Jump* Dancer's Lifestyle MAGAZINE n° 3

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DANCE MAGAZINE biannual publication FREEn° 3

*The »ART of« Magazine - September 2015

Jump*Adaptive Dance

director & choreographer

ART of dancer’s city education series

Repertoire photographer 2015 - 2016

fART

www.art-of.net

E D I T O R I A L

SEPTEMBER 2015 | Jump* | 03

Jump* International Dance Magazine

Founded in 2014

A bi-annual worldwide free publicationenglish digital version available at www.jump-magazine.net

Writers, especially former or current professional dancers are welcome to present their freelance contributions.

Every candidate writer is kindly asked to submit a short article or review of a dance performance together with a CV.

Pictures should be sent to us in 300 dpi and should be clearly captionned in a Photoshop file.

Copying and posting content of Jump* Magazine is strictly forbidden and constitutes a breach of the international copyright laws and other intellectual property laws.

Postfach 10 03 3701073 DresdenGermany

+49 (0) 351 272 90 [email protected]@jump-magazine.netwww.jump-magazine.net

Founder & chief editorOleg Klymyuk

EditorBoris Richir

ContributorsShelby ElstreeBoglarka Simon-HatalaPatrick Yocum

© Jump* Magazine 2015

September is here and for all of us that means

the start of a new season filled with new

challenges, artistic endeavors and the opportunity

to broaden your horizon.

»ART of« has had a very busy season and an even

busier and exciting one ahead. Our company

is expanding with our »ART of« EDUCATION

SERIES launching in October 2015 in Mainz and

other great projects in the making to be announced

very soon. Our new website went online in August,

you will now be able to find all the different facets

of »ART of« in one place, so make sure to visit

art-of.net for our upcoming courses and events as

well as the »ART of« photos and videos.

In this issue of Jump* MAGAZINE I invite you

to meet and get to know some of the artists that

shape the dance world today. These incredible

artists are not afraid to break down borders and

the preconceived notions that are often paired with

our profession. Each one of them, on their own

level and area of expertise, have an unparalleled

passion for their work. I hope that their way of

working, thoughts and vision will inspire you as

they have inspired us.

I wish you an amazing season 2015-2016 and I

hope that you will enjoy your Jump* MAGAZINE.

Warm regards,

Oleg Klymyuk

COVER | François Alu & Leonore Baulac | Photo: Julien Benhamou

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WEEKEND TRIP 06

04 | Jump* | SEPTEMBER 2015

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Articles12 Education Series

30 Galas | Tours | Guestings

33 Adaptive Dance

Lifestyle08 Dancer’s City Madrid

18 Keeping Perspective

24 Personal Best

46 New WarmYX Tights

Interviews & profiles14 Aki Saito

royal ballet flanders

22 Tamas Detrich stuttgart ballet

36 Pierre Arthur Raveau

paris opera ballet

40 Bridget Breinerdirector & choreographer

Photos: Jump*


C O N T E N T


W E E K E N D T R I P M A D R I D

EATThere are hundreds of amazing restaurants in Madrid but my favorites so far are:Juan RaroIt’s my local, located right on my street. It has a really nice atmosphere and the staff are lovely. Their menu del dia is one of my

favorites. Three course lunch with a drink for 10€ and it’s so delicious.Calle Miguel Servet 7 / 28012 Madrid

MaricastañaIt’s located in Malasaña which is a hip area full of bustling restaurants and bars. I love their fried green tomatoes with goat’s cheese and tomato marmalade as well as the duck with apple compote and pear.Calle de la Corredera Baja de San Pablo 12 / 28004 Madrid

Los GatosMy favorite pinchos place! This is where I bring everyone who visits from out of town. It’s stuffed to the brim with random antiques such as, gaudy mirrors, old typewriters, phones, paintings and chandeliers as well as Spanish memorabilia like torero capes and flamenco mantons. My favorites are the random plastic choir boy in the corner with John Lennon sunglasses and the Narniaesque lamp in the middle of the room.Calle de Jesús 2 / 28014 Madrid

No city on earth is more

alive than Madrid, the sheer beauty and energy you will find in this city carriesone simple message: this

city knows how to live.The capital of Spain, is a cosmopolitan city that combines the most modern infrastructures and the statusas of economic, financial and administrative centre, with a large cultural and artistic heritage, a legacy ofcenturies of exciting and tumultuous history. Few cities boast an artistic pedigree quite as pure asMadrid’s. Art lovers return here again and again. For

centuries, Spanish royals showered praise upon thefinest artists of the day, from home-grown talents such as Goya and Velázquez to Flemish and Italiangreats. Masterpieces by these and other Spanish painters such as Picasso, Dalí and Miró now adorn the walls of the city’s world-class galleries. Madrid is a must-see and the perfect all year round city trip.


I first came to Madrid when I was on tour with the Leipziger Ballett and I loved it! When I was offered a job in Madrid

with the Compañía Nacional de Danza I was thrilled to move here. I love Spanish people and culture. They really know how to have fun. They love to laugh and are very outgoing just like me! The second thing would be the diversity. Whether it’s people, food, culture, performances, shopping, festivals or night life, I feel there is something for every mood and every taste! A typical night out for me would consist of going for dinner with friends and after, walking around and going to different pinchos bars or just being on the street! In Madrid nobody goes out for dinner before 10pm so it’s normal to be out till 3 or 4am just eating, drinking, and talking with friends. There is always life on the streets and people playing music or sitting in a plaza having fun and laughing. Even in winter!

WEEKEND TR IP MADRID? DANCER’S CITY!

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Taberna La CarmencitaFor another great Spanish experience, they serve quite typical Spanish food and the interior is just like an old style Spanish tavern with tiles. It’s beautiful! And my favorite part, the kitchen is open till 2am.Calle Libertad 16 / 28004 MadridDRINKSI personally love the terrazas! It’s so nice to sit and have an amazing view of the city. One I often go to with friends is »Gau&Café«. It’s located on the roof of a cultural center and right by my house. Another one with great atmosphere is »The Hat« located next to Plaza Mayor. If you’re looking for a slightly more upscale terraza go to »Óscar« or »Hotel Urban«. If it’s not weather for a terraza I like »Naive«, »Kikekeller«, or »Amargo«.Gau&CaféEdificio Escuelas Pias (UNED) / Calle Tribulete 14 / 4ª Planta / 28012 MadridThe HatCalle Imperial 9 / 28005 MadridKikekeller

Calle de la Corredera Baja de San Pablo 17 / 28004 MadridCLUBBINGClubbing depends on what you are looking for. My personal favorite at the moment is Café Berlin. They have live flamenco as well as jam sessions where anyone who brings an instrument can join in. I like it because you never really

know what you will get! Last time I went for flamenco and it turned into a live Hindustani performance. If you want

something more mainstream however, many people end up going to Kapital, Ocho y Medio or Stardus.Café BerlinCalle de Jacometrezo 4 / 28013 MadridKapitalCalle de Atocha 125 / 28012 MadridOcho y MedioC/ Barcelo 11 28004 MadridStardust Calle de Isabel La Católica 6 / 28013 MadridDANCE PERFORMANCESThe Compañía Nacional de Danza Plaza Isabel II s/n / 28013 MadridCULTUREMaybe it’s cliche but I love the Museo del Prado. Whether for an exhibit or to sit in the cafe I feel relaxed and inspired! My other favorite is La Tabacalera. It’s an old abandoned tobacco factory which has been turned into a arts and culture center. They have different classes for free as well as photo exhibitions. The entire inside of the building is covered in amazing street art. It’s a great place to spend a Sunday.Museo del PradoPaseo del Prado s/n / 28014 MadridLa TabacaleraCalle de Embajadores 51 / 28012 MadridRELAXINGI like to relax walking around Lavapies and maybe end up grabbing a bite in the Mercado Antón Martínor going to the

lovely park, El Retiro.Mercado Antón MartínCalle de Santa Isabel 5 / 28012 Madrid

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Born in Montana, USA, into a family of six,

Nadia Khan and her three siblings are all classical ballet dancers. She loves to travel, speaks three languages, and has lived and danced all over the world. At a young age she left home to study at the Kirov Academy of Ballet in Washington D.C. and later moved to New York City to study privately with Prima Ballerina Assoluta, Eva Evdokimova. Her final year of training was spent in Athens, Greece training with Masha Mukhamedov.She spent summers training at the Académie de Danse Classique Princesse Grace in Monte Carlo, at the Royal Ballet School in London, and the Ecole Supérieure de Danse de Cannes Rosella Hightower in Cannes.

