The dancer, actor, choreographer and stage director british Lindsay Kemp died on night of last day 24 in his home in Livorno at age of 80. The legendary artist was born in South Shields (a place so honorable as anonymous and that is in story because re close to passing troops of emperor Hadrian in second century) on 3rd of may, 1938, and always liked to boast of ir provenance from an old series of comics that went back to splendors of elizabethan atre and where he had since copyists of playwright to acrobats.
Lindsay did not need to embellish his biography to enter with laurels in field of fantastic: his far, a tough marine, was lost in turbulent waters of North Sea; his mor, with that wayward child in tow (because of small it was fun of people dancing, cross-dressed, rouged and white on tips of his piececillos on tables of taverns on banks of river Tyne) after passing through Wokingham (where Lindsay was admitted to a rigid school for children of merchant marines and was kicked out) ended up in Bradford (Yorkshire). In meantime, anor expulsion from Naval Academy, where inspired stem was discovered representing “Salome” with a suit of seven veils that had been done with toilet paper; document of expulsion clearly says that reason that punishable is “ waste of toilet paper property of British Empire”. Finally, in Bradford, he studied art in College official of city, where he coincided with painter David Hockney, also born in Bradford and only a year older than Lindsay.
Before, when Lindsay turned 10 years old, his mor took him to cinema as a birthday treat to see The ruby slippers, of Michael Powell and Emeric Pressburger. The child always wanted to play role of shoemaker who embodied dancer Russian Leonidas Massine. The mor of Lindsay always lamented and repented of having taken her son to see that movie: so was sown seed of ballet in her soul and instinct.
His first dance teacher was dancer austrian Hilde Holger (Vienna, 1905 – Camden, 2001), a pioneer of modernity linked to expressionism, which once fled nazis in Vienna by his jewish origins, and after passing through India ended up in London. Kemp always recognized importance of this first teacher and influence, way to give meaning of use of hands and rituals on stage. Afterwards, he studied secrets of pantomime and control of mime with Marcel Marceau, or pillar of aestic of his training. One of his first major roles was that of Queen Gertrude in a production of Hamlet done by BBC in 1963 on occasion of 400 years of birth of William Shakespeare, and that was filmed entirely in castle of Elsinore. The photographs of characterization of Lindsay as Queen Gertrude are today as cards of divination of your future, both inside and outside of behind–scenes: “we should Not flee from our components tragic, but sublimarlos to make m part of art.”
RIP Lindsay Kemp pic.twitter.com/fNGovhUCNb
— Brian Eno (@dark_shark) August 25, 2018
Between 1966 and 1968 Lindsay Kemp weapon his own company with a group of friends where re were basically dancers, but also an actor, acrobat and even a magician amateur. They were between 9 and 11 members, as presented in Edinburgh festival of 1968, causing a noticeable stir and already being referred to by critics, with a plastic imbricaba fully into spirit of may ‘ 68, and in reflection of Living Theater of Julian Beck and Judith Malina and uniqueness that is magic of company Bread and Puppet Theater of Peter Schumann, two u.s. companies that had already begun to be released in Europe, mainly in Paris and London.
After first few years of experiment and wanderers, in 1974, Kemp debuts Flowers, loosely based on Our Lady of Flowers Jean Genet. The shake-up plastic next to deep and very serious claim of ideological, gave to this work right away a site pointer in terrain of avant-garde living, and so traveled around world, with controversy and laying groundwork, and understand your author, director and protagonist. Flowers was produced with only £ 500, result of inheritance of a maternal aunt. The work was immediately accused of obscenity, and for decades created scandals, closures of atres, demonstrations against articles and virulent, while that of admiration and a legion of imitators.
Their catalog includes, among ors, works such as Goblin (1980, Celestino Coronado and made as a homage to Federico García Lorca), Nijinsky. Dream of a madman (1983); Onnagata; Salome; Dream of a summer night; Kemp dances (2016) and The big parade. Created for ballet Rambert Parades Gone By (1975) and Cruel Garden (1977, once again dedicated to García Lorca), both with original music of chilean composer Carlos Miranda, and appeared, among or films, Sebastiane (1976) Derek Jarman.
His love for Bowie
Kemp worked with David Bowie whom he loved when he was called David Jones; toger pergeñaron a first work: Pierrot in Turquoise, and David, who was his disciple coréutico recognized as a source of inspiration; Bowie knocked on door of Kemp to say goodbye when he was going to become a buddhist monk, but Lindsay took him off head. Then it appears in a legendary video of Bowie that is part of aestic history of our time: John, I m Only Dancing, directed by Mick Rock; he was also artistic director of performances of Ziggy Stardust at Rainbow Theatre in London in 1972. Wayward, deslenguado, claimant of individual freedom and diversity, he lived long seasons in Spain, as ir five years in Plaza Real of Barcelona, where he wanted to do many things that are not gelled, before moving to Italy (where at beginning enjoyed support and protection of Romolo Valli), first in Rome and finally in Livorno, where he was welcomed in a social ater As a laboratory project performance. Is always remembered premiere of Elf in 1980 and Flowers in 1982 in Theatre Parioli of Eternal City, a start of wonder that never ceased, and which led him to cultivate Vittoria Ottolenghi, dean of critics of dance in Italy and with whom he made several television programmes. In 2005 and 2006 and appearances on Spanish Tv program mandrake.
In 1986, Lindsay Kemp, stated to THE COUNTRY: “I Am a casanova of modern dance. I do not have limits and my job is to break down boundaries between sexes, races and social classes. I’m like a large bird and working and I love where you fall my fears, never choose ahead of time sites. My life is not decadent, only that I’m interested in bring decadence to stage, and at same time out of scene.”
Lindsay Kemp received many awards but was most proud of was of of Doctor Honoris Causa by Academy of Fine Arts of Brera of Milan; for him, it was to have put a pike in Flanders, to be recognized by an institution of such tradition and prestige. His thinking was very clear: “I consider myself happy because I can develop this work, since in it I talk about obsessions that I have each day, of my current state and my emotions. I consider myself a liberated person, but I suffer for suffering that I see around me.”
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