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Elizabeth Streb on Fear (Plus, Watch Her Company in Action)

Photo by Antoine Douaihy, Tom Caravaglia Studios, Courtesy STREB

A STREB Extreme Action show is nothing like a typical dance performance. Instead, it's a full-on battle between gravity and humans. There will be risk-taking, you will probably gasp (multiple times) and you might even clench your jaw. That's because artistic director Elizabeth Streb likes to push her dancers action heros to the max. What exactly are we capable of? How much further can we go? She's out to answer those questions.

A recent episode of "Articulate," a nationally syndicated show on PBS, peeked inside the troupe's rehearsals and sat down with Streb for an honest conversation. While she was speaking specifically about her own work, her words apply to any dancer who wants to push themselves and grow as an artist. Here are some of our favorite quotes from the episode:


1. "You can't hedge your bets." If you hesitate before making a move, you could literally be putting yourself in danger.

2. "There are no real soloists." Teamwork is tantamount in Streb's company, because together the group creates a mystifying image—or an illusion—for the audience.


STREB members on their spinning ladder. Photo by Tom Caravaglia, Courtesy STREB.

3. "Failure of flight is the most exciting moment." Though Streb's action heros leap and fly through space, she says that the crashes are where the potential for intriguing content lies.

4. According to company member Cassandre Joseph, Streb "really appreciates massive dancers," as in bodies that can withstand the force and shock of stunts like falling repeatedly.


Photo by Antoine Douaihy, Tom Caravaglia Studios, Courtesy STREB

5. "[Fear] is a messaging system that we have more work to do before we try something." Streb views fear as a positive indicator. When her action heros are attempting a potentially dangerous maneuver—like climbing a spinning ladder or diving to avoid being hit by a metal beam—fear helps them assess if they're truly ready.

You can watch the whole conversation here, not to mention loads of footage of Streb's daring performers in action.


It's no secret that affording college is a challenge for many students. And for dancers, there are added complications, like the relative lack of merit scholarships that take artistic talent into consideration and the improbability of a stable salary to pay off loans post-graduation. But no matter your budget, a smart approach to the application process can help you focus less on money and more on your training.

According to Drexel University performing arts department head Miriam Giguere, figuring out the kind of financial assistance a school offers is just as important as navigating what kind of dance program you want. Here's how to incorporate finances into your decision-making process:

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When dancers get injured, they often think they should eat less. The thought process goes something like, Since I'm not able to move as much as I usually do, I'm not burning enough calories to justify the portions I'm used to.

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Photo by Theo Kossenas, courtesy The Washington Ballet

With her fearless demeanor onstage, it's easy to see how Washington Ballet apprentice Sarah Steele attracted the keen eye of former American Ballet Theatre stars Julie Kent and Ethan Stiefel. Promoted mid-season from the studio company by artistic director Kent, Steele was cast by Stiefel as the lead in Frontier, his world premiere for The Washington Ballet, this past spring. For the space-themed piece, Steele donned a black-and-white "space suit" onstage, exhibiting dual qualities of strength and grace. Most evocative about Steele's dancing might be her innate intelligence—she was accepted to Harvard on early admission, and plans to resume her studies there in the future. But first, she'll dance.

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LINES dancer Courtney Henry. Photo by Quinn Wharton

We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.

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Laurel Jenkins, Photo by Vincent Beaume

Efficient movement is easy to recognize—we all know when we see a dancer whose every action seems essential and unmannered. Understanding how to create this effect, however, is far more elusive. From a practical perspective, dancing with efficiency helps you to conserve your energy and minimize wear and tear on the body; from an artistic point of view, it allows you to make big impressions out of little moments, and lasting memories for those watching.

So much struggle and determination goes into your training that it can be difficult for early-career dancers to recalibrate their priorities toward simplicity and ease, says Laurel Jenkins, freelance performer and Trisha Brown Dance Company staging artist. "Your aesthetic might shift, and you might have to find new things beautiful." Mastering the art of effortless movement requires a new perspective and a smart strategy—on- and offstage.

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Still from La Folía. Shot by Olivia Kimmel, Courtesy Adam Grannick

As we approach Thanksgiving, there's much to be grateful for. Perhaps one of the most important things on your list is dance. Whether you're a full-time company member, an aspiring professional, an audience member, or you simply delight in dancing in your daydreams, this art form is a creative escape.

That's not to say that being a dancer is easy: Pursuing such a competitive career can be heartbreaking, especially when you're faced with rejection.

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Pixabay

It took two years of intense nutrition counseling and psychotherapy to pull me out of being anorexic. My problem now is that I've gained too much weight from eating normally. Is there no middle ground? I can't fit into my clothes, but I don't want to go back to being sick.

—Former Anorexic, Weston, CT

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Photo by Johan Persson, Courtesy ROH

Whatever your feelings about Wayne McGregor's heady, hyper-physical choreography, we can all probably agree on one thing: We'd really, really love to pick his brain. And tomorrow, Dance Umbrella, a UK-based dance festival, is giving everyone the chance to do exactly that.

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Dancers & Companies
Nisian Hughes

"Women are often presented as soft, fragile little creatures in ballet," says Léonore Baulac. "We're not." The Paris Opéra Ballet's newest female étoile is discussing her unease at some of the 19th-century narratives she portrays. "It was real acting," she says with a laugh of La Sylphide. "James kills her by taking away her wings, yet she tells him not to worry and goes to die elsewhere onstage!"

Sitting in the canteen of the Palais Garnier, Baulac embodies some of ballet's contradictions in the 21st century. With her fair curls and dainty features, she could easily pass for a little girl's fantasy princess. As Juliet, she exuded a girlish ardor that felt entirely natural; her reservations notwithstanding, her Sylphide was committed and carefully Romantic in style.

Yet the 27-year-old is no ingénue. At Garnier that day, her sweater reads "I can't believe I still have to protest this s**t," a feminist slogan; last winter, Baulac proudly wore it over a Kitri tutu on Instagram. And her repertoire is as thoroughly modern as she is offstage. A versatile performer even by Parisian standards, she is equally at home in Nutcracker as she is in the works of Pina Bausch and Anne Teresa De Keersmaeker.

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