Colors fill up your mind too much with all sorts of muddled stuff. Colors are too sweet a muddle, nothing more. I love things in one color, monotonous things. Snow is such a monotonous song. Why shouldn’t a color be able to make the same impression as singing? White is like a murmuring, whispering, praying. Fiery colors, like for instance Autumn colors, are a shriek. Green in midsummer is a many-voiced song with all the highest notes. Is that true? I don’t know if that is right. Robert Walser


Robert Walser (15 April 1878 – 25 December 1956), was a German-speaking Swiss writer. Walser is understood to be the missing link between Kleist and Kafka. Walser was admired early on by artists such as Robert Musil, Hermann Hesse, Stefan Zweig,Walter Benjamin and Franz Kafka.

On Christmas Day, 1956, the police of the town of Herisau in eastern Switzerland were called out: children had stumbled upon the body of a man, frozen to death, in a snowy field. Arriving at the scene, the police took photographs and had the body removed.

The dead man was easily identified: Robert Walser, aged seventy-eight, missing from a local mental hospital. In his earlier years Walser had won something of a reputation, in Switzerland and even in Germany, as a writer. Some of his books were still in print; there had even been a biography of him published. During a quarter of a century in mental institutions, however, his own writing had dried up. Long country walks—like the one on which he had died—had been his main recreation.

A very fascinating, succinct and eye opening article about 10 top tips for choreography by Dame Gillian Lynne, who has choreographed CATS and The Phantom of Opera. Choreography is very much about human relationships and trusting your vision and intuition.

1. Understand Movement

I was a dancer before I became a choreographer. You have to understand the element of movement in the core of your being, but you could do that without being a fantastic dancer, I think.

You have to understand that movement and thought are wedded together. You can’t just go and dance without a thought in your head. You need to know why you are doing the movements, what they mean to you and what they may mean to others.

2. Start with the music
Choreographers don’t just do steps, they stage the numbers and they stage the songs, so there is a whole big craft to it that people don’t ever give credit for.

I usually start with the music. It all differs though. With a ballet it can be all about the subject and the music comes afterwards. Or sometimes you hear a piece of music, fall in love with it and it becomes a ballet.

With a musical, you’ve got to listen to the score, which has usually already been written by the time the creative team comes on board. You’ve got to really understand the words and the music and what it is trying to say. Your task is to weave those two things together in a magical way and present them well. It’s a three-part craft if you like.

3. Tell it like it is and don’t fear confrontation
You mustn’t be afraid of confrontation. You just have to confront difficult people and make their wickedness become obvious. You have to stand very strong and support your creative team.

Put yourself out there as a leader and don’t be afraid to confront people.

4. Pick your team wisely
Pick your team yourself if you can. Ideally you want to surround yourself with a team that you like, who like you, who can take you when you are at the end of your tether and perhaps being a bit too tough.

It’s like creating a family and it’s the same with the cast. There’s quite a lot of jealousy and stuff that goes on and I don’t think that helps anybody.

You have to make sure people are bonded and friends by the end of the first week of rehearsals. You have to create a company who like each other, get on and trust one another.

5. Be firm but loving when things go wrong
If a dancer isn’t getting something quite right, fortunately I can still show it and then you just go on and on and weigh someone down until they get it. There aren’t any shortcuts.

Sometimes you have to make people feel like they have to fight their body or enhance the situation until their body picks it up and gets the instinct for it. It never runs smoothly and that’s why it is so important for a company to become friends in the first week.

Because everybody has bad patches, everyone has a scene or a dance solo they find difficult to do. Some people sail through things wonderfully, but when they don’t you have to just be there for them and be rigidly firm and very loving all at the same time.

6. Be honest and show people you can do it
Very few people get a show like Cats, it’s a one-off. It was a miracle in a way that we made that show.

It is essential to make sure your collaboration with designers and composers is very honest and very open.

I think it is really good if people do want to go into choreography. It’s the thing that really put me on the map. It’s no good just wanting to be something in life, you have to do something to show you could do it.

7. Marry someone who shows an interest in your work
My marriage is almost the most important thing in my life. I’m very lucky. I’m married to a man who is 27 years younger than me and we have a lot in common.

I met Peter [Land] on the first day of rehearsals for My Fair Lady, which I was staging for Cameron Mackintosh. He was the most beautiful man I have ever seen. We took one look at each other and that was it.

It’s lovely to be with someone who is in the same business. It’s a very happy household because we are interested in each other’s work.

8. Accept that being successful may require sacrifices
My profession has ruined my right foot. I sprained it 37 times in my career, and in the end one day a bone just popped out.

I’ve also got two hip replacements. When I go through the airport I always tell them: “There’s no point you bothering me. I’ve got two metal hips and a metal foot!” I sound bells all over the place.

My family is me, my husband and the dog. I’m afraid I don’t think I could have had the career I’ve had and been as successful if I had had children. Maybe these things happen for a reason.

9. Keep your true judgements open
Keep your true judgement open. Whatever opportunities come up, keep your own judgement about how you feel about the art, what you feel about showbusiness and the world at that time.

Keep an interest in the news and current affairs and try and keep up with what is going on in the world because it will affect what you do.

10. Avoid Botox and love what you do!
Age certainly hasn’t been a problem in my career. I’m 87 now, I’ve got all sorts of exciting projects coming up this year and I’m very lucky.

I don’t do all that Botox stuff, can’t stand it, don’t even believe in it. I think people look dreadful when they’ve done it, so I don’t do that.

I think I look like an ancient old squiffle at the moment, but the secret to staying young and being happy is to do with loving what you do and loving the person you are with – simple as that!

BBC News
Original source



Recollection PerformancePhotograph from the show at Westminster Kingsway Theatre   Dancer: Sara Augieras
Many thanks to the behind the scene crew. We have received many positive feedback from the audiences.

“The piece was wonderful and beautiful and peaceful and gentle. It really was like golden light on water.”

“Very beautiful, transparent and delicate. I would love to see it again.”

“I felt connected very deep inside. I felt like crying so I had to turn my eyes away.”


A fascinating story which illustrates a different ways of looking at our memory.
Lonni Sue Johnson, 63, is an artist suffering profound amnesia after a nearly fatal battle with encephalitis in 2007.

“She lives in a narrow sliver of the present moment,” explains her sister, Aline Johnson, “and the moments from before just fade away.”