You have searched for all events and Category - "Dance" and the result is 7 out of 7
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Sands Theatre at Marina Bay Sands
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Don Quixote Presented by Singapore ...
This dazzling, humorous and virtuosic ballet sets out on a series of chivalrous acts, whimsical twists, and comically feigned suicide. Don Quixote is a glittering showstopper, with sparkling technique and an incredible cast of toreadors, flamenco dancers, and dryads.Set in Spain, Don Quixote tells a story of love, betrayal, and eternal devotion written by Miguel de Cervantes. Kitri has fallen in love with Basilio, a poor young barber. However, Kitri’s father has every intention on marrying her off to the wealthy fop, Gamache. In Kitri and Basilio’s attempt to run away, they meet Don Quixote, an old knight, and his faithful companion, Sancho Panza.Don Quixote was first presented by Singapore Dance Theatre in 2014 and restaged in 2016. It has since been established as one of the “jewels in the crown” that we possess, and a ballet of the greatest joy and artistic sophistication to offer our audiences.The ballet was magnificently staged by Cynthia Harvey, with sets and costumes by Bruce McKinven, in addition to Adrian Tan’s atmospheric lighting. Dance Europe gave Don Quixote the “Best Premiere” in their 2015 awards listing.
INALA - A Zulu Ballet
Presenting two-time Grammy® Award-winning choral legends, the Soweto Gospel Choir, with choreography by multi award-winning Mark Baldwin OBE and current and former members of The Royal Ballet and Rambert, INALA delivers an exhilarating fusion of South African and Western cultures live on stage.Performed by an exceptional company of 25 dancers, singers and musicians, INALA promises a spiritually uplifting live experience, powered by a cultural explosion of music, song and dance – not to be missed!Click Here For Theatre Conditions of Entry
Raga ULA by Bharathaa Arts
Ula is a body of devotional Tamil literature that dates back to the Pallava period (275 CE to 897 CE), focused on the veneration of a deity during a temple procession and expressed through the eyes of women.The first part of the ula typically exalts the bedecked idol with its entourage of gods, goddesses, sages and demi gods. In the second half, the deity is described through the seven stages of womanhood: as a playmate, a lover, or one who gives spiritual guidance.In this production, Bharathaa Arts presents a dance production based on Chokkanadar Ula, which depicts seven images of the Lord Shiva in different ornaments and riding a series of vahana (chariots). Each image corresponds to a stage of womanhood.First performed by Anjana Anand in Chennai, this restaging features female dancers of different ages reviving the beautiful ancient literature through bharatanatyam. With music by Bhagavatulu Seetarama Sarma, ULA will transport you back to a time where the temple was the cultural centre of poetry, music and dance.
Singapore Dance Theatre - Season Pa...
Season 2019Singapore Dance Theatre is proud to present to you Season 2019 – Pride & Passion. As Singapore’s only premier professional dance company, Singapore Dance Theatre (SDT) takes a deep pride in our heritage and carries a burning passion for our future. With a rich history of 30 years behind us, and an unwavering consistency in our artistic development, SDT has grown and received international acclaim for its brilliance and skill in classical and contemporary works.This is your chance at getting the biggest savings on your tickets to a year full of exquisite dance pieces. Get the Season 2019 Pass to enjoy privileged access to SDT’s performances year-round, or the Theatre Pass to gain access to our classical and triple-bill seasons.Don’t miss this 30% discount!At SDT, we are ever diversifying and enlarging our capacity towards exploring greater forms of expression and creativity. Come and experience for yourself the ephemeral wonder of being in unison with the dancers for that singular moment, with our breaths held in and where our hearts connect.
da:ns series 2019 Cloud Gate Dance...
da:ns focus: William Forsythe and Lin Hwai-minIn 2019, da:ns series shines a spotlight on two titans of dance-William Forsythe and Lin Hwai-min.William Forsythe is a rule-breaker, risk-taker, and has been hailed as ballet’s premier deconstructionist and postmodernist. Experience two of his major works, danced by world renowned companies-Dresden Semperoper Ballett (15 & 16 Mar) and Paris Opera Ballet (21-23 Jun).da:ns focus: Lin Hwai-minLin Hwai-min is a dance giant who pioneered a signature movement philosophy that draws from traditional Asian culture and aesthetics to create exquisite and explosive forces of dance, influencing generations of artists and firmly establishing Taiwan’s Cloud Gate Dance Theatre as one of the strongest dance companies in the world. The group will perform a retrospective collection of Lin’s work at the Esplanade Theatre on 3 & 4 May.“Cloud Gate affirmed the glory of beauty itself.” – New York Times“When you’re talking about Cloud Gate, magic is not too strong a word.” – Time Out LondonPoetic, powerful and replete with philosophical beauty, the works of writer-turned-choreographer Lin Hwai-min have cemented their place in the collective consciousness of the international dance community.Drawing on the techniques and aesthetics of martial arts, calligraphy, qigong, ballet and modern dance, what operates at the core of Lin’s dance philosophy and training is a sophistication of centuries-old sensibilities that embody the Chinese spirit. Through his choreographies, the company transforms ancient practices into a thrilling and modern celebration of motion.After nearly five glorious decades of paving the way for contemporary dance in Asia and making Cloud Gate one of the finest dance companies in the world, the esteemed choreographer is stepping down as its Artistic Director at the end of 2019.This 45th anniversary celebration is a retrospective of Lin’s works, featuring excerpts from nine of his most classic pieces, including:Portrait of the Families《家族合唱》 The first major theatrical work addressing and tackling Taiwan’s 1947 massacre and acclaimed by Frankfurter Allgemeine Zeitung as “an aesthetic declaration of independence.”Moon Water《水月》 Profound and poetic, this fluid, lyrical piece fuses tai chi tao yin and Bach’s Suite for Solo Cello. It was named Best Dance of 2003 by The New York Times.Cursive《行草》and Pine Smoke《松烟》Two poetic renderings that celebrate the elegance of calligraphy and the power of emptiness, voted Best Theater Production 2006 by European critics.Rice《稻禾》 A visual feast and thought-provoking piece about life cycles which has been raved around the world and hailed by The Guardian as “Lin Hwai-min’s own song of the earth.”Don’t miss this rare chance to witness Cloud Gate’s legendary power and beauty.
