The
WONDERFUL World of Dance
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Iana Salenko
The Ballet Issue
EDITOR’S Note Welcome to The Wonderful World of Dance magazine! I’m so honoured to have the incredible prima ballerina Iana Salenko grace our first cover. Iana embodies our vision of beauty, strength, character and extraordinary talent. We want to be different, we want to be beautiful, we want to celebrate remarkable dancers and dance artists, and showcase dance fashion, beauty and dance travel hotspots around the globe. For this edition, we travelled from London to Berlin, Budapest and Prague. We’re excited to feature dancers, choreographers, artistic directors and companies from Eastern Europe and around the world. Our cover was photographed by the very talented and oh so lovely Dean Barucija of Pickled Thoughts Photography. We wanted to create a Berlin story, so we collaborated with Berlin couture designer Kaviar Gauche who kindly provided five stunning gowns for Iana, which I had the pleasure of personally selecting. I want to thank everyone for their support, encouragement, contributions and shared belief in our vision. Our first edition has been an amazing experience and we’re looking forward to our next issue!
Savannah Saunders Editor In Chief The Wonderful World of Dance savannah@thewonderfulworldofdance.com
The
WONDERFUL World of Dance FOUNDER & EDITOR IN CHIEF Savannah Saunders savannah@thewonderfulworldofdance.com Partnerships Director Simon Saunders simon@thewonderfulworldofdance.com Magazine Design Rise Shine Design riseshinedesign.com Dance Historian Caroline Hamilton carolinehamiltonhistorian.com Guest Beauty Editor Nicola McCullough strawberryblondebeauty.com Contributing Photographer Dean Barucija Pickled Thoughts Photography pickledthoughts.net Contributing Photographer Rick Guest rg-e.com Publishing & Editing Alex Vinci alex@thewonderfulworldofdance.com Art Direction Savannah Saunders THANK YOU Iana Salenko, Berlin State Ballet Dean Barucija, Pickled Thoughts Photography Kaviar Gauche Balmain Rick Guest Karolina Kuras Royal Academy of Dance Paris OpĂŠra Ballet Berlin State Ballet Czech National Ballet Hungarian National Ballet The National Ballet of Canada
FOLLOW US Web: thewonderfulworldofdance.com Instagram: @thewonderfulworldofdance Facebook: facebook.com/thewonderfulworldofdance Twitter: @wonderfuldance Pinterest: pinterest.com/wonderfuldance Flipboard: @wonderfuldance
#WONDERFULTEAM ONLINE CONTRIBUTORS Katrena Cohea Diana Dunbar Kirsten Evans Caroline Hamilton Lydia Holt Jennifer Kohli Nicholas Kyprianou Francesca Marotto Ruth Mattock Alison Roberts-Tse Claudia Suarez Bill Waldinger Publisher WWOD Ltd 92 Wymering Road London, UK W9 2NE
COVER CREDITS Iana Salenko Principal Berlin State Ballet Photography Dean Barucija Pickled Thoughts Photography info@pickledthoughts.net pickledthoughts.net
International Distribution Pineapple Media
Producer / Concept Savannah Saunders
Distributor’s Website pineapple-media.com
Assistant Producer Simon Saunders
ISSN: 2399-8369 (print & online)
Creative Direction Iana Salenko Dean Barucija
No part of this publication may be reproduced in whole or in part without permission from The Wonderful World of Dance. The views expressed in The Wonderful World of Dance magazine are those of respective contributors, and are not necessarily shared by the magazine or its staff. We welcome new contributors but can assume no responsibility for unsolicited manuscripts, photographs or illustrations. All rights reserved by WWOD Ltd www.thewonderfulworldofdance.com
Hair / Makeup Iana Salenko Dressed by Kaviar Gauche Pointe Shoes Iana Salenko wears Freed of London Earrings Models own - Iana Salenko
10 WHAT’S ONLINE 12 IANA SALENKO 24 OLAF KOLLMANNSPERGER 32 ANDREA KRAMESOVA 44 PIETRA MELLO-PITTMAN 50 GERGELY LEBLANC 54 TAMAS SOLYMOSI 56 RICK GUEST 64 CALVIN ROYAL III 68 SONIA RODRIGUEZ 72 ANA MARIA GERGELY 76 DANCE HISTORY 82 WONDERFUL DANCE FASHION 114 WONDERFUL DANCE BEAUTY 118 WONDERFUL DANCE TRAVEL GUIDES 120 PRAGUE 128 BUDAPEST 136 BERLIN 146 PODCASTS
ENTS
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W CHECK OUT WHAT’S HAPPENING ONLINE thewonderfulworldofdance.com
RE VIEW S
Our #WonderfulTeam reviews the hottest dance in London, across the UK and US and on our travels around the world.
IN TE R V I E W S
We feature exclusive interviews with dancers, choreographers, artistic directors and dance artists from the world’s best dance companies.
PODCA STS
Listen to our editor talking with dancers and dance artists across ballet, contemporary, flamenco, tap, hip hop, experimental dance and more.
W W DT V
Our newly launched dance tv featuring video interviews so you can watch your favourite dancers and artists sharing their dance journeys.
FE ATU R E S
Our #WonderfulTeam of dancers, dance students, teachers, writers, historians and dance lovers share their passion for dance covering a wide range of topics from dance history, health, life as a dancer and teacher, favourite dance books and films and more.
DANC E T R AV E L
Follow our #WonderfulTeam around the world as we visit dance companies and festivals. See where we stay, where we eat, what dance to see and do! Tango Fire
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Project O. Image: Katarzyna Perlak and Jack Barraclough
F OL LOW US
Join our 150,000 fans and follow us on Instagram, Facebook, Pinterest, Twitter, Tumblr, Flipboard, Google+, YouTube, iTunes, Android, Stitcher... Evangelia Kolyra. Photo: Foteini Christofilopoulou
2Faced Dance Company Photo: Luke Evans
Alexander Whitley Dance Company
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Iana Salenko PrimaBallerina PRINCIPAL, BERLIN STATE BALLET GUEST ARTIST, THE ROYAL BALLET
Gorgeous photos by Dean Barucija Pickled Thoughts Photography Iana Salenko dressed by Kaviar Gauche 13
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Salenko is an iconic ballerina, a demigod to her devoted fans who chant her name when the curtain falls on her performances at the Deutsche Oper Berlin. As a guest artist of The Royal Ballet, she sells out the Opera House with fans clamouring to see her dance on the famous London stage.
dancer Marian Walter, at a ballet competition in Vienna, Iana followed him to the Berlin State Ballet. Joining the company in 2005, she initially took a step back as a demi-soloist, but was quickly promoted to soloist in 2006 and principal a year later. At the cover shoot, Iana transforms before our very eyes. With an ethereal magic she brings the couture gowns to life - each dress showing another side, another character, another story told through the fabric, through her movement, through her emotion. Iana is a true artist, a great actress who is electrifying both on stage and in front of the camera. The shoot isn’t a pose, it’s a performance, one that comes from inside and reveals the inner Iana. Needing no direction, Iana knows her body, she knows how to move, how to perform so that her strength, her muscles, the details of her legs and arms are captured.
Adored for her dynamic musicality, flexibility, emotional performances and stunning beauty, Iana is also a lovely, generous and caring person behind the tutus and pointe shoes.
She has a quiet confidence, a vulnerability and courage to try different angles, different positions, as well as the dedication and professionalism to repeat a jump or extension over and over until the photographer captures the perfect pointe, the perfect hand, the perfect expression.
Born in Ukraine, she trained at the Pisarev Ballet School, Donetsk, graduating in 2000, joining Donetsk Ballet for two years, before moving to Kiev Opera Ballet as a principal at just 18 years old. After meeting her husband, fellow
What we see in the studio is Iana’s passion, her artistry and devotion to her art that carries through to her roles on stage, “I think about the role, I try to find the nuance. I search for something new and play around
with it to give the best performance.” Iana and Marian, also a principal, regularly perform together, “It’s beautiful because you know each other. It’s so easy to play a love story. It’s natural and beautiful to dance with my husband.” “I love to act on different role, or play happy feel the drama
stage, to feel a whole not just be young and funny, but to and show the pain.”
