Karole Armitage, wild ballerina

One of the most original talents on the modern dance scene today, Karole Armitage's style combines classical ballet, modern dance, contemporary movement trends, as she breaks the boundaries that conventionally separated dance, theatre, music and visual arts. This video includes interviews with Karole Armitage and some of her colleagues about her and her work. These are interspersed with excerpts from The predator's ball, a piece choreographed by Armitage, as well as various dances she has performed in.

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"One of the most original talents on the modern dance scene today, Karole Armitage's style combines classical ballet, modern dance, contemporary movement trends, as she breaks the boundaries that conventionally separated dance, theatre, music and visual arts. This video includes interviews with Karole Armitage and some of her colleagues about her and her work. These are interspersed with excerpts from The predator's ball, a piece choreographed by Armitage, as well as various dances she has performed in."@en
"Karole Armitage's high velocity hallmark style mixes classical ballet, modern dance and contemporary movement trends. When she was appointed choreographer for the Florence-based MaggioDanza , her first major project was the creation of The Predators' Ball, inspired by the rise and fall of junk - bond king Michael Milken. This profile focuses on the genesis of Armitage's image-driven piece which, like much of her work, breaks down the boundaries that conventionally separate dance, theatre, music and the visual arts."
"Le style "Armitage" est reconnu pour la virtuosité de ses danses au rythme très rapide, mêlant les influences du ballet classique, de la danse moderne, du rock et du rapt. La chorégraphe contemporaine fait sauter les frontières qui, traditionnellement, séparent danse, théâtre, musique et arts plastiques. Le film permet d'approcher ses idées et son travail."
"Profile of dancer-choreographer Karole Armitage, much of it in her own words. The program begins with a discussion of her evening-length work The predators' ball: hucksters of the soul, which she presented in several versions between 1994 and 1996. Looking back upon her career, Armitage describes her beginnings as a ballet dancer, and her discovery of the work of Merce Cunningham, whose company she joined. She discusses her own choreography and its aims, her establishment of her own company in the 1980s, her move to France, and her appointment to the directorship of MaggioDanza in Florence, and compares audience and critical reactions to her innovations in the U.S. and Europe. Additional insights are offered by her friend Joan Juliet Buck; dance historian Sally Sommer; Armitage's husband, the painter David Salle; and fashion designer Christian Lacroix."@en