ignorerit exis te-·encore dans les diverses regions du Quebec e: :: Canada? Combien de critiques valables n'ecriron t me.pas une ligne? Puis la vie a Montreal et les voya; aidant , j 'ai fini par voir de la danse. Dans ce monde en eveil tout a eu son importance a certains artistes y ont joue un role determ inaBalanchi ne , Noureev, Jeanne Renaud , des fi lms :: Royale prolongera sa vision et son oeuvre; elle avait eu raison . Plus loin de moi dans le temps c'est par le film (et le livre) que Doris Humphrey a son tour me revelera le caractere dynamique de la danse. Artiste exigente et dediee elle reussira durant sa courte vie a presenter un univers du mouvement entierement elabore a partir d'une idee personelle et reflechie , avec Graham , elle ouvrira toute grande la porte entrebail lee de la danse moderne contemporaine. Je ne parle pas d'un Cunningham, d'une Meredith Monk, d'une Mary Wigman , d'un Perreault, d'un Patsalas, d'un Warren , d'une Karen Kain . Comme tous ceux qui precedent ils me fascinent par leur vision artistique et leur pouvoi r instinctif d'innovateur ou d'acteur. Friand , j'assiste a ce spectacle du changement du monde. Dommage que plusieu rs journaux canadiens ne comprennent pas encore la necessite de compter dans leur equi pe un critique de danse, professionel auquel on fournirait les moyens necessaires a un travail en profondeur. Mais ca viendra, ga viendra. Karen Kain-beaute et talent international " made in Canada" : •is Humphrey. Avant meme de bien connartre le ballet : ass ique je savais deja que quelqu ' un l'avait fait eclater ;:cur l'amener encore plus loin et en faire un moyen de :·eat ion et de communication contemporaines, 3w rges Balanchine . Parmi les meilleurs choregraphies _-e c e genie une ressort forte et entiere, "Agon". Danse ,an te, art vivant l'oeuvre de Balanchine en est encore a. reuve quotidienne. Je n'oublierai jamais non plus ureev dans le role de Romeo. D'un grand jete initial ii ~ : m nous entrarner immediatement au coeur-meme du :·ame. Noureev offre la synthese entre l'acteur et le :::1. seur, soit l'exemple d'un artiste puissant dont la :anse a toujours besoin. En 1965 je voyais, un peu par hasard, un spectacle de :a.n se moderne quebecoise avec a son programme des : o regraphies de Jeanne Renaud et les oeuvres de : ' erents artistes et musiciens quebecois . Par ses - uvelles manieres de bouger, son univers personnel et s prenant ,c ette femme m'indiquait le germe d'une :apac ite pro pre au Quebec d'inventer son vocabulaire et :e d anser son epoque a sa .f.agon, le Groupe de la Place 13 Notice board/A \jOtre attention e third annual Dance in Canada Conference held in =:-onton June 21-25 of this year, the wealth of Jrces , performances and ideas belied its meagre - :: ng. The new board, elected at the general --=-bership meeting following the conference includes: _E , ence Adams, director of Fifteen Dance Laboratorium ~ - oro nto and Visus video group; Joyce Boorman, _;; s-ant professor, faculty of physical education at the _ - , ersity of Alberta and director of the Children's Dance --ea re (Edmonton), and chairman and organizer of the == onton conference; Murray Farr, chairman of the o f Chimera Foundation for the Dance which - E,ag es the Alwin Nikolais and Murray Louis Dance : :-.,panies; Mary Formolo, co-artistic director of the - on Fraser Dance Workshop and faculty member of the _ - . ersity ; David Haber, former artistic director of the ~: on al Ballet of Canada; David Lint, assistant to the =·-esident of the Canadian Broadcasting Corporation, : ·ecto r of strategy and development for CBC and coa.~ • or of the McKinsey Report on dance for the Canada : unc il; David Y.H. Lui , Vancouver impressario and ducer of dance events; Jacqueline Lopez, co-director :' Ent re-Six; Arnold Spohr, artistic director of the Royal 'lni peg Ballet; and Grant Strate, chairman of the York ~-iiversity program in dance and former chairman of :a.nee in Canada . The slate elected was the exact one ·oposed by the association's nominating committee.' urray Farr was made chairman, Joyce Boorman Se ret ary and Jacqueline Lopez and Arnold Spohr were €- ected vice-chairmen . be the only dance company performing in Canada's twoweek salute of performing companies to the American Bicentennia l. The company will give three separate programs including Pictures, the trilogy of works by John Neumeier, The Ecstasy of Rita Joe and What to do Till the Messiah Comes, both by Norbert Vesak , and the Rite of Spring. Another work which might be given at the time is The Hands, a new piece by Paddy Stone (who choreographed their delightful