502:"When composer Matteo Fargion and dancer Jonathan Burrows perform together, they are like two middle-aged boffins retreating into a garden shed. Both men are in their mid-40s, balding and dressed for comfort rather than style; when they collaborate on stage, they could almost be following an obsessively drawn up list of tasks – phrases of material to be analysed, details of performance to be perfected, ideas to ponder. Like all the best boffins, Burrows and Fargion mix their idiosyncrasies with passion and a kind of genius. The joy of these duets is that they deliver dance and music in ways we never expect."
512:"Several times during their opening performance at Sadler's Wells, on Friday evening, Jonathan Burrows and Matteo Fargion almost reduced each other to fits of giggles. And these were among the loveliest moments. Timing being the secret of comedy, and them both having an acute sense of humour, their creation is as much like very clever vaudeville as high art, a brilliantly precise device constructed to amuse and satisfy, performed by a double act as cherishable as Laurel and Hardy or Morecambe and Wise."
386:"Working mute, without instruments and almost without technique, the men become immersed in what are basically a series of brisk hand-jives. They barely rise out of their chairs as they perform. But the point of the duet is that they are able to magic their restricted vocabulary into sophisticated dance and music, twisting simple gestures into a variety of shapes and rhythms so that they mesmerise and dazzle."
422:"The duo rob themselves not only of conventional music, but also of grace. It begins with the deadpan Fargion bellowing "Ahhhhhhhhhh!" as Burrows stomps across the stage, sinking lower with each step. Then the roles switch, the stomp turns into an angular stagger, and so on. Like all good comedy, it's impeccably timed – and, of course, it's not really that "quiet" at all."
451:"As the title suggests, words are the thing here, but not in any conventional sense. There is, at last, music of many kinds, but, rather than move to it, Burrows and Fargion often read out dance notation ("Cross! Two, three, four…") or the actual names of the notes ("A! B flat! D!") in time to it."
396:
the 2003 prize, "For an extraordinary symphony of upper body gestures performed in extrasensory collaboration in an ordinary setting made tense by the silent musical score, for an intimate production by an unlikely pair of average middle-aged white guys in chairs."
185:, London (1998–99), associate artist at Kunstencentrum Vooruit in Ghent, Belgium (1992–2002), and a visiting member of faculty at the Performing Arts Research and Training Studios (P.A.R.T.S), the school of Anne Teresa De Keersmaeker in Brussels, 1999–2002.
447:
Burrows' and
Fargion's final part of the trilogy of performances. The last piece continues their exploration into how the relationship between music and dance is perceived, and the fragile but permeable boundaries between the two.
633:, and both he and critics have named this as another possible source of influence in his style. Burrows has commented that he looked for a new way of moving that he could manage better than ballet. He met this desire in
383:
Sitting on chairs drawn up close to the audience, staring at music and dance "scores" at their feet, the two men draw us into a silent, unexpected and often funny conversation for two pairs of arms.
111:
Burrows has commented that it is sometimes difficult making dance in his home country of
Britain, and that in Europe he finds a much more appreciative and open-minded dance and theatre industry.
611:. Burrows consequently chose also to study with Volans, and the ideas which came out of this time are still important to Burrows' work, and a source of connection between Burrows and Fargion.
425:"During one section, they riff on the verbal shorthand of different dance genres (ballroom, ballet and disco), and we can almost see them partnering each other on a real-life dance floor."
372:
Burrows and
Fargion are among the most widely travelled of UK performance artists and have gained an international reputation for the intelligence, humour and musicality of their shows.
174:
Theatre, London, 1992–94. In 1995–96, Burrows entered into co-productions with theatres in Ghent (Belgium), Angers (France), and
Utrecht (Netherlands), and in 1997 he choreographed for
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476:"A surprisingly endearing conceptual comedy of such unpretentious charm that it seals Burrows and Fargion's status as a sort of Laurel and Hardy of the avant-garde."
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419:
At the heart of this work is a love of rhythmic form and the quiet intensity of communication this allows them to share with each other and with the audience.
1454:
822:"The Sitting Duo Now Walks, or the Piece That Lies Quietly Underneath", Daniela Perazzo talks to Jonathan Burrows about his latest piece with Matteo Fargion,
389:"Sometimes imitative, sometimes in counterpoint, they weave a complex, witty, rhythmic tapestry, two strange characters entirely lost in obsessive movement."
