Performance
0 MITCHELL ( ii'aiiVillc Stt'cct. Ill 3W5. Biix iil'licc Mun-Sat.
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S‘Hil. Mun Sat Ill..‘~llaiii ti _‘\llpni. English Dance Theatre Inc :5. w'c-il In. [hills 3" Mai: ".fillpni. USU. Sttiilcnts. I'IHll. L35lllciincxl. Itach night thc pt'iigt‘aininc w ill clinsixt til (hanging Shapc. an Sllx piccc lw Riilici‘t Ntit'th with IllllSlc lw 'l’allxing IIL‘lItlSL 'l’hcliinctiiin chtit'ctigi‘aphctl lw \ait' Varili. thc gi‘iiiip‘s tlit'ccttii‘. with stings lw \lanhattcn ITIIIISIL‘T‘. I’L‘ITLISIIIKLI. alm lw Yaii‘ \Iii‘tli with ITlIISlL' lw Stt‘a\ inslx} a \Illlplc‘ Itlll\ talc til lm c and jL'LlltllI\_\ i'cwtii‘lxctl. Illis is thc first sttip tin a inini—tiiiii' til Scotland which w ill takc in ( ilasgtiw. St .-\nilr‘cw.\. .»\_\'i'. liilinhiii‘gh antl Shiittx thriiiighiiiit cnil March. April and hcginning «it .\Ia_\ . ('tiiitact thc Mitchcll ltii‘ilct;iil\iil \xiii‘kshtipsanil classcs.
. I Itillc Sll'c‘c‘l. ill 1234.Ullllllltlicrcilitcaitlsi.15m till'icc Mun Sat lllain ttllllll—V..Illltlll on pc‘l‘lc‘Vg‘Sl. liar. liiillct.
Scottish Ballet—Napoli lllL'l Sat 5 :\pr 715pin. Ll-l. L] I. LSSII. if. L5. £35”. £3.50. ciinc\ hit I );\l’ and iinilct‘ IS. Scl in I‘lth ccntiir} Napch this classic tclls thc stiir‘} iil ( icnnai‘ii. a l'ishci‘nian whii I'L‘Scllc‘S his lm c 'lcrcsina lt‘iiin thc c\ ll \L‘Lt—SITI‘IIC. (it‘ll-U. 'Iic‘l‘c‘xit \Nlll ltc LlitIlL‘L‘Ll It} lilainc Macl)iinalil.(‘hi'ixtinc (Iiiiiillii anil I.IIlLILl l’ackci'. ( icnnai‘ii li_\' Rtihcrt llaniptiin. (‘hi'isttiphct‘ liinganil('ht'ixtiiphcifiillai‘il. (iiillti h} I’atil l'_\‘cr\ anil lliwil linililctiin. 'l‘hc pi‘tiiliictiiin is stagcil lw I’aiil ( inatt anil ilcsigncil lw l’ctct’ ("a/alct and w ill tiiiii‘ tii .‘\l‘L‘l'tIL‘L‘ll anil I'tlllll‘llfflll.
.-\.\ an IllllISLlLll linalc tii thc Hi and Sat pcrliirinanccs ( 4 8c 5 Apr) thc liill IILIVUUT (it Italy will hc captiircil lw a spccial winc—tasting w hcn thc ciii‘tain gticscliiwn. .-\i‘rangcil lw Sctittish Ballct. thc c\'ciit will lic IItl\IL‘Ll li_\ ()iltlhins' Mastcr til \Vinc. Jtihn Vaughan-I Iiighcs. ‘I‘hmc wishing tn attcncl thc li'cc tasting SIltlUltl apply [U thc t'iilliiwing iltltIrL‘SS quitting thcir scat niiinhcr and thc ilatc til thc [‘L‘FIIIFIIILIIICC thcy will hc attcncling. Sciittish Ballct. l’iililicit_\ I)cpt. Itil \Vcs‘t I’rinccs Strcct. (ilasgtiw ( i—l l)Iili.
Classes 0 GLASGOW ARTS CENTRE 12
Washingttin Strcct liipp l Iiiliilay lnanZlJSlh.
Gregory Nash Group Easter Course IUL‘ l——Sat 5 Apr. L)fillain»4.3llpm. .-\ l‘ch-ilay intcnsix'c ciiiirsc tit ciintcinpiirai‘_\' ilancc tcchniciiic classcs. workshiips anil
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IIIIPYUVISLIIIHII ciiliniiiatitigin an inliirnial pci'ltii'inancc at 73llptn tin Sat F .‘\pi'. 'l'hc ciiiir‘sc lcc is L3“. L12 c‘iillc‘S. .'\ll IIIUSL' llllc'l'c‘SIL‘il \llttllltl \L'IILI a ilcpmit «it L5 inatlc pa_\ alilc [(1 thc ( ilasgiiw .'\l’l\ (critic. tii ITILII\L‘ \iii‘c (ll a placc. t’iintact thc .-\i‘t\ (t‘llll'c‘ hit an_\ tithct' liiiiiking tlctails. I'cclllllilllc l\ illlcl‘cil at llll'cc‘ lc\‘cl\ anil cach class is acciinipanicil lw a
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O SCOTTISH BALLET ltil \Vcst l’t'inccs Sli'cct. 331 3”} l. (‘lasxcx with Slcps ()iit L‘\L‘l'_\ \\ ctlt» filtlll. licginnci‘s Ballct.
