The Ballet Bible

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The Australian Academy of Theatrical & Ballet Dancing Inc.

Australian Academy of Theatrical and Ballet Dancing commenced in 1962 Founders: Miss Laura Mitchell along with Madame Borovansky.
The Borovansky Ballet Syllabus was developed and then extended to Theatrical Tap Jazz dance styles.

This Society is an incorporated body that generously provides talented students with awards scholarships and trophies.
Throughout Victoria over eighty schools are registered members and the Society is widely regarded.

Examinations are open to all students offering them a challenge to demonstrate their understanding and knowledge of the set work that is taught.
Examinations are held in all types of dancing - Jazz, Tap, Theatrical and Classical ballet, with the Australian academy of Theatrical & Ballet Dancing Inc. This society is recognised throughout Australia, and it’s syllabus has been devised with great care it caters for the young dancer and progresses as the child develops their technique.
As the examinations continue the aim is towards a Diploma of Dance in their respective fields and qualifications may be used to eventually teach or dance professionally and can be taken as a subject at school in years 10, 11 and 12. For passing a grade you/your child receives a report on their examinations, are graded for their own benefit, they receive a medal and a certificate and are eligible for the many awards (trophies and scholarships)that the Academy offers.

Registered AATBD Inc teachers uphold standards of good practises and codes of professional conduct and maintain high artistic and professional standards.

The Academy is based in Melbourne, Australia under the direction of a highly qualified Board of Directors.
President: Mr Les Wendorff.
Secretary/Director: Mrs. Jennie Krolik
Treasurer: Mrs. Carole Fleming
Sen Vice President: Ms Lynn Wendorff.

Please click on our link for further information.
www.aatbd.com.au

Regards
Jennie Krolik
AATBD Inc.

Allesley School of Dance

Allesley School of Dance was founded over 50 years ago and has become a highly respected school with excellent examination results and considerable success in competitions at local and national level.

The Allesley School of Dance is dedicated to bringing out the best in every child. Whether the aim is to improve coordination, to gain confidence and grace, to learn the joy of movement or to train for a career in dance — every child is important.

Allesley School of Dance provides opportunities for children of all ages to experience the thrill of performance, the satisfaction of setting goals and achieving them, and to learn the personal disciplines inherent in dance. All classes are conducted by fully qualified and experienced teachers.

Classes are suitable for those children wishing to attend just once a week or equally those dance-mad or especially gifted students who can’t stay away! Examinations are always optional. Every child is encouraged to perform in the school show, which is staged to a professional standard.

In addition to regular classes, workshops are held by visiting guest teachers to broaden the curriculum and students are encouraged to attend summer schools and residential courses.

Pupils are constantly in demand for professional work and national youth companies. Many choose to continue their studies at full-time vocational schools and are encouraged to do so.

Former pupils are dancing all over the world in ballet companies, West End shows, cabaret and modelling. Several have gone on to study dance at university. Many more have fond memories of their time at Allesley, an appreciation for the theatre and many lasting friendships.

New Zealand Drama School

Toi Whakaari was established in 1970 by the Queen Elizabeth II Arts Council and is still the premiere training ground for entertainment professionals in New Zealand. To date nearly 500 graduates have gone on to successful careers in theatre, television, film, radio and events, both here in New Zealand and all over the world.

In 1970 the QE II Arts Council established a one-year course for the training of professional actors under the directorship of Nola Millar. The school, initially called the New Theatre Arts Council Interim Training School (1970-1971) and then the Queen Elizabeth II Arts Council Drama School (1972-1973), was based at 127 Cuba Street in the New Theatre and started with 8 students, one full-time director and four part-time staff tutors.

In 1974 the school was completely reconstituted as the New Zealand Drama School to offer a two-year full time certificate course under the directorship of George Webby. The QEII Arts Council funded the operation of the school, and NZ Dept. of Education provided the salaries for the director and senior tutor. This school opened in temporary premises at the Wellington Savage Club in Kent Terrace (above BATS Theatre), and in 1975 shifted to 172 Taranaki Street (now the Royal Forest and Bird premises). The two year training course started with 14 students, two full-time tutors (including George) and four part-time tutors (one of whom was also full-time administrator).

In August 1980 a move was made to 5 Vivian Street into what was hoped to be permanent premises. Early in 1984 two fires severely damaged the building and another temporary home was found at 76 Kent Terrace. Four years later, in April 1988, the school moved yet again into 36 Vivian Street.

In 1988 they moved to a more bicultural way of working and were gifted the name Te Kura Toi Whakaari O Aotearoa: NZ Drama School by Te Puni Kokiri. Annie Ruth (now their Director) joined the staff in 1990.

After 14 years at the helm George Webby retired in 1988 and Andrew Noble was appointed as director. In June 1989, Andrew returned to the USA and Sunny Amey came into the school as acting-director until April 1991 when Robin Payne became director.

In 1991, under the provisions of the Education Amendment Act 1990, the school was registered and accredited as a Private Training Establishment, and the New Zealand Qualifications Authority approved the two-year diploma course. Also in 1991 the school’s association with the QE II Arts Council ended, and it came under the funding umbrella of the Ministry of Education.

In 1994 Bill Guest joined the School and introduced a two year technical diploma (now called the NZ Diploma of Entertainment Technology).

After many years of fundraising and planning Toi Whakaari and the New Zealand School of Dance moved together into Te Whaea National Dance and Drama Centre (the old show buildings) in Newtown in 1997. These facilities were purpose designed for the Schools and are among the best in the Southern Hemisphere. In the same year the acting course became a three year Bachelor of Performing Arts (Acting) degree. Two years later Miranda Harcourt joined the School as Head of Acting.

