10 Minutes with Carla Körbes
It's been a year and a half since Carla Körbes retired from Pacific Northwest Ballet. In that time, Körbes has marked several life passages: a move to Los Angeles, a sumptuous wedding to photographer Patrick Fraser and the birth of their son, Rafael. She also became the associate artistic director of Los Angeles Dance Project at the invitation of Benjamin Millepied, who tasked her with helping to execute his artistic vision at LADP while he was also director of dance at the Paris Opéra Ballet. She returned to dancing last year as a guest artist in Vail, Washington, DC, and New York City, and marked her first appearance onstage with LADP in December, performing Christopher Wheeldon's After the Rain with company member Morgan Lugo.
How has your experience of leaving the super-structured life of a PNB principal treated you? Have you enjoyed that uncertainty, or do you find yourself gravitating toward more-structured projects?
The certainty at PNB was attractive: You have very specific schedules, you know what you're getting paid. But I needed a change from the regularity of so many different programs in a performing season. I was stuck in a schedule that was hard on my body. Now, I teach, coach and perform. I am making my own structure, and the flexibility allows me to juggle much better being a working mom.
What attracted you to LADP?
The year I was retiring, I saw longtime friend and dance partner James Fayette after a performance in Los Angeles. I told him that I was trying to figure out what to do, and I soon got a call from Ben. It felt like a perfect opportunity. My husband lives in L.A.—and now it's my home.
Your role as associate artistic director has involved teaching at LADP and its affiliated school, The Colburn Dance Academy, coaching and dancing. What do you enjoy most about your work?
Most appealing to me is the group of dancers. They are young, and have a vocabulary different than what I am used to. Dancing for me is about awareness and involvement, and it's what I work on with the dancers. They're responsive—and hungry to grow as artists. Plus, I like being in an environment that's small enough so as not to be overwhelming. Directing a large company would be a huge commitment! I'm fortunate that I can still dance. I do some guesting, but I also am excited about dancing here in L.A.—my situation feels like a little piece of heaven.
What are some of the memorable guest performances you've done recently?
At the Kennedy Center in DC, I shared the stage with so many different artists, like Damian Woetzel and Heather Watts—it was thrilling. For Vail Dance Festival's New York City performances, I got another chance to take two masterpieces, Martha Graham's Lamentation and Balanchine's Élégie, and develop new interpretations.
What's next for you?
We shall see. I love being a mama, and since the baby was born, I have chosen to stay home rather than go on tour with the dancers. Still, being onstage for me is magical. I've traveled to Vail and NYC to perform, but those are shorter trips than going on a three-month tour of France! I thought I couldn't retire from a big company if I didn't know what the next thing would be, but I'm okay with the uncertainty. The dances I do now are really like a meditation for me.
To be honest, we never tire of watching non-dancers tackle a day in the life of the pros. From athletes to average Joes, these videos always give us a good laugh, and they remind the rest of the world that a whole lot of work goes into every dance performance you see. But often times, these dancer-for-a-day videos don't fully understand the importance of training (i.e., you can't just throw on a pair of pointe shoes and give it a go).
That's why we're especially loving this video by Refinery29 that actually gets it. Lucie Fink, host of the R29 YouTube series Lucie For Hire , got a private lesson from American Ballet Theatre principal Isabella Boylston, and it was endlessly entertaining.
"So why did you quit?"
It's a question I've been asked hundreds of times since I stopped dancing over a decade ago. My answer has changed over the years as my own understanding of what lead me to walk away from greatest love of my life has become clearer.
"I had some injures," I would mutter nervously for the first few years. This seemed like the answer people understood most. Then it became, "I was just not very happy." Finally, as I passed into my 30s, I began telling the uncomfortable truth: "I quit dancing because of untreated depression."
We'd love to know what it is that has Pina Bausch, Rudolf Nureyev and Gerard Violette so amused, or what Toer van Schayk (far right) is thinking here, but one thing's for certain: We're terribly envious of the journalist (second from right) who got to be there when this shot was taken in 1986.
It's the end of a long rehearsal day for the dancers of Abraham.In.Motion. They're reviewing phrases of a new work, Dearest Home. It's a pretty typical rehearsal scene. Some dancers cluster around a laptop trying to piece together steps learned long ago. Others review choreography together, working to figure out who remembered which arms correctly.
What isn't typical: The company's director and choreographer, Kyle Abraham, is nowhere to be seen.
That's because while the company is based in New York City full-time, Abraham spends most of his year teaching at the University of California, Los Angeles, where he joined the faculty last September. It's an unconventional model for a single-choreographer–led troupe, almost functioning like a repertory company in which choreographers drop in for a week to set a piece, leaving it up to the rehearsal directors and dancers to keep the momentum going.
La Scala Ballet has a knack for snagging exceptional guest artists, and the company's rare West Coast appearance this weekend at Segerstrom Center for the Arts is no exception. Principal dancer étoile Roberto Bolle will partner both Misty Copeland and Marianela Nuñez in Giselle. And in an extra international twist, they'll be accompanied by the Mikhailovsky Orchestra for the engagement. July 28–30. scfta.org.
Serious dancers interested in musical theater face a difficult choice when applying to college: Should you major in dance or musical theater? "You can make a career following either pathway," says Lynne Formato, associate professor of performing arts at Elon University. If you choose to go the musical theater route, find a program that will challenge your dance technique: