Matjash mrozewski biography definition

“It’s not a period piece, but there’s one incredibly exquisite period costume involved,” says 26-year-old choreographer Matjash Mrozewski of his latest work, Virgin Queen. “I tend to like to have a woman in a big dress in my pieces.”

Virgin Queen will be presented on a double bill at Toronto Dance Theatre, along with Converse, a new work by the choreographer, composer and costume designer Peter Chin. Both pieces by the award-winning Toronto-based choreographers are world premieres, performed by TDT company members and commissioned by artistic director, Christopher House.

The initial inspiration for Mrozewski’s piece came while he was reading a biography on Elizabeth I. “It was just a fleeting thought at the time,” says Mrozewski. “But I realized how the term ‘virgin queen’ could also apply to a young gay man.”

The piece, performed by 12 dancers to a score of contemporary works by Gorecki, Alexander Knaifel and some additional electronic music, features two main characters of opposing nature.

“Elizabeth was an interesting, difficult woman who negated a lot of very basic human needs and desires in order to fulfill her potential and live out her destiny,” says Mrozewski. “She sacrificed love for her greater responsibility.”

For the other virgin queen, Mrozewski looked at his own coming of age – the joyous and sometimes painful initiation into the adult world of sex and love.

“I thought it was a strong idea to have two paths that diverge and run concurrently,” says Mrozewski. “There is one person who shies away and resists all of those urges, and someone who runs towards them and embraces them.

“I hope it works.”

The concept of Peter Chin&#

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There is nothing, nothing, like live performance, which Oregon Ballet Theatre’s dancers made abundantly clear when the company’s spring show, Dreamland, opened at the Newmark Theater last Friday night.

The people in the audience made it clear, too. Their joy at being back in the theater was palpable, well before the curtain went up on a program that was thematically on the grim side. The delight, the excitement, the sense that life is worth living in good times and bad, was a gift, and a huge one, from the dancers. Moreover, it didn’t much  matter what they were dancing about, or how often they shifted from sexy social dancing to classical bourrées to square-dance skips to Ailey modern hands to soundless tap-dancing to classical spinal placement to backs that looked like commas. There were no fouettés to count, no pirouettes a la seconde to applaud–that’s not what contemporary ballet is about, although all three choreographers are thoroughly grounded in classical technique.  Nevertheless, audience members cheered whenever a dancer or group of dancers pleased them. And they pleased them a hell of a lot.

In a succinct pre-curtain speech, interim artistic director Peter Franc encouraged them to do just that, pointing out that any reaction to contemporary ballet is valid. “The most important thing to remember,” he said on stage and in his program note, is that “contemporary dance is completely open to interpretation. … Any feeling you get from a color, a movement, or music, that inspires a question, memory or new idea is the whole point of being here.”

From my perspective every piece on the Dreamland program (which includes one piece with the same name) tells at least one story, starting with the curtain-raising The Lost Dance, which was commissioned from Canadian choreographer Matjash Mrozewski by Christopher Stowell in 2012, toward the end of Stowell’