Peter Quanz

Peter Quanz (born August 22, 1979) is a Canadian choreographer based in Winnipeg, Manitoba.[1]

Peter Quanz
Born (1979-08-22) August 22, 1979
Kitchener, Ontario, Canada
NationalityCanadian
EducationRoyal Winnipeg Ballet School
Known forBallet
Notable work
In Tandem
AwardsClifford E. Lee Award

Early life and education

Quanz was born in Baden, Ontario.[2] He became interested in choreography as a child[3] after his parents, both school teachers, enrolled him in ballet classes at the Academy of Dance in Waterloo, Ontario. Quanz attended the Integrated Arts Program at Eastwood Collegiate Institute for three years. He also attended the Banff Centre for the Arts in 1996 before attending the Royal Winnipeg Ballet School, from which he graduated in 1999. During his time in Winnipeg, Quanz was mentored by Arnold Spohr. Upon graduation, Quanz was awarded the Judy and Henny Jurriëns Choreographic Fellowship which afforded him a period to study ballet repertory, observing choreographers and companies in Europe.

Career

From 2000 to 2002 Quanz worked as a member of the Stuttgart Ballet. During this time, he was also supported by the Canada Council for the Arts and a Chalmers Performing Arts Grant.

Quanz began his choreographic career by creating pieces for young choreographers' evenings, such as Fast Forward (Royal Winnipeg Ballet), Noverre (Stuttgart Ballet), the New York Choreographic Institute (New York City Ballet), and Cascades (National Ballet of Canada). Quanz's pieces in these workshops attracted considerable attention from critics and helped Quanz launch his career.

In 2002, he was invited by the New York Choreographic Institute to choreograph a short work for the New York City Ballet.[2]

In 2003, Quanz created SpringScape for the American Ballet Theatre Studio Company. Two years later, in March 2005, Quanz premiered his first full-length ballet, Charlie's Cruise, for Ballett Chemnitz, which drew positive reviews. Later that year, Quanz was the recipient of the Clifford E. Lee Award, for which he created Quantz by Quanz, a piece that was reconceived in 2009 for the Royal Winnipeg Ballet. He also created Kaleidoscope, his first tutu ballet, for the American Ballet Theatre.[4] This piece was reworked for Les Grands Ballets Canadiens in 2008. In 2007 Quanz was the first Canadian choreographer to create a ballet for the Kirov Ballet of the Mariinsky Theatre: Aria Suspended.[5][2] The following year, Quanz was commissioned by Pennsylvania Ballet, creating Jupiter Symphony.

In 2009 a group of dancers from the Royal Winnipeg Ballet, working under Quanz's direction, performed his piece In Tandem, a work set to Steve Reich's Pulitzer Prize-winning score Double Sextet. In Tandem was commissioned by the Guggenheim Museum, Works & Process workshop. The success of this piece led Quanz to the form the ensemble Q Dance / Quanz Danse, which was launched in the spring of 2010. Q Dance has performed at a number of dance festivals and since 2013, has been included in the Royal Winnipeg Ballet's seasons.[6][2] His ballet In Tandem is also in the repertoire of the Royal Winnipeg Ballet.[2]

Quanz continued the style he had used in In Tandem with his next piece Luminous, commissioned by Hong Kong Ballet and developed during Quanz's time with the National Choreographers Initiative. Quanz returned to his classical roots for the creation of Le Papillon, for the National Ballet of Cuba. It was a 90th birthday gift for Alicia Alonso.

In 2016, Quantz collaborated with Toronto choreographer Lucy Rupert to create dead reckoning, a three-part dance piece inspired by Ernest Shackleton's Antarctic expedition.[6] That year he was also the choreographer of the dance-drama The Red Crane, a production of the Wuxi Song and Dance Theatre from China, which also features Tristan Dobrowney of the Royal Winnipeg Ballet.[7]

The archival records of Peter Quanz are housed at the Royal Winnipeg Ballet archives.[8]

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gollark: I don't know exactly what its instruction set is like. But if it has finite-sized addresses, it can probably access finite amounts of memory, and thus is not Turing-complete.
gollark: *Languages* can be, since they often don't actually specify memory limits, implementations do.
gollark: It's not Turing-complete if it has limited memory.
gollark: Not *really*. In languages with an abstract model that doesn't specify limited memory sizes, yes, but PotatOS Assembly Language™'s addresses are 16 bits, so you can't address any more RAM than that.

References
  1. Leslie Chew; Dwight DeReiter; Cathy Doheny and Colin Gilbert (September 1, 2010). The Daily Book of Classical Music: 365 Readings that Teach, Inspire & Entertain. Walter Foster Publishing. pp. 196–. ISBN 978-1-60058-201-1.
  2. Royal Winnipeg Ballet, Peter Quanz fonds.
  3. Pawlick, Catherine. (2007-06) "Interview with Peter Quanz: A Canadian at the Mariinsky." Ballet Dance Magazine.
  4. Marcia B. Siegel (March 1, 2011). Mirrors and Scrims: The Life and Afterlife of Ballet. Wesleyan University Press. pp. 277–. ISBN 978-0-8195-7113-7.
  5. Encyclopædia Britannica, Inc. (May 1, 2008). Britannica Book of the Year 2008. Encyclopædia Britannica, Inc. pp. 278–. ISBN 978-1-59339-494-3.
  6. "dead reckoning: Dance collaboration takes a precarious exploration of space". Martha Schabas. The Globe and Mail, Jan. 15, 2016
  7. "Red-Crowned Crane a ballet bird of a different feather". Toronto Star, November 17, 2016. page E1. Michael Crabb.
  8. "Royal Winnipeg Ballet - MAIN – Manitoba Archival Information Network". main.lib.umanitoba.ca. Retrieved March 3, 2018.
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