Center Stage Performing Arts Studio. Orem, Utah
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Center Stage Performing Arts Studio
575 North 1200 West
Orem, UT 84057
P: 801-224-9012 F: 801-764-0169

Dancers

 


Candice taylor

Candice Taylor

Candice Taylor, Biography 2009
Candice Taylor is excited to join the ballet staff at Center Stage. Ms. Taylor comes to Center Stage with an extensive performing, teaching, choreographing and educational background. She has performed with Ballet West (the youngest dancer at the time in the company at the age of 15), Ballet West Youth Artists (Now known as Ballet West II), Utah Regional Ballet, and extensive freelance and guest artist work with companies in Utah, Idaho, and Arizona. Furthermore, she extended her performing experience to include performing with the modern company, Contemporary Danceworks, and Deseret Dance Theatre—where she was featured as Ekaterina Gordeeva in the Kurt Bestor and Sam Cardon’s Olympic Performance of Keeper’s of the Flame-- and as a featured singer/dancer with Lagoon Entertainment. She was also featured in the LDS Seminary Movie, Stand as Witnesses.
Ms. Taylor currently teaches in the UVU Dance Department, where she has worked for five years. She has taught ballet technique and pointe at the 100, 200, and 400 levels, pas de deux, choreographed for the UVU ballet company (Repertory Ballet Ensemble), and has taught the non-major scholastic dance/humanities course for the university—Dance as an Art Form. Other teaching experience includes: University of Utah, BYU, Utah Regional Ballet, Taylor Dance Conservatory, Dance Club, as well as many other studios, workshops and intensives.
Ms. Taylor has choreographed for BYU, University of Utah, Utah Regional Ballet, Utah Valley University, and various dance studios and companies.
Ms. Taylor has her Master’s of Fine Arts from the University of Utah. Her scholastic achievements include extensive research in grant writing for ballet companies, the creation of a syllabus for the American university ballet student based on the master teacher, Attila Fizcere, and extensive research into the use and nonuse of narratives throughout ballet history; from the late 1800s to the postmodern choreography revolution of the 1980s.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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