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10 Minutes With Jirí Kylián
The legendary choreographer takes on a new role.
At 69, Jirí Kylián is back in a leadership role in ballet. In 2009, he parted ways with Nederlands Dans Theater after 24 years as artistic director and another decade as resident choreographer; the company shelved his works entirely in 2014. The Czech luminary has since stopped making new pieces for the stage to focus on film and photography, but his blend of classical lines and contemporary fluidity remains a cornerstone of neoclassical ballet worldwide. Starting this season, it will have a new home at the Lyon Opera Ballet, where Kylián is taking up a position as associate artist with a three-year contract.
Kylián’s Sleepless. Photo by Joris Jan Bos, Courtesy Lyon Opera Ballet.
Why did you say yes to becoming associate artist in Lyon?
I started working with the Lyon Opera Ballet in the early 1980s, when Françoise Adret was the director of the company, so it’s a long tradition for me. The current artistic director, Yorgos Loukos, simply asked me to take a more prominent role.
How much time will you spend in Lyon?
We’re still negotiating the plan, but it won’t be as regular as you might think. I won’t be there every month. The company will present existing ballets, including the ones that are already in the repertoire, and I will also present works that I made for older dancers and a photography exhibition, Free Fall.
You have exactly 100 works for the stage listed on your website. Do you have any plans to make new ones?
For now, no. I’m concentrating on film and photography. But once a choreographer, always a choreographer. The danger that I will start choreographing again is great. [Laughs]
What prompted that shift towards photography and film?
I’m interested in the tension between what is alive and what is dead, like photos and film. I’m very old now, I’m almost 70, so death is coming, it is closer to me. Even the photos that I make have some kind of choreography in them, however. I was busy making movement all my life, and I call my images frozen choreography.
You’ve also completed two short films this year, including Oskar for Les Ballets de Monte-Carlo.
You can get closer to faces with film. Onstage, you can be a fantastic dancer, but you’re still removed from the public. I’m interested in working with older dancers, including my partner of 43 years, Sabine Kupferberg. Their faces speak of incredible experience. They are like a map of the world, with so much written inside.
You’ve withdrawn your works from the repertoire of Nederlands Dans Theater for three years, until 2017. Will they be reintroduced next year?
There are no plans to reintroduce my work to the repertoire, and I encourage that. They’re doing fantastically well, and they should keep going the way they have. Before the Kylián period at NDT, there was a Glen Tetley and Hans van Manen period, and now it’s a new one—the company has always renewed itself and been at the forefront of dance’s development. I didn’t want to hang there like an ever-present shadow.
Have you taken any steps for the long-term preservation of your work?
All my work is digitalized. It’s not for my own glory—when I go, I want to make sure that there is good information available, so that people who are interested in what happened can have truthful sources.
Whether playing a saucy soubrette or an imperious swan, Irina Dvorovenko was always a formidable presence on the American Ballet Theatre stage. Since her 2013 retirement at 39, after 16 seasons, she's been bringing that intensity to an acting career in roles ranging from, well, Russian ballerinas to the Soviet-era newcomer she plays in the FX spy series "The Americans."
We caught up with her after tech rehearsal for the Encores! presentation of the musical Grand Hotel, directed and choreographed by Josh Rhodes and running March 21–25 at New York City Center. It's another tempestuous ballerina role for Dvorovenko—Elizaveta Grushinskaya, on her seventh farewell tour, resentfully checks into the Berlin hostelry of the title with her entourage, only to fall for a handsome young baron and sing "Bonjour, Amour."
When Andrew Montgomery first saw the Las Vegas hit Le Rêve - The Dream 10 years ago, he knew he had to be a part of the show one day. Eight years later, he auditioned, and made it to the last round of cuts. On his way home, still waiting to hear whether he'd been cast, he was in a motorcycle accident that ended up costing him half his leg.
But Montgomery's story doesn't end the way you might think. Today, he's a cast member of Le Rêve, where he does acrobatics and aerial work, swims (yes, the show takes places in and around a large pool) and dances, all with his prosthetic leg.
When you spend as much time on the road as The Royal Ballet's Steven McRae, getting access to a proper gym can be a hassle. To stay fit, the Australian-born principal turns to calisthenics—the old-school art of developing aerobic ability and strength with little to no equipment.
