BalletMet的动态

Fantastic opportunities

Opera and Ballet Theatre. The steel structure roof is 3600 tons. #project #heavyindustries #teklastructures #tekla #bim #engineering #architecture #construction #building #steel #steeldetailing #steelstructures

In the performing arts sector, we excel at drawing new audiences to our venues to revel in our captivating performances and exhibitions. However, as you may see within your own org, there is a serious gap when it comes to these patrons returning. It’s easy to label these guests as 'churned,' 'attrited,' or 'lapsed' because to us, it feels like there's been a break in our relationship with them if they miss a season. But what if post-pandemic behavior patterns have shifted? What if it naturally takes longer for people to come back for their second or third visit? What if they still think they are engaged, and of your venue as their theatre, orchestra, ballet, opera, etc.? Our latest research at TRG Arts reveals that first-timers might take as long as 18 to 24 months to return. During this period, they still consider themselves actively connected to your community. Join us for a Deeper Dive on July 25th, where Eric Nelson (featured in this video) alongside Kate Hagen, will delve into the Rhythm of Repeat Attendance. Eric and Kate will share insights on how your messages and marketing can resonate deeply with these patrons, nurturing a bond that embraces their sense of connection. Don't miss this opportunity to transform how you engage with your audience and foster enduring patron loyalty. Let’s learn to love our lapsed together! ?? https://hubs.li/Q02GxLN30

?? 50 stories for 50 years ?? Ann Whitley’s story: “My training at the Royal Ballet Upper School and membership of the National Ballet of Canada ended with foot injuries. I turned to Benesh Movement Notation studies followed by six years with Rambert. Later, working internationally, I pioneered the inclusion of a choreologist within an opera production-team. This provided movement documentation for singers, actors and dancers plus choreographic guardianship. I won the trust of many choreographers and directors. 19 new dance or opera productions and 52 revivals took me all over the Northern Hemisphere. If your adult life has mainly been as a freelance worker in the Arts, your savings are not likely to be substantial when you need or want to retrain for a new profession. DCD’s assistance was crucial to my transition from choreologist and rehearsal director to professional dry stone waller in North Yorkshire. I had subsidised my early walling training while still working with singers, actors and dancers, but DCD’s policy and vision encouraged me to make an application. Dry stone walling work is done throughout the year in all weathers. The material here is mainly limestone with some sandstone and slate. I have repaired garden, roadside and field walls; built enclosures to conceal domestic oil tanks; constructed raised vegetable beds and garden steps. New or repaired stone gateways need to be strong enough to withstand a tractor’s nudge, jostling herds of sheep and cows, or a bull finding the ideal scratching post. Dance rehearsal clothing becomes summer walling gear. Lunging and lifting are common to dance and dry stone walling. So is a long working day and sheer staying-power. Another common factor is the attention to detail and respect for a particular choreographic style or regional walling technique. But...you aren’t hidden from the daylight when walling.” ?? Jack Blake & Kath Hartley 50 stories for 50 years: sharing the career development stories of 50 individuals supported by DCD during our first 50 years.

?? 50 stories for 50 years ?? Ann Whitley’s story: “My training at the Royal Ballet Upper School and membership of the National Ballet of Canada ended with foot injuries. I turned to Benesh Movement Notation studies followed by six years with Rambert. Later, working internationally, I pioneered the inclusion of a choreologist within an opera production-team. This provided movement documentation for singers, actors and dancers plus choreographic guardianship. I won the trust of many choreographers and directors. 19 new dance or opera productions and 52 revivals took me all over the Northern Hemisphere. If your adult life has mainly been as a freelance worker in the Arts, your savings are not likely to be substantial when you need or want to retrain for a new profession. DCD’s assistance was crucial to my transition from choreologist and rehearsal director to professional dry stone waller in North Yorkshire. I had subsidised my early walling training while still working with singers, actors and dancers, but DCD’s policy and vision encouraged me to make an application. Dry stone walling work is done throughout the year in all weathers. The material here is mainly limestone with some sandstone and slate. I have repaired garden, roadside and field walls; built enclosures to conceal domestic oil tanks; constructed raised vegetable beds and garden steps. New or repaired stone gateways need to be strong enough to withstand a tractor’s nudge, jostling herds of sheep and cows, or a bull finding the ideal scratching post. Dance rehearsal clothing becomes summer walling gear. Lunging and lifting are common to dance and dry stone walling. So is a long working day and sheer staying-power. Another common factor is the attention to detail and respect for a particular choreographic style or regional walling technique. But...you aren’t hidden from the daylight when walling.” ?? Jack Blake & Kath Hartley 50 stories for 50 years: sharing the career development stories of 50 individuals supported by DCD during our first 50 years.