1232:
641:, such as the Bampton Dancers of Oxford. Burrows comments, "I like the traditional men's dances from England. The dancers had this weird quality of
137:
and Baron's Court venues, London, 1970–79, under
Richard Gladstone. He was the winner of an Ursula Morton award for student piece of choreography,
1279:
http://www.kaaitheater.be/document_cache/330_en_08_04_19_-_Burrows_&_Fargion_-_Trilogy.pdf;jsessionid=06956C5744D58EF2177E11F826E28095
485:"Jonathan Burrows is Britain's Columbus, dance's explorer, a man in quest of new lands and unknown territory.... He is a true original."
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494:"If Einstein ever pondered on dance, the dance in question would have looked something like the work of Jonathan Burrows."
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547:, run by David Gothard as influential in his early career. Gothard drew together important artists and Burrows would see
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808:"Speaking Dance: The Storm after the Calm", Daniela Perazzo pricks up her ears to Jonathan Burrows and Matteo Fargion,
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The critic Judith
Mackrell has described aspects of Burrows' style as emanating from the influences of folk-dance,
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Foundation for
Contemporary Performance Arts, New York, for "ongoing contributions to contemporary dance", 2002;
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Burrows has through his work and teaching and mentoring, been an influence on other successful choreographers.
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duets were performed there. After seeing them in the early 1980s, American post modern dance, especially the
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66:(2001), a collaboration with the Dutch theatre director Jan Ritsema. This was followed with the trilogy,
978:"Language is Key in Dancing", Interview with Jonathan Burrows, Susanne Lettner, The European, 29.12.2015
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Since 2000, Burrows has worked with other performers, notably non-dancers. In 2001 he presented
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1869:"Critical Correspondence | The POSTDANCE Dialogues: Jonathan Burrows and Andros Zins-Browne"
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404:, the Jonathan Burrows Group, NOTT Dance Festival, Kaaitheater, P.A.R.T.S./Rosas and the
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In 2003 Burrows and Matteo
Fargion received the 2003–2004 New York Dance and Performance
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The company travelled widely and gained an international reputation with pieces such as
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509:"Absurdist self-indulgence you'll be thinking, but what you see is revelation and joy."
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Burrows' long-time collaborator Matteo
Fargion studied composition with the composer
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164:
149:
854:, 2002, Vol. 18, Part 4, pp. 25–29. Publisher: Laban Centre for Movement and Dance,
1666:
843:"Both Talking: Interview with Jonathan Burrows and Matteo Fargion", Donald Hutera,
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In 1988, he founded the
Jonathan Burrows Group, which became a resident company at
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He choreographed early pieces for Extemporary Dance Theatre, Spiral Dance Company,
33:
1103:"Royal Holloway, University of London, Department of Drama and Theatre prospectus"
36:
in London, but formed the Jonathan Burrows Group in 1988 to present his own work.
819:, 2006, Vol. 21, No. 3, pp. 45–46. Publisher: Laban Centre for Movement and Dance
126:
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812:, 2007, Vol. 22, No. 2, pp. 9–11. Publisher: Laban Centre for Movement and Dance
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began to influence his thinking. He also began performing for Rosemary Butcher.
519:
One of the funniest and most ingenious dances seen in New York in a long time."
19:
This article is about the British choreographer. For the American producer, see
833:, 2005, Vol. 24, No. 1, pp. 15–28. Publisher: Springer Science + Business Media
826:, 2005, Vol. 21, No. 2, pp. 2–7. Publisher: Laban Centre for Movement and Dance
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971:"Home Reviews: Victoria Marks, Jonathan Burrows, The Place", John Percival,
78:(2006) with the Italian composer and long-time collaborator Matteo Fargion.
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London, Joint Adventures, Munich, Kaaitheater, Brussels and supported by
467:& the Jonathan Burrows Group and with thanks to Dance 4 Nottingham.