"It's basically just using your own body weight," McRae explains. "In terms of partnering, I'm not going to dance with a ballerina who is bigger than me, so if I can sustain my own body weight, then in my head I should be fine."
Raise your hand if you've ever walked out of the studio with just one thought on your mind: a big, juicy cheeseburger. But raise your other hand if instead of getting that burger, you opted for a hearty salad or stir-fry.
While dancers need to fuel their bodies with nutrient-dense meals and snacks, plenty of foods get an unfair bad rap. "The diet culture in this country vilifies various food groups as being bad while championing others as good," says Kelly Hogan, MS, RD, CDN, clinical nutrition and wellness manager at the Dubin Breast Center at Mount Sinai Hospital in New York City. "But black-and-white thinking like that has no place when it comes to food."
Some foods have less nutrition than others, admits Hogan, but if you're eating what you crave and honoring your hunger and fullness cues, she says you'll probably get the variety of nutrients your body needs. Here are seven foods that can have a place on your plate—guilt-free.
Camille A. Brown is on an impressive streak: In October, the Ford Foundation named her an Art of Change fellow. In November, she won an AUDELCO ("Viv") Award for her choreography in the musical Bella: An American Tall Tale. On December 1, her Camille A. Brown & Dancers made its debut at the Kennedy Center, and two days later she was back in New York City to see her choreography in the opening of Broadway's Once on This Island. Weeks later, it was announced that she was choreographing NBC's live television musical Jesus Christ Superstar Live in Concert, to air on April 1.
An extraordinarily private person, few knew that during this time Brown was in the midst of a health crisis. It started with an upset stomach while performing with her company on tour last summer.
"I was drinking ginger ale, thinking that I would feel better," she says. Finally, the pain became so acute that she went to the emergency room in Mississippi. Her appendix had burst. "Until then, I didn't know it was serious," she says. "I'm a dancer—aches and pains don't keep you from work."
A flock of polyamorous princes, a chorus of queer dying swans, a dominatrix witch: These are a few of the characters that populate the works of Katy Pyle, who, with her Brooklyn-based company Ballez, has been uprooting ballet's gender conventions since 2011.
Historically, ballet has not allowed for the expression of lesbian, transgender or gender-nonconforming identities. With Ballez, Pyle is reinventing the classical canon on more inclusive terms. Her work stems from a deep love of ballet and, at the same time, a frustration with its limits on acceptable body types and on the stories it traditionally tells.
The latest fitness fad has us literally buzzing. Vibrating tools—and exercise classes—promise added benefits to your typical workout and recovery routine, and they're only growing more popular.
Warning: These good vibrations don't come cheap.
My life is in complete chaos since my dance company disbanded. I have a day job, so money isn't the issue. It's the loss of my world that stings the most. What can I do?
—Lost Career, Washington, DC
Dance Theatre of Harlem is busy preparing for the company's Vision Gala on April 4. The works on the program, which takes place on the 50th anniversary of the assassination of Dr. Martin Luther King Jr., reflect on the legacy of Dr. King and his impact on company founder Arthur Mitchell. Among them is the much-anticipated revival of legendary choreographer Geoffrey Holder's Dougla, which will include live music and dancers from Collage Dance Collective.
We stepped into the studio with Holder's wife Carmen de Lavallade and son Leo Holder to hear what it feels like to keep Holder's legacy alive and what de Lavallade thinks of the recent rise in kids standing up against the government—as she did not too long ago.
The encounter with man-eating female creatures in Jerome Robbins' The Cage never fails to shock audiences. As this tribe of insects initiates the newly-born Novice into their community and prepares her for the attack of the male Intruders, the ballet draws us into a world of survival and instinct.
This year celebrates the 100th anniversary of Jerome Robbins' birth, and a number of Robbins programs are celebrating his timeless repertoire. But it especially feels like a prime moment to experience The Cage again. Several companies are performing it: San Francisco Ballet begins performances on March 20, followed by the English National Ballet in April and New York City Ballet in May.
Why it matters: In this time of female empowerment—as women are supporting one another in vocalizing injustices, demanding fair treatment and pay, and advocating for future generations—The Cage's nest of dominant women have new significance.