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Dana Stephensen in Contour. Photography Jess Bialek


“A mesmerising dedication to the undying power of the muse.”

“Jilted swans and star-crossed lovers may be stalwarts of the ballet stage but our newest crop of choreographers has proven personal experiences can be as powerful as age-old love stories.”
“The Australian Ballet's annual Bodytorque program has long been instrumental in giving emerging choreographers the chance to perform boundary pushing works and this year's explosive showcase was no exception.”
“The show's highlight was undoubtedly Alice Topp's Scope, a subtle yet spellbinding piece inspired by the fleeting moments that a photograph captures. Featuring one of the company's most exciting young dancers, Chengwu Guo, the emotionally charged piece belies [Alice] Topp's 25 years.”
The Daily Telegraph, 30 May 2011

“Bodytorque was quite a stylish affair“
“Bodytorque.Muses was notable for the ways in which relatively (or entirely) inexperienced choreographers skilfully used scores and design as a fundamental part of the experience.”
“Kevin Jackson's Encomium, which closed the evening, was the work of an original, mature mind. [Kevin] Jackson took this year's theme muses as an invitation to make a work in honour of his mother, and it's a stunner. Spiky, abrupt movements and shapes boldly punctuated some seriously sensuous classicism as Jackson delved into the mother-son bond. Amy Harris was spellbinding as the piece's emotional centre.”
“There was an impressive debut from Vivienne Wong, who knew exactly what she wanted to say in Touch Transfer and achieved it. A modest, thoughtful work”
“[Alice Topp] is very much one to watch: the grasp of pace, mood and structure indicates natural gifts.”
“Lisa Wilson, the only choreographer to come from outside the AB and the most experienced of the group, provided a polished piece [in Contour].” “Dana Stephensen [in Contour] clearly relished the central role and her intense commitment was compelling.”“Daniel Gaudiello's Tristan and Isolde, the evening's opener, was deeply eccentric but full of chutzpah. [Daniel] Gaudiello has a fresh, inventive and acute eye for what the classical language can offer, and of all this group is the one who could, with discipline, come up with a new full-length story ballet.”“As always there was a lot of wonderful work from the mostly junior dancers involved, with special mention to sparkling Reiko Hombo in Tristan and Isolde, Dimity Azoury in Touch Transfer, the Scope trio of Chengwu Guo, Natasha Kusen and Karen Nanasca and the heavenly [Amy] Harris.”
The Australian, 30 May 2011

“The Australian Ballet's Bodytorque season has become a much-anticipated highlight of the Sydney dance calendar.”
“They continue to produce work that is enthusiastically received by an appreciative audience.”
“Daniel Gaudiello's Tristan and Isolde is unashamedly romantic. Inspired by the grand pas de deux of Marius Petipa, his piece harks back to a past of traditional classical ballet, technically demanding and complete with obligatory fouettes.”
Touch Transfer, Vivienne Wong's first choreographic venture, has a beautiful lyricism and was clearly relished by the dancers who performed it. The music, composed and played by Tiago Brissos, complemented the piece perfectly.”
“[Lisa Wilson’s] work has an assurance and inventiveness that reflects her broader experience. Contour is an edgy work and is strongly enhanced by Paul Charlier's score and Chris Golsby's video.”
“Alice Topp first choreographed for last year's Bodytorque. Her highly successful piece, Trace, led to great anticipation this year. Her latest work Scope did not disappoint. The quality of the work and the atmosphere she has created eloquently represented her exploration of mortality and life's fragility. Inspired by a photographic exhibition, she uses ethereal images that appear and fade, adding another moving layer to the work. The dancers interrelate beautifully with these images and each other.”
Bodytorque is an excellent opportunity to see some of The Australian Ballet's younger dancers. The dancers in this year's season were exquisite, powerful, technically proficient and, above all, highly expressive.”
The Sydney Morning Herald, 28 May 2011



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