She is a two time recipient of the Tiger Woods Start

Something Scholarship and a mentor and volunteer for the non-profit arts organization, Youth Arts in Action.In 2010, Nadia joined the Bayerisches Staatsballett II in Munich, Germany where she spent two seasons before joining the Leipziger Ballett. In 2013 Nadia moved to Madrid to join the Compañía Nacional de Danza. She has toured around China, Italy, France, Germany, and Spain.

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A R T I C L E S

PREMIERENDAS KLEINE SCHWARZE / THE RIOT OF SPRING UA Squeo | Kohler | Roig | Bofarull 14.11.15 ANNE FRANK 14+ UAOliveira | Hannak | Adam 23.4.16 CHOREOGRAFEN STELLEN SICH VOR UAEin Abend zur Entdeckung junger Talente 9.7.16

WIEDERAUFNAHMENDER WIDERSPENSTIGEN ZÄHMUNG Moore | Cranko | Bourne | Dalton | Bjarke 24.9.15

WWW.STAATSTHEATER.KARLSRUHE.DE

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DER PROZESS UA Bombana | rosalie 23.10.15 DER NUSSKNACKER – EINE WEIHNACHTSGESCHICHTE 8+

Moore | Vámos | Cuoco | Scott | Gärditz 26.11.15 DORNRÖSCHEN – DIE LETZTE ZARENTOCHTER 12+ Squeo | Vámos | Cuoco & Veverka | Scott | Gärditz 6.1.16

EXTRAS9. KARLSRUHER BALLETTWOCHE Die Höhepunkte der Saison 7. – 11.6.16BALLETT GALA 11.6.16

Q U O T E S

PREMIERENDAS KLEINE SCHWARZE / THE RIOT OF SPRING UA Squeo | Kohler | Roig | Bofarull 14.11.15 ANNE FRANK 14+ UAOliveira | Hannak | Adam 23.4.16 CHOREOGRAFEN STELLEN SICH VOR UAEin Abend zur Entdeckung junger Talente 9.7.16

WIEDERAUFNAHMENDER WIDERSPENSTIGEN ZÄHMUNG Moore | Cranko | Bourne | Dalton | Bjarke 24.9.15

WWW.STAATSTHEATER.KARLSRUHE.DE

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DER PROZESS UA Bombana | rosalie 23.10.15 DER NUSSKNACKER – EINE WEIHNACHTSGESCHICHTE 8+

Moore | Vámos | Cuoco | Scott | Gärditz 26.11.15 DORNRÖSCHEN – DIE LETZTE ZARENTOCHTER 12+ Squeo | Vámos | Cuoco & Veverka | Scott | Gärditz 6.1.16

EXTRAS9. KARLSRUHER BALLETTWOCHE Die Höhepunkte der Saison 7. – 11.6.16BALLETT GALA 11.6.16


N O O N E C A NA R R I V E

F R O M B E I N G TA L E N T E DA L O N E .

G O D G I V E S TA L E N T ,W O R K

T R A N S F O R M S TA L E N T I N T OG E N I U S .

A N N A P A V L O V A

Q U O T E S

E D U C A T I O N S E R I E S


O r g a n i z e d b y » A R T o f «

I n c o o p e r a t i o n w i t h » S t a r B a l l e t « B a l l e t S c h o o l M a i n z

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19th - 24th October 2015www.art-of.net

BALLET MASTERCLASS MAINZ

B A L L E T L E G E N D S

E D U C A T I O N S E R I E SSylvie Guillem

(born 25 February 1965) is a French ballet dancer.Guillem was the top-ranking female dancer with the Paris Opera Ballet from 1984 to 1989, before becoming a principal guest artist with the Royal Ballet in London. She has performed contemporary dance as an Associate Artist of London’s Sadler’s Wells Theatre. Her most notable performances have included those in Giselle and in Rudolf Nureyev’s stagings of Swan Lake and Don Quixote. In November 2014, she announced her retirement from the stage in 2015.

Mats Ek

was born in Malmö in 1945, the son of the Royal Dramatic Theatre actor Anders Ek and famous choreographer Birgit Cullberg. At 17, he followed a summer dance course (modern) taught by Donya Feuer. He pursued theatrical studies at the Marieborg Folks College in Sweden. From 1966 until 1973, he acted as the director for the Marionett Theater as well as the Royal Dramatic Theatre in Stockholm.parts, entrances and exits, contrasts, and humor. In 1992, he started his own chamber company for dancers over 40.


Google research

founded in 2012 »ART of« has quickly established itself as a leader in professional dance master classes with the »ART of« Ballet Summer Course BERLIN. Every year students and established professionals from the world

of dance travel from all over the globe to our courses in order to benefit from classes given by the best teachers that the dance world has to offer. With the support of William Forsythe we have broadened the horizon of young dancers opening them to new techniques and styles preparing them to the demands of a dance company of today who do not only ask their dancers to have excellent classical technique but also a knowledge of many different styles. Our goal is to be a stepping stone for young dancers towards the start of their career. We have also achieved this by inviting directors to audition new talent during our course, creating a personal audition package as well as offering personal coaching sessions. Thanks to »ART of«, many dancers have found their place in professional dance schools or companies and have been able to make invaluable contacts with directors, ballet masters and of course fellow colleagues and friends.»ART of« is now expanding its reach. We want to bring the best of dance to young ballet enthusiast and dance lovers in keeping with the »ART of« values of professionalism and excellence. The »ART of« Education Series will bring teachers and ballet masters that normally exclusively work with leading professional companies and schools together with aspiring dancers and dance lovers between the age of 9 and 18.To take part in the »ART of« Education Series you have to have had at least one year of classical dance training (minimum of one hour per week), be motivated and of course love to dance. During the one week period of the »ART of« Education Series, the student will receive tailor made ballet, pointe (depending on the student’s level) and repertoire classes as well as body conditioning and contemporary improvisation classes. With four classes a day given by leading teachers, the participant will have the unique opportunity to receive an insight into the life of a professional dance student as well as for dancers who are already pursuing a full time dance education to further and perfect their technique.Our goal is to fill the gap between local regional schools and professional ballet schools giving young dance enthusiasts the rare opportunity to work with professional dancers at the hight of their career as well as with ballet masters of leading dance companies around the world. We are very excited to bring this unique opportunity to young budding dancers around the world.We hope to see you at our upcoming »ART of« Education Series Course!The first »ART of« Education Series course will be taking place in Mainz from the 19th until the 24th of October 2015.To apply for the »ART of« Education Series please visit

www.art-of.net

B A L L E T L E G E N D S

A K I S A I T O

Photo: Johan Persson


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Royal Ballet of Flanders principal Aki Saito has touched audiences all over the world with her delicate

and feminine technique, her moving and honest portrayal of the repertoires leading roles as well as her precise and sharp footwork. She excels in all different styles and meeting her is a wonderful experience.

Jump* You won a scholarship after competing at the Prix de Lausanne which brought you to Antwerp in Belgium. Was Antwerp your first choice?Aki Saito »Maybe it sounds naive but I tried the Prix de Lausanne just to see if I had any chance of becoming a professional dancer. I didn’t know about the Royal Ballet School of Antwerp at the time but the director of the school was a member of the jury and she offered me a place at her school when I was 16. It was the first time I had ever been outside of Japan and I didn’t know anything about Europe so I thought it would be best to go someplace where I knew I would be welcomed. I think I made the right choice«!

Jump* You quickly rose to the rank of principal at the Royal Ballet of Flanders. How has this company shaped you into becoming the dancer you are today?Aki Saito »In my last year of school the director of the Royal Ballet of Flanders, Robert Denvers, offered me a half soloist contract. It was an unusual offer for a school student and I was very surprised but very happy to accept that offer. He gave me many chances and I danced so many different ballets that I really learned a lot during this time. When Kathryn Bennetts became director, our company’s repertoire changed completely. I was very lucky because Kathy arrived at exactly the right moment for my career. She opened my eyes to many different things and I got to work with amazing artists like Marcia Haydee, Patricia Neary and William Forsythe and danced some of my favorite ballets like In The Middle, Somewhat Elevated,

Love Fear LossAki Saito & Wim Vanlessen

Dancer | Artist | Future

I N T E R V I E W

I N T E R V I E WArtifact, Onegin, and Theme and Variations. Robert gave me strength and experience and Kathy made me the dancer I am now. It was never my intention to stay in one company for so long but this company has completely changed every time a new director has come and I was lucky because every director change happened at the right moment for me«.

