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Contributor

Garth Von Buchholz

Contributor

Garth von Buchholz* [guest writer] is an author and arts critic who has reviewed dance for more than 20 years. Although Garth studied theatre in university, he has been a dance lover all his life. He now lives in Victoria, BC, where he is the photographer for the Victoria Ballerina Project. 

 

Garth Von Buchholz's Work

 

Garden Ballet for Garden City 

By Garth Von Buchholz The Secret Garden and Selected works Ballet Victoria

If you attended a ballet performance that included two Balanchine works, the pas de deux “Belong” from Norbert Vesak’s “What To Do Till The Messiah Comes”, music ranging from Tchaikovsky to Gershwin to Pink Floyd, and the world premiere of a forty-five-minute contemporary ballet with live music on stage, it would probably be a National Ballet of Canada production or the Royal Winnipeg Ballet (RWB). Now imagine that program is being offered by Ballet Victoria.

Not Wisely But Too Well

By Garth Von Buchholz

Othello by Tom Stroud for Winnipeg’s Contemporary Dancers: Winnipeg: September 22-24, 2005

 

A Ballet with Teeth 

By Garth Von Buchholz “Dracula” Mark Godden, Canada's Royal Winnipeg Ballet

Mark Godden’s Dracula is a twentieth-century Goth guy (the dance premiered in 1999) tricked out in nineteenth-century vampire garb. He’s been clever enough to get himself a film deal (Guy Maddin’s “Dracula: Pages from a Virgin’s Diary”) that garnered rave reviews around the world.  

 

Not Wisely But Too Well 

By Garth Von Buchholz “Othello” Tom Stroud, Winnipeg’s Contemporary Dancers

Of “Othello” the play and “Othello” the dance, you could say that “so sweet was ne’er so fatal”. The Canadian premiere of Tom Stroud’s “Othello”, performed by Winnipeg’s Contemporary Dancers (WCD), was a bleak and emotionally exhausting experiment in unstructured, improvised dance theatre. 

Multimedia Metamorphosis

By Garth Von Buchholz

Diving Girl by Karen Kuzak, TRIP Dance: Winnipeg: September 23-25, 2004

 

Multimedia Metamorphosis 

By Garth Von Buchholz "Diving Girl"  Karen Kuzak

What happens when you take 1950s-style, post-modern idealist icons of bathing beauties and synchronized swimmers, then deconstruct them to create a sinewy, subversive dance that transforms the women into something more primal and mythical? 

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