WHAT IS ONE @ THE BALLET
Held once a month on a Saturday, One @ the Ballet was initiated in 2009 as an in-studio dance presentation which aims to break the barrier created by the stage, bringing audience one step closer to the dancers. These part-narrative sessions conducted by Artistic Director Janek Schergen will explore a wide spectrum of dance topics which will enable individuals gain a greater insight into the world of dance. From something as detailed as the little rituals dancers perform before they go onstage, to the creative process a choreographer undergoes to create a new work, the audience can expect to enhance their knowledge of dance and also watch our dancers up close and personal as they perform excerpts from our main performance seasons.
Date: Refer to monthly schedule below
Time: 1pm -215pm
Venue: Singapore Dance Theatre Founder’s Studio
Fee: $12 Per Person
Registration is on a first come first serve basis.
Please email us at firstname.lastname@example.org with the following details.
1) Contact Person + Number
2)Session(s) that you would like to attend
3) Number of attendees
Please note that children aged 3 and below will not be admitted.
2017 One @ the Ballet Schedule
22 April 2017
A Dancer’s Day
Every dancer starts their day with the ritual of taking company class, whether they are new to the company or a dancer of great experience. Their hours of rehearsals following can consist of a full day learning and working on either a single ballet or up to six or more different pieces. How dancers learn and retain choreography, structure their movements with music and perform as a cohesive unit is a fascinating study for us to delve into this time. All the many nuances of how a ballet gets to stage will be revealed.
20 May 2017
Tutus, Tiaras, and Tunics
Learn everything about how ballet slippers, pointe shoes, rehearsal clothes, plus simple and elaborate costumes, are part of the magic of the ballet world. The history of a ballerina’s tutu, headpieces and decoration will be explained. We will show costumes made for ballets in our repertoire and how costuming enhances the entire look of a work of choreography. Dancers will be shown in rehearsal of ballets presently being prepared for performance.
17 June 2017
The Craft of Choreography
Dance companies, choreographers and professional dancers have very much been influenced by globalization. How we keep a specific identity and balance that with the best of dance from around the world has become a bit of a balancing act for most dance companies. SDT’s repertory has always contained works from major choreographers from overseas, while developing their own uniquely influenced repertoire. Our annual Masterpiece in Motion series was specifically developed to highlight the strengths of SDT though the performance of the works of the greatest choreographers in the world danced by our dancers. The very best of this will be highlighted in this session.
22 July 2017
Technique, Turns, and Tricks
In classical ballet, repertory divertissements form the heart of most works. Solos and variations are not just a part of pas de deux, but are also used as a vehicle to show off a dancer’s technical prowess and technique. Codas and finales are the fireworks of dance choreography whether danced by a couple or a full cast. There are many examples that we will explore and demonstrate for our audience.
26 August 2017
A Dancer’s Legacy
We will examine the arc of a professional dancer’s career from student through their performing career. How long does it take to train a dancer to professional status and what elements define a successful talent? What are the rewards in a dancing career? What do dancers do once they retire from performing? Why do certain choreographers achieve widespread success? Questions to all will be explored and answered and repertoire highlights will be presented.
30 September 2017
Building A Repertory
What ballets will become part of the company’s performance repertoire and how they are combined with one another to make a balanced evening in performance form the subject this time. A dance company’s repertoire is composed of works that last for years balanced by more ephemeral pieces that fill a more specific moment in time in the repertoire. The choice of how to use specific pieces of choreography to build SDT’s dancer’s presence on stage and enrich the audience’s appreciation of dance as an art form will form the centerpiece of this session. Dancing multiple works by the same choreographer can define an overall style to the repertoire. We will explain the influence a skilled choreographer can have over a repertory. Elements such as music, sets and costuming also contribute a large part of the balance to an evening.
28 October 2017
Classical vs. Contemporary
The progression of classical ballet, neoclassical and on to contemporary dance is often misunderstood. This session of One @ the Ballet shows the hallmarks of the traditions that once defined ballet as an art form and how they progressed into the next developments of professional dance. The dancers of SDT will present defining examples of each form of ballet, as we explore the progression of choreographers and choreography from classical to contemporary work.
25 November 2017
In the last session of the year for One @ the Ballet, we will focus on our unique production of The Nutcracker. The Nutcracker has become a holiday tradition throughout the world and is often performed annually by many companies. The ballet has some very well-known scenes including the beautiful Snow scene and the voyage through the Land of the Sweets, featuring the famous Sugar Plum Fairy in a pas de deux with her cavalier, the Prince. We will show some of the sections of choreography, as well as the elaborate costumes made for the production.
21 January 2017
Dance, The Nobel Art
As Mr. Balanchine once said “I do not want people who want to dance, I want people who have to dance”. Dancers are a unique and beautiful breed of artists. A person who has trained and danced professionally will forevermore describe themselves first and foremost “I am a dancer”. How they prepare and progress to professional status, why they choose to pursue careers in dance, as well as their life of rehearsal, performances and touring is all part of the rewards of a life of a dancer. This One @ the Ballet will focus on the special quality that dancers share with each other as friends and artists. The trust and bonds that dancers share is demonstrated in the segments of ballets presented for this session. Three of SDT’s dancers will be interviewed to give you their history from their distinctive personal perspective.
25 February 2017
Ballet Companies Worldwide
The concept of an independent ballet company goes back to The Ballets Russes, founded by the legendary Sergei Diaghilev in 1909. Before that, ballet companies had been part of an overall theatre structure as opposed to independent institutions. After the foundation of The Ballets Russes several important and influential companies such as The Royal Ballet, The Australian Ballet, New York City Ballet, American Ballet Theatre, Netherlands Dans Theatre and numerous dance companies were formed to represent a more national perspective. Many grew from ballet schools that were established to train dancers in the art of dance. Each group developed its own unique style and perspective with their own repertoire and distinctive look with dancers and performance. To some extent, this has altered with a modern world and global perspective. What still remains unique will be part of this One @ the Ballet. We will show how we prepare SDT for touring programmes and performances.
11 March 2017
Coppélia is one of the most charming of all classical ballets. It is the story of a young man, Franz, who is in love with a beautiful village girl, Swanhilda, but momentarily distracted by a mysterious girl named Coppélia. Unknown to him, she is a mechanical doll created by Dr. Coppelius. Originally choreographed by Arthur St. Leon in Paris in 1870, it was inspired by a tale from E.T.A. Hoffmann to music of Leo Delibes. Coppélia was first produced for SDT in 1995 and has become a beloved part of our history and repertoire. The magic of the story beginning with a French village fete in Act I, progressing on to the wedding celebration for Swanhilda and Franz in the Act III, will be presented.