David Dawson appointed Associate Artist
The internationally renowned choreographer David Dawson will be appointed Associate Artist of Dutch National Ballet on 1 January 2015. The appointment is for the period 2015 -2020.
The company will thus enter into intensive collaboration with Dawson, who is internationally acclaimed as one of the major innovators of classical ballet.
In the coming years, Dawson will create a number of new ballets exclusively for Dutch National Ballet, including some large-scale works. David Dawson’s appointment as Associate Artist means that the company has added yet another prominent international choreographer to its ranks, alongside resident choreographers Hans van Manen, Krzysztof Pastor and Ted Brandsen.
Dawson’s first new creation for Dutch National Ballet as Associate Artist will be for the programme Cool Britannia in June 2015.
Ted Brandsen, director of Dutch National Ballet:
“David is regarded worldwide as one of the most important choreographers of his generation. He made his first ballet in 1997 with Dutch National Ballet, and has been able to develop his choreographic talent here. That talent is now in its prime and his works are danced by companies all over the world. Although we have always collaborated, I think it is important to offer a home to a leading choreographer like David, who inspires and innovates, and thus provide an even stronger link with our company”.
“I am thrilled and honored to be invited to take on the role of Associate Artist with Dutch National Ballet. So much of my artistic career has been connected to this company and this new position feels very much like a homecoming - affirming the special relationship we have built over the years and creating exciting opportunities for the future.”
The international press about recent works by David Dawson:
“The revelation of talent that you always hope for (…) the way he has absorbed Mr. Forsythe’s influence and transformed it into something of his own. The work is dark, both literally and metaphorically, but also exquisitely, wrenchingly, beautiful; a world of its own that draws you ineluctably within.”
(day4, Dutch National Ballet, New York Times, 2012)
“Dawson is a demanding choreographer and Overture stretches each dancer tot the optimum. The work is crammed with so much wonderful, exciting dance and is a triumph of twenty-first century neo-classical choreography.”
(Overture, Dutch National Ballet, Dance Europe 2013)
“By its scope, substance and fully integrated vision, the ballet strikes as one of Dawson’s most hauntingly beautiful and compellingly profound works. In Dawson’s individual reinterpretation of classicism, even the most hard-edged passages retain a sensitivity and emotional resonance. With Dawson’s Overture Dutch National Ballet has a masterpiece.”
(Overture, Dutch National Ballet, Dancing Times 2013)
“What raises this work to an altogether different level is Dawson’s unbelievably sensitive use of transition steps, which, in effect, means that whilst the choreography ebbs and flows, there is never a moment when we see exactly how the dancer arrives at a position. There are no clumpy preparations for pirouettes or obvious changes in weight before the dancer is in full flight. This is truly aesthetically stunning composition, at its finest. It is also emotive, though without narrative, being loosely attributed to the John Keats poem of the same title."
(The Human Seasons, The Royal Ballet, Dance Europe, 2013)
“His rapid, relentless movement has urgency, but also finesse, and it’s designed to make the dancers look impressive — lots of high arabesques and quick soutenu spins. They arch their backs and swoop up their arms, wrists broken, like gymnasts victoriously punctuating their routines. Dawson is a choreographer with his eye on the big picture, making use of the vast stage, organizing his dancers into pleasing architecture.”
(The Human Seasons, The Royal Ballet, London Evening Standard, 2013)
“Dawson’s dance-making stands out for the inventive appropriation, manipulation and use of both the classical and neoclassical canons. His choreography is refreshingly innovative without ever being unorthodox just for the sake of it.”
(The Human Seasons, The Royal Ballet, The Spectator, UK, 2013)