297:(mus. Matteo Fargion, 1994, film version, dir. Adam Roberts, same year);
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He is Visiting Professor for the Department of Drama and Theatre at the
638:
615:
is the translation of a score of a piece of music by American composer
533:
188:
Burrows and Matteo Fargion received the New York Dance and Performance
1405:"Both Talking - An Interview with Jonathan Burrows and Matteo Fargion"
714:
The Far End of the Garden. A profile of choreographer Jonathan Burrows
114:
Burrows has devoted fan-base among the (mostly young) dance in-crowd.
829:"Difference and Repetition in Both Sitting Duet", Briginshaw, V. A.,
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981:"The POSTDANCE Dialogues: Jonathan Burrows and Andros Zins-Browne",
836:"Two Men, Two Chairs, interview with Jonathan Burrows", Polzer, L.,
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337:(collaboration with the Dutch theatre director Jan Ritsema, 2001);
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Kaaitheater, Belgium, advertisement for Three Duets, April 2008
936:"Jonathan Burrows: The Laughter of Recognition", Marilyn Hunt,
674:(film, dir. Adam Roberts, music Matteo Fargion, BBC/ACE, 1995);
1233:"Jonathan Burrows and Matteo Fargion: Sophisticated silliness"
943:"Three by Three", Carol Brown, Eleanor Brickhill, Ann Nugent,
850:"Playing the Game Harder, Jonathan Burrows in conversation",
964:"Young Classical Choreographers", Dance Study Supplement 4,
1028:"Jonathan Burrows :: Foundation for Contemporary Arts"
864:"Jonathan Burrows: Exploring the Frontiers", Duerden, R.,
129:, County Durham, England, in 1960, Burrows studied at the
874:, eds. Jo Butterworth and Gill Clarke, Bretton Hall, 1998
872:
Dancemakers’ Portfolio: Conversations with Choreographers
840:, 2004, Issue 1131, pp. 17–20. The Dancing Times Limited.
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85:'s performance of his choreography in Adam Robert's film
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in 1996, and his invitation in 1997 to choreograph for
1251:"New York Dance and Performance Awards the 'Bessies'"
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668:(film, dir. Adam Roberts, mus. Matteo Fargion, 1994);
662:(film, dir. Adam Roberts, mus. Matteo Fargion, 1993);
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1149:
Fifty contemporary choreographers: A Reference Guide
904:"Jonathan Burrows’ New Work for Sylvie Guillem" (on
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Fifty contemporary choreographers: A Reference Guide
567:
generation of choreographers from New York, such as
1004:"New York Dance and Performance Awards-The Bessies"
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359:Both Sitting Duet, The Quiet Dance, Speaking Dance
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392:The judges of the New York Dance and Performance
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313:for Ballett Frankfurt, mus. Kevin Volans, 1997);
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1600:
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877:"Liberating the Imagination", Edith Boxberger,
794:, Martha Bremser and Deborah Jowitt, pp. 47–51.
361:, performed together as the Three Duets (2007).
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355:(collaboration and mus. Matteo Fargion, 2006);
349:(collaboration and mus. Matteo Fargion, 2005);
343:(collaboration and mus. Matteo Fargion, 2002);
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805:, at Siobhan Davies Dance Studios, March 2007
196:, 2004. Associate Director on Peter Handke's
144:From 1979 to 1991, he was a soloist with the
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1073:"Jonathan Burrows and Matteo Fargion Review"
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897:"Jonathan Burrows Group", Sophie Constanti,
527:
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957:"Dance Scene: The Jonathan Burrows Group",
915:"Burrows: Our Thoughts", Chris de Marigny,
758:Arts Council of England Fellowship 2000–02;
375:
117:He currently lives in London and Brussels.
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815:"Jonathan Burrows Group DVD", Perazzo, D,
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303:(mus. Kevin Volans, Matteo Fargion, 1996);
1818:"British Library Document Supply Service"
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764:Nominated for South Bank Show award for
732:
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285:(mus. Matteo Fargion, Mendelssohn, 1991);
81:Other high-profile collaborators include
1899:London Dance.com, Directory of Companies
1197:
1055:"When dance and music fell back in love"
890:"Closing in on Ballet", Nadine Meisner,
439:
32:He started his career as a soloist with
1909:Official website of Burrows&Fargion
1841:
989:
950:"Talking to an Enigma", Edward Thorpe,
887:, with Kevin Volans, Autumn/Winter 1996
1916:
1802:: CS1 maint: archived copy as title (
1525:"Kaaitheater 14-15 - Jonathan Burrows"
1479:: CS1 maint: archived copy as title (
198:The Hour We Knew Nothing of Each Other
1842:Lettner, Susanne (29 December 2015).