This desire to discover and push the boundaries also inspires her daily class, “Sometimes it’s hard doing the same steps every day or rehearsing the same role. So I try to find how to play with the music, to find new arms or a new style.” As an international artist with appearances and galas around the world, Iana has an enviable jetsetting career. But it’s her role as guest artist with The Royal Ballet that has given her the opportunity to fulfil one of her greatest dreams. “I love The Royal Ballet, as a guest they make me feel like a princess, they’re so nice. I also get to study new ballets and a new style. I’m really happy and I appreciate that I am a guest of the Royal Opera House, which has always been my dream.” Watching Iana’s photoshoot and seeing her perform in the divine, embroidered, delicately crafted couture gowns with the talented Dean Barucija behind the camera, has definitely been a magical dream come true.
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Goddess
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OLAF BERLIN STATE BALLET KOLLMANNSPERGER Soloist & Choreographer Photos by Dean Barucija Pickled Thoughts Photography Styled by Olaf Kollmannsperger
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Olaf Spanish born Olaf Kollmannsperger grew up in Madrid and like many young boys dreamed of becoming a footballer.
He then joined Zurich Ballet, a younger company, known for their high calibre of male dancers where he gained the stage experience he sought.
It’s very exciting, there’s always a new project, you can have six different ballets to rehearse in one day. Being a soloist is so much fun, I really love it here.”
Olaf’s natural talent saw him study at the Royal Conservatory of Dance in Madrid for ten years, graduating at 18 and joining The Royal Swedish Ballet, “It was very exciting, I moved from Spain to Sweden and started my dance career.”
In 2004, after four years in Switzerland, Olaf followed celebrated Spanish choreographer Nacho Duato, whose work he studied at the Royal Conservatory of Dance, to Berlin State Ballet. “I always liked the aesthetics of Duato’s pieces, the aesthetics of the movement, which is very simple, very beautiful. So I moved to Berlin because I wanted to work with him.”
When he’s not dancing, Olaf is choreographing his own work. He calls it his “favourite hobby”, it’s an interest he’s had since his schooldays back in Madrid,
“I loved the theatre in Stockholm, it’s very old, it had all the traditions, full of history in every corner and the people were very nice and very experienced.”
Speaking in the large studios in Berlin, Olaf is very upbeat, energetic and completely down to earth. He exudes positivity and happiness, through his wonderful friendly smile.
Olaf settled in quickly and was given many roles to dance and the opportunity to work with acclaimed choreographers Mats Ek and his Spanish wife, Ana Laguna.
His lean frame and radiance is a result of both hard work in the studio and healthy eating, “In the beginning of my career I didn’t take that much care, but now I’m becoming a health freak. I just always like to be in shape.”
But his future changed when a local dance teacher held auditions at his school and spotted something special in the young boy.
“It was so inspiring, I love the way Mats Ek expresses his pieces, he has a special style. He is so intense in rehearsals and determined to get what he wants. It was very satisfying to dance his pieces and to work with him.” After five years in Stockholm, Olaf felt the need to change companies and countries in order to grow as an artist. “I decided I wanted to improve my technique and to improve my acting, to become a better artist.”
His clean living in a city he loves, dancing with a company he admires has enabled Olaf to create a fulfilling life, and he’s also recently become a father for the first time. As a soloist he feels privileged to be with Berlin State Ballet performing a varied repertoire of modern and classics, with different productions throughout the year and dancing across the capital’s three theatres The Deutshce Oper, Schiller Theatre, and the Komische Oper.
“I love the process of putting together and making a new piece of art and creating stories.” Olaf is a young choreographer to watch, having created six works to date and becoming a finalist at the ‘Emerging Choreographers Competition’ held in Biarritz with his piece, The Cooking SHOW. His latest work entitled ANDROMEDA is a dark, futuristic piece set in an underground club-like vacant space with an electronic post-ambient track (music by Ryoji Ikeda) narrating the human destruction to the delicate ecosystem of the Earth. Olaf is photographed in the costume of black leggings and dramatic draping cape, holding the large silver amulet that comes from this engaging piece, that demonstrates Olaf is already on the way to achieving his future goal of becoming a choreographer once he steps off the stage. Check out ANDROMEDA on YouTube performed by Berlin State Ballet dancers Patricia Zhou and Paul Busch.
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Andrea Kramesova Principal Dancer
CZECH NATIONAL BALLET
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Photo: Dara Rakovcik 33
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Andrea grew up at a time when her country was known as Czechoslovakia, until the collapse of the Communist regime gave rise to the Czech Republic in 1993.
Marcello Angelini, he’s fantastic. Professionally it was a very good experience, but I missed Europe, I missed the history and Tulsa was so far away.”
ndrea Kramešová, principal dancer, Czech National Ballet greets us in Prague at the 136 year old Cafe Slavia, made famous by dissidents, artists and intellectuals. Although it has beautiful views of the majestic National Theatre, Prague Castle and Danube River, Andrea kindly invites us to the company’s studios.
During this period, at the age of five, Andrea started gymnastics and dance, attending the Czech National Ballet’s preparatory school. By the time she was six her teachers encouraged her to audition for the Dance Conservatory in Prague, where she was offered a place and studied for eight years.
“What was the most difficult was that we didn’t have enough performances at that time. So as a young dancer I was keen to be on stage more.”
After a short walk along the river we enter the company building through a tall archway, down a cobbled alley thread between two ballet studios. Andrea takes us on a guided tour through the space, showing us an intimate attic studio built in the eaves where dancers do pilates under the original dark wooden beams. We settle in a quintessential old European ballet studio with full length mirrors, a black grand piano and a huge sparkling chandelier overhead, surrounded by windows overlooking the terracotta tiled roof tops of the neighbourhood.
After graduating from the Conservatory she joined Prague National Theatre Ballet Company for four years (1999-2003). And in 2000 she won First Prize in the ballet competition in Brno, Czech Republic.
Casually dressed in jeans and trainers with her hair in a bun, Andrea is the perfect image of an off-duty ballerina. She’s absolutely beautiful, with a natural friendliness and kindness. I soon discover that she also has an inherent desire to explore and learn.