Jump* Your partnership with Wim Vanlessen is legendary, how did this collaboration start and evolve into what it is today?Aki Saito »When I did the Prix de Lausanne the school director who invited me to Antwerp was looking for a partner for Wim. She saw me in the competition and she thought I would be a perfect match for him. We still laugh over this story because her idea turned out to be very right. The strange thing is, Wim and I never planned to end up how we are now. We never said to each other »let’s stay in this company together« or »let’s have this partnership« but the directors and choreographers we worked with saw that we fit together. Because we know each other so well, everything usually works quite easily and we can often learn and work quite fast. Of course we’ve danced with different people and that’s also a lot of fun but many people found something special when we danced together. We are very close, just like brother and sister, so we’ve reached the point where we can be very honest with each other. We can be very hard on each other as well and sometimes we fight but in the end I think this helps us. Neither of us ever wants to give up or compromise so we work very hard to reach our goals. We have confidence in each other«.

Jump* How do you approach a role and where do you find your inspiration to portray dramatic roles?Aki Saito »I like to read, I want to understand the story and the character as well as the choreographer. I want to know what they were trying to say. I also think that if I understand the character well it’s also easier to understand why the choreographer

made the steps the way that they did. Of course I rehearse a lot too! I try everything in the studio and try to find the most honest way for me to portray the character. Because I’m there to translate the story and choreography to the audience I do my best to become the role I’m playing so I don’t have to think and can be free on stage. After a performance sometimes I really feel like I’ve lived someone else’s life for a few hours«.

Jump* Which person influenced you the most in your work?Aki Saito »Too many to name«!

Jump* How do you unwind during your free time?Aki Saito »I like sewing. I enjoy making clothes for myself, friends and family«.

Jump* According to you, what is the role of dance or even art in the world of today?Aki Saito »I think that everyone perceives art differently, it’s a very personal thing, but I think generally that art allows us to express and experience emotions in so many different ways that it has become an irreplaceable part of our society. I’m happy being a dancer because the audience and I can have a shared experience during a live performance but there are so many forms art can take that the possibilities are endless«.

Jump* How did you experience teaching at the »ART of« Ballet Summer Course BERLIN 2014? Is teaching something you would see yourself do in the future?Aki Saito »I had a wonderful time teaching at the »ART of« Ballet Summer Course BERLIN. I think it’s great for young dancers to meet other students from all over the world. It was really nice for me to see that and be able to share my knowledge with them. I enjoy teaching and hope to do it more in the future«.

Photo: Nancy Reyew

Photo: Costin Radu


Photo: Feriet Tunc

Jump* Your advice to young dancers?Aki Saito »Be open minded and know your self«.

Jump* What would you tell your younger self?Aki Saito »Don’t be scared to take risks«.

Born in Morioka, Japan, Aki Saito started to dance at the Tomoko Kurosawa Ballet Studio in Japan. In 1991 after competing in the Prix de Lausanne competition she was offered a scholarship to join the Royal Ballet School of Antwerp in Belgium. After graduating Robert Denvers offered her a demi-soloist position with the Royal Ballet of Flanders where she rose to the rank of Principal. Her repertoire includes leading roles in classical, neoclassical and contemporary ballets. She is regularly invited to perform in many international galas. In 2014 she taught at the ART of Ballet Summer Course BERLIN.


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Keeping PerspectiveIt’s no surprise that most

dancers (if not all) suffer - or are tempted, at the very least - by burnout. Be that physical exhaustion, mental weakness, emotional suppression, etc…our long seasons are commonly sprinkled by the usual up’s and down’s that pretty much everyone deals with as a human being. As artists nevertheless, we tend to be more dramatic when dealing with these dips and valleys - a reality that I find to be highly entertaining on a near daily basis. The trick, I’ve found, is asking yourself how best to spend your energy. Negative thoughts, like self-doubt, jealousy, and anxiety are major energy suckers. Isn’t it easier to be inspired by someone’s success instead of brewing in (jealous) resentment? It’s easy to forget how educated and experienced we might be

in the wake of casting calls, auditions, or even performances, but we can’t forget to trust our talent! I have a little mantra before I go on stage, something that a close friend told me once: »We have nothing to prove, only to share«. I just love this thought. Because it’s true! For me at least, performing is the cherry on top of the Sundae…it’s the reason why I take class every day in an effort to trust my technique/talent once I’m out there in front of thousands…it’s my motive to work hard so that I can share that work with a grateful audience - and most importantly, so that I can enjoy it.Particularly trying times are inevitably strewed throughout long runs of story ballets - Swan Lake for us at Boston Ballet last season - or of course, everyone’s favorite yuletide production of

The Nutcracker. There are two things I have found to give me endless strength and perspectiveduring these periods, now listen close: Firstly, remind yourself each time you enter the theater that you are getting paid to do what you love, which at best is leaving an artistic legacy, and at worst is keeping you in shape. Acknowledge the fact that a paying audience has invested in your talent this evening, and will hopefully be moved by your beauty, and your uniqueness. Remember that most likely, there is someone out in the audience that has never seen a ballet before. Remember how excited you were when you saw your first ballet?! If you need motivation, dedicate your performance to someone you love, someone you lost, or that one stranger in the mezzanine

P R E M I E R E S

I N T E R V I E W P R E M I E R E S


The Season 2015-2016 promises to be an exciting one with many world premieres interpretations

of well-known classics. Here is our selection.

who will go home humming the music you’ve had the privilege of listening to for weeks/months/years … dreaming of what it would be like to wear a tutu to work every day.Secondly, and this one took even me by surprise. Write something down. Be that your frustrations, your fatigue, memories from a successful show or perhaps that of a disastrous one. Having to put your thoughts into words is humbling. It makes you slow down, it inspires you to be observant of your surroundings, and it gives you perspective. I started doing this with a spontaneous habit of midnight poetry. I would wake up around 2 or 3am, and couldn’t

go back to sleep until I had formulated words and thoughts that were floating, tirelessly around my head … Inevitably these all had to do with what I was performing. I wrote poems on being a Swan. A Flower. A rehearsal. I wrote and wrote, and I found that the more I took the time to translate thoughts into words, the more I learned to appreciate and understand my emotions, my fatigue, my happiness, my frustrations. I shared these on my blog, Tutus&Tea and found it comforted others as well. It helps, I promise.One more thing I have to say. Laugh. Find reasons to laugh or make other people laugh, friends or colleagues… Laughter is truly,

truly, the most potent medicine, and it can fix any number of problems.The most last thing. Love. Love yourself. Love your strengths and love your weaknesses.Without these things, it would be hard to find a purpose in living at all. An audience can’t relate to perfect pirouettes or greedy balances, but they can relate to human emotion. If you love what you do, it will show, and you will grow. This career is a short one, so put on your rose-colored glasses, and make the most of your unique journey as a live artist contributing beauty, poise, and passion to the world every single day.

Text by Shelby Elsbree

The Royal BalletFrankenstein

Choreography: Liam Scarlett

Music: Lowell Liebermann

Premiere: May 4, 2016

The world premiere of Liam Scarlett’s new full-length ballet, inspired by

Mary Shelley’s Gothicmasterpiece.

Paris Opera BalletApproximate Sonata/

Creation/Of any if and

Choreography: William Forsythe

Music: Thom Willems,

James Blake

Premiere: July 4, 2016

Three ballets of William Forsythe, a new version of

Approximate Sonata, Of any if and as well as a new Creation for the company William

Forsythe is now closely associated with.

New York City BalletFall Gala

Three World Premieres

Choreography: Troy Schumacher

Music: Ellis Ludwig-Leone

Choreography: Robert Bine

Music: Maurice RavelChoreography: Myles Thatcher

Music: William Walton

Premiere: September 30, 2015

Three exciting new works presented at

New York City Ballet’s famous Fall Gala pairing

couturiers withcontemporary

choreographers.

Semperoper Ballett3 by Ekman

Choreography: Alexander Ekman

Premiere: March 12, 2016

Following the success of Cacti, the enfant terrible

of the Nordic dance world returns to Dresden

for the current season to take a fresh look at a classic work, offer a world premiere and

develop an installation.

The National Ballet of Canada

Le Petit Prince

Choreography:Guillaume Côté

Music: Kevin Lau

Premiere: June 4, 2016

The National Ballet of Canada’s

Principal Dancer and Choreographic Associate Guillaume Côté adapts

Antoine de Saint-Exupéry’s masterpiece

Le Petit Prince as his first full-length ballet.

