Our Stories - Morgann Runacre-Temple
Having trained at Central School of Ballet and London Contemporary Dance School, Morgann has performed for Ballet Ireland, English National Ballet, Rosie Kay Dance Company and the Curve Foundation. She now works as a freelance choreographer and filmmaker.
”I'm a freelance choreographer and filmmaker from London. I was choreographer in residence for Ballet Ireland for six years, creating over five full length ballets including; 'Cinderella', 'Romeo and Juliet', 'Carmen' and 'Coppelia'.
Elsewhere I've been commissioned to create work for English National Ballet, BBC Young Dancer of the Year 2017, Wilton's Music Hall 'Strike! Festival', Ballet Central, London Children’s Ballet, The Print Room, Images of Dance, Curve Foundation Dance, CAT and several works for the Chance to Dance Company at Royal Opera House; 'Peter and The Wolf ' (Linbury Studio Theatre) and 'Stargazer' (Main Stage).
In collaboration with Jessica Wright, I direct and choreograph dance films. Our credits include ‘Curing Albrecht’, (English National Ballet and MIF) shown on Canal+ TV, The Try Out for Channel 4 and BAFTA and ‘The Last Resort’ for English National Ballet & TATE Liverpool.
As a dancer, I’ve performed for Ballet Ireland, English National Ballet, Rosie Kay Dance Company and the Curve Foundation. I trained at Central School of Ballet and then later at London Contemporary Dance School. Workshops have included the Rural Retreat for Future Dance Leaders in 2014, Wayne McGregor's DanceLines 2009, Northern Ballet's Tell Tail Steps 2016.
I’ve just finished assisting choreographer Annie B Parsons in the re-staging of Lazarus, Dir. Ivo van Hove and am starting work on a new ballet for London Studio Centre’s Images Ballet Company. This year I will movement directing for a new adaptation of Persuasion Dir. Jeff James at Manchester Royal Exchange.
My transition into choreography and filmmaking happened rather slowly as I always loved choreographing as much as dancing and made work whenever I had the opportunity. Probably the real reason I transitioned was that I realised I was more fulfilled by making work than dancing in it. DCD has supported me in several ways, giving me the opportunity to shadow filmmaker Robert Gravenor on one of their Emerge days, and then further coaching with Isabel Mortimer. These two experiences really helped me to focus my energies and re-define my career path.
To me, the big transition I made was my mind-set. The mind-set of a ballet dancer, even if you are freelance, does not equip you to think of yourself as a business, which is essentially what you are as a freelance choreographer or filmmaker. My coaching sessions with Isabel Mortimer were instrumental in drawing out the kind of thought process that was going to give me the confidence to thrive and survive. As a freelance artist you have to create your own opportunities, you need to know what keeps you motivated and inspired, and most importantly you need to be able to acknowledge your work as a product that can be bought so you can understand how you will sell it. This mind-set is far from the self-effacing mentality that is required to train and work as a classical dancer - and so it was a big leap to make. Of course that all takes time, so I would say the most important thing is to acknowledge that it is a process, and that the changes won’t happen all at once. I remember at one of the DCD Emerge days Sharon Watson saying that the skills we nurture as professional dancers are quite remarkable; the dedication, the attention to detail, the self-responsibility. She reminded us that those skills are transferrable if we allow them to be.”
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