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Vibrant, dazzling, a little bit dangerous: Angelo Greco is a firecracker. He pushes his breathtaking jumps and turns to the very edge of control, yet imbues each step with lyrical musicality and sensitive emotion. Those qualities, along with a boyish mop of curls, made Greco an instant audience favorite when he joined San Francisco Ballet from La Scala as a soloist in 2016. A frequent partner for prima ballerina Maria Kochetkova, he was promoted to principal in 2017—and he's just 22.
When Alonzo King LINES Ballet dancer James Gowan started meditating in early 2017, he was seeking a more mindful approach to his dancing. "I was trying to be more aware of what I was doing inside the studio, so that it could help me be more positive with myself and my work," he says. He found it so helpful that he now does breathing exercises and visualizations for 45 minutes a few mornings a week. On rehearsal breaks, he'll take five minutes to do a body scan or calm his mind.
But he finds the benefits go far beyond the studio. "Meditation has provided me a new perspective," he says. "It really does bring a heightened awareness of what's going on around you."
Science shows that meditation's myriad benefits range from physical health to emotional well-being. Meditation's popularity has risen to trend level, and savvy entrepreneurs have caught on, capitalizing on the wave of interest with subscription-based meditation apps, exotic retreats and $29-a-pop classes. But what are the benefits for dancers specifically?
You dance like a knockout—but can you take a punch? Intense stage combat is a crucial element in many shows, from the sword fighting in Romeo & Juliet to the left hooks of the Broadway musical Rocky. But performing it well requires careful body awareness, trust and a full commitment to safety. Whether you're dancing a pivotal battle in a story ballet or intense partnering in a contemporary piece, these expert tips can help you make your fight scenes convincing, compelling and safe.
1. Master the Basics
When Luke Ingham was cast as Tybalt in San Francisco Ballet's Romeo & Juliet, he spent a full month practicing the basic body positions, footwork and momentum of fencing. "You need to be really grounded, you need to know where your feet are," Ingham says.
After 30 years of pioneering work in physically integrated dance, AXIS Dance Company co-founder Judith Smith has announced plans to retire from the Oakland, California, company. Throughout her tenure, she strived to get equal recognition for integrated dance and disabled dancers, commissioning work from high-profile choreographers like Bill T. Jones. Her efforts generated huge momentum for expanded training, choreography, education and advocacy for dancers with disabilities.
By phone from her home in Oakland, Smith reflected on how far the field has evolved since the early days of AXIS, and what's yet to be done.
Janie Taylor didn't know if she'd ever return to the stage. But that's exactly where the former New York City Ballet principal has found herself: Nearly three years after retiring, she is performing again, as a member of L.A. Dance Project.
Taylor officially debuted with the company at its December 2016 gala in Los Angeles, then performed in Boston, via live stream from Marfa, Texas, and at New York's Joyce Theater before heading off on tour dates in France, Singapore, Dubai and beyond.
"She is wildly interesting to watch—and not conventional," says LADP artistic director Benjamin Millepied. "There are films of Suzanne Farrell dancing, where you feel like the music is coming out of her body," he says. "I think Janie has that same kind of quality."
To stay in shape, San Francisco Ballet's Sofiane Sylve takes class with the trainees, taught by SFB School associate director Patrick Armand. Why? Because it's 30 minutes longer than company class.
"You have to floss deep," quips the 41-year-old principal.
Sofiane Sylve doesn't mince words. "If you are just going through the motions," she says to her trainee class at the San Francisco Ballet School, "we might as well stay home."
The veteran SFB principal is famed as much for her directness as for her exquisite technique, astonishing interpretive range and captivating stage presence. "I don't do average," she says in an interview at SFB headquarters, across a tree-lined street from the War Memorial Opera House. "If somebody has made the effort to come and sit in the audience, I'm going to give everything I have. There is no holding back."
These are among the first words Sylve has said to the press since she joined SFB as a principal in 2008. Defiant of the trend for self-promotion, she avoids interviews and social media. "I'm highly, highly private," says the French-born ballerina, who turns 41 this month. "I'd rather spend time in the studio."