In the realm and scope of classical ballet, there are certain

iconic images that have become instantly recognizable to even the most uninitiated of theatregoers. The pointe shoe is, of course, a universal symbol of ballet; but most people are even more familiar with that most unique and unusual of costumes- the tutu. Helping to create the illusion of airy grace, feminine charm or even royal grandeur, the tutu is found in nearly every classical ballet in the repertoire. How did such an unusual costume come to be?

Though ballet had existed in forms before the 1800’s, the legendary Marie Taglioni seems to have been the catalyst for both the evolution of the pointe shoe and the tutu with her famous 1832 performances of La Sylphide. Before then, most ballets restricted women’s movement with heavy draped skirts covered in adornments. In the name of decency and conservative style, the hem was never more than a few inches off the ground. Adding to the difficulty, elaborate wigs and headpieces ensured that women did not get the opportunity for much expressive movement. Taglioni changed all this by raising her skirt to mid-calf and doing away with the finery, a small pair of wings and a small floral headpiece her only accoutrement. She insisted on a

tighter bodice and a lighter skirt fabric (a few layers of tulle) to slim her silhouette and appear sylph-like. Her intention was to showcase her technical footwork and characterization; she started an artistic trend that continues to evolve to this day.

From Taglioni’s day onward, the skirts continued to shorten as ballet technique became more intricate and as the culture of the day shifted. By the 1870’s, ballerinas had begun wearing skirts above the knee (now called a ‘bell’ tutu). By the early days of the 1900’s the flat ‘pancake’ tutu had become popular, although details and designs continued to change, particularly during the era of Diaghilev’s Ballets Russes, and again with the works of George Balanchine, whose work with the famous designer Barbara Karinska helped develop a shorter, softer skirt often called a ‘powderpuff’ and popular in many ballets created during the 20th century.

As with any costume, the tutu is integral to a dancer’s performance. It has to help the audience understand her character, but also needs to meet the demands of the choreography and survive

several seasons of wear and tear. They often create a great challenge for designers and costumiers, who train for years in order to create these fragile works of art.

Most pancake or bell tutus (a word which usually pertains only to a dancer’s skirt- the bodice is often considered a separate component) are composed of anywhere between 7 and 15 layers of tulle. It often requires more than 10 metres of fabric to create one skirt, and can take more than 100 hours of work of cutting, layering, stitching and adorning before the costume is fully finished. Delicate metal wiring hidden in the fabric often helps maintain the shape of the dress while the dancer moves, and the layers of tulle must be loosely hand-stitched together to keep them from separating or shifting. These are expensive creations; at the English National Ballet, Odette’s tutu in Swan Lake costs over £1000.

The only mystery left- why »tutu«? The legend goes that the name


A R T I C L E S L I F E S T Y L E


comes from rowdy patrons of European theatres, who often sat down in the front rows of the orchestra section (once considered the cheap seats) in order to get fleeting glances up the dancer’s skirts. ‘Cucu’, an old slang term in french for one’s bottom, is probably the origin of the name of this most elegant and aristocratic of costumes.

Text by Patrick Yocum

A R T I C L E S L I F E S T Y L E


STUTTGART, JULY 14TH, 2015 – The board of directors of the

State Theater Stuttgart have, per unanimous decision, appointed Tamas Detrich Artistic Director of the Stuttgart Ballet effective as of September 2018. Detrich succeeds Reid Anderson, who has led the company since 1996. Anderson’s contract runs until the end of the 2017 – 2018 season.The board of the State Theater Stuttgart is comprised of the Minister for Science, Research and the Arts, the Lord Mayor of Stuttgart as well as members of the State Parliament and the city council. At a press conference held on July 13th, Theresia Bauer, Minister for Science, Research and the Arts said:»In Tamas Detrich we have found a worthy successor to Reid Anderson, a leader who will ensure that the legacy of John Cranko will be cherished, who will maintain the technically high standards of the company but who also has the necessary vision to successfully guide the Stuttgart Ballet into the future with new ideas and initiatives.« The Lord Mayor Fritz Kuhn added: »After a long and intensive search process involving

international candidates, we feel that Tamas Detrich has the ideal qualifications to continue the long tradition of the Stuttgart Ballet as a leading force in the international dance scene.«Detrich, who has spent his entire career with the Stuttgart Ballet, including 20 years as one of the company’s most celebrated Principal Dancers and a further decade as Ballet Master, has been Associate Artistic Director of the Stuttgart Ballet since 2009. Of his appointment he said: »My passion for this company is tremendous. I am looking forward to leading the Stuttgart Ballet into a new era, to expanding our already diverse repertory with new works by choreographers who have hitherto not worked with the company, to providing the people of Stuttgart more access to what we do and of course to continue to present dance at the highest level.«Detrich’s title will be that of »Ballettintendant«, a unique position in the German theater system, there being only two others in Germany: John Neumeier in Hamburg and Nacho Duato in Berlin. The position ensures artistic and financial autonomy within the

State Theater System there being no »Generalintendant« above the Ballettintendant. Detrich will answer directly to the Board of the Theater.

Tamas Detrich

Tamas Detrich was born in New York City. He received his initial training at the National Academy of Ballet and Theater Arts, then with David Howard at the Harkness House of Ballet in New York and finally at the John Cranko School in Stuttgart from which he graduated in 1977.In the same year he joined the Stuttgart Ballet where his technical and dramatic abilities were quickly rewarded. He was promoted to soloist in 1980 and principal dancer in 1981. During his 25 years with the company he danced all the leading roles in John Cranko’s ballets including Prince Siegfried in Swan Lake, Romeo in Romeo and Juliet, Onegin and Lenski in Onegin and Petrucchio in The Taming of the Shrew. In addition he danced Armand Duval in The Lady of the Camellias (John Neumeier), leading roles in The

P R E S S R E L E A S E W H A T ’ S N E W

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W H A T ’ S N E WSong of the Earth and Requiem (Sir Kenneth MacMillan), Arena and Voluntaries (Glen Tetley), La Sylphide (Peter Schaufuss) as well as in ballets by some of the most significant choreographers of the 20th century: George Balanchine, Maurice Béjart, Hans van Manen, William Forsythe, and Uwe Scholz.The following choreographers have created roles for him: Jiří Kylián (Forgotten Land, Stepping Stones), Maurice Béjart (Operette), Uwe Scholz (Variation -I), David Bintley (Landscape and Memory) and Kevin O’Day (dreamdeepdown). Marcia Haydée created the roles of Prince Désiré in The Sleeping Beauty and Albrecht in Giselle and the Wilis for him.In addition, Tamas Detrich apeared as a guest dancer with – among others - the Scottish Ballet, the Ballet of Santiago de Chile, the Ballet of the German Opera Berlin, the Bavarian State Ballet, the Hong Kong Ballet and at galas worldwide. He has performed in major opera houses around the world, among them the Bolshoi Theatre (Moscow), Teatro Colon (Buenos Aires), Metropolitan Opera (New York), Paris Opera and the Mariinsky Theatre (St. Petersburg). His partners included international stars such as Márcia Haydée, Birgit Keil, Susan Jaffe, Cynthia Harvey, Monique Loudiers, Eva Evdokimova and Noëlla Pontois.In 1998 he was awarded the national title »Kammertaenzer«; in the fall of 1999 he was awarded

the John Cranko Prize. At the beginning of the 2001- 2002 season, he became a Ballet Master of the Stuttgart Ballet and at the end of

that season he retired from the stage with a farewell performance in John Cranko’s Onegin. In 2004 Artistic Director Reid Anderson appointed Tamas Detrich Artistic Associate of the Stuttgart Ballet, in 2009 he was appointed Associate Artistic Director of the Stuttgart Ballet.Tamas Detrich has taught, staged and revived John Cranko’s ballets Romeo and Juliet and Onegin for the Stuttgart Ballet and other

companies such as the Paris Opera Ballet, American Ballet Theatre and the Vienna State Ballet. He has also staged John Neumeier’s

Othello for Stuttgart Ballet, Marcia Haydée’s The Sleeping Beauty for the Royal Ballet of Flanders and John Neumeier’s A Streetcar named Desire for Hamburg Ballet, the Norwegian National Ballet in Oslo and Pittsburgh Ballet Theater.Tamas Detrich is married to the former principal dancer Marion Jaeger and is the father of twins.

PRESS RELEASEStuttgart Ballet

J U L I E N B E N H A M U

François Alu

»François Alu and I had a photo session for a portrait, we had so much fun together that we decided to take some more creative pictures. This was our first collaboration«.

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P H O T O G R A P H E R

Julien Benhamou is a photographer like no

other. He started his career in the world

of fashion and advertising. After working on

a series of portraits of dancers of the Paris

Opera Ballet exhibited at the French Ministry

of Culture, Benhamou focused his work on

capturing artists. His pictures of dancers

are unconventional and unique. He has the

ability and talent to capture the essence,

strength and sensibility of his subjects.

His stage pictures evoke exactly what the

character is going through and have the

power to relate the exact atmosphere of

a performance. His work is delicate and

powerful and steps away from usual ballet

photography showing dancers as strong,

intricate and profound human beings. For

Jump*, Benhamou chose pictures that he

has a close affinity to, his personal best.

JULIEN BENHAMOU

Self-portrait: Julien Benhamou

PERSONAL BEST

P H O T O G R A P H E R»This picture, realized without any computer alterations, was made in the north of France. The dancers came up with this pose during the session and we were very surprised with the result!

A magical moment…«


Julien Benhamou

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François Alu and Leonore Baulac

P H O T O G R A P H Y


»The magazine Libération asked me to take some portraits of Paris Opera

Ballet principal Marie-Agnes Gillot

for their magazine to promote the creation

of Sous Apparence that she was about to

choreograph for the Paris Opera Ballet.

The photo session was amazing, it was the

first time I realized how photogenic some people

can be«. Photo: Julien Benhamou

P R O F I L E S

P H O T O G R A P H Y

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P R O F I L E S

Inkorper Company

»I’m working with Inkorper Company / Aurélien Dougé since 2012.

We created poetic pictures focused on the body in a series called Blessed Unrest«.

Roberto Bolle

»Last season, Roberto Bolle was invited by the Paris Opera to dance with Aurélie Dupont for her last show. We decided to have a photoshoot together and went on the roof of the Paris Opera«.

Michael Lafon

»Gravity and movement are very inspiring to me. I like when time is frozen and you get to see another reality«.

A R T I C L E S


Working with a dancer who is guesting or who is on tour is one

of the most challenging situations for a dance physiotherapist. There is rarely enough time to patiently wait for the natural healing process of an injury, most of the time we have to decide quickly and every decision presents a higher risk than normally. It happens more often on tour or while guesting that dancers have to work with an acute injury or acute pain. The show must go on, there isn’t always a second cast available and it can have massive financial consequences if somebody is not able to perform. From the point of view of injuries, dancing abroad is more risky than working in the dancer’s home theater: travelling is tiring, maybe there is a jetlag, the climate can be unusual, the dancer’s daily rhythm changes, the stage and the studio is unknown, the floor is different, there is not always an organized ballet class for the performers, the stress level is higher and so on. The world’s top dance companies can afford to go touring with their own dance physio, but most companies don’t have the resources to do so. Sometimes they decide to hire a local person (who is not necessarily a physiotherapist or if he is,

rarely a dance-specialist). However, most of the smaller companies can’t afford this service either and they can only provide some health support in case of an acute injury. Most galas do also not provide a specialized physiotherapist in dance. Knowing all this, I think it is easy to understand why it is extremely important for dancers to have some ideas on how to decrease the risk of potential injuries while touring or guesting and how to protect their health as well as to know how to minimalise the negative consequences in case of an injury or health issue.

Legal issues Before traveling to dance in another country, especially on another continent, make sure that you know which health issues are covered by your company or the venue and which ones fall under your responsibility. Is there any compensation in case of a work related accident? Do you need to acquire a private travel insurance for injuries? Before signing a contract for guesting or a gala read it properly, and check what the legal and financial consequences of canceling the performance because of health problems or injuries are.

PaperworkDo not forget to bring the documents of your running health insurance (i.e. your chip-card) with you. If you have a current health problem which might need to be treated during your guesting, take the medical documentation of that current issue with you (diagnose, MRI and so on). If you have a dancer health passport take it with you while travelling and if you have any severe allergies, special diseases or a rare blood type, always have a little medical card with you that has all the previously mentioned issues’ infirmation on it.

Vaccination and medications If you plan to travel to another continent or to an exotic country enquire if there are any obligatory or recommended vaccinations and medications that you should have or take with you (i.e. hepatitis, malaria). You can ask your house doctor, the public health authorities of your country or the embassy of the country where you will be travelling to. If you regularly take any medication or supplement, buy them in advance and prior to your departure and ask for the necessary prescriptions from your doctor. Medication is different in

Galas, tours and guestings are very strenuous for the body. Travelling, foreign environments and often time difference encountered when dancing on tour makes your body more

prone to injuries. Who better to ask for advice on how to keep your body at its best than Boglárka Simon-Hatala, body awareness coach of the Semperoper Ballett Dresden, tour physiotherapist of The Forsythe Company and of the Life in Progress tour of Sylvie Guillem.

T H E PHYS I O ’ S A DV I CE

A R T I C L E Severy country, you might not find your preferred product abroad. To have medication prescribed by a doctor can also be very pricy in some countries. Tours and travels are often a shock for the immune-system. It is reasonable to take an immune-booster: a high dosage of vitamin C, ginger, ginseng, royal jelly etc. There are also some complex immune strengthener products available too.

EnvironmentTry to get information in advance about your working environment. Is there a professional dance studio? What are the dimensions of the stage and is there a sprung dance floor on it? Some stages have weird shapes or sizes. If it is the case and if you don’t have too much routine and guesting experience and you only have a short time to rehearse at the venue, you might want to put some tape on the floor of the dance studio you are preparing in, in order to mark the size of the stage. This small thing can help you a lot to prepare for the stage of the venue and will make your work a lot safer and thus protect you from a lot of accidents. If the venue has no sprung floor, try to decrease the necessary rehearsal time on location by preparing yourself as much as possible in advance in your own theatre and by using your rehearsal time very focused in situation. You might need to change some elements of the choreography (if the choreographer agrees) in case you have some persistent health problems which can be provoked by hard floors (i.e.: shin bone problems, lower back problems etc.). If there is no official ballet class or dance training at the venue, you can take a DVD with you or you can ask one of the ballet masters of your company to record a class and take it with you so that you have a full and well constructed class before rehearsal and performance on the road.

Airports and airplanesLong traveling times present severe stress for the human body. Try to sleep enough the night before, rest well and eat well. You might have to stand waiting a lot in front of the check in counters and if you have a connecting flight you might have to walk a big distances on hard airport floors. All of this often creates plantar fascia pain and Achilles pain for dancers. Comfortable, thick-soled shoes can help a lot, as well as some careful Achilles and sole stretches during your travel. Air-conditioning is often creating cold stress for muscles. Protect your back, shoulders and neck and don’t forget to have an extra jacket or pullover for the airplane (even if it is summer time), this also applies to air-conditioned buses and trains. A neck pillow is also basic equipment. On a long trip it can be good to have an instant ice and hot pack in your hand luggage. Sitting many hours blocks the circulation of the lower leg, some airlines advise taking aspirin before the flight but compression socks will also help to prevent the heaviness in the legs and swollen ankles. If you had a knee, ankle or foot injury in the last year, your joints can get swollen again because of the flight, this even if you are already healthy. In these cases it is very useful to wear an ankle or knee support. Two tennis balls in a sock is a great DIY massage tool. You can use it to relieve the tension of your back during the trip. When we travel we are losing more water than we would expect because of the air-conditioning. Drinks are expensive in the transit, therefore most travelers are under-hydrated at the end of their flight. Maintaining a well-hydrated state is of the utmost importance to prevent injuries and other health problems. If you find it too expensive to buy water, have a bottle with an active filter what you can bring through security empty and fill up with water once through security. Some people might encounter inner ear issues which will

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T H E PHYS I O ’ S A DV I CE Galas | Tours

A R T I C L E S


affect the balance system because of travelling. If you don’t have time to sleep overnight before you start to rehearse or to perform it is highly recommended to do some proprioceptive-balance exercises. If you have travel sickness, every pharmacy sells special medication against this. This medication coupled with vitamin B12 helps to prevent potential vomiting and vertigo.

Daily rhythmTry to keep more or less your daily routine even when you are on tour or when you are guesting. Please keep in mind that you are not a tourist. Sleeping enough, warming up properly, eating and drinking healthy is very important to prevent injuries. Partying and sightseeing can wait until performances are over. If you have a routine training for conditioning or to stretch, continue it as usual, but this is not an ideal time to try out something new. Two flexible bands of different resistances as well as a soft ball which can hold your body weight can replace a whole fitness studio if you are creative. You can ask your physio in advance for some exercices. If you are using kinesiotape, ask your physio before you leave to teach you how to do the taping yourself, so that you can do it in their absence.