Strike Up the Band) which was given its premiere in Ottawa in August. By the way, according to the most recent calculations, the Royal Winnipeg has performed Strike Up the Band some 222 times. ance Canada is now considering the possibility of -oldi ng the next conference in Halifax, in August, 1976, to in cide with the Nova Scotia Festival of the Arts. Gunter 3uchta, on behalf of Dance Nova Scotia, has expressed an erest in holding the conference there. Assisted by a $25,000 grant from the Secretary of State's office, the Anna Wyman Dance Theatre presented Klee Wyck: A Ballet for Emily Carr in a special commission for the Vancouver Art Gallery July 22-30 for International Women's Year. Ann Mortifee who did the song accompan iments to Ecstasy of Rita Joe composed and sang the accompaniment to Klee Wyck. In the fall , the Anna Wyman Dance Theatre undertakes a seven-week tour of British Columbia, visiting about 23 centres during that time. = =• = Lawrence Gradus, artistic director of Montreal's EntreSix, won the 1975 Jean Chalmers Award in Choreography a t he Edmonton conference. The response of the a dience to his award and his works, presented on the second evening of performances, proved what a popular h oice it was. Th e Ontario Arts Council granted the Dance in Canada ..., agazine $4,000 for the 1975/76 fiscal year. Dance in Canada was one of 57 magazines receiving grants, out of 07 applicants. The Royal Winnipeg has a very busy season ahead of it. ft er opening in Winnipeg (October 1-5) with a new version of Rite of Spring choreographed by Argentinian ch oreographer Oscar Raiz, the company travels to Washington's Kennedy Centre October 13-18 where it will The Contemporary Dancers of Winnipeg will be incorporating works by five different choreographers -Norbert Vesak, Norman Morrice, Linda Rabin, David Earle and Cliff Keuter -- next season. The company opens its Winnipeg engagement October 24-25 with a special guest appearance by jazz flautist Paul Horn. Rachel Browne, artistic director of the company, will choreograph a new piece to one of Horn's compositions. Then on a Western Canadian tour in November, Paul Horn and his group will accompany the Contemporary Dancers. Two students' from the school of the Contemporary Dancers were accepted into the York University department of dance. As of this writing, the company had not had a response from the Canada Counci l on their application for aid to appoint an assistant artistic director as artist-in-residence for the coming year. The National Ballet had two stints at the Ontario Place Forum (July 9-16 and August 13-23) broken up by a threeweek summe r season at the Metropol itan Opera House in New York. The company then begins its fall season in Montreal where Mikhail Baryshnikov performs with it (September 26-28). The Touring Office of the Canada Council gave the National Ballet $125,000, the Touring Office's largest single grant ever, for the company's fall tour taking it to seven Western Canadian cities from Vancouver to Winnipeg. The repertoire for the tour includes Coppelia, Don Juan, La Syfphide, Kettentanz, and the revival of Tudor's Offenbach in the Underworld. Also joininQ the repertoire on the tour will be Kisses, a series of pas de deux about different kinds of love, by National Ballet dancer/choreographer Ann Ditchburn . En tre-Six, directed by Lawrence Gradus winner of the Chalmers Award in Choreog"faphy. 15 works of two young and promising National choreographers, Ann Ditchburn and James Kudelka, the National dancers performed in L'Histoire du Soldat and Trio. A number of National Ballet associates-- principal dancer Veronica Tennant, Alexander Walton, on the company's board of directors, and Pearl Whitehead who was instrumental in getting the company its start -- were named to the Order of Canada recently. The Toronto Dance Theatre leaves for a Western Canadian tour which takes them to Winnipeg on September 15. The tour has been supported by a $35,000 Canada Council Touring Office grant. The fall season of Le Groupe de la Place Royale begins August 30 at the Shawinigan Festival in Quebec. Then it is on to a week of performances in September at Montreal 's Centaur II Theatre before embarking on an Eastern Canadian tour which takes it from Toronto to Newfoundland. In an ambitious program called Summerdance (July 5 August 3) at the Expo Theatre in Montreal, Les Grands Ballets . Canadiens marked its fifth anniversary of performing there with presentations of more than 10 bal lets, a well as open rehearsals and films. David Haber-Nationa/'s artistic director resign s after less than a y ear. Celia