Whilst dancing with the Prague National Theatre Ballet Company Andrea flourished. In her first year she was given solo and lead roles. But despite her success, Andrea decided to leave her hometown and her home company, emigrating to Tulsa, America of all places - how very unexpected! She explains, “I wanted to challenge myself, to learn a new language, to explore the world and find out what was out there.” After two years as a soloist with Tulsa Ballet, Andrea decided to move back to Europe, “Tulsa was a great company, I have the best memories from artistic director
Andrea left hot Oklahoma and landed in Germany in the middle of winter to audition with Deutsche Oper am Rhein in Dusseldorf, which was to become her home for the next four years. “I auditioned with the company and afterwards they told me they wanted me to try something from their repertoire.” “So I waited and waited for half a day until the company finished rehearsals and then they started to teach me Youri Vàmos’ Juliet variation. At the end of the day, they offered me a contract to dance Juliet, so of course I said yes!” Her next move was to The Royal Swedish Ballet as a soloist, to gain more experience working in a different company, with a different history, hierarchy and repertoire. And then after nine years dancing on both sides of the Atlantic, where she had the opportunity to perform the work of inspired choreographers
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“ FOCUS ON YOUR DREAMS, WORK HARD, JUST DON’T STOP ”
Nacho Duato, Jiří Kylián, George Balanchine and Mats Ek, Andrea decided it was finally time to return home to Prague. “It was quite a hard decision, it’s taken me time to realise what I want, where I want to be, but I’m very happy.” Joining the Czech National Ballet 2011 and rising to principal, Andrea has danced the lead roles in Swan Lake, Sleeping Beauty, Romeo & Juliet, Giselle, The Nutcracker, plus the company’s premiere of Petr Zuska’s Solo for the Two of Us and Radu Poklitaru’s Vertigo, presented earlier this year. “As a dancer you learn all the time, you have to be open. I’ve been lucky to work with different choreographers and it’s demanding, it’s hard for the body, especially in Prague as we have such a wide repertoire. One day we have Swan Lake and the next day Mauro Bigonzetti, so it can be difficult to adjust, but at the same time it’s very challenging and inspiring.” It’s this artistic and creative inspiration and physical challenge that keeps dancers motivated, which can be hard when faced with setbacks. Like most dancers Andrea has suffered from injury, breaking her foot in a previous season. “My career has been up and down, up and down
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and I’m always scared that something will happen. When I broke my foot I didn’t know what to do, but I came back. But I do worry, “what if I don’t come back this time?” “But I have to trust life, trust that there is a purpose to everything and try to not worry if something happens and to just live the moment.” And the moment that Andrea lives for is the one on stage, her favourite moment, “It’s like a high, like a drug. I love the atmosphere in the theatre, the smell, the sound of the orchestra, friends all around.” “It’s magical you have all these doubts and you are nervous or you have adrenaline within you, but when the performance starts and I’m onstage, I forget everything, I just try to enjoy it and be in the piece.” When not on stage, Andrea can be found either studying for her dance science degree or giving company class, “It’s inspiring to be part of the company from the other side of the barre. Through teaching I learn more about myself. As I concentrate on the details that can help my colleagues, I learn something for myself.” What Andrea has learnt throughout her extensive career is great advice for aspiring dancers, “Focus on your dreams, work hard and if there are obstacles just don’t stop, find a way to go through.”
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Getting Underneath dance injuries
Photo credit: Nicola Selby
The right dance floor protects your body
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ne of the biggest concerns for dancers, both professionals and students, is injury prevention.
Dancers eat well, stretch, strengthen and listen to their bodies. Just as important is the quality of the dance studio and critically the floors on which they dance. Professional choreographer and Liverpool Institute for Performing Arts dance graduate Thomas Ashton explains, “As a dance student you live and breathe in the studio, so you have to feel at home and you have to feel safe in your training environment.” What many dancers, teachers and parents may not know is that there is a proven, indisputable link between the quality of floor and dance injuries. The wrong type of floor can lead to a variety of ankle and shin stress related injuries that can affect a dancer’s training or career.
injuries”, shares Liverpool Institute for Performing Arts dancer Myles Harper. The world’s leading dance floor specialist Harlequin Floors has been pioneering research and development of advanced technology flooring for more than 40 years. Harlequin’s range of dance floors can be found in the most famous theatres and studios around the world. Guy Dagger, Managing Director, Harlequin Floors tells us how floors can prevent injuries. “An ideal dance floor needs to be not too hard with just the right amount of give to avoid repetitive strain injuries, and not too soft which can be tiring and cause muscle fatigue.
There is a proven, indisputable link between the quality of floor and dance injuries
“Being a dancer, means you’re doing a lot of jumps, a lot of leaping around and you need to know that the floor is cushioning enough to be able to take your weight. “You can learn to jump and go through your feet as much as you want but if the floor is not providing you with that shock absorption you will eventually get
“There should be an appropriate level of traction or slipresistance. Too much can block movement and cause the foot to twist. Too little and it can be dangerously slippery, although certain dance styles such as ballroom require a degree of slip. It should also absorb the energy of falls to protect against serious injury.”
Harlequin Floors is dedicated to dance safety and preferred by dancers and performers world over. Their floors cater for ballet, contemporary, street, hip hop and tap and more. The right floors ensure that dancers’ bodies are being supported with every step. www.harlequinfloors.com
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From Ballerina to Producer. FORMER ROYAL BALLET FIRST ARTIST Pietra Mello-Pittman gives us Voices of the Amazon Photos by Johan Persson
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Pietra Mello-Pittman While dancing on stage with The Royal Ballet, Pietra Mello-Pittman and award winning composer Ella Spira founded their own company - Sisters Grimm. Together they successfully created Grammy® Award nominated sell-out show INALA and their new hit dance musical, Voices of the Amazon.
We wanted to unite the two worlds of African and Western cultures and bring their audiences together to represent diversity, combined with ballet elite and live music.
Pietra Mello-Pittman shares her journey from ballerina to producer, London to Rio, ballet to dance musical.
The Royal Ballet rehearsal schedule came out every week and Ella and I would schedule our Sisters Grimm meetings around that. She would come to the Royal Opera House to work (sometimes I would be in my costumes!) It was all or nothing, sometimes very busy and other times (in lighter more narrative ballets with less dancing) I had more spare time.
You launched Sisters Grimm at the height of your ballet career, what inspired you to create your own company? I had collaborated with many artists before on different projects but met and worked with Ella Spira in 2008. We both shared an ambition to make large spectacles, to share our love of arts to as large an audience as possible. We are both passionate about producing something that the world hasn’t seen before that is professional, cultural and interesting. Together with Ella, you created the sell-out show INALA. What inspired you to combine traditional dance and music with ballet? Ella had always wanted to work with Grammy® Award winning Ladysmith Black Mambazo and she took me to see their concert in London and we were blown away by their talent and could see the beginnings of a collaboration that was very promising. We had visions of The Royal Ballet and Ladysmith Black Mambazo side by side. 46
How did you balance the demands of your ballet career with creating INALA?
Don’t be afraid of the unknown and don’t settle After 13 years with The Royal Ballet you retired in 2015. What led you to decide to hang up your pointe shoes? To me it just felt like the perfect time, I had done all that I knew I would do with The Royal Ballet and fulfilled that part of my life. I knew the decision was right as by this time INALA had become too big and
too important in my life to juggle with The Royal Ballet’s rehearsal schedule. Essentially I had to choose between The Royal Ballet tour or the Sisters Grimm tour and with the direction I wanted my life to go in, it was a no brainer! How have you found the transition from full-time professional ballerina to full-time producer/director? The transition for me hasn’t been hard but very natural and I love what I do. Having started full-time ballet training at 16, I always had other interests and was doing other things alongside ballet, e.g. studying at Open University, taking a teachers course, choreographing and then eventually producing. So to be a full-time producer now does not seem like a new daunting thing but something I started to do a very long time ago. I am always so busy and there are always challenges to overcome which is brilliant! Although there is a lot of administrative work that comes with producing large scale, international shows, it is balanced with all the creative aspects and so I have not left the world of theatre, music and dance behind (I just don’t have sore toes anymore!). What do you miss most about your former ballerina life? I don’t miss anything - I’m too busy! It was incredible to have a live orchestra to perform to every
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Voices of the Amazon night but my life is still surrounded by music as my business partner is a composer! Touring was always a highlight but now I get to tour a lot more! Does your role as producer bring you the same level of fulfilment as a ballet dancer? Absolutely! When you run your own company the stakes are much higher and the highs are huge. Ella and I are responsible for everything so we feel super proud when the curtain rises and falls on our shows and when we have successes. In my new career I am learning everyday and there is always something new to overcome which I love. Your new production Voices of the Amazon is a dance musical from the heart of Brazil, what inspired this show? I was born in Brazil (Rio de Janeiro) but grew up in England. Ella and I had seen a lot of Brazilian shows in the UK and felt that they showed one side of the culture (predominantly Carnival) and that we could explore a different side. We went on a cultural immersion R&D trip to Salvador, Sao Paulo and the Amazon rainforest and saw the beauty of Brazil’s nature and its incredible animals. We saw creatures that sound as if they are magical or make-believe. For example flying fish, pink dolphins and Howler monkeys, and we witnessed the haunting impact of deforestation. With only 7% of Brazil populated we felt nature connected everyone and we wanted to bring together communities and audiences and draw attention to the Amazon rainforest - the lungs of our planet. The show’s story unites water and 48
land worlds with forgiveness and acceptance being some of the themes. We wanted to make a contribution to community cohesion and the wellbeing of our city by offering free tickets to state schools for Voices of the Amazon, which celebrates diversity and the natural world. We are working with the Jo Cox Foundation on this, as our values and work is very much in line. Managing a star-studded cast, 15 dancers, singers, and an enormous stage production, describe your typical day... No day is typical! We handle both the administrative tasks like budgets, contracts, through to trucking, carnet and visas and fundraising, alongside the creative roles: music, dance, storyboarding, casting! We live off the adrenaline. When the curtain rises, it is always worth it! Voices of the Amazon blends ballet, contemporary dance and capoeira with music and song. What challenges did this present in the creative process? Communication is always one that can be a challenge, not only across the different languages of our company, but also across the different disciplines and ensuring all the head creatives accommodate each other’s disciplines. INALA and Voices of the Amazon showcase traditional cultures in commercial shows, why are both these elements important? Keeping cultural traditions alive and continuing to present them is very important to us and we feel that commercial shows are accessible and so keep the traditions fresh and relevant and reach large
numbers of people that may otherwise feel it was inaccessible. What’s next for Sisters Grimm, is there another culture you want to bring to the world stage? Yes but we don’t want to give it away quite yet. What we can say is we are going to represent a culture that at this time is a particularly poignant and relevant culture to represent. Watch this space! You’ve created a successful second act in your career, what advice would you give to other dancers who are considering retiring from the stage? Thank you! One cannot dance for ever and retiring from dance is inevitable, so my advice would be to think about, explore and prepare (if you can) for what you are going on to do when you do have to, or chose to, retire. For me it was important to explore lots of different things - if only to rule out what I would definitely not do when I stopped dancing. For example choreographing and gaining a certificate in Biological Psychology - an introduction to neuroscience, which while rewarding, made me realise I wanted to produce and stay working in theatre. My second piece of advice would be to not be afraid of the unknown and to never settle for anything in life just because it is ‘comfortable’ or because somebody says you should. If you have focused and worked hard to be a professional dancer, then you have the focus and determination to do anything else you want - It is never too late. The whole world is out there waiting for you to make what you will of it, so go out there and grab it!