Eat safe, drink safeEnquire if the tap water is safe to drink in the country you travel to. This can be an issue in not only in exotic countries, but also in some Mediterranean European cities as well. If you are dancing in a tropical country, do not eat street-food and do not eat in a randomly chosen small restaurant. Ask the management of the venue or your host where it is safe to eat. Try to avoid raw or under-cooked ingredients. Food poisoning is very common on tours. Even if the food is fine, different spices and different ingredients that your body isn’t used to can result in diarrhea. Before the performance try to avoid food that you have never eaten before.

Warm up and keep your body warmSudden cold air flows are risk factors for muscle injuries, they can cause muscle cramps and can block your neck and back. In your home-theater you probably already know where and when to be careful in the wings and backstage but in a new place it is safer to automatically cover your calf, neck and back if you are not on stage. If you are very sensitive to the cold you can stick an instant heat pack in your training clothes.

Feet and hygieneYour feet deserve to be protected and treated well. Your carrier is relying on them, visit your podologue before your travel. If you don’t have one, ask your colleagues about their experiences but do not try a new one right before traveling. A good podologue can save performances especially one who has had experience with dancers’ nail and skin problems, who understands what you need for pointe, bare foot or character shoe work. Have booties or thick socks to keep your feet warm and wear slippers when taking showers. This is not only in your interest but also a responsibility towards others. Different infections (fungal and bacterial) are easy to spread in theaters. The bacterias and other pathogenic agents are different in every dance studio, your immune-system might be resistant to those who live in your home theater but if you are working somewhere else, it is important to immediately disinfect any skin damage and cover it (for this you can use kinesiotape as well). Skin and nail infections happen more often on tour. If you are sensitive to fungal infections, you can use some creams or sprays as a prevention during your trip. If you like to warm up on the floor maybe bring a thin yoga mat with you or at least a towel to protect your face. It is worth it to disinfect your dance shoes, booties and dance socks with textile disinfection spray. This helps to prevent smells as well.

Emergency kit If you are working on a tour, gala or guesting without a dance

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A R T I C L E S H E A L T H

Making a Difference


physiotherapist at your side, it is useful to have your own emergency kit. If you are traveling with other dancers, three to four of you of you can use one box. Hopefully you can bring back home most of it without using it but it is better to be safe. Before taking any medication or using any creams and sprays, always

carefully read the instructions and always follow them. Always ask your doctor or health expert about your diagnose and the recommended treatments. Never take any medication unless you really need it. Don’t forget to refill your kit and regularly check the expiration date of medications, supplements and other materials.

Basic kit• Magnesium• Calcium• Multivitamin• D3 vitamin• Immune-booster• B12 if you are vegetarian or vegan• Bandage• Instant ice pack and warm pack• Skin color kinesiotape• Cream, oil or spray for muscle strain (arnica, rosemary etc. or if you prefer medications to antiinflammatory)• Fever and pain relief medication (anti-inflammatory)• Spray or cream to prevent and treat insect bites (depending on the season

and on the country)• Wound and skin disinfectant• Small scissors• Second skin, plaster, wound dressing, tape• Arnica CH30 if you are using homeopathy• Recommended medications for the arrival country (i.e. for malaria)• Important telephone numbers (management of venue, ambulance and central emergency number of the arrival country if not 112)• If you fly, than put into your hand luggage the following items: rescription of your medications, medication for travel disease, hand disinfectant

Master kit extras for dancers who travel often:• TENS machine with electrodes and batteries• Medical carbon• Medication for diarrhea• Non-flexible sport tape• Ball of foot cushions• Antihistamine for allergy• Alkalising product (powder, tea etc.)• Antibiotic cream• Probiotic• Omega 3• Small clip• Hot cream or hot patch

Text by Boglárka Simon-Hatala

As an artist and even more so as a dancer you want to make a difference in peoples lives. We have the amazing ability to offer our audience an escape of their daily grind and enter

a world of beauty, athleticism and unparalleled emotion. A spectator will go home filled with emotion, good or bad, but never indifferent and hopefully will think back at those moments at the theatre with the same feelings he left with. This is our goal, the reason we spend hours in the studio, to be a fleeting moment of harmony and beauty in the lives of people.

Boston Ballet’s Adaptive Dance | Photo by Ernesto Galan | Courtesy of Boston Ballet

A D A P T I V E D A N C E


The Boston Ballet takes this will to make a difference

in peoples lives even further. Fourteen years ago in 2001, the then physiotherapist of the Boston Ballet, Michelina »Micky« Casella worked closely together with the Boston Children’s Hospital and especially with children affected by Down syndrome. Knowing the physical and mental needs of her patients, she realized that dance would be of great help to them. After approaching one of the dancers of the company during his performance and before his entrance on stage, they both started the »Adaptive Dance Program« that has evolved into the largest initiative of its kind in the USA. Today, the »Adaptive Dance Program« offers twelve different weekly classes given by a staff of forty in three different locations to a hundred-and-twenty motivated students. These classes are geared towards individuals with Down syndrome, autism and more recently different disabilities with the new »inclusion classes«.Every class is given by a dance teacher, usually a Boston Ballet former or current dancer, in the presence of a physiotherapist, a volunteer assistant and a musician. The main goal of the classes is to provide a safe environment for these students to express themselves. The program has been closely elaborated with dancers, physiotherapists and doctors specialized in the field, but is first and foremost based on the needs and feedback of the students. The class for students with Down syndrome, for instance, will focus on building muscle and improving core strength, as they often have extreme flexibility,

and on repetition, memory and imagination to stimulate the mind. In comparison, the class for people with autism spectrumdisorder will put the accent on spacial awareness and opening the student to his or her surroundings and fellow dancers as well as making class as predictable and safe as possible. This is done with the help of imagery. Before joining class, the future student is taken through all different parts of class which stay the same, with the help of imagery that he will find back during class, as every exercice has its own image. When students want to join the program they will receive two try out classes free of charge to make sure that the class is to his liking, and that he is comfortable in the environment of a dance class. From its inception close to no students have ever stopped taking part in the program for reasons other than a move of geography.The fee for a session, which is ten weeks long with one class per week, is 200 Dollars. There are two sessions a season, one in spring and one in fall. Every family that has applied for financial aid with local agencies or their health insurance, has seen their application accepted. This shows the trust that those organisations have in the program. The fee paid by the students, however, does not even begin to cover the expenses of the program, which mostly relies on donations made to the Boston Ballet. This particular program, quite unique in the United States for many years, has attracted a new kind of benefactors to the Boston Ballet who are particularly interested in supporting the work done by the »Adaptive Dance Program«.

The progress of the students is astonishing as they develop their coordination, flexibility, strength and improve their sense of rhythm and focus as well as social interaction. The dancers with autism spectrum disorder in particular become more outgoing, self-aware and gain in self-confidence through the art of dance. However, the most important thing is that the course offers a safe haven for parents and students where young dancers can be themselves in an environment tailored to their needs. This does not mean that courses do not obey to the rules of a dance class. Discipline, respect and hard work are still very present and disruptive behavior is not tolerated. The imagination and artistic sensibility is stimulated by improvisation and expression exercises, and a live musician in every class helps them learn to listen and develop their sense of rhythm and musicality.For the parents it is a great relief to find a place where their loved ones are nurtured and where they do not have to be worried or scared that their child will be harmed or won’t fit in. The classes are made to adapt to their students’ needs and not the other way around. It is foremost a safe place where everyone can be themselves. It is also an environment where connections and friends are made between parents, students as well as members of the staff. The weekly classes become a social gathering that parents and care-takers look forward to as much as their children.As more and more students join the program and more importantly stay and grow in, the older students get to the point where they are becoming true artists

A D A P T I V E D A N C Eready to take on new challenges. This is why two years ago, Portia Abernathy, Senior Manager of Education Programs and Inclusion, convinced the direction of the Boston Ballet to include the »Adaptive Dance« students in their yearly performance at the Strand theatre. Students 18 years or older can take part in the performance (for all other students there is an in-house performance) and have to come to extra rehearsals on Sundays. Abernathy believed that the students had the potential to be performers, not confined only to the studio but to create and entertain justlike every other Boston Ballet School student. She does admit that she was very stressed during the weeks leading up to the first performance, as it was a huge endeavor never tried before. But once the dancers were on stage and started their performance, it was very clear that she guessed right, her students blew everyone away and are now an integral part of Boston Ballet’s annual Strand Theatre performance.Some of the more experienced and older students have also taken on more responsibility in the organisation, as some of them have become teacher assistants. They are now a part of the team thus sharing their experience and knowledge with young students.The »Adaptive Dance Program« is an example for many other dance companies in the USA and has therefore recently started to offer training courses to form new teachers that will be able to bring their newly obtained knowledge to start similar programs all over the continent and hopefully in the future all over the world.In the years to come the »Adaptive Dance« team aims to expand their brand new »inclusion classes« where students with different disabilities are invited to join in tailor made courses as well as to develop inclusion and on-sight classes in regular schools.Boston Ballet has a true gem in their impressive array of initiatives with the »Adaptive Dance Program«.The program shows us that dance has no limits and can reach everyone. A dance company of today can be much more than a place of high art, it is also a part of peoples daily lives and a part of the community outside the velour and golden setting of an opera house.