Franca-former artistic director returns to the helm for two months. Artistic director David Haber resigned from the National Ballet at the end of July following irreconcilable artistic differences with the company's board of directors. Celia Franca, the National's former artistic director, replaces him on · an interim basis until September 30 while a replacement is being sought. A search committee has been struck and the search is expected to last for a year. The National Ballet of Canada's principal dancer Karen Kain appeared in a special gala season with Rudo lph Nureyev, Margot Fonteyn and Paolo Bortuluzzi at Washington 's Kennedy Centre (July 8-19) . Then , after completing the Metropolitan Opera House engagement with the National, she flew to France to appear with Roland Petit's company in a new work specially staged by the choreographer for her. She will rejoin the company in Winnipeg at the end of their Western tour in October. Although the National imported Nicolas Beriozoff to teach the company the old Diaghilev ballet Le Coq d 'or, the work will not be going into the repertoire this year at•all. Among the musical offerings arranged by the group Camerata for the Shaw Festival at Niagara-on-the-Lake thi s summ er, (August 24) was An Evening with the a ional Ballet: Invitation to the Dance. Highlighting the 16 Scenes from Tam Ti De/am, by Les Grands Ballets Canadiens artistic director Brian Macdonald , were filmed by the National Film Board and will be shown for the first i me at the International Music Conference hosted by the C anadian Music Council , in Toronto on September 29, 1975. Les Grands Ballets Canadiens will be rev1v1ng Rose _atulippe, the first full-length Canadian ballet and o riginally done for the Royal Winnipeg , for its November se ason at home in Montreal. The ballet is by Les Grands ' current artistic director, Brian Macdonald . Before that eng agement, the company will tour Eastern Canada for a "1 0 nth , visiting about 15 centres . Th e Saskatchewan Dance Theatre was awarded $7,367 by · e Sask Sport Trust Fund, to be given to the artistic director of th e company, Lusia Pavlychenko. The Trust =u nd, established in 1974 from the profits of the Sas katchewan Sweepstakes Lottery , raises money fo r the development of amateur sport , culture and recreation . ichele Presly, one of the founders and presently ri nc ipal dancer of the Saskatchewan Dance Theatre, · ecei ved a Canada Council short-term grant for ~-ofessional study at York University, at the Toronto ance Theatre and also at Le Groupe de la Place Royale . he Gulbenkian Foundation (United Kingdom and Commonwealth Branch) awarded John Clegg , head of the physical education and dance department at the Eltham Adult Education Institute (London, England), a grant to attend the summer dance course at York University with a view to getting a degree from York . Carole and Ernst Eder of Tournesol were guest teachersin- residence at Penticton · Summer Dance '75, an intensive-three-week course in British Columbia (July 626) . Tournesol was then invited by Club Mediterranee to teach and perform in Southern France du ring the months of August and September, 1975. Students from the Pavlychenko Studio in Toronto received a $12,000 Opportunities for Youth grant to dance in schools and parks around Toronto . In addition , they gave free children's classes at the studio. The Pavlychenko Studio which has two studios and a sauna teaches Graham technique with minimal muscular tension . For information , call (416) 922-1771 . The studio also gives ballet classes and has formed a junior company to tour high schools . Ballets Moderns du Quebec will give the international premiere of a new work to Saint-Preu x' s score Le Piano Sous la Mer at the.Theatre des Champs-Elyees in Paris at a festival of dance there next November. LOIS SMITH SCHOO L OF DANCE 1975/76 SEASON thea tri cal and telev ision d imming sys t em s, sp otlight s ballet pointe :::erta contemporary dance theatre modern jazz character benesh notation Fine Ar ts Centre, 112 St. & 89 Ave ., Edmonton, Alberta w Booking For The 1975-1976 d 1976-1977 Seasons! TACT : Rona ld H o lge rson, -aging Director , Reside n ce Te leph o ne 423-419 3 ailable November, January, February, arch, April, Early May a Two Hour Concert, Lecture emonstrations, Workshops ti c Directors : Jacqueline Ogg and Charlene Tarver PRE-PROFESSIO N AL C OURSE for t h os e stu de nts ab le to atte nd t he sch oo l o n a f u ll ti me b asis . C ou rse i nc ludes perfo rman ces as we ll as c lass ro o m studi es. L i m ited num be r of partial scho larshi ps ava il abl