Yumiko takeshima biography examples

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J-BIG: You became known ancestry Germany myriad decades recently as say publicly &#;Japanese yodeler&#;. That&#;s crowd together exactly a commonplace calling. Especially when you realization from Japan! How frank that happen?

Takeo Ischi: I basic wanted persecute study involuntary engineering unexceptional that I could reduce over say publicly family calling in Nippon. My papa was fact list engineer flourishing had his own unit, which strenuous machines sponsor drying noodles. I helped out i

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“I fight for quality. That&#;s why many people call me difficult.”

 David Dawson
Berlin, Germany
June

by Ilona Landgraf
Copyright © by Ilona Landgraf

David Dawson seems not at all complicated, when I met with him at his home base in Berlin during his summer break, rather straightforward, open and kind. In conversation, one soon notices that he is driven by a clear vision of the art he aims to create and that he channels all energy towards this goal.

London-born Dawson is a sought after choreographer, mainly working in Europe, but also abroad. He regularly creates for Semperoper Ballet Dresden and Dutch National Ballet. His choreographic language is grounded on the classical style which he explores to and beyond its limits. Both narrative and abstract ballets are his metier. We talked about his beginnings as a dancer, his career on stage and, most of all, about his choreographic work.

When Dawson prepared his first show he was a seven-year-old. The performance was to take place on the occasion of a school event. No one knew about it other than his head mistress. He had no training except dancing for an elderly neighbor lady – from the age of around three. “She would sit on her chair and I would dance in front of her” he remembers. The teacher called his mother, t

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The Weekender: A week in the world of dance

• By Diane Baker / Staff Reporter

The 5th International Ballet Star Gala at the National Theater was a delight from start to finish on Saturday night, whether the bravura turns in classics such as the “Black Swan pas de deux” from Swan Lake, the Don Quixote pas de deux or the slew of enchanting new works by young choreographers such as Briton David Dawson and Vietnamese Van Le Ngoc.

All of the dancers were in fine form, but Royal Ballet principals Tamara Rojo and Federico Bonelli sizzled as the impassioned, impetuous lovers in the pas de deux from Sir Kenneth MacMillian’s Manon — with some of the best kissing ever seen on a ballet stage — while American Ballet Theater principals Julie Kent and Marcelo Gomes were all tortured anguish as the same characters years later in John Neumier’s Lady of Camellia. Nobody does suppressed volcanic emotions better than Kent. She and Gomes were equally impressive in James Kudelka’s very modern Cruel World.

It was wonderful to see Yumiko Takeshima and Raphael Coumes-Marquet, both principals with the Dresden State Ballet, return for a second gala appearance in a Dawson piece, this time On the Nature of Daylight, as well as William Forsythe’s sharply angular Slingerland Pas