Live From Your Laptop: Crystal Pite and The Royal Ballet
Across the pond in London, dancers at The Royal Ballet are busy gearing up for an exciting new debut. For the first time ever, edgy and theatrical contemporary choreographer Crystal Pite is creating a work on the company. (This season, she's become even more of an "it girl," gaining ground in the ballet world with a premiere at the Paris Opéra Ballet in September.) Right now we don't know too much about her Royal creation, except that it will involve a large ensemble dancing to Henryk Górecki's popular contemporary classical work, "Symphony No. 3" (or the "Symphony of Sorrowful Songs").
Pite rehearsing with Paris Opéra Ballet dancers in the fall. Photo by Julien Benhamou, Courtesy POB.
But we're about to learn more: This afternoon at 2:15 EST, the Royal Opera House will present a livestream of the work in progress via their YouTube channel. Not only will we get to see Pite coaching the company through several sections of the ballet, but the online event will include an interview, hopefully shedding more light on Pite's creative process.
If you're having a snow day—like us in New York City—you've just found the perfect way to spend your afternoon.
For more on Crystal Pite's foray into ballet, see her profile in Dance Magazine's February issue.
"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."
Improvisation, in its many forms, can be a door to the body's imagination. One of the few festivals to delve into it is the Seattle Festival of Dance Improvisation, July 30 to Aug. 6. This year the intensives are led by risk-taking teacher/performers including Hilary Clark, Anya Cloud, Joe Goode, Angie Hauser, Andrew Marcus and Taisha Paggett. Some of them (it's an improv festival, so last-minute decisions are the name of the game) will participate in the full-day "Dance Innovators in Performance" event on Aug. 4. velocitydancecenter.org.
The best day of the year is finally upon us—National Dance Day is tomorrow!
In case you've been living under a rock and haven't celebrated NDD before, it's an annual event established by Nigel Lythgoe and the Dizzy Feet Foundation where dancers and non-dancers across the country are encouraged to get movin'.
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.
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.