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Photos: Nagy Attila
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Gergely Leblanc Principal Dancer HUNGARIAN NATIONAL BALLET
We met Gergely Leblanc at the Hungarian State Opera House after a dress rehearsal, still wearing his stage makeup, with his regal white costume giving him the appearance of a natural aristocrat and an air of elegance. At just 22 years old the principal dancer was awarded the Hungarian National Ballet’s highest and most prestigious Etoile Prize last season. You may think that this would give the young dancer an ego, but Gergely is polite, respectful and a little nervous of giving an interview in English. Although Gergely looks a natural principal, he didn’t always aspire to be a ballet dancer. He started dancing when he was eight, but it was his mum who pushed him to attend the Hungarian Ballet School, which turned out to be a decision that changed his life. He explains, “My Mum asked me ‘Gergely, do you want to go to the Hungarian Ballet
School? Do you want to be a ballet dancer?’ And my answer was ‘No’, totally no. Then she said ‘Okay, then I will take you to the school.’ This is the story of how I started!” But it wasn’t always an easy journey for Gergely, “I remember the first few years were quite difficult for me. I didn’t really find my place. I didn’t know what I was doing there.” It wasn’t until his fifth year at the school that Gergely started to feel more comfortable in the ballet world, finding his inspiration at the Opera House watching others perform on stage. It was watching Onegin that inspired Gergely to pursue the dream of becoming a professional dancer. And it was at this time that Gergely’s training started to pay off, winning competitions and shining in ballet school. His natural talent and work ethic secured him a place at the prestigious Royal Ballet School in
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This company is my whole life. I spend all my time here.
London. And although his year at RBS was an amazing experience, Hungary was always in his heart. “I was terribly homesick, and although I really liked the city, I couldn’t imagine my life there. I could only imagine my life in Hungary with my friends and family.” Gergely returned to Budapest to study at the Hungarian Dance Academy before joining the Hungarian National Ballet in 2011, a company that is very important to him. “This company is my whole life. I spend all my time here, I just use my apartment to sleep. The Opera House, this company, this work, everything, this is my life.” Those deep feelings resonate in his dancing. Watching him perform you can see that he really loves every element, every moment, every step, every gesture of his roles. Gergely has already danced the big lead roles in Onegin, Romeo and Juliet, Swan Lake and Sir Peter Wright’s Sleeping Beauty. These demanding roles take an exceptional amount of preparation, both physically and emotionally. To prepare Gergely spends a lot of time watching videos of other dancers to influence his personal adaptation and interpretation of the characters. With so much achieved at such a young age and a great career still to look forward to, you might expect Gergely to have a long list of roles that he still wants to dance. Instead he talks with intensity about becoming a better dancer. “I
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have a few more roles which I really want to dance and I want to reach that level. But if I watch myself on video I am absolutely disappointed all the time and I become a little depressed. I want to reach a level where I won’t be depressed and I’m not disappointed when I see myself.” This is quite astounding considering the perfect performances, meteoric promotions and rave reviews. But dancers are notoriously selfcritical, constantly in pursuit of an unattainable perfection that sustains their dedication, enabling them to get up every day, take a ballet class, rehearse all day, perform at night, fall into bed and get up, usually stiff or in pain, and repeat it over and over again. Gergely explains, “I think all dancers are self-critical. I just want to look how I imagine in my mind. This is want I want to change, this is what I want to reach in my life.” But this self-critic doesn’t come from a negative place, it comes from a place within that asks oneself to be better, to continue to improve, to go beyond one’s own physical capabilities. But dancers aren’t just bodies, they are artists and it’s important that their creativity is fed. At the Hungarian National Ballet, Director Tamás Solymosi is transforming the company, creating new productions and premieres to motivate the company and dancers. It is no wonder that Gergely feels a sense of contentment, “I feel that I am in the right place because I have all the facilities and all the support around me to improve my career.”
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Photo by Gacs Tamas
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Tamás Solymosi B A LLE T D IRE CTO R
Hungarian National Ballet
On our trip through Eastern Europe, we stopped in to meet the man transforming the Hungarian National Ballet. Hungarian born former dancer Tamás Solymosi took up the role as the company’s Ballet Director six years ago. In that time his modern leadership has revitalised the company with new dancers, new choreographers and teachers, and a wider repertoire making the company more creative and diverse. We met Tamás at the 130 year old historic Hungarian National Opera in the traditional red walled, gold-gilded grand ballroom, which contrasts beautifully as he shares his modern vision for the future of the company. Throughout his career Tamás danced around the world, and was a guest principal dancer with Wiener Staatsoper, the Dutch National Ballet, the Semperoper Dresden and the ballet company of the New York Metropolitan Opera. This international experience has influenced his vision for the deeply historic company, “I had the chance to see other theatres, other companies and how they work. I could see the problems and I could see what they do wonderfully.” “As an artistic director you have to know exactly what you want, what you want to see on stage, what kind of dancers you need, what repertoire you want.” Although he’s looking to the future, Tamás talks with a reverence for his national company, “Hungarian National Ballet is very special. It’s not only our technique
which is very important, but also how we act on stage.” “I’m very proud of our dancers because we have many fantastic artists, many perfect technicians. But of course to be something unforgettable, we have to work on it.” Traditionally, company dancers were Hungarian born and trained, but it was Tamás’ vision to attract new dancers from outside the country, “When I held the first open audition in 2012, we had 160 dancers come. Now we have 700 and another 300 dancers wanting to audition.” “I think we are more rich if we can have good dancers from across the world, because the company gets better. They come here to work and they give their talent for the Hungarian Opera and for our audience.” When selecting dancers, it is not surprising that Tamás demands both technical quality and acting skills. He shares, “I believe if we have only actors on stage that’s not good and if we have only a gymnast or technician that’s not good. These two things together gives us a wonderful mixture, and unforgettable performances.” “I think it’s one of the most difficult jobs on earth to be a ballet dancer because so many things have to be perfect.” With a company of 120 dancers, Tamás has the unique ability to provide opportunities for corps de ballet dancers to prove themselves in bigger roles, he explains, “For example, we have several casts for The Nutcracker, so I can give the opportunity to a dancer and see if they have solo skills, so they don’t have to wait five, six, eight
years just sitting under the bar.” Although these opportunities may come quickly, Tamás expects his dancers to give 120 percent at all times, just as he did when he was dancing, “When they come into the studio they should be prepared because this career is so short. Twenty-four hours is so short, so we don’t have time to waste it.” Tamás clearly has a very strong work ethic, he’s at the theatre all day, every day, he rarely takes a long summer holiday, he watches every performance, watching who’s developing, who’s having difficulties and thinking of new ideas that need to be worked on. This forethought is an attribute that Tamás believes all dancers require, “As a dancer you have to think about what you will do in the future; to be a director, a choreographer or a stage manager or lighting designer.” “It is very important, to think before because our time runs out - it’s so fast, it’s like lightening speed. We just wake up and we’re almost at the end. So I think the clever dancer, the clever artist, thinks much before, not only at the last centimetre of their career.” Tamás has clearly thought about the future of the company and has a strong vision for the next five years, which is based on his motto, “Good today is not enough tomorrow”. “We have to keep going in this way and never forget we don’t have the time to sit back. There are many interesting ballets in the world and I would like to bring them all here and to create one of the strongest and one of the best companies in the world.”
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Tamara Rojo CBE
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RENOWNED PHOTOGRAPHER
RICK GUEST CAPTURES BALLET DANCERS’ STRENGTH AND SACRIFICE, POWER AND PAIN
Behind every tutu, pointe shoe and dazzling costume is a finely tuned body, perfectly formed from years in the studio. Rarely does the audience get to experience the raw beauty of a ballet dancer. Award winning photographer Rick Guest has captured the ballet body, revealed and exposed their
strong, athletic physique in his book ‘What Lies Beneath’. He has photographed world famous dancers including Tamara Rojo CBE, Marianela Núñez, Sarah Lamb, Steven McRae, Sergei Polunin, Eric Watson, Olivia Cowley and more. The Wonderful World of Dance asked Rick about his wonderful collection.
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Eric Underwood
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I wanted the dancers to reveal something of themselves to me
What inspired you to create ‘What Lies Beneath’? The inspiration came from the dancers themselves. It seemed to me to be unfair to them, that because part of their art is to conceal the vast effort it takes to make it, that effort often goes unseen and unacknowledged. They work as hard physically as any professional athlete and yet because they have to act on top of all this and communicate whichever emotion the choreographer intends, this effort and more importantly the strength of will that it takes, goes unnoticed. What were you trying to capture in these photographs? Their strength and their sacrifice, their power and their pain, to reveal something that exists beneath the make-up and costume, the performance or the part. How do you bring the best out of the dancers? All I can do is provide an atmosphere of trust where hopefully they can show me their vulnerabilities without fear. We all have a sense vanity, but it’s inside every performer to go beyond that, even to use it. No ballet dancer is keen to show you the toll dancing has taken on their bodies over the years; in particular, no dancer really wants to show you their feet, but when the intentions of the work have been talked over, they can see that there is a more important message to convey than vanity. The portraits see the dancers looking quite serious, was this intentional? I wanted the dancers to reveal something of themselves to me, something about what it takes to turn up each day and do what they do at such a high level. Some dancers offered up their vulnerabilities to me, some their defiance and strength, others a sense of sacrifice. Only the viewer can judge. The dancers pose in their studio clothes, what inspired this approach? This was very deliberate. Taking them out of their normal environment into the studio, out of costume and make up, there was less for them to hide behind.
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Sarah Lamb
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When there’s an emotional connection it’s electric
But the other thing that fascinates me, and it exists in no other athletic pursuit I know, is what they wear for practice. In an incredibly scheduled and choreographed world, they each must conform every day in practice; however their clothing allows a strange form of self expression. Of course their clothing is functional, to keep muscles warm, but why just the one leg warmer, or the single strap of a leotard? I find it charming and beautiful. The other thing is this sense that items of clothing can be good luck charms, that a leotard or raggedy old tutu from their youth can be talismanic, it’s fascinating. Did you choose any particular part of the dancers’ body to focus on? I focussed on whatever each dancer gave me. I didn’t want to over direct them, which is hard when most dancers I have photographed want to be told what to do because of all the years of being choreographed, but these portraits need to be a collaboration. All portraits work best when they represent what happens in the space between the photographer and subject. Can you share any special moments you had with the dancers in the studio? There are too many to mention, but when there’s an emotional connection, it’s electric and everyone in the studio can feel it, you almost stop breathing. How do you approach the studio session and direction with the dancers? I discuss the aims of what I think is important before the shoot, but as I said, it’s completely collaborative, so I try to be as open as I can to what’s in front of me. I guess I try to follow the emotion, and leave the aesthetics to my unconscious as much as possible. How did you discover a love of dance? My wife took me to my first ballet over twenty years ago, but it was only when I was commissioned to shoot Ed Watson at The Royal Ballet that the spell was truly cast. It’s one thing to be in the stalls, quite another to have someone of his calibre dance for you and mere feet from you. As an award winning photographer, what advice would you give to other aspiring dance photographers? Take pictures. I know that sounds trite, but you learn first and foremost by doing; not talking about it, not writing about, not thinking about it, but by doing it. No more excuses, off you go….
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Steven McRae
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Calvin Royal III - Soloist American Ballet Theatre 64
Photo by Kathryn Wirsing
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Photo by Kathryn Wirsing
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Calvin Royal III American Ballet Theatre’s newly promoted soloist - Calvin Royal III - talks to dancer Kirsten Evans, Festival Ballet Providence, about his late introduction to ballet, a typical day at ABT, and how his experience with ballet competitions informs his upcoming performances at the Vail International Dance Festival in Colorado.
How did you become involved with dance? I was studying music in middle school and was first introduced to dance through a community project of The Nutcracker. We did all styles of dance in this production jazz, tap, West African - so I was surrounded by dance. When it came time for me to transition into high school, I auditioned for every department at the Pinellas County Center for the Arts at Gibbs High School and was accepted into the dance programme. What was your first impression of ballet? That audition was my first ballet class! At 14 years old, I didn’t know any of the vocabulary or steps, I was just sort of following along. It was super challenging physically, mentally and emotionally. Tell us about competing at the Youth America Grand Prix? The director of the programme at my high school had a studio nearby and she would take a group of students to YAGP every year. Her intentions were not necessarily for us to get medals, but to expose us to other dancers around our age, and to learn from how they were studying and preparing themselves for the competition. During my Junior year, after two and a half years of training, I was invited to join a small group to compete at the regionals in Orlando, where I placed and was invited to continue on to the finals in New York City. There I was spotted by the Jacqueline Kennedy Onassis School (JKO) Artistic Director, Franco De Vita and American Ballet Theatre’s National Training Curriculum Artistic Director, Raymond Lukens. They offered me a full scholarship to move to New York and train at JKO.
After a year and a half in the school, I was promoted into the studio company (at the time ABT II). We travelled so much, performing all over the world. It was an introduction to what it would be like if we were accepted into the company, as ABT II performs excerpts from ABT’s repertoire, eg. Swan Lake pas de deux.
