Matthew Bourne
Matthew Bourne
================
Full Name and Common Aliases
------------------------------
Matthew Bourne is a British choreographer, director, and founder of New Adventures, one of the UK's leading dance companies.
Birth and Death Dates
-------------------------
Born on February 12, 1960, in Cambridge, England.
Nationality and Profession(s)
--------------------------------
British. Choreographer, Director, and Founder of New Adventures.
Early Life and Background
-----------------------------
Matthew Bourne was born into a family of artists and musicians. His mother was an artist, and his father a musician. From a young age, Bourne showed a keen interest in dance, influenced by his parents' creativity. He began dancing at the age of three and attended the Royal Academy of Dance.
Major Accomplishments
-------------------------
Bourne's early career saw him working with various dance companies, including the New London Theatre Ballet and the Rambert Dance Company. His breakthrough came in 1990 when he choreographed _Swan Lake_, a reimagining of the classic ballet set in a 1940s-style ballroom. This production marked a significant departure from traditional ballet and cemented Bourne's reputation as an innovative choreographer.
Notable Works or Actions
---------------------------
Some notable works by Matthew Bourne include:
_Swan Lake_ (1990)
_The Car Man_ (1998) - a reimagining of _Carmen_
_Edward Scissorhands_ (2002) - inspired by Tim Burton's film of the same name
_Dorian Gray_ (2011) - an adaptation of Oscar Wilde's novel
Impact and Legacy
----------------------
Matthew Bourne's impact on modern dance cannot be overstated. His innovative approach to ballet has influenced a new generation of choreographers and dancers. He has also been instrumental in bringing classical ballet to a wider audience, often incorporating popular culture references into his works.
Bourne was appointed an OBE (Order of the British Empire) in 2001 for services to dance. In 2010, he received the Critics' Circle National Dance Award for Outstanding Contribution to Dance.
Why They Are Widely Quoted or Remembered
------------------------------------------
Matthew Bourne's influence on modern dance is evident in his ability to reimagine classical works and bring them to a new audience. His innovative approach has made him one of the most respected and celebrated choreographers of his generation.
Quotes by Matthew Bourne
My family home was a rented house in the East End of London. My parents could have bought it at one point, but they preferred to spend their money on holidays and theatre tickets. It was strange to see it handed on to someone else when my father passed away.
My parents were an ordinary East End family and very supportive - they would have supported me no matter what I wanted to do.
My first boss at the BBC was Aubrey Singer. The main thing I learned from him was discipline. I also learned things about myself: namely, that I hated commuting and didn't really want a 9-5 job.
My first job was at the BBC but was really dull. I was working in the BBC's reference department, where I did a lot of filing. I had always been interested in films and theatre, so I thought that getting a job at the BBC would be a good idea, but the job was really mundane.
People think I got rich out of 'Swan ,but I didn't at all: it's the royalties from 'Oliver' and 'My Fair Lady' that have kept me going.
I'm a believer in presenting something that is worth paying to see. I've always felt lucky in that the work that pleases me pleases other people as well.
I'm not completely trained in any one area - I'm not a tap person or a ballet person. I don't have a big back-up of steps; I can't just fall back on what I know.
I was always the kid down the street who got the other kids to put on a show. But it was only when I was 19, and discovered ballet and contemporary dance, that I got interested in the fact that you could have a whole evening of dance - rather than just waiting for the dancers in a musical.
People get excited about things like 'Swan Lake' because they generate a personal involvement. If you set up the story properly, audiences respond to the ambiguity. People ask, 'What exactly is happening in Act Four?' and I never say. I can't put it into words, but they've got a feeling about it, and that's good enough.