1200:"Jonathan Burrows and Matteo Fargion"
1198:Mackrell, Judith (15 January 2008).
801:and Kate McIntosh, Siobhan Davies",
428:Co-produced by Dance 4, Nottingham,
209:Royal Holloway, University of London
622:Burrows learnt traditional English
13:
1692:"Foundation for Contemporary Arts"
720:, A Beaulieu Films production for
319:(mus. and text Tom Johnson, 1997);
14:
1950:
1883:
1844:"Interview with Jonathan Burrows"
1696:Foundationforcontemporaryarts.org
1667:"The national advocate for dance"
797:"Dialogue with Jonathan Burrows,
1231:Mark Monahan (14 January 2008).
710:(film, dir. Adam Roberts, 2003).
704:(film, dir. Adam Roberts, 2003);
436:and the Jonathan Burrows Group.
366:About the work – the Three Duets
106:Foundation for Contemporary Arts
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1053:Ismene Brown (5 January 2008).
1009:. dtw.org. 2004. Archived from
885:The Full Score: The Dance Issue
775:New York Dance and Performance
694:(film, dir. Adam Roberts, mus.
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645:mixed with profound dignity."
637:and release work, but also in
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181:He was artist-in-residence at
1:
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267:(mus. Nicholas Wilson, 1986);
255:(mus. Nicholas Wilson, 1985);
1558:"Jonathan Burrows Q & A"
922:"Dream Ticket", Ann Nugent,
335:Weak Dance, Strong Questions
291:(mus. Matteo Fargion, 1992);
279:(mus. Matteo Fargion, 1989);
243:(mus. Dudley Simpson, 1983);
237:(mus. Edward Lambert, 1982);
120:
29:is a British choreographer.
7:
1939:People from Bishop Auckland
919:, 11(2), Spring/Summer 1994
463:, London, supported by the
325:(mus. Kevin Volans) (1997);
225:(mus. Douglas Gould, 1980);
161:Sadler's Wells Royal Ballet
64:Weak Dance Strong Questions
21:Jonathan Burrows (producer)
10:
1955:
1642:"::: Arts on Film Archive"
746:Digital Dance Award, 1992;
743:Choreographic Award, 1990;
684:, dir. Adam Roberts, mus.
516:, 8 January (Three Duets).
506:, 8 January (Three Duets).
470:
265:A Tremulous Heart Requires
135:White Lodge, Richmond Park
104:. Burrows received a 2002
18:
528:Influences and influenced
277:dull morning, cloudy mild
108:Grants to Artists Award.
1848:Theeuropean-magazine.com
975:, November/December 1988
698:, Matteo Fargion, 1996);
555:around the theatre, and
868:March 2001, pp. 551–557
784:Articles and interviews
755:Prudential Award, 1995;
271:Hymns: Complete Version
1929:English choreographers
1256:. 2004. Archived from
733:Awards and fellowships
688:, France 2/BBC, 1995);
1295:Blogs.telegraph.co.uk
917:Dance Theatre Journal
910:Dance Theatre Journal
908:), Sophie Constanti,
892:Dance Theatre Journal
852:Dance Theatre Journal
824:Dance Theatre Journal
817:Dance Theatre Journal
810:Dance Theatre Journal
635:contact improvisation
589:Contact improvisation
178:'s Ballet Frankfurt.
167:in his early career.
93:'s Ballet Frankfurt.
16:British choreographer
1430:"Standard E-edition"
1263:on 16 December 2019.
1083:on 26 September 2012
1016:on 16 December 2019.
990:Notes and references
879:Ballet International
523:(Both Sitting Duet).
465:Arts Council England
434:Arts Council England
402:Arts Council England
1875:. 18 December 2015.
1784:on 16 December 2019
1434:Newspaperdirect.com
1331:on 2 September 2017
845:Dance Umbrella News
631:Royal Ballet School
596:Bronislava Nijinska
488:The Financial Times
323:Things I Don't Know
131:Royal Ballet School
57:Things I Don't Know
1351:"Arts - The Times"
1119:on 24 October 2009
985:, 18 December 2015
929:"Leading Lights",
726:Arts Council Films
543:Burrows describes
536:and more weighted
521:The New York Times
491:(The Quiet Dance).