I pushed myself to the extreme. It meant so much to me to work hard and see my own progress. It was such a crucial time in my development as a dancer. I pushed myself to the extreme. It meant so much to me to work hard and see my own progress. That was coupled with the ability to tour the world, experiencing so many different cities with my fellow dancers, many of whom are now in the company with me. In 2011 you joined the corps de ballet at ABT, describe your typical day... Here’s an example of a typical day from our most recent season at The MET: We have company class every morning from 10:30 until 11:45, followed by 15 minutes break. Then we have rehearsal from noon until 5:15 for all of the ballets we are doing that current week and the ballets we will perform the next week.
What did you find the hardest in leaving home to train at JKO in New York City? Uprooting and moving to a new city was very difficult. It was a big move, but that one decision changed the course of my life. It was worth it!
Rehearsal time is pretty demanding, because in the back of your mind you know there is a performance that evening, but Alexei Ratmansky might be sitting at the front of the room looking to see the essence of his choreography full out. It’s a practice in managing your energy.
Tell us about your time with ABT II?
We’ll have a short break from 5:15 until
about 6:30. I like to start getting ready about an hour before curtain. The shows usually finish around 10, at which point I take off my makeup, race home, and wind down with some dinner and Netflix. I act like a sleepy Grandpa on my days off! You were recently promoted from the corps de ballet to Soloist. Congratulations! What has been your best experience with the company so far? It’s most rewarding for me to work towards the goals I’ve set for myself. Whether it’s for a particular role or ballet, I like to always make it feel special, and although it doesn’t always happen, my best experiences come when everything clicks on stage. We are so excited for your performances at the Vail International Dance Festival in Colorado! Can you tell what you'll be dancing in Vail? I’ll be performing George Balanchine’s Agon pas de deux with New York City Ballet Soloist Unity Phelan and Christopher Wheeldon’s Bitter Earth pas de deux with ABT’s Principal Isabella Boylston. How are you preparing for the Festival? Unity and I have been working with (former NYCB dancers and husband and wife team) Heather Watts and Vail Dance Festival Artistic Director, Damien Woetzel whenever we can. At ABT, we don’t often do Balanchine, so whenever I get a chance to dance it, I just love it so much. Unity is such a gorgeous creature and we both learn so much together. We always bounce ideas off of each other about what we’d like to bring to the pieces we perform. What excites you about the Vail International Dance Festival? I was talking with Damien Woetzel about the importance of the word ‘festival’. It’s not about just performing. Going to Vail is exciting because it feels like you are about to participate in something real. All of the preparation leading up to the festival along with the actual time spent there, is truly an opportunity to learn and connect. I can’t wait to be a part of that. vaildance.org 67
Photos by Karolina Kuras, courtesy of The National Ballet of Canada
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Sonia
Rodriguez Principal Dancer
THE NATIONAL BALLET OF CANADA
By Diana Dunbar
Sonia Rodriguez, principal dancer with The National Ballet of Canada, spoke with me at the company’s studios on the waterfront overlooking boats swaying on the water.
life of a dancer. She became a member of a semi-professional company which gave her a “taste of what professional life was going to be about.”
Coming from a ballet class, Sonia is dressed in rehearsal clothes and is warm and candid in conversation. She appears almost ephemeral, in a world which requires years of intense training and preparation.
At seventeen she joined The National Ballet of Canada, drawn to the company by its reputation for its varied repertoire, “We have the classics and new productions are created on us, which broadens the way you move and makes you a more versatile dancer.”
Dancers are cognitive of this, yet most mornings find themselves in class, afternoons in rehearsals, and nights performing under the stark glare of stage lights knowing that each movement will last for just a moment. Speaking with Sonia gives a glimpse into the world of a principal dancer with a renowned ballet company. She speaks about the roles she’s performed, on choreographers she has worked with, the importance of balancing a career and having a family, and the challenges of being in a field that is not known for the longevity of its dancers. Born in Toronto, but raised in Spain, Sonia studied ballet with Pedro de la Cruz and at the Dance Conservatory in Madrid, then at the Princess Grace Academy in Monaco. It was there that she first got a glimpse of the
The classic Giselle is one of her favourite roles, “The first time I performed it was very challenging to really understand the romantic style. Act I is very earthy – the acting is real - a young woman falling in love; then the nervous breakdown which sets the stage for Act II. It’s important to find a distinct difference between Act I and Act II.” “It’s more challenging in Act II to create the ethereal way of moving. If you do your homework it never leaves you; every time you come back to it, you can start building and finding new ways to tell the story.” Sonia danced the lead role of Hermoine in Christopher Wheeldon’s The Winter’s Tale, “Christopher Wheeldon is very good at creating choreography that shows the personality of each character and what they are going through.”
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Im blessed that my body is very pliable To prepare for the role she reads all about the character and tries “to be as true as possible to the choreographer and what he wants. If you know who you are in the character you will react in that moment within the structure of the piece.” Sonia has also performed in A Streetcar Named Desire, choreographed by John Neumeier, who she says, “is a choreographer who has really changed who I am as an artist. His choreography is emotionally based and there are many layers to his ballets. Every time I dance one of his ballets, I am very excited.”
As well as performing longer, Sonia is the mother of two sons and successfully balances a demanding career while raising her children, “It helps to have a strong support group. Motherhood makes you stronger, shows you how much you can do and give. It’s very fulfilling.” Sonia has brought many beautiful and wonderful moments to audiences around the world. Her motivation comes from her “love of dancing” and all that it requires.
Every dancer is aware of the brevity of a performing career; but that is changing with more dancers having longer careers. Sonia takes a philosophical view on this:
“Nothing brings me closer to being in the moment and tuning everything else out as being on stage. It’s almost like a meditative state, not being distracted by anything else.”
“I feel fortunate to have had this career, and that my body is still responding the way it is. It’s very fulfilling – you get to a point where you know so much about yourself; what you are good at, your weaknesses and your strengths.”
She also speaks passionately about time spent in rehearsal “working on the craft, improving yourself and developing relationships with your peers and building trust.”
“I feel like I have good genes. I’m blessed that my body is very pliable, very responsive in that way. I feel very good. I’ve had injuries, but because I know
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more about myself, I feel I can perform better.”
And finally when I ask which role would she cast herself in? That would be George Balanchine’s Rubies. A shining jewel.
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/CORPS DE BALLET Ana Maria Gergely Photos by Tim Cross
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/Young Dancer Profile “ English National Ballet School was full of joy, tears, accomplishments and opportunities like I had never experienced before. �
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/Ana Maria Gergely Estonian National Ballet Artist English National Ballet School Graduate
Name Ana Maria Gergely Company Estonian National Ballet Position Artist (joined 2016-2017 season) Born May 1996 in Constanta and raised in Bucharest, Romania Training Bucharest National Opera Romanian State Ballet School State Ballet School of Berlin English National Ballet School (2014-2016)
Awards 2012 - Silver Medal at International Competition TanzOlymp in Berlin
2010 - Outstanding Artistry Award at the Youth America Grand Prix Semi-finals in Paris
2012 - Gold Medal at Interner Wettbewerb Staatliche Ballettschule Berlin
2010 - First Prize at the International Competition DANZA EUROPA in San Marino
2011 - First Prize at the National Competition of Choreography and Drama in Timișoara, Romania
2010 - Popularity Prize at the International Competition DANZA EUROPA in San Marino
2011 - First Prize at the National Competition of Choreography and Drama in Bucharest, Romania
2010 - First Prize at the National Competition of Choreography and Drama in Bucharest, Romania
2011 - Finalist in a final round at the Youth America Grand Prix in New York
2010 - First Prize at the National Competition of Choreography and Drama in Constanta, Romania
Dream role Giselle Dance inspiration Eva Evdokimova
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A night that changed ballet forever: the evolution of the art we know as ballet
By Caroline Hamilton
The Oxford English Dictionary defines ballet as: An artistic dance form performed to music, using precise and formalised set steps and gestures. But how did it develop this way and how did a dance form that has its roots in the courts of the Italian Renaissance, and later of Louis XIV, evolve into the dynamic artform we recognise today? In recent years the 4th of October has been celebrated as World Ballet Day, but perhaps the 19th of May would be a more fitting date. In was on this night, in 1909, that a company of Russian dancers, who would become known as the Ballets Russes, premiered in Paris. On that night ballet was changed forever and the artform which we know today emerged. The Ballets Russes was the innovation of Sergei Pavlovich Diaghilev, an art and music lover who later became an impresario. For several years, Diaghilev had been devoted to bringing Russian Art to a wider audience. In 1906 he had brought an exhibition of Russian Art to Paris, the following year a concert series and in 1908 a production of Boris Godunov. These events paved the way, both musically and artistically, for the success of the Ballets Russes.
