Wendy Perron's First Blog
Why Is Naharin's Work So Mesmerizing?
After seeing Ohad Naharin’s Decadance performed by Cedar Lake Contemporary Ballet, you don’t come out of it saying This part was good and that part wasn’t. You come out of it having experienced humanity in a raw state. When Ebony Williams in bizarre feathery get-up on stilts, lip synchs to a song of grunts, sighs, and yells, there is something both artificial and ruthless about the way she uses her whole body and face. The recorded sounds seems to come from her gut, spiced up by a touch of Eartha Kitt and Harpo Marx too. The scene is almost funny, but it’s too mesmerizing to laugh.
Cedar Lake invited Naharin to spend three months with them setting Decadance, which is a compilation of excerpts of previous works. The dancers (all of them technically fantastic) have journeyed deep into themselves to get to a place of rawness. His demands go beyond pretty or beautiful, an aesthetic that is shared with Graham. But the movement sometimes looks like krumping or butoh. I think the hypnotic effect has to do with the vulnerability he encourages in his dancers. It gets to something essential about being human—or even animal. In the beginning, when they line up downstage for an excerpt from Naharin’s Virus, their gloved hands look like paws—until each dancer explodes, one at a time, into their personal version of condensed fury.
Another aspect of Naharin’s work that draws you in is the inventive ways he pulls audience members onto the stage. This time, I was one of those led by the hand to the performing space. I don’t have to tell you that it is quite a mental and physical switch from sitting and watching to being under the lights. My personal guide looked at me with fierce eyes that told me what to do. And yet there was room to play; you felt an instant camaraderie with the other dazed souls onstage. My guide turned out to be Shani Garfinkel, who is actually from Naharin’s Israeli company, Batsheva, and had joined Cedar Lake temporarily as both dancer and his assistant.
The program continues until July 1.
The Mothers Made Me Cry
After seeing various casts of Peter Martins’ Romeo + Juliet and American Ballet Theatre’s Sleeping Beauty—and reading lots of reviews—I feel like the mothers have been overlooked. Everyone talks about the different Juliets and Auroras, but Darci Kistler as Lady Capulet really brought the tragedy home, and Susan Jaffe as the queen was the emotional center of the new Sleeping Beauty.
Kistler gave extravagant weight to her every gesture. She had to practically rond-de-jambe around her huge dress, and she did so with generous sweeping arms. Maybe because of her grandeur, when she reacted to the deaths—first of Tybalt, then of Juliet—you felt the tension between her position in life and her immediate grief.
Susan Jaffe was a noble and radiant Queen. When the King, in a fit of rage, ordered Catalabutte (his chief minister) killed, Jaffe went into slow-motion action to calm him. She took his hand and placed her check tenderly in his palm. That did it. The feeling of her cheek in his hand appeased him, and he could now forgive. It seemed like all is OK in a land where a wife’s touch can bring down a king’s ire. It’s like a little shadowing of the Lilac Fairy mitigating Carabosse’s vengeful death sentence.
Back in July, the Bolshoi Ballet grabbed international headlines after canceling the scheduled premiere of a new full-length ballet just three days before opening night. The ballet was Nureyev, and, as it was centered on the life of an openly gay male dancer who defected from the Soviet Union, it was widely speculated that the decision was an act of censorship.
Further theories of political motivations arose as Kirill Serebrennikov, the project's already-controversial director, was being questioned in connection with an embezzlement investigation. But according to the Bolshoi, the ballet was pulled due to it simply not being ready, and was not canceled but postponed; a tentative premiere was set for May 2018.
But it looks like Russian audiences will be getting to see the new ballet far sooner than they might have hoped.
The dancers file into an audition room. They are given a number and asked to wait for registration to finish before the audition starts. At the end of the room, behind a table and a computer (and probably a number of mobile devices), there I sit, doing audio tests and updating the audition schedule as the room fills up with candidates. The dancers, more nervous than they need to be, see me, typing, perhaps teasing my colleagues, almost certainly with a coffee cup at my side.
By itself, a competition trophy won't really prepare you for professional life. Sometimes it is not even a plus. "Some directors are afraid that a kid who wins a lot of medals will come to their company with too many expectations," says Youth America Grand Prix artistic director Larissa Saveliev. "Directors want to mold young dancers to fit their company."
More valuable than taking home a title from a competition is the exposure you can get and the connections you can make while you're there. But how can you take advantage of the opportunity?
New York Live Arts opens its 2017-18 season with A Love Supreme, a revised work by Anne Teresa De Keersmaeker and collaborator Salva Sanchis. Known as a choreographer of pure form, pattern and musicality, De Keersmaeker can bring a visceral power to the stage without the use of narrative. She has taken this 2005 work to John Coltrane's famous jazz score of the same title and recast it for four young men of her company Rosas, giving it an infusion of new energy.
Photo by Anne Van Aerschot
Before too long, dancers and choreographers will get to create on the luxurious 170-acre property in rural Connecticut that is currently home to legendary visual artist Jasper Johns.
If you think that sounds far more glamorous than your average choreographic retreat, you're right. Though there are some seriously generous opportunities out there, this one seems particularly lavish.
Every dancer has learned—probably the hard way—that healthy feet are the foundation of a productive and happy day in the studio. As dancers, our most important asset has to carry the weight (literally) of everything we do. So it's not surprising that most professional dancers have foot care down to an art.
Three dancers shared their foot-care products they can't live without.
Dancers trying their hand at designing is nothing new. But they do tend to stick with studio or performance-wear (think Miami City Ballet's Ella Titus and her line of knit warm-ups or former NYCB dancer Janie Taylor and her ballet costumes). But several dancers at American Ballet Theatre—corps members Jamie Kopit, Erica Lall, Katie Boren, Katie Williams, Lauren Post, Zhong-Jing Fang and soloist Cassandra Trenary—are about to launch a fashion line that's built around designs that can be worn outside of the studio. Titled Company Cooperