theguardian.com
Royal Ballet Announces Diverse 2025-26 Season with New Choreographers
The Royal Ballet's 2025-26 season, announced Wednesday, includes premieres from Justin Peck, Akram Khan, Paul Lightfoot and Sol León, Wayne McGregor, and Cathy Marston, along with a new ballet based on Christopher Isherwood's A Single Man, showcasing diverse choreographic styles and international talent.
- What are the key new artistic collaborations and their significance for the Royal Ballet?
- The Royal Ballet's 2025-26 season, announced Wednesday, features Justin Peck's Everywhere We Go, Akram Khan's Carnage and the Divine, and a new work by Paul Lightfoot and Sol León. This season marks the Royal Ballet's first collaborations with Peck and Lightfoot and León, showcasing diverse choreographic styles and international talent.
- How does the 2025-26 season reflect the artistic director's vision and the Royal Ballet's evolving identity?
- The season's emphasis on new voices reflects Artistic Director Kevin O'Hare's vision, bringing together established and emerging choreographers from diverse backgrounds. This approach broadens the Royal Ballet's artistic scope and introduces new styles and perspectives to its audience. The inclusion of works based on literary sources like Eugene Onegin and A Single Man adds a unique dimension, merging dance with literature.
- What broader trends in contemporary ballet does the Royal Ballet's 2025-26 season suggest, and what are their potential long-term impacts?
- The Royal Ballet's 2025-26 season points to a future with increased international collaborations and a greater focus on diverse artistic expressions. The incorporation of contemporary and eclectic styles suggests a move towards attracting new audiences while still honoring the company's classical roots. This season may set a trend for future ballet programming, showcasing a more inclusive and innovative approach.
Cognitive Concepts
Framing Bias
The article frames the season through the lens of innovation and the introduction of new voices to the Royal Ballet. This positive framing, while not inherently biased, might overshadow potential challenges or controversies associated with the season's programming. The emphasis on 'new voices' and 'what we haven't experienced' shapes the reader's perception towards a narrative of exciting change and progress.
Language Bias
The language used is largely positive and enthusiastic, using words like "hottest choreographers," "big and bold," and "great." While this creates an engaging tone, it could be considered slightly biased towards positive portrayals. More neutral language could be used without sacrificing the positive tone, such as 'acclaimed choreographers', 'ambitious production', and 'well-received'.
Bias by Omission
The article focuses heavily on the upcoming season's highlights, potentially omitting less prominent but still significant performances or behind-the-scenes details. There is no mention of the dancers or choreographers who will be involved in these less prominent performances. This omission might unintentionally limit the audience's understanding of the full scope of the Royal Ballet's work.
Sustainable Development Goals
The Royal Ballet's 2025-26 season promotes arts education and cultural understanding by showcasing diverse choreographers and styles, enriching audience appreciation for dance and its cultural significance. The inclusion of works based on literary classics like Eugene Onegin and A Single Man also promotes cross-disciplinary engagement and appreciation of literature.