At first Diaghilev had planned to bring a second season of Russian opera to Paris in 1909, but due to a number of factors, including financial problems, he decided to stage a series of ballets and opera excerpts. These were cheaper to stage than full scale operatic productions. At this point in the Russian Imperial Theatre of St Petersburg, the Mariinsky, a new generation of dancers was emerging and ballet was on the brink of change. Diaghilev chose dancer and emerging choreographer, Michel Fokine to choreograph the pieces for his season in Paris. Fokine would go on to become one of the most influential choreographers of the first half of the 20th century. Diaghilev steered away from the full evening works that populated the repertoire of the Imperial Ballet – what we now refer to as the classics ie. Swan Lake, Nutcracker, Giselle etc – and instead choose to stage evenings which contained three or more short one act works. Fokine reworked several of his existing creations as well as creating new pieces. Diaghilev was hugely influenced by the Wagnerian concept of Gesamtkunstwerk, meaning a total work of art, where each artform, e.g. choreography, design and music work together to create a complete work. This concept would form the central philosophy of the Ballets Russes. 77
Igor Stravinsky, Michel Fokine and Tamara Karsavina during a rehearsal of The Firebird with Sergei Diaghilev’s Ballets Russes in Paris, 1910. Courtesy of The Royal Academy of Dance
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n terms of dancers, Diaghilev handpicked his company from the ranks of the Mariinsky with additions from the Bolshoi in Moscow. The male lead was to be a 20 year old dancer named Vaslav Nijinsky. The choice to give Nijinsky central roles in the new ballets would redefine the role of the male dancer forever.
Diaghilev chose Tamara Karsavina and Anna Pavlova to be his ballerinas – Pavlova would go on to be an international star, touring the world further than any ballet dancer previously. Diaghilev had hoped to present the season at the Palais Garnier, but they would not agree to a mixed bill of opera and ballet. Instead he hired the large and slightly neglected Théâtre du Châtelet.
Two weeks later the company premièred a second bill which included Les Sylphides, often cited as the first abstract ballet, and the exotic ballet Cléopâtra. Paris was hooked, and the success of the Ballets Russes seemed guaranteed. The exotic themes of their ballets and elaborate costumes and sets would influence interior design and fashion – but by far the biggest influence was on the world of ballet itself. By the turn of the 20th century ballet in Western Europe - having once been the height of fashion in the 1840s – 60s - was artistically at a low point. Ballet had been much forgotten or relegated to the stages of the music hall where ‘toe dancing’ was now seen as a novelty. In places where ballet had survived the ‘ballet girl’, as scholar Lynn Garafola states ‘epitomised the dual stigma of low social origins and moral impropriety.’
Overnight Vaslav Nijinsky, Tamara Karsavina and Anna Pavlova became household names
Once in Paris D i a g h i l e v immediately set about updating the theatre. He ordered for carpet to be laid in the foyer and corridors, lighting to be updated, flowers and plants set in the entrance. Several rows of stalls were also removed to accommodate the orchestra, and the stage surface renovated.
The Ballets Russes would tour Europe and North and South America for the next twenty years, and would create a canon of works still performed today.
On the 19th of May the company opened presenting three works; Pavillion d’Armide, an excerpt from the opera Prince Igor featuring Fokine’s Polovtsian Dances, and Le Festin, a series of divertissements.
The company would foster the talents of some of the greatest composers, choreographers and artists of the twentieth century including: Stravinsky, Debussy, Satie, Ravel, Massine, Nijinska, Balanchine, Picasso, Goncharova, Matisse and even Coco Chanel.
The choreography and dancing coupled with the exotic and fantastic design of Nicholas Roerich, Alexandre Benois and Léon Bakst and the rich music was an intoxicating combination for the French audiences.
The Ballets Russes was destined never to perform in its home country, but instead the dancers would disperse across the globe, influencing the foundation of many of the greatest companies of today.
Overnight Vaslav Nijinsky, Anna Pavlova and Tamara Karsavina became household names. The company régisseur, Serge Grigoriev, recalled that:
These include The Royal Ballet, American Ballet Theatre and New York City Ballet. No company would ever again have so profound and farreaching an influence as the Ballets Russes.
‘Until the appearance of this company, Paris had never seen male dancers, and their being here equals of the ballerinas completely revolutionized the current conception of ballet’.
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The Ballets Russes represented the complete antithesis to this view and appealed to a new far-reaching audience.
The next issue of The Wonderful World of Dance will look at the origins of the ballet and the Romantic era of ballets that thrived in the nineteenth century.
Rudolph Nureyev in Polovtsian Dances from Prince Igor for The Royal Ballet Benevolent Fund Gala, London, 1965. Photo by G.B.L. Wilson, courtesy of The Royal Academy of Dance
Peter Franklin White, Michael Somes and Nadia Nerina in The Firebird with The Royal Ballet in London, 1961. Photo by G.B.L. Wilson, courtesy of The Royal Academy of Dance
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PARIS OPERA BALLET
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BALMAIN Dance and fashion go together like champagne and strawberries and Paris Opera’s collaboration with the French fashion house, Balmain is truly a match made in couture heaven. Balmain has designed the ballet costumes for Paris Opera Ballet’s Renaissance, a new creation by choreographer and dancer Sébastien Bertaud. Renaissance was presented at Opera Garnier in June to celebrate the 350th anniversary of the Paris Opera. Bertaud’s ballet pays tribute to the refinement of the Ecole de Danse Française—from the Versailles of Louis XIV to today’s Opéra Garnier and Mendelssohn’s Violin Concerto No. 2. Balmain’s Creative Director Olivier Rousteing notes, “Designing for the rigors and techniques of classical dance was a new challenge for me and my team - but it one that we very much enjoyed facing. As someone who has always been fascinated by the beauty and power of dance, this project was a joy to work on, giving me the unique opportunity to learn from and share ideas with a group of incredibly talented artists and craftsmen for whom nothing seems to be impossible.” Rousteing adorned the dancers in gold and silver embellished flesh-coloured bodysuits, tees and capes covered with pearl and rhinestone beads that exude elegance and opulence. We just wish we could wear these decadent costumes to the next opening night or premiere event. From Paris with love, from London with envy!
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SĂŠbastien Bertaud
Olivier Rousteing
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DESIGNED BY DANCERS FOR DANCERS
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BASE
SMOOTH
Prep and hydrate lips while doing the rest of your makeup with a slick of deliciously scented Burt Bees Coconut & Pear balm. Remove any excess before lipstick application for soft, smooth lips.
A perfected base is the (literal) foundation of every great makeup look. Make Up For Ever Ultra HD Stick Foundation b l e n d s seamlessly for a flawless, natural looking finish. Think medium to full coverage with a second-skin texture.
PRIME
Ensure that your makeup base applies smoothly and stays in place throughout your performance with a mattifying primer. Applied over moisturiser, Dermalogica Hydrablur leaves skin feeling velvety soft and helps prevent breakthrough shine, while boosting the lasting power of foundation.
Instagram us @thewonderfulworldofdance to share which of our
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ALL ABOUT EYES
Great lashes, liner and brows complete every eye look and frame your face. Kat Von D Tattoo Liner is foolproof in application with lasting waterproof intense black pigment; the perfect partner for KISS Lash Couture in Midnight. These faux mink lashes are easy to apply and so comfortable you’ll forget you’re wearing them. Diego Dalla Palma High Precision Brow has an ultra fine lead for long wearing, water resistant definition that’s buildable from feathery strokes to more intense definition.
