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Press

"Danish troupe is elegant and electric."

Karen Campbell, The Boston Globe
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"...so entirely original they cannot be compared to anything from the American mdern tradion.."

Theordore Bale, Boston Herald
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"Rushton again proves himself a master of visual form and lasting imagery; a disturbingly beautiful commentator on our contemporary world, and among the most gifted choreographers working today."

Allison Tracy, The Berkshire Eagle
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Description

Established in 1981, Danish Dance Theater is Denmark’s leading contemporary dance company. British-born Tim Rushton has served as Artistic Director since 2001. Under his direction the company has gained an international presence and enjoyed acclaim throughout Europe, North America, Australia, and the Middle East with performances at such venues as the Sydney Opera House, Jacob’s Pillow Dance Festival, Toronto’s Harbourfront, and Copenhagen’s Royal Theatre. Bridging the gap between contemporary and classical dance, Rushton pushes the borders of the perception of dance and delights in the technical prowess of his dancers.

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Biography

Tim Rushton, Artistic Director and Choreographer

A native of Birmingham, England, Tim Rushton was educated at The Royal Ballet in London and was an active dancer, mainly at companies in northern Europe, until the mid-1990s. He ended his career as a dancer at The Royal Danish Ballet in order to focus on choreography and has gained rapid respect as a creator of modern dance using classical technique.

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ARS NOVA Copenhagen

ARS NOVA Copenhagen is recognized the most prominent vocal group in Scandinavia. The twelve singers are specialists in both early and contemporary music. Performing since 1979, ARS NOVA has produced numerous acclaimed recordings and has given more than a thousand concerts and broadcasts throughout Europe, Israel, Japan, Vietnam, Africa, South America, Canada and USA.

>more on ARS NOVA Copenhagen

Passion confronts us with the violent feelings and the ultimate motives behind the action of man: infatuation, obsession, possession, attraction, vulnerability, and sensitivity.

In a strongly visual, semi-surrealistic universe ten individual dancers unfold their particular characteristics and inclinations. Singers from the renowned early-music ensemble, ARS NOVA, populate the stage singing medieval ecclesiastical music, only to be interrupted by a soundscape of electronic music.

Lyrics and music from the beat generation are the inspiration behind this work, and Rushton's choreography captures a third dimension of the experience of dance - a dimension where every art form is equal.

As words, music and dance fuse into a free flow of impressions, the audience experiences an intense and magical universe where ironic, yet sincere fragments of daily life’s banalities and paradoxes are exposed.

Like a choreographic Speakers Corner, each of the performance’s five scenes stands for its own mood and its own earnest, playful or intense point of view.

Simultaneously comic and tragic, Animal Park circles around the fear we have to admit – and acknowledge – our own weakness. The performance is a cry for attention, a human chaos. Each individual dancer has a specifically defined character to explore, and the performance shows every one’s egoistic trip to fulfilling their own personal idiosyncrasies.

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