In 2000 Toi Whakaari joined with Victoria University of Wellington to offer the first ever Master of Theatre Arts in Directing in New Zealand under the direction of Christian Penny. Then in 2002 they partnered with Massey University to offer the Bachelor of Performance Design - this country’s first design degree specifically for the performing arts. The first students of this course will graduate in 2006 under the guidance of Penny Fitt.

Also graduating for the first time in 2006 are Bachelor of Performing Arts (Management) degree students under the tutelage of Bill Guest, who has also introduced a new two-year Diploma of Costume Construction course this year.

Ballet - Moorhuhn danced by Daniil Simkin

The Royal Academy of Dance

The Royal Academy of Dance is the largest international classical ballet education organisation in the world. They offer examinations in classical ballet for young children starting out in dance classes to the student aspiring to become a professional dancer. They also train teachers of classical ballet through taught and distance learning programmes at certificate, diploma and degree levels. They have over 18,000 members spanning 84 countries and over 185,000 students undertake their examinations every year.

Through its core activities, the Academy helps and encourages its teachers to improve their teaching skills, to pass on that knowledge to their students, supports its members and provides information and guidance to parents on classical ballet education. The Academy’s links with the University of Durham through its validated teacher education programmes have gone from strength to strength. This, together with The Benesh Institute provide the widest spread of classical ballet and notation education to students of dance.

The Academy aims to develop the highest possible standards of teaching. In New Zealand there is a nationwide network of more than 200 registered and caring teachers.

The Academy provides two distinct training pathways in classical ballet: the Graded and Vocational Graded programmes. Teachers following the Royal Academy system encourage young people to achieve their personal best in the understanding, appreciation and performance of classical ballet. Whatever age or stage they may have reached, young people who study with an Academy teacher can be confident they will be taught according to safe teaching principles and are receiving the most comprehensive, well-structured and relevant programme of classical ballet available.

Footnote Dance

Footnote Dance is unique within New Zealand - a full-time contemporary dance company offering security and sustainable professional career development and opportunities in dance, dedicated to bringing an appreciation and enthusiasm for the art of movement to the widest possible audience.

Footnote Dance has the most extensive New Zealand repertoire of any dance company. It has served as a platform for the expression of choreographers such as Jeremy Nelson, Raewyn Hill, Michael Parmenter and Shona McCullagh. It has represented New Zealand in festivals in Australia and Korea.

Since 1985, the company has toured New Zealand each year, visiting large cities and small rural towns, performing and holding workshops in schools, and presenting professional performances of contemporary New Zealand dance.

Footnote Dance is the brainchild of Deirdre Tarrant. Her vision was to create a force for encouraging young people to participate and develop their confidence and life skills through the medium of dance. Her unique education choreographies have formed the base of the Footnote Dance repertoire.

Footnote Dance is in the unique position of being at the forefront of developments in the educational curriculum and in touch with youth culture. Its dancers have become role models for students all over the country. They delight them with performances combining athleticism and grace. In workshops Footnote Dance lead students to refine and develop skills and focus on excellent performance experiences.

Footnote Dance is governed by a Board of Trustees - all with a passion for the company, enthusiasm for dance and a range of skills and experience to support Deirdre and Manager Carey McDonald in managing the demands of a full-time professional arts organisation.

Footnote Dance gratefully acknowledges major funding support from Creative New Zealand.

La Bruja Ballet

The Grey Area, a ballet by David Dawson

The Royal New Zealand Ballet

The Royal New Zealand Ballet is a company of 32 dynamic dancers, performing an eclectic repertoire of outstanding dance, for national and international audiences, whilst continuing to build a style that is ultimately unique to this Company and Aotearoa, New Zealand.

The demands of their audience, particularly within New Zealand, mean that they present an eclectic repertoire of choreographic styles, from 19th century classics to 21st century contemporary works.

Their aim is to present dance of outstanding quality. They want to attract New Zealand and international dancers, choreographers and designers who will nurture and grow a company of international acclaim.

Their Company will have a unique reputation, and will be internationally acknowledged for pushing the boundaries, stretching the limits, and taking the art of classical ballet forward.

The Royal New Zealand Ballet was formed in 1953 by Danish Royal Ballet Principal Dancer Poul Gnatt. The company’s early days of touring embodied the New Zealand pioneering spirit. Performing night in night out, company members unloaded and repacked the set, rigged the lights and ironed the costumes, with local community members providing accommodation.

The spirit of those days survives, and the support of the New Zealand public remains. The Royal New Zealand Ballet is seen as an intrinsic part of the country’s national heritage, and has the largest following of all New Zealand performing arts companies.

The Royal New Zealand Ballet today has developed a reputation for strong characterisation in the staging of full-length dramatic works, which became a hallmark in the 1980s. To this base have been added the masterworks and major ballets of the 20th century, such as Balanchine’s works and the Stravinsky ballets.

The dancers of the Royal New Zealand Ballet possess a unique physical strength and versatility, and a well developed sense of individuality. New international and New Zealand choreography expresses these qualities and features prominently in the company’s repertoire.

In January 1998, the Royal New Zealand Ballet moved to its first ever permanent purpose built premises at Wellington’s Westpac St James Theatre.

Many freelance practitioners rely on the Ballet for occasional work, choreographic opportunities, technical advice, equipment hire and studio rental. The Ballet’s resident staff are available to advise opera and theatre organisations in technical and management matters.