“The idea of waiting for something makes it more exciting,” remarked Warhol, and Winnie-the-Pooh, when thinking of eating honey, agreed. The state of being wrapped up in anticipation of something is splendid. And so, in anticipation of The Australian Ballet’s 2015 season reveal and a chance to revisit Peter Wright’s The Nutcracker, I give you two things, one new and one old.
Firstly, a collage of moving parts set to Scarlatti’s Keyboard Sonata in A Major, K.368/L.S.30/P.506 performed by Gerda Struhal. Ninety-five frames have been squeezed into 15 seconds, and within this moving lantern slide of sorts, paintings by Ingres and Gérard, patterns by William Morris, and illustrations from Walter Crane’s version of The Sleeping Beauty alongside assorted birds and botanical specimens. Created for instagram and in celebration of What is Beauty, you will see Marilyn Jones, Amber Scott, Leanne Stojmenov, Natasha Kusen, Andrew Killian, Lana Jones, Nana Gollner, Nora Kaye, and winged dancers from the Corp de Ballet performing the supernatural La Sylphide.
{What is Beauty, a collage of moving parts on vimeo and instagram by Gracia & Louise}
And secondly, a little book I made at seven-years-of-age inspired by The Nutcracker (sweet) Suite. The very first time I saw this ballet performed was Friday the 15th of October 1982, at the Palais Theatre. It clearly left quite an impression. With a sword for a letter T, the ballet with its marvellous rodents is closely bound to my heart.
“If you come at four in the afternoon, I'll begin to be happy by three.”
― Antoine de Saint-Exupéry, The Little Prince, 1943
+ Life on other planets
+ Return to the '80, return to the '90s, nostalgia is a maze
+ Then and now
+ Concocted
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