Diversity Jobs Group are proudly partnering with the?Royal Opera House. ? The Royal Opera House believe the art forms of opera and ballet can both entertain and offer deep emotional and? intellectual fulfilment: they are a direct link to the combined experiences of past generations and a lens on the contemporary world. Engaging with opera and ballet has the potential to enhance the wellbeing of individuals and communities. Extraordinary, world-class performances are at the absolute heart of our vision and we especially prioritise investment in new work. ? The Royal Opera House is dedicated to nurturing, creating and sharing astonishing, world-class opera, ballet and theatre craft. We are driven by an urge to deepen our impact – our impact on the continuing development of opera and ballet as living, breathing art forms, and our impact on people in the UK and overseas. ? Values:?Treat each other with Respect | Be Open | Value the Highest Standards ? We want many more people to enjoy and engage with exceptional ballet and opera. ? We believe diversity is about making sure we can attract and develop talented people who bring more because of their different backgrounds, experiences, cultures and outlooks. ? Recruiting and working with these talented people is just part of the work. We are committed to creating an environment where everyone believes they belong and can do their best work. ? We operate a fair and open recruitment and selection process. Every role is open to all sections of society and we? welcome your application, regardless of your sex, race, religion or belief, ethnic origin, different physical ability, age, gender identity or sexual orientation. ? We particularly welcome applications from those who are from a global majority background and/or those who are? disabled, as they are under-represented within the Royal Opera House. As a Disability Confident employer, we? guarantee to interview all disabled applicants who meet the essential minimum criteria for our vacancies. ? See all jobs at?the Royal Opera House?advertised with?Diversity Jobs Group?Here:?https://lnkd.in/emYwsHrp #royaloperahouse?#royaloperahousejobs?#diversityjobs?#diversityjobsgoup?#diversityjobsboard?#Diversity?#InclusiveJobs?#talentattraction?#jobsearch?#diverserecruitment?#recruitment?#InclusiveWorkplace?#diverserecruitmentsolutions #InclusiveEmployer

Hey Fellow Dancers ??, Tired of the same old audition grind, hustling for opportunities that barely pay off? Ever experienced one of these: - Spotting auditions too late to apply? - Wasting time & money in auditions with no real opportunities. - Asked to pay to audition. -Dealing with confusing and unfair agreements. - Juggling too much, leaving no time for your own creations. - Getting endless rejections: Wondering what choreographers really want. - Inconsistent payments and gigs that barely cover your expenses. - Feeling isolated in the dance world. Navigating the dance industry without guidance. Imagine this – We've got your back for your next auditions, like the one coming up @Ballet Central is Looking for Male Ballet Dancers. If you vibe with our values and think you've got the chops, hit us up here. ????: Stay in the loop with auditions tailored for you. Subscribe to our Newsletter now!

In the performing arts sector, we excel at drawing new audiences to our venues to revel in our captivating performances and exhibitions. However, as you may see within your own org, there is a serious gap when it comes to these patrons returning. It’s easy to label these guests as 'churned,' 'attrited,' or 'lapsed' because to us, it feels like there's been a break in our relationship with them if they miss a season. But what if post-pandemic behavior patterns have shifted? What if it naturally takes longer for people to come back for their second or third visit? What if they still think they are engaged, and of your venue as their theatre, orchestra, ballet, opera, etc.? Our latest research at TRG Arts reveals that first-timers might take as long as 18 to 24 months to return. During this period, they still consider themselves actively connected to your community. Join us for a Deeper Dive on July 25th, where Eric Nelson (featured in this video) alongside Kate Hagen, will delve into the Rhythm of Repeat Attendance. Eric and Kate will share insights on how your messages and marketing can resonate deeply with these patrons, nurturing a bond that embraces their sense of connection. Don't miss this opportunity to transform how you engage with your audience and foster enduring patron loyalty. Let’s learn to love our lapsed together! ?? https://hubs.li/Q02GLpbv0

Do you have audiences eager to learn more in depth about your art but not sure how to help them? You have people really interested in knowing every single detail about how you are able to create these amazing artistic experiences but your organization doesn't have the resources to do it? No worries, we are here to help! This is a specially designed service/course for your general audiences (without any type of artistic training) who wants to rediscover the Performing Arts. With it, participants will not only be able to learn the basic elements of how to appreciate these arts, but also learn about the "classical" arts (orchestra, ballet, opera), how they collaborate with each other, and interact with their modern evolutions and the various forms and variations that have acquired over the years (musical theater, contemporary dance, pop symphonic concerts, etc.). Participants will also be able to learn how these arts are created and rehearsed, the people involved inside and outside the company, and the key elements to focus on when wanting to enjoy the artistic experience. Book on our website ( https://lnkd.in/gpsHUkqi ) a FREE initial consultation so we can understand better your needs and with it send you a proposal to be sure your organization develop strong, sustainable, and long-lasting relationships with all your stakeholders!

In some sense, every play, every Broadway show, every film, each choreographed ballet, all the books you see in the bookstore, and every truly ambitious piece of art that springs into the human mind, then is followed through to completion, requires not only a great deal of perseverance and focus but real audacity—a willingness to boldly take on something challenging. Something big. Fortunately, this quality isn’t something we human beings lack. Whether it’s the audacity of an artist’s creative impulse, in the boldness and bravery of those who set out each day to protect our country and world, or in the intrepid and unending industry of those who play important roles in safely moving millions of travelers millions of miles each day, we human beings are certainly an audacious lot, aren’t we? Perhaps take a look at your own life now. It’s likely, if you take the right angle on it, you’ll see that you too are a part of some audacious endeavor, playing a role in a big and important system that helps one of our society’s important institutions stay aloft each day. Or maybe you’ve undertaken something audacious on your own. Keep at it. Maintain your audacity. Remain in pursuit of that elusive, ineffable moment that something great, even thrilling emerges from your struggle.