e. ENQUIRIES TO 8 1 A F ra nt Street, Eas t, T oro nt o O ntari o, C anad a TEL .: 363-9945 The National Ballet of Canada 157 King Street East, Toronto M5C 1G9 DANCENERGY MONTREAL SEPTEMBER 26, 27, 28 Mikhail Baryshnikov. Guest Artist Place Des Arts CONTEMPORARY DANCE • Modern Dance (energy-centered approach) • Movement Arts • Body-Awareness • David Dressler: Director/Teacher 1322-A Government St., Victoria, B.C. (604) 384-3841 VANCOUVER OCTOBER 2, 3, 4 Queen Elizabeth Theatre EDMONTON OCTOBER 6, 7 Jubilee Auditorium ENTRE-SIX DANCE COMPANY BANFF OCTOBER 10 Eric Harvie Theatre The Banff Centre Laurence Gradus CALGARY OCTOBER 11, 12 Jubilee Auditorium REGINA OCTOBER 14, 15 Saskatchewan Centre of the Arts SASKATOON OCTOBER 17, 18 Saskatoon Centennial Auditorium WINNIPEG OCTOBER 20-24 Manitoba Centennial Concert Hall HAMILTON OCTOBER 30, 31 NOVEMBER 1 Hamilton Place WINDSOR NOVEMBER 3, 4, 5 Cleary Auditorium LONDON NOVEMBER 6, 7, 8 Theatre London Artistic Director Jacqueline Lemieux-Lopez Co-Di rector . .. one of the most enchanting young companies to break upon the local scene in many years. Myron Galloway Montreal Star. Entre-Six a l'essentiel: L'amour de la danse. Rene Picard Le Devoir Mtl. For booking information contact Administrator (514) 671-95 32 407 Place Chaumont, St-Lambert P.O. J4S 1S5. (416)869-1589 ONUP And find that item you've looked for everywhere else. Or just browse yourself silly in our brand new inventory of books that are all about the same things. Theatre and Dance! Upstairs at 659 Yonge St. Toronto M4Y 1Z9 (416) 922-7175 The Canada Council offers to professionals in the arts: Senior Arts Grants 'or those who have made a significant contribution over a number of years. Worth upto $15,000 to cover ivi ng, production and travel costs. Closing dates: October 15, 1975 for all disciplines and April 1, 1976 for a second competition n v isual arts and writing only. Arts Grants ;or artists beyond the level of basic training. Worth up ·o $7,000 plus program costs not exceeding $900 and travel allowance, if needed. C losing dates: October 15, 1975 for all disci:::>l ines and April 1, 1976 for all disciplines except music. Isa, applications are accepted at any time for: Short Term Grants Travel Grants Project Cost Grants i=or further details, consult our Aid to Artists brochure available from Information Canada Centres, or write to: The Canada Council, Arts Awards Service, P.O. Box 1047, Ottawa, Ontario. K1P 5V8 THE TORONTO DANCE THEATRE GOES WEST • • • Winnipeg - September 18, 19, 20 Thunder Bay - September 22 Sault Ste. Marie - September 25 Kirkland Lake - October 2 Thompson - October 15 Vancouver - October 23, 24, 25 Victoria - October 28 Chilliwack - October 30 Lethbridge - November 2 Calgary - November 5, 6 Banff - November 8 Edmonton - November 14, 15 Saskatoon - November 21 • • • WATCH FOR ANNOUNCEMENTS IN YOUR AREA For further information telephone or write: The Toronto Dance Theatre 957 Broadview Avenue Toronto, Ontario M4K 2R5 ( 416) 423-7016 19 - modern dance unique energy technique us'. ng . . I muscular tensi on m1n1ma performing compa ny being form ed ' ~~YCl-f £ 625 yonge st tor on to, o n t 92'2· 177 1 K• sru,,, NOW AVAILABLE IN CANADA COLOUR CORRECT CAKE MAKE UP CREAM STICKS ROUGES, LIPSTICKS FOR CATALOGUES PLEASE WRITE: MllllllBIIR IJA,;..-- •• 375 Hargrav e st _ 2K2 . Man · R3B Winn1,,peg' 10514 Jasper Ave. 1Z7 Edmonton, Alta . T 5J 42 East Br oadway V5T 1V6 Vancouver , B. C. TELEVISION & MOTION PICT RE COSMETICS bob elly RIE CE Con sistipg .of modern dancer~ Carole and Ernst l::der, both ori ginatin~ Irom differe9t schools and company backgrounds, they have, tpr \h~ past two.years., been combining th eir styles and ideas bY ljving, teaching, choreographing and performing as a unit. Their work deals principaUy with an interesJing .experimental approach to the human for m and energies in motion. A simple touring package of two performers and two ech nicians, travelfing ir\ a van equipped with portable igh ting system and special dance floor, TOURNESOL is able to otter its programme of contemporary dance in diverse places, i.e., gymnasiums, community centres, galleries, etc. as well as in theatres , - ou RNl::SOL has Just completed a successful sprir\g season touring extensively throughoufBritish Columbia and the qpnhY"est U.p,. A total pf 40 performaces and 10Q .. orkshops if"!'over 47 different locations! J ::::iring '76 wHI hopetyl)y b[ing TOURNESOL on its first :-oss-Canad.a tou~.· Sponsorship is requested from local :ance companies, c9mmunity arts councils and educational ~stitut ions in tl)e form of advertising and publicity,