Her latest piece for The Royal Ballet, Light of Passage, has already been nominated for an Olivier award. To date, Pite had choreographed over 50 works for companies like The Paris Opera Ballet, Netherlands Dans Theatre, The Royal Ballet, and more. In 2010, Kidd Pivot became the resident dance company of the German theatre Künstlerhaus Mousonturm, a theater known for promoting experimental and innovative works. Pite began crafting bold new works with her company, taking on challenging themes of trauma, addiction, conflict, consciousness, and mortality, like her Olivier Award-winning piece Betroffenheit, which explores the trauma of grief. In 2002 she formed her own company, Kidd Pivot, Kidd after the historic outlaw and prizefighter, and Pivot in reference to “something you have to have the skill and a technique to achieve perfectly’’. She developed her own unique style, in collaboration with playwright Jonathan Young, combining theatrical audio recordings with eccentric dance movements to create captivating narratives. She soon moved to Ballett Frankfurt to study under Forsythe’s direction and began choreographing her own innovative performances with the company. In the same year, Pite danced a piece by William Forsythe and was instantly attracted to his signature out-of-the-box style. After a few years with the company, Pite began to take an interest in choreography and premiered her first professional work, Between Bliss and Me, at just 19 years old. She began her career as a dancer with the British Columbia Ballet at just 17 years old. It’s no wonder it took home an Olivier Award.Ĭrystal Pite is an incredible Canadian choreographer and dancer who has been shaking up the dance scene with her radical dance-meets-theater hybrid style. Known for her innovative Theater/Dance hybrid styleĬrystal Pite’s Betroffenheitis a witty, tender exploration of isolation and coming to terms with tragedy, that combines tap, salsa, spoken word, song and puppetry.Today, his repertoire is performed in nearly every major ballet company in the world. His most famous work was one commissioned by the ballet legend Rudolf Nureyev titled In the Middle, somewhat elevated, which is part of his larger work Impressing the Cza r. Throughout his extensive career, Forsythe has choreographed for acclaimed companies like the Paris Opera Ballet, Nederlands Dans Theatre, The San Francisco Ballet, The Royal Ballet, and many more. When the ballet closed in 2004 he formed his own company, The Forsythe Company, now called The Dresden Frankfurt Dance Company. There, he continued developing his dance style, incorporating video projections, spoken word, and electronic music, and creating new extreme movements for the company’s dancers. In 1984, Forsythe was appointed director of the Frankfurt Ballet where he stayed for 20 years. His work lies in bending and breaking these rules, taking traditional positions, and developing them to the extreme. Forsythe believes that classical ballet is a necessary language with rules to follow. It was here that he developed his signature style. He then moved to Germany to dance with the Stuttgart Ballet where he debuted his first piece, Urlicht, and soon after he became the company’s resident choreographer. He studied with the Joffrey Ballet School where he learned the fundamentals of classical ballet that would form the core of his innovative choreography. He didn’t start formally studying dance until university, but boy are we glad he did. In his youth, Forsythe was a violin prodigy and was immersed in the world of music playing the bassoon, and flute, and singing in choruses in addition to his impressive violin skills. William Forsythe is an American choreographer known for his groundbreaking contributions to the world of dance and is credited with revolutionizing the world of ballet. William Forsythe’s The Barre Project is part of his two-part series, Blake Works, and was crafted via video calls between Forsythe and dancer Tiler Peck during the first lockdown.
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