Thank you to Portia Abernathy, Snr. Manager of Education Programs and Inclusion, and the Boston Ballet Department of Education and Community

Initiatives.

Boston Ballet’s Adaptive Dance | Photo by Ernesto G

alan | Courtesy of Boston Ballet


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L a F i l l e m a l g a r d é e ( A s h t o n ) , S é r é n a d e

( B a l a n c h i n e ) , J a m e s i n L a S y l p h i d e

( L a c o t t e a f t e r T a g l i o n i ) , B a s i l i o i n D o n

Q u i c h o t t e ( N o u r e e v ) a n d L e D a n s e u r e n

v e r t i n D a n c e s a t a G a t h e r i n g ( R o b b i n s ) .

H e h a s w o n t h e P r i x » J e u n e E s p o i r « d e

l ’ A R O P , t h e P r i x d u C e r c l e C a r p e a u x

a n d t h e P r i x d u P u b l i c d e l ’ A r o p .

I N T E R V I E W PIERRE-ARTHUR RAVEAU

I N T E R V I E W PIERRE-ARTHUR RAVEAU

Photo: Agathe Poupeney

I N T E R V I E W


Jump* You joined the Paris Opera Ballet School at a young age, how did you

experience studying in this renowned institution and how did it prepare you for your career today?Pierre-Arthur Raveau »I have great memories of my studies at the Paris Opera Ballet School. When I joined the school at the age of 12 it was wonderful to find myself in an environment where I was surrounded by people of my age that shared the same passion as me. We had the same interests and could talk about dance, art and music. This was not at all the case in my previous school.During my first years at school I was not really thinking of preparing myself for a future career. I loved to dance and work and that was enough for me. I was only thinking of the present without really looking ahead into the future«.

Jump* You joined the Paris Opera Ballet, finishing first at the competition to enter the corps de ballet after which you quickly rose to the position of first soloist. How was it to join such a prestigious company, did you quickly feel integrated?Pierre-Arthur Raveau »In the beginning it was very hard for me to stay in the wings understudying corps de ballet parts… I wanted to be on stage and embody great roles. The only way to achieve this quickly at the Paris Opera Ballet is to be promoted at the annual promotion competition, the »concours de promotion«. This is why, from the moment I joined the company, I focused all my energy and time towards climbing the ranks of the company as quickly as possible. Through hard work I achieved my goals and I am proud of my effort as well as of what I have achieved so far! However, because of this I never really tried to make friends or be a part of the company life as only work mattered to me. Even so, I feel I have my place in the company as people know that I am dedicated and passionate even if I am not a part of any group. I think that it is better this way, in my opinion it is a bad idea to mix personal and private life«.

Jump* What sets a Paris Opera dancer apart from other dancers?Pierre-Arthur Raveau »What sets a Paris Opera dancer apart from others is a certain style which you could describe as a natural elegance. A meticulous attention

to detail, never leaving anything up to chance, a refined sophistication, a certain reserve and nobility in authenticity«.

Jump* According to you, what makes the Paris Opera Ballet one of the best companies in the world?Pierre-Arthur Raveau »In my opinion, it is the quality of the corps de ballet [at the Paris Opera Ballet, all ranks until demi-soloist included are considered as part of the corps de ballet] that has a unity of style and where many dancers could be soloists and unfortunately aren’t due to the the lack of available soloist positions. This is especially true concerning the rank of female Sujets (demi-soloists) where the competition is ruthless«!

Jump* How did you evolve as a dancer and more importantly as a human being whilst being in the company?Pierre-Arthur Raveau »I am blooming more and more. As a teenager I was very reserved, almost closed off in a way. It is through dance within the Paris Opera Ballet School and especially later in the company that I started to gain confidence in myself. I started to write a diary at the age of 14, when I compare what I wrote at the age of 18 with my thoughts of today, I realize that I am a totally different person now. But this also because, or maybe even thanks to, an injury I had in October 2014, a ruptured Achilles tendon that made me reconsider my entire life… My personal evolution has made me a more open person who is less scared of simply being myself«.

Jump* What was your first Etoile role and how did you approach it?Pierre-Arthur Raveau »My first principal part was the dancer in green in Jerome Robbins’ »Dances at a Gathering« in 2012. I was freshly promoted to demi-soloist and I think it was a great idea from the direction to make me start my soloist career with this piece as this ballet has no characters, you simply have to be yourself on stage. This gave me the opportunity to concentrate on my technique, on partnering, enjoy Robbins’ extreme musicality and to trust myself as well as to take my place among other much more experienced soloists than me.My second role was Colas in »La Fille

Mal Gardée« of Ashton. Elizabeth Maurin coached Mathilde Froustey, now principal at the san Fransisco Ballet, and I. She was truly wonderful in the way that she made me find my own interpretation of the role by asking me questions that would trigger others in my mind. Since dancing this role, whenever I have to interpret a character, I search for what resonates with this role in myself. We all have an incredible range of emotions, you have to be brave and open certain drawers, to let emotions escape that you usually keep hidden in daily life but that are necessary on stage to bring your character to life«.

Jump* Who influenced you the most in your artistic life?Pierre-Arthur Raveau »It is difficult to say, there have been so many people… I won’t mention any as it would be terribly unfair to forget someone. I think of all my teachers, ballet masters, directors, dancersand choreographers who have guided me. I say this honestly, every single person who crossed my path and who made me work has influenced me and has given me something important, artistry, technique, self-control and advise of different kinds. I am someone who needs to search and find things by myself, because of this I have never searched for a »maître« or mentor of any kind. I prefer to soak up everyonesadvice and synthesize all information by myself. I think I would not be able to work in any different way«.

Jump* Your funniest moment on stage?Pierre-Arthur Raveau »I love when during the last performance of a long run dancers insert little jokes on stage that only the dancers will notice. I myself have never done it but I am a very good spectator! I have had so many laughs looking at my colleagues joking«!

Jump* What does a typical day in your life look like?Pierre-Arthur Raveau »My typical day starts with the healthiest possible breakfast (usually this will be a »Budwig« creme). Class starts at 10am or 11am (there are two) and will last for 1h30. I warm up for about 30 minutes before that. I also have the option of taking Yoga or Pilates classes before ballet class. This is new since the arrival of our new director Benjamin Millepied. Depending on my schedule

I N T E R V I E W

I will usually eat at the opera house canteen. Rehearsal starts at noon and can last until 7pm. If I have time, I will go into a free studio and work by myself. This personal work time is very important for me. When there is a performance at 7.30pm, we will stop rehearsing at 4pm. I will then rest and mentally prepare myself for what I have to dance that night. Then I will go to make-up and do my hair myself after which I will go and warm up. After the performance, I stretch and go home. I usually have a lot of trouble falling asleep after a performance as I am still filled with adrenaline. I will therefore have dinner followed by a green tea and a bath, sometimes cold as it is better for muscle recuperation or read a good book«.

Jump* What do you do for training outside of work?Pierre-Arthur Raveau »Other than class, rehearsals and my personal work in the studio I work out at our gym for partnering, bike for stamina, stretch, calisthenic exercises as well as Yoga and Pilates if I have time. To recuperate and take care of my body I will have massages and take cold baths. And of course I still do all of my revalidation exercices for my Achilles injury«.

Jump* What do you do during your rare free time?Pierre-Arthur Raveau »When I don’t work, I love to walk around Paris, see the Seine, the exceptional architecture, the windows of antique stores and old book stores, smell the city, experience museums, take a stroll in the Bois de Vincennes. To refill my batteries I need calm and to see beautiful things. I read, play the piano, watch movies and I do day-dream a lot«.

Jump* Does this mean that you prefer a more solitary life?Pierre-Arthur Raveau »I have a small group of friends that I sometimes see but I do lead a solitary life. This is who I am. I like it because I can give dance full priority and I have nothing keeping me from working as much as I want«.