482:(The Quiet Dance).
406:Laban Dance Centre
1873:movement research
1535:on 4 October 2011
1355:Timesonline.co.uk
1169:"Dance Companies"
983:Movement Research
973:Dance and Dancers
952:Dance and Dancers
803:Adrian Heathfield
766:Both Sitting Duet
702:Both Sitting Duet
613:Both Sitting Duet
545:Riverside Studios
400:Supported by the
377:Both Sitting Duet
341:Both Sitting Duet
309:(commissioned by
194:Both Sitting Duet
165:Riverside Studios
150:Royal Opera House
102:Both Sitting Duet
68:Both Sitting Duet
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954:, June/July 1991
912:, Winter 1995/96
741:Frederick Ashton
692:The Stop Quartet
561:Merce Cunningham
538:postmodern dance
311:William Forsythe
301:The Stop Quartet
247:Hymns, Parts 1–3
204:, London, 2008.
202:National Theatre
183:Southbank Centre
176:William Forsythe
91:William Forsythe
53:The Stop Quartet
34:The Royal Ballet
27:Jonathan Burrows
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459:Co-produced by
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413:The Quiet Dance
394:Bessies awarded
381:
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347:The Quiet Dance
241:The Winter Play
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127:Bishop Auckland
123:
72:The Quiet Dance
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1748:on 28 May 2007
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1529:Kaaitheater.be
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624:Morris dancing
617:Morton Feldman
594:He also lists
581:Lucinda Childs
549:Samuel Beckett
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1822:Direct.bl.uk
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1779:the original
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1717:"Categories"
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1325:Dance4.co.uk
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1077:Ballet.co.uk
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1924:1960 births
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1775:www.dtw.org
1726:1 September
1701:1 September
1676:1 September
1671:Danceuk.org
1651:1 September
1623:1 September
1567:1 September
1539:1 September
1504:1 September
1495:"Blogposts"
1439:1 September
1414:1 September
1360:1 September
1335:1 September
1305:1 September
1209:1 September
1178:1 September
1123:1 September
1087:1 September
1038:18 February
961:, June 1991
906:Blue Yellow
901:, July 1996
899:Dance Times
678:blue yellow
639:folk dances
628:White Lodge
215:Dance works
87:Blue Yellow
74:(2005) and
55:(1996) and
1918:Categories
1788:15 January
1721:ITV Player
1646:Wmin.ac.uk
1110:Rhul.ac.uk
968:, Jan 1990
940:, Oct 1993
652:Film works
587:and their
540:movement.
534:classicism
1583:"YouTube"
945:Dance Now
931:Dance Now
924:Dance Now
860:0264-9160
643:absurdity
601:Les Noces
583:and also
557:John Cage
479:The Times
172:The Place
148:, at the
121:Biography
1798:cite web
1475:cite web
1321:"Dance4"
750:Time Out
553:Dario Fo
408:London.
235:Cloister
200:for the
125:Born in
70:(2002),
59:(1997).
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47:(1992),
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1752:4 April
1587:YouTube
779:, 2004.
772:, 2003;
770:Singing
728:, 1991)
708:Singing
471:Reviews
331:(1998);
329:Singing
317:Quintet
273:(1988);
261:(1986);
249:(1985);
231:(1980);
139:3 Solos
133:, both
1465:27 May
1386:27 May
858:
579:, and
443:(2006)
415:(2005)
379:(2002)
283:Stoics
253:Squash
229:Listen
41:Stoics
1782:(PDF)
1771:(PDF)
1261:(PDF)
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1117:(PDF)
1106:(PDF)
1014:(PDF)
1007:(PDF)
831:Topoi
672:Hands
259:Hymns
223:Catch
1855:2017
1829:2017
1804:link
1790:2022
1754:2007
1728:2017
1703:2017
1678:2017
1653:2017
1625:2017
1569:2017
1541:2017
1506:2017
1481:link
1467:2008
1441:2017
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1388:2008
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1125:2017
1089:2017
1040:2015
856:ISSN
768:and
660:Very
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289:Very
192:for
100:for
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