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In 1981, he was the first recipient of the Jacqueline Lemiex Prize for choreography and in 1985 was the recipient of the Jean A. Chaimers Award for Choreography, one of Canada‘s most prestigious dance awards. Desrosiers was commissioned in 1985 by the late Eric Bruhn to create Blue Snake for the National Ballet of Canada, a work which premiered at New York‘s Metropolitan Opera House in Robert Desrosiers‘ background isn‘t altogether unlike that of any accomplished Canadian dancer. The Montreal native began training as a child, entering the National Ballet School in Toronto at the tender age of 12. He worked diligently and devotedly throughout his teens, headed for a career as a classical ballet dancer. But somewhere along the way, a need to reach audiences on a personal level, a needzonueshim"mmmhgmtomge. And so, in 1980, Desrosiers founded the Desrosiers Dance Theatre (which he brings to Waterloo this month), and has since been reachâ€" ing out to audiences with his enerâ€" getic choreography and captivating JA visual theatrics. + k "Between the age of 10 and 19, I C f was not involved at all in thinking of . putting ideas together in terms of choreography. | was very much invoived in training and trying to become a dancer," says Desrosiers in an intervniew at The Centre in the Square, where he performed Saturday n the Canadian Ballet Youth Ensemâ€" bie‘s production of Snow White. "When | was 14 or 15 and studying in a fairly traditional bailet school, 1 would look at classical works like Swan Lake and found myself wonderâ€" ng that if dance wasn‘t my life, what could this work actuaily bring to me. My answer was kind of a question mark. | didn‘t feel, even at a young age, that a lot of dance connected to people if they weren‘t involved in it. Wt sai s "One of my motivations for getting Dancer/choreographer nvoived in choreography was that | _ a scene from Robert wanted whoever came into the theâ€" Chairs. atre to experience something, even though they may have absolutely nothing to do with the art form or in fact never seen dance before. I didn‘t think that enough dance made that connection between the outside world and the world of dance." After founding his dance theatre in 1980, Desrosiers soon gained recognition for his works such as Night Clown and Brass Fountain. EReaching audiences on a personal level DevmmmVotuMmmMjmd\onog- By Deborah Crandali The hercine of Millicent returns in Verenica Roas‘ latest book The Anastas Connection. hb-flh“**m"- “h.‘fl““-â€"&d* v ReilPâ€"trvntirntedternciiactenmibdatiscctiuts Saturday, November Ind 2:00 p.m. of focus on violence and rape and Dancer/choreographer Jennifer Lynn Dick in °. * . scene Robert Desrosiers Musical things like that â€" everything was like a :,,‘,. from bes usica downer. I thought about all of us doing the opposite. I‘m not saying that to do with the art _ we should be ignoring it. You should still be aware that these didn‘t think that mmmmmmmmmmw@m veen the outside make you forget that we are still magical beings, and that beyond the struggle of living, life itself is an absolute miracle. ), Desrosiers soon Soldeddedwmamabuniku\dmm ight Clown and Brass _ That‘s what White Clouds is about â€" it‘s about the struggle of becoming harmonious," Desrosiers says. Jacqueline Lemiex "Musical Chairs, to me, is about the child in all of us and that e recipient of the fufigdmdfinMMMaadfldflmM , one of Canada‘s ing of playfuiness should never be lost â€" it doesn‘t matter how mmnmnmnmmmmww he late Eric Bruhn to Iavamsomefingdeswifl\it.Ywntedtokeepfl!dfld Canada, a work dive.SommiMmas,amflebitMa\dpbyfu.' n Opera House in TMDesrosieanmlilpevfonnatUnivmityol Waterioo‘s Humanities Theatre Oct. 26. Tickets are $19 and are : than just choreogâ€" available at the Humanities Theatre box office, 888â€"4908. Inflanbebhes sltgcs ce C220 000 F222 +V0 pp.me. .-h-su-uc-m.-h--.