Jump* You mentioned playing the piano, which you do masterfully. How does this influence your dancing?Pierre-Arthur Raveau »I started to play at the ago of 10 at the same time as I started to dance. It really helps me to compare the different approaches I have to these two art forms. With dance, I have always been very scholar and tried to please my teachers as with the piano I only spent one year with a teacher after which I continued as an autodidact. My goal was to find pieces I enjoyed playing without worrying about style or conformity to any norm. I played only for myself, it was a way for me to express what I felt during a period in which I felt very lonely without real friends. I have therefore a very rough way of playing with a total absence of borders between my feelings and the sound coming out the piano which has, for a long time, been the opposite in dance. Today, as I realize all this, partly thanks to my injury revalidation period during which I had a lot of time to reflect, I try to liberate myself and infuse my dancing with a lot of »me«. I often tell myself, ‘dance like you play the piano’«.

Jump* Would you ever consider leaving Paris Opera? Where would you want to work other than Paris Opera?Pierre-Arthur Raveau »I really don’t think that I could ever leave Paris Opera. It is a company in which I feel at home and I adore Paris. Maybe one day I will take a sabbatical season and go to another company for a year but that is something that I am not considering at this point. I also have absolutely no idea where I would go to live this experience«.

Jump* When is the last time you were truly moved by an art for other than dance?Pierre-Arthur Raveau »The work that has most violently moved me is »The Tale of the Princess Kaguya«, a Japanese animé by the Ghibli studios. I cried during and even after the movie«.!

Jump* Your advice to young dancers at the start of their careers?Pierre-Arthur Raveau »I would strongly suggest young people at the start of their careers to not lose any time. It is at the beginning that many things play out. It is then that the direction will see if you are ready to go far. There is no second chance to make a good first impression! Be curious to know yourself and know what you truly want out of your life. Do not accord any importance to people who stand between you and your goal, trust me, you will encounter many! Instead focus on the people who care for you keeping in mind to separate your professional and private life. This is my opinion«.»Most importantly, do not forget that what matters the most is hard work. It is the heart of our line of work and the key to your personal florescence in our art form«.

Daphnis et Chloé

Pierre-Arthur Raveau in a ballet of Benjamin Millepied

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I N T E R V I E W

Bridget Breiner was born in the United States in Connecticut

and raised in Columbus, Ohio. Her younger sister is a

mathematician and her younger brother is a saxophonist.

…»Our family was a fairly typical Midwestern family while we

were growing up, but for the last decade our parents have been living

all over the world - Mexico, China, Bolivia, Spain, England. Dad is a

journalist who trains students in digital journalism, Mom is a retired

accountant. There are many musicians in the extended family«.

Jump* Bridget, why did you start dancing and when did you know it was going to be your career?Bridget Breiner »I wanted to be a child star, like Shirley Temple, which to me meant to sing and dance on Broadway or in the movies. That turned into lessons at the small local dance school: half an hour each of ballet, tap, and acrobatics, once a week. Sometime after that I began training at BalletMet Dance Academy, which is affiliated with the professional company in my home town«.

Jump* Who had the biggest inf luence on your career? Bridget Breiner »Many people have helped me in my career, but there were two moments when my life made a dramatic turn because of a mentor. Dale and Vineta Brannon, two of my teachers in Columbus, introduced me to John Cranko’s ballets. It is because of their inspiration that I came to Europe. Then, many years later, when I thought my career was over due to an injury, I met Christina Bernal. She helped me retrain, starting virtually from zero, until I was able to dance again - better than before the injury, and in spite of the damaged foot. Both of these encounters changed my life«.

Jump* Which was a defining

moment in your career? Bridget Breiner »Dancing Odette / Odile for the first time, in my first season with the Stuttgart Ballet, was a huge moment in my career. It was my first full-length role, and I had the feeling that everything would be different after that«.

Jump* Your favorite role? Bridget Breiner »The roles I most loved in Stuttgart were Tatiana and Juliet - incredible, moving roles to dance - but also Blanche in John Neumeier’s »A Streetcar Named Desire«. The psychology of Blanche fascinated me; the ballet is built around her inner life and it was always a strange journey to perform it. In the world of abstract dance: I love dancing Glen Tetley’s work, as well as Marco Goecke’s »Tué«. Since taking over the company in Gelsenkirchen I have begun working with Cathy Marston, and it has been incredibly fulfilling to create and dance her »Orpheus« and »Three Sisters««.

Jump* Dancers you look up to?Bridget Breiner »There are many dancers I admire and who inspire me, but the two women who really shaped my image of the dancer I wanted to become were Evelyn Hart and Marcia Haydeé«.

Jump* You are famous for your immense stage presence and immersion in a role, how do you prepare a role? Bridget Breiner »I tend to be obsessive about preparing for roles. If I play an actual character I will look for anything I can find that remotely relates to the role - books, movies, music, art - anything that gives me sensations of that person. There was a period when I also read a lot about acting techniques, but of course a dancer is working in a completely different medium than an actor is, and sometimes I’ve made life difficult by trying to apply those concepts to dance. It’s worth struggling through it, though; one learns interesting things when approaching a character from every direction, even if it is not all obviously useful. One begins with a huge pile of ideas for the character, and then starts shedding them, hopefully ending up with a clear and rich reading of the role«.

Jump* As a choreographer, how does your inspirational process start and where do you get your inspiration from?

Bridget Breiner »I am inspired for choreography from many different sources, but usually it is a story or piece of music that gets me started. Now that I am directing a company I often create a ballet to fulfill a particular need of the company - maybe I feel I need to push a certain dancer, or we need a story ballet, or we need to use a string quartet. I like tasks. They give me ideas. I am often freer when facing limitations«.

Jump* When you create a piece, how much of your choreography is directly inspired from the dancers you are working with?Bridget Breiner »I am very inspired by the dancers who are in front of me when we create. That is actually what I enjoy so much about being a choreographer with a

company. The dancers and I grow together, we become better at offering each other ideas and material. There are a lot of personalities in a ballet studio, so we have to get to the point where we know and trust each other enough to bring out the best artist in one another«. Jump* Did you ever plan to become a ballet director?Bridget Breiner »I never planned to be a director, but I think there must have been a latent desire to run a company buried deep in me somewhere. It is not an accident that I am doing this now, but fifteen years ago I would not have guessed that this is where I was headed«.

Jump* Which designer and which set designer is most creative and is a favorite designer for your work, for your choreographies?

Bridget Breiner »I’ve had the good fortune to work with many great designers, and lately I work quite a lot with Jürgen Kirner. He was the set designer for my first commissioned piece (with Kevin O’Day’s company in Mannheim); we were thrust together. He’s been a wonderful collaborator for me, as we appreciate the same things about theater but approach them from very different directions. I would also love to do more work with Jean-Marc Puissant and Thomas Lempertz; we have only just begun our collaborations together«.

Jump* Between dancing yourself, guesting, choreographing, managing your own company, how do you unwind and spend your rare free time?

Bridget Breiner »I try to get outdoors a lot in my free time, walking or biking. I read voraciously on vacation, but I find it hard to put down a good book, so I don’t often read for fun during the season«.

Jump* Do you already have new ideas, wishes or plans on future creations and with whom you would like to work with?Bridget Breiner »I have many ideas for future projects, but they are all still brewing... Not yet fit for the light of day«.

Jump* What do you enjoy most in being a choreographer and being a ballet director? Bridget Breiner »I love the dancers. It is incredible to watch them grow as artists, it’s such a privilege to be part of their journey«.

Jump* What advice would you give to young dancers at the start of their career?Bridget Breiner »Forgive yourself for not being perfect, otherwise you’ll never do anything«.

Jump* How did you experience teaching and observing classes at the »ART of« Ballet Summer Course?Bridget Breiner »I’ve always had a wonderful time teaching and observing the »ART of« Summer Courses in Berlin. The range of teachers working there is quite incredible. It is a rare opportunity for the dancers to experience the working process of some really great choreographers that they otherwise might not encounter - and that can sometimes change the whole focus of a

dancer’s work«.42 | Jump* | SEPTEMBER 2015

B R I D G E T B R E I N E R

Photo: Costin Radu

D I R E C T O R

B R I D G E T B R E I N E R D I R E C T O R

Photo : Cos t in R a du

T h i s p a g e c o u l d b e y o u r s

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d e s e r v e s .

F o r m o r e i n f o r m a t i o n c o n t a c t u s a t

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* T h e » A R T o f « M a g a z i n e

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Jump* Dancer's Lifestyle MAGAZINE n° 3

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Transcript of Jump* Dancer's Lifestyle MAGAZINE n° 3