David Dawson, Born in London started to dance when he seven of age and accepted his early teaching at Rona Hart Institute of Dance, Arts Educational School and also the Royal Ballet School where he was been trained in dance and choreography.
In the 1991 he receives the Award Alicia Markova, win the important Prix de Lausanne as well as the exact same year he was provided a contract through the Birmingham Royal Ballet. Under the guidance of Sir Peter Wright he was quickly presenting important roles in the entire classical selection also in dances with Sir Kenneth MacMillan, Sir Frederick Ashton, Sir Peter Wright and David Bintley. He was nominated as Greatest Newcomer of the Season by Dance & Dancers magazine in 1992.
Under the guidance of Derek Deane he joined the English National Ballet in 1994 like a Soloist, along with later a year gone to live in Amsterdam to present through Dutch Wayne Eagling's National Ballet. There Dawson was proficient to carry on dancing in conventional productions too as discovering new neo classical as well as modern repertoire particularly the whole shebang of, Rudi van Dantzig, Hans van Manen and George Balanchine. Dawson choreographed his first ballet in 1997, while with the Dutch National Ballet. Its then director artistic Wayne Eagling confident him to produce for that company’s choreographic workshop. This experience led to Dawson's ?rst major creation for the main company, A Million Kisses to my Skin, in 2000.
He danced worldwide, worked with choreographers and created roles in new ballets including works by Glen Tetley, Sir Kenneth MacMillan, Christopher Bruce, Twyla Tharp, Ted Brandsen, Wayne Eagling, Itzik Gallili, Mauro Bigonzetti, Redha and Christopher D'Amboise. Consequently, he unites with Ballett Frankfurt, there he work with the William Forsythe also performs for two additional years before choosing to devote his time to creating his own new works.
He worked with vocabulary of classical balletic for 3 decades Dawson had a cavernous rooted understanding of this dance language and uses it in the work trying to turn the standard step into something new. Throughout his exclusive type of faction Dawson increases the potential of the body, develops the language of classical ballet and brings it onto another level by exploring new visions of dance and forming atmospheric phase worlds. Enthused with 'everything which has ever exists with everything that existed now', goal of Dawson’s would be to discover his artistic ideas through dance, music and performance, that will create balletic works that can be considered modern art. To make classical ballets that's alive, relevant and contemporary.
Image Copyrights: Angela Sterling