LISA BOLTE

Lisa Bolte was born in Sydney. Her family moved to locations in N.S.W. before settling in Queensland in 1971 where Lisa began dancing. Lisa’s formative training began at the Caprice Dancing School at 7 years of age. Shifting away from her family to live in Melbourne in 1983, Lisa studied at the Australian Ballet School, graduating in 1985. She was then selected to join The Australian Ballet’s corps de ballet in 1986. Enjoying the challenge of key roles from the outset, Lisa was promoted rapidly through the Company’s ranks to Principal Artist in 1993. In 1998 Lisa was awarded the Mo Award for Best Female Dancer after her performances as Juliet in ‘Romeo and Juliet’ partnered by Steven Heathcote.

Lisa’s highlights with The Australian Ballet included touring internationally, performing Aurora in ‘The Sleeping Beauty’ (1988) in London and Japan (1991); ‘Suite en Blanc’ in St Petersburg, Moscow, London, and Athens (1988) and in NYC (1990); Giselle in ‘Giselle’ and Swanhilda in ‘Coppelia’ in London (1992); Kitri in ‘Don Quixote’ in Washington (1994); ‘La Fille mal Gardee’ in Seattle (1994); and ‘At the Edge of Night’ and ‘Dark Lullaby’ at the premiere’s in New York and Washington (1999).

As a Guest Artist, Lisa enjoyed rare opportunities to perform including in Nureyev’s final tour of Sydney, Australia (1991); with the National Ballet of Canada in ‘Swan Lake’ and ‘The Merry Widow’ (1994); with The Mariinsky Ballet, St Petersburg as Giselle and as Kitri in ‘Don Quixote’ (1997); and with The Royal Danish Ballet as Odette/Odile in Peter Martin’s world premiere season of ‘Swan Lake’ (1998).

Roles created specifically for Lisa include ‘Snugglepot and Cuddlepie’ by Petal Miller (1988); ‘At the Edge of Night’ (1997) and ‘1914’ (1998) by Stephen Baynes; ‘Dark Lullaby’ by Natalie Weir (1998); and ‘The Book of Alleged Dances’ by James Kudelka (1999).

In 2002 Lisa left the Australian Ballet to become a mother, returning as Resident Principal Guest Artist in 2005. On her return to the company Lisa enjoyed three wonderful years recapturing many of the most beautiful classical roles. Highlights included performing the Sylph in ‘La Sylphide,’ Aurora in ‘The Sleeping Beauty’, ‘Giselle’, the girl in ‘La Spectre de la Rose’ and Raymonda in the world premiere season of ‘Raymonda’, choreographed by Stephen Baynes. In 2007 – after final performances as the Sugarplum Fairy in Sir Peter Wright’s ‘The Nutcracker’ – Lisa retired as a dancer with The Australian Ballet.

While completing a Master of Arts degree at Deakin University, Lisa continued teaching and mentoring many dancers around the country. At this time working with Kim Vincs, Director of Deakin University Motion Capture.Lab on research projects, 2009, including research on the uses and benefits of epaulement in ballet and a performance season, ‘Aura’ using motion capture technology and live music.

Invited by Kerry Taughkin to be painted for the Archibald Prize, the painting was selected for the Salon de Refuses, 2009. The next year artist, Anne Scott-Wilson approached Lisa to perform in her ‘Every Day I Wait’ Art Installation, featured in the ARC ONE Gallery, 2010, and Arts Centre Melbourne ‘Aspects of Performance in Australian Art’, Black Box White Cube, 2011, and in ‘Kick Off’ Contemporary Video Art Program, Queensland Public Art Fund, 2012.

In 2009 Lisa assisted Maina Gielgud in staging ‘Giselle’ for the Boston Ballet and then in 2013 ‘La Sylphide’ for Teatro dell’ di Opera di Roma.

Embracing arts administration, Lisa worked as Patron Manager (TAS/VIC) for The Australian Ballet from 2011to 2016, enjoying the opportunities to present at People’s Day and The Australian Ballet Patron events. In association with Renaissance Tours Lisa led tours to Tasmania, 2011 and Houston/New York, 2012.

Always keen to share her experience in dance, Lisa continues to enjoy coaching and teaching as well as recent opportunities performing as a guest with The Australian Ballet in theatrical roles including in Swan Lake, Giselle and in David McAllister’s recent production of The Sleeping Beauty.


CURRICULUM VITAE

Qualifications

2010 Master of Arts (creative enterprise), Deakin University
1985 Diploma of Dance, The Australian Ballet School
1983 Advanced, Royal Academy of Dance syllabus

Training

1983 – 1985 The Australian Ballet School
1982 Queensland Dance School of Excellence
1980 – 1981 The Australian Youth Ballet
1974 – 1982 Caprice dancing school
1974 – 1982 Commonwealth Society of Teachers of Dance syllabus

Employment

Australian Ballet achievements
2011 – 2016 Patron Manager (VIC/TAS)
2005 – 2008 Resident Guest Principal Artist
1993 – 2002 Principal Artist
1990 – 1993 Senior Artist
1988 – 1990 Soloist
1987 – 1988 Coryphée
1986 Corps de Ballet
Ballet Muse – Choreographic projects designed for Lisa Bolte
2009 Aura, choreography Kim Vincs
1999 Book of Alleged Dances, choreography James Kudelka
1998 1914, choreography Stephen Baynes
1998 Dark Lullaby, Natalie Weir
1997 At the Edge of Night choreography Stephen Baynes
1988 Snugglepot and Cuddlepie choreography Petal Miller
TV and Film achievements
2015 The Sleeping Beauty (Queen)
2002 Beyond Forty
1997 At the Edge of Night
1992 Coppelia (Prayer)
1989 Four Last Songs
1986 Giselle (Leading Wilis)
Awards and Nominations
2009 Archibald painting, by Kerry Taughkin,Hung in the Salon de Refuses,
1998 Winner of the Mo Award, Best Female Dancer
1997 Nominated for Green room awards for At the Edge of Night
1997 Anna Karenina
1994 Lissa Black award enabling coaching with Gelsy Kirkland
1990 State finalist of the Queensland Young Achiever awards
1988 Nominated for Dancers and Dancers, Young Dancer of the Year, London (other nominees included Darcy Bussell, Trinidad Sevillano)
1987 Winner of the Erick Bruhn award
1984 Australian Ballet Society award
Work also including
2013 Assistant to Maina Gielgud for Teatre dell’Opera Roma; staging La Sylphide
2011- 2012 Renaissance Tour leader; Tasmania, New York, Houston
2009 Assistant to Maina Gielgud for The Boston Ballet; staging, rehearsing and coaching of Giselle
2009 Performer in Aura, Deakin University
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