-un--n«uâ€"u-‘fi-. Debut for a Spy. t Sn AeRIHDRIIVIIDII KE Tntarmenate Snss en ia l css XPRESS rarn avrocraphinve sERiks _ raphy. He‘s equally involved in all aspects of his productions, combining his love of dance with a love of music and visual art. "I studied ballet a child and went to the National Ballet School. But I also studied classical guitar, and I had a very good art teacher with whom | did painting and scuiptures," Desrosiers says. "I mention these things because I think my work is a combination of working with musicians and a combiâ€" nation of visual art â€" I‘m very much involved in the costume design and the set design. So it‘s very much a fusion for me. You know, my root is dance and that‘s where the energy and the dynamics come from, but it is very much fused in with visual arts and music. I‘m not interâ€" ested in just working with scores that are given to me â€" | like the interacâ€" tion of working with composers and developing a score together. The whole aspect of music is certainly as much a part of the choreography as the choreography itself." * In Waterloo, the Desrosiers Dance Theatre will perform White Clouds, which Desrosiers created in 1994, and Musical Chairs, which Desrosiers creâ€" ated last year. White Clouds, perâ€" formed on an allâ€"white stage, reflects the gentle poetry of clouds through harmonized bodies in motion and fluid, inventive partnering. Harry Currie BOOK SELLERS FOR OVER 10 YEARS With Musical Chairs, Desrosiers has exposed his playful side with his take on the classic children‘s party game. "White Clouds was mainly inspired by my philosophy that where you put your attention is what you become. When I created that piece, I noticed that there was an incredible amount 7th 7@ p.m. lay, 5‘”:-:: xs-m phipit Music from movies will be featured during the Kitchenerâ€" EXTENDED HALLOW Waterloo Symphony‘s Pops concerts held Oct. 17 through 19 ALSO OPEN SUND at The Centre in the Square. NOON â€" § Each evening, music director Chosei Komatsu will lead BRIDGEP the orchestra through an overture of Disney dlassics, folâ€" lowed by several excerpts from the film score for Fantasia. é PRINCESS Induded in this selection will be music from Beethoven‘s Symphony No. 6 and Tchaikovsky‘s Mutcracker Ballet. Music f franfl:erKbvguthhp}dflnpw & gram. % s The second half of the concert will open With a salute to ‘ 1 the music of the MGM musicals, including such favorite ; songs as Over the Rainbow, Singin‘ in the Rain, and The Boy l“flfl Next Door. The scores of The Sound of Music, Summer of f ‘42, and The Wizard of Oz will also be performed before the concert conciudes with some of the most popular movie ‘ ; music of recent years written by Oscar winner John j Williams, including his score from ET. : Tickets range in price from $23 to $36 and are available § at The Centre box office, 578â€"1570. $ , A concert featuring an original work by local composer Leonard Enns will be held Oct. 20 at Waterloo Mennonite Brethren Church in Waterloo to raise fund for Habitat for Humanity of Canada. The concert, which highlights Enns‘ piece called Two by Four, will also feature the Penderecki String Quartet, Stephanie Kramer and Catherine Robertson, Willem Moolenbeek and Beth Ann de Sousa, George Greer, and the Lifesongs Singers: The concert begins at 7:30 p.m. Tickets are $20 for adults and $15 for students and seniors. For furâ€" ther ticket information or reservations, call Habitat for Humanity at 885â€"4565, « Movie music theme of KWS Pops concerts Flow Dance Company, Oct. 19 at WLU‘s Theatre Auditorium. mmmmwzmu length works by Latendresse, a local chor , Works include ORFA, a lively suite of six dances which feature solos by company members and group ensembles to the energetic sounds of a Afro Cuban music by Tito Puente and Bs Michael Loyd; The Harridan Plexus, a mrves in an extremily PhpRen duplay f issues in an of movement to music by the likes of Pirinmd i aintin ns Waits; and Remnants of a a repertoire selection back by popular demand which has been comâ€" pared to a Fellini film. The performance begins at 8 p.m. Tickets are $7 and are available at the door, For more information or to reserve tickets by phone, call 884â€"0710, ext. 4882, of original choreography by Jackie Flow Dance Company, 09-."“* to give performance at WLUV mmmm ’ evening father, a handsome For the most p of how terrible it it is difficult to point of view kee ing, to bring these Most of the ston world war begins. again, but one way graphical in this "This book is such graph, something Misangant flnml-a‘: begins with text in the fiea mar ‘:ootm'li Away; A h some others, but The book itself the cover, is a phc pmon are of them? Where a and threes and This book is