CONTOUR
Sculpt, define and highlight for cheekbones visible from the gods with Charlotte Tilbury Filmstar Bronze & Glow. Light reflective particles add a pearlescent radiance and the compact is so pretty you’ll want to bring it on stage.
STAYING POWER
Lock in base products with a setting powder as a final step... Soap & Glory One Heck Of A Blot is a translucent mattifying powder that absorbs excess oil and keeps makeup in place for longer.
Words by Nicola McCullough strawberryblondebeauty.com T @Strawbry_Blonde Ig @strawbryblonde
favourites you add to your skincare & make up kit!
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The
WONDERFUL Dance Travel Guides Prague | Budapest | Berlin
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Prague
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BoHo Hotel.
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The Wonderful World of Dance travelled to the bohemian city of Prague to meet principal ballerina, Andrea Kramešová at the gorgeous Czech National Ballet studios. Here’s out Prague Dance Travel Guide.
STAY
BoHo Hotel Prague is a sophisticated luxury boutique hotel just a few steps from the old town. Newly opened, you can chill in the elegant rooms, relax in the stylish reading rooms, sip a cocktail in the uber cool long bar or indulge in the heavenly tranquil spa. A perfect oasis in the heart of Prague. hotelbohoprague.com
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We hired bikes and cycled the cobbled streets taking in the cultural sites and Gothic buildings. Head along the river from the famous Cafe Slavia for great views of the Prague Castle, take in a dip in one of the famous thermal baths.
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The historical building of the National Theatre, constructed in 1883, glows in the evening light and is must see and even if you’re not catching a show as it’s also a great place for a glass of champagne.
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Outside the Czech National Ballet studios is the cutest little coffee shop Tricafe, that does sweet cakes and strong coffee.
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For traditional Czech food, head to U Medvídku for veprové, knedlíky a zelí (pork, dumplings and sauerkraut) served in a wooden panelled, rowdy room with a friendly pub vibe.
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DANCE
Take in a dance class at the Gaga Workshop (no this is not Lady Gaga!) presented by Gaga Movement Ltd, 420 People and the National Theatre in Prague. 420people.org Indulge in your love of dance and see principal dancer Andrea KrameĹĄovĂĄ perform on stage with Czech National Ballet. narodni-divadlo.cz 127
Budapest
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The Wonderful World of Dance spent a weekend in the city of two halves, split by the River Danube - old Buda on one side and urban Pest on the other - visiting the Hungarian National Ballet. 129
Budapest DRINK As guests of the Brody House hotel we were given access to their private members club. Set in a discreet building, the interiors feels like the set of an arthouse film. Stairways are attacked with graffiti, an open courtyard at it’s heart is surrounded by rooms filled with original handmade art. The bar has an electric vibe that makes you want to try every cocktail on the menu!
E AT Over in Pest, enjoy delicious contemporary Italian with impressive local Hungarian wines at Fausto’s modern Osteria - make sure you get the chocolate pudding! It’s not every day that you get to dine in a castle, so head over to Buda for a luxurious dinner at the Halaszbastya
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Restaurant, in the vaulted stone ceilings lit by sparkling chandeliers to accent the stunning views over to the famous Parliament building.
DANCE Check out the Budapest Dance Theatre, one of the biggest and most influential contemporary dance companies in Hungary, with repertoire inspired by ballet, contemporary, artistic skills and different varieties of modern dance, such as Limon, Cunningham and Graham techniques. budapestdancetheatre.hu The Hungarian Art of Movement presents authentic examples of the almost 100 year old Hungarian modern dance traditions that was banned after 1948, but has survived and enjoying a resurgence. mozdulatmuveszet.hu
SEE Body House provided bikes, which was perfect for cycling both sides of the river, although it was a tough trek up the hills of Buda, but definitely worth making it to the Castle for the breathtaking views down the river and over Pest. End the day at the opulent 19th century Hungarian State Opera House for a much deserved glass of Hungarian sparkling wine before catching a world class show.
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Brody House is uber cool and ‘the’ place to stay. Set in a traditional old style building, you ascend the stairs to find an eclectic, quirky art house with groovy music filling the stylish rooms. An honest bar is always open, just make your own cocktails and jot down your drinks on the notepad (honestly we did!). Each room is unique, ours had original parquet flooring running down the long hallway to a massive room with striped walls, huge paintings and reclaimed furniture.
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T R AV E L
BERLIN
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T R AV E L
BERLIN Our Editor headed to Berlin for cover shoot with prima ballerina Iana Salenko at the studios of Pickled Thoughts Photography.
BRUNCH Die Stulle in Charlottenberg is a cute cafe serving fat pancakes stacked with fruit, eggs on brioche layered with cream cheese, topped high with sprouts and chives. If you’ve had a big night before, try their special house hangover cure - it definitely works! Restaurant Bastard in Kreuzberg is super hip with tables on the street, serving eggs your way with a side of pickle. Enjoy their big fruit salad platter with yoghurt and fresh juices.
LUNCH The Butcher burgers in Kantstasse hit the spot after a day of sightseeing. Loud music, cool interiors and perfectly cooked patties. You can also find them in Amsterdam and Ibiza.
DINNER We absolutely love Herr Rossi in Prenzlauerberg for the freshest Italian fare, an interesting wine selection and a casual vibe that makes you feel as though you’re a local. Perfect for vegetarians, pescatarians and lovers of fabulous food.
DANCE Berlin has an outstanding and vibrant dance scene, excelling in contemporary dance. Catch a show or take a class at Tanzfabrik Centre for Contemporary Dance. Berlin State Ballet is one of the best companies in the world and you can’t visit Berlin without catching a show, where you can hear the audience chanting ‘Iana, Iana, Iana, Iana’, when Iana Salenko takes her bow.
SEE Jump on a bike and cycle through Tiergarten, a park in the heart of Berlin, take in the sights, but ensure you stop off and take some time to visit the Holocaust Memorial. Iana Salenko photo by Carlos Quezada
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HOTEL DAS STUE
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Liv Lorent MBE Photo: Bill Cooper
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Jessica Spinner The Whole Dancer
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Les Ballets C de la B Photo: Chris Van der B
Our iTunes No. 1 ranking ‘dance and ballet’ podcast features inspiring interviews with dancers, artistic directors and choreographers. Our guests talk candidly about their dance careers, choreography, artistic vision, plus challenges in the dance industry such as dance health, equality, funding and accessibility. Guests range from big ballet companies to small contemporary dance houses, there’s some famous names and some up and coming artists to showcase talent from across the industry and around the world. We cover ballet, contemporary dance, flamenco, hip hop, dance theatre, experimental dance and more... Tune in on our website, mobile, iTunes, Android, and other major podcast platforms.
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Sophie Laplane Photo: Scottish Ballet
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Lydia Holt Photo: Johan Persson
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Boy Blue Entertainment Photo: Paul Hampartsoumian
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The
WONDERFUL World of Dance PODCAST
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TWO TALES OF OUTSIDERS, MORTALITY AND SACRIFICE – SET TO MAGNIFICENT LIVE SCORES.
The Fairy’s Kiss Choreography by Christopher Hampson
The Herald The Scotsman THEATRE ROYAL GLASGOW 6–7 OCT
scottishballet.co.uk
The Rite of Spring Choreography by Sir Kenneth MacMillan
on The Rite of Spring
OCTOBER - NOVEMBER 2017
FESTIVAL THEATRE EDINBURGH 11–13 OCT
EDEN COURT INVERNESS 3–4 NOV
HIS MAJESTY’S THEATRE ABERDEEN 24–25 OCT
Photography Kirsty Anderson | Registered in Scotland No.SC065497 | Scottish Charity No.SC008037