Gregory Nash has fooled around with
ironing boards and anglepoise lamps on stage. In his latest production ‘Toeingthe Line‘ itwill be Scouthats andtennis nets. His dancingtalks. sometimes literally. in a babbling flow of phrases like a pouring conversation. ‘Gestures are more powerful than words' he says cutting the air with his hand. Perhaps we could all say more if only we could tindthe movements. Greg himselfdiscovered confidence andfluency ofexpressionthrough dance. ‘I was not a success at school.‘ he says. grinning. A born individualist. he hated uniforms and the endless rules and regulations which stifled and corrected. Even drama class bored him in the end. But at15. he wentto a dance class and found physical freedom. Gone wasthe competitive elementof the rugby field and there was no hard andfastmacho modelto emulate. Hopes weretemporarily wounded at the Place. the London School of Contemporary Dance. where his
EDINBURGH Performance 0 CITY ART CENTRE 3 \Ial‘lxt‘l Stt‘ccl.
325 3434c\t (infill. Catalyst Sat :3 \lat' Spin. l)ancc lw I.llltl.\;l_\' .IUIIII and his gi'iiiip lii‘ing thc tapcstrics til l lat‘i‘ania tn lilc. Illc‘ll pci‘l'iii'inancc will lith‘ placc in thc gallci'} iising thc coliiiit‘liil w ca\ lllfJS as a hacktliiip. (‘litii‘ctigiapln lw .liiliat‘lai'lx. l‘hc ( its .'\T‘l ( 'cntic IS a hits} placc at thc w cclccnil thcxc ilai \ w gti cai'l_\ Ill \cc thc cxhiliitiiin anil takcynu‘placc.
O THEATRE WORKSHOP H llainilttin l’lacc. thi 5425. lliix «illicc .\liin Sat ll..‘~ll.iiii 5.3llpin. liar. ('iilc. |l)] Gregory Nash Group in Toeing the Line lhiii‘s}.I5i'i»1.-\pi'.Spni.t;3.5lllt_l.5ll ciincxl. ;\ ciillagc til inmcincnt. lllllSIL‘ (w hich \ ai'icx lt'iiin .'\IILI_\ Williams tii Sailc tii Strauss? l. \ti'iing ilcsign l'i'iini Rchccca \cil anil a\pcct\ tll \ lSllLtl thcatt'c. ( illL'Sl tlllL‘L'IUTS S;ill_\ Si'lxcx antl ( ii'acnic .-\. I ILlIlllllttll. lScc pancl l.
GREGORY’STIRLS 7
teachers told him that he would never make the grade and should find employment in a shop. Rules and stereotypes again. It’s not been done before so it‘s not allowed. Who says? Neverlosingthatfirstsense of freedom. Nash discovered thatthere were pe0ple working outside the established techniques like Graham and classical ballet. Since then he has developed his own unique style — loose. experimental movementwhich is arresting to watch and exciting to learn. He has gladly leftthe stereotypes behind.
Although Greg's number one job is as a performerand choreographer, he sees his teaching coming in a close second. That is if there has to be a hierarchy at all. Dance is a performance artfirstandforemostand Greg wants to offer as many people as possible not justthe opportunity of watching but also of performing. His workshops more often than not wind up with an informalperformance binding
Classes 0 NEW DANCE INITIATIVE Satin
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0 REBECCA WALKER DANCE STUDIOS l4 I It“ lcl'l’ai'c. lifillih. \\ c‘il (will «Mllllllll Ilcginncix (kintciiipiiiau with lx’.i\iiiiintl l\fli\ c IlllllSl‘v fi_.“lll‘lll
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the energy ofadayorweek‘sworkwith a group into something complete. ‘Performance makes you feel so different about youself‘ he says. “More confident. Moving is an exciting experienceforeveryonewhetheryou have had previous dance experience or not. I want to expose as many people as possibleto dance.‘
Sensitivetothedemands ofteaching. Nash recognisesthe needforflexibility in his work. ‘It is importantthat pieces can be adapted forthe needs of differentgroupsandthattheworkis challenging. But people should not be madetofeel orlookridiculous.‘
The past yearfor Greg has been a full one. Though based in London. he has worked round the country. teaching and performing. Dxford seems a focal point. His residencies there have been so successful that he just keeps getting asked back. 1985 culminated in a trip to New York where he studied with the Trisha Brown Company. As par for Greg‘s course. he has been invited back and is hoping to take a solo show to New Yorkinthe autumn.
Yetdespitethe obvious attractions of America. Greg Nash is firmly committedtothis side ofthe Atlantic. And Scotland is a favourite port of call. ‘I've been bowled over by the energy and enthusiasm of the community dance scene here' he says. His latest tourwhich beganthisweekatthe Assembly Rooms in Edinburgh and winds up in Drkneylooks like carrying all the Greg Nash trademarks. 'Toeing the Line‘ questions and probes all those social rules and codes of behaviourwhich so manyfollowin orderto be accepted. The design. set in a tennis court. is by Rebecca Neil. wife ofh‘licha Bergese. The otherdancers in the company. Sarah Mimic, and Malcolm Shields andthe new dance trainee workerWiniip.~ .irmitage. will join Greg inteaching workshops and classes. They will be lookingoutfor those who are willing :iidroptheir guardanddiscover::_.nce.
'Ihc List 21 Mar 3 Apr 13