da:ns series 2019 Impressing the C...
da:ns focus: ForsytheA rule-breaker, risk-taker, he’s been hailed as ballet’s premier deconstructionist, postmodernist and a living legend-da:ns series 2019 shines a spotlight on William Forsythe through two of his major works created in 1988 and 2016, danced by two world renowned companies, Dresden Semperoper Ballett and Paris Opera Ballet.“Forsythe’s real trick is to combine postmodern disruption with a thorough understanding of the classical technique” – Financial TimesGolden cherries, ostentatious dresses, a ballet set to classical music—the czar would have been very impressed. But he has long since been swept away, just as living legend William Forsythe tends to sweep away conventional dance for something more radical and peppered with humour; he demonstrates this in the groundbreaking ballet Impressing the Czar, which premiered in 1988.A four-act, award-winning, postmodern ballet choreographed by the iconic William Forsythe, this ballet comments ironically and often humorously on the history of ballet and the economics of western culture.The ballet opens to opulent costumes and an elaborate set—a naughty pictorial broadsheet which reveals itself to be a scathing satire and deconstruction of art and dance history. The characters and plot pieces are abound with cultural references: Mr Pnut is a protagonist of sorts who embodies Saint Sebastian, a figure most famously depicted as being impaled by arrows; while golden objects mirror the gilded stucco on churches, a wink at the role of patron/commissioner that the religious institution played in art history.On its ruins, Forsythe rebuilds a new world: traditional ballet movements are heightened, accelerated and combined anew to create In the Middle, Somewhat Elevated. Originally a stand-alone piece, it electrified the ballet world when it was premiered by Paris Opera Ballet étoiles Sylvie Guillem, Isabelle Guérin, Laurent Hilaire, and Manuel Legris in 1987.In the two-part finale, dance and dancers alike celebrate themselves, to the sound of electronic beats. The extravagant dresses and sets are gone, and in the end, even the remnants of any cultural heritage are auctioned off. What remains is a whole company of men and women dressed as adolescent schoolgirls cavorting and stampeding wildly around the stage.About William ForsytheWilliam Forsythe is one of the most influential ballet choreographers and directors of our time. His choreographic style is both postmodern and deconstructivist. Believing that classical ballet is a language with rules to follow, his interest lies in bending and eventually breaking the rules. Using traditional positions, he develops them to the extreme where geometries of classical ballet are twisted, tilted or pulled out of line. His work is acknowledged for reorienting the practice of ballet from its identification with classical repertoire to a dynamic 21st century art form.About Dresden Semperoper BallettFounded at the beginning of the 19th century, Dresden Semperoper Ballett has defined itself as a contemporary ballet company, mastering a wide-ranging repertoire that includes full-length ballet classics, iconic works of great masters of our time, and creations by new up-and-coming choreographers. It is led by artistic director Aaron S. Watkin, who was a personal choreographic assistant to Forsythe.
da:ns series 2019 Paris Opera Ball...
da:ns focus: Forsythe A rule-breaker, risk-taker, he’s been hailed as ballet’s premier deconstructionist, postmodernist and a living legend—da:ns series 2019 shines a spotlight on William Forsythe through two of his major works created in 1988 and 2016, danced by two world renowned companies, Dresden Semperoper Ballett in March and Paris Opera Ballet in June.The world-famous Paris Opera Ballet was the birthplace of classical dance, with origins tracing back over more than 300 years. Since then, the company has never ceased to pursue excellence, establishing itself as a repertory company, remaining faithful to its dual vocation of ensuring the continuity of the repertoire and offering an open door towards creation. The company rarely tours to the region and in June 2019, Singapore audiences will be treated to the works of three renowned choreographers in one programme.The iconic dancemaker William Forsythe’s 2016 Blake Works I for the Paris Opera Ballet is said to be a moment as important as his In the Middle, Somewhat Elevated for the company in 1987. Almost 30 years later, he has taken a long and loving look at ballet’s past, and once again moved it into the future. Forsythe’s love letter to ballet is poetic, joyous and hopeful, where the technical heritage of the company shines through the dancers who perform to soulful ballads over electronic keyboard and syncopated percussion created by English musician James Blake.Jerome Robbins’ In the Night presents three elegant duets featuring vastly contrasting sets of lovers, from innocent to impetuous, who meet beneath a midnight sky. Premiered by the New York City Ballet in 1970 and included in Paris Opera Ballet’s repertory since 1989, the duets developed a metaphor of love in all its states, each choreographed to a different nocturne by Chopin.Created in 2016 for the Paris Opera Ballet by one of the most sought-after choreographers in dance today, Crystal Pite’s The Seasons’ Canon is a spectacular large ensemble work featuring 54 dancers performing the avant-garde update of Vivaldi’s Four Seasons, recomposed by Max Richter, a score that the Canadian choreographer had long ago fallen in love with. Drawing inspiration from the meticulous observation of natural phenomena, Pite imagined a series of succeeding, interlinking tableaux with highly structured formations more intricate than the next as the men and women soar in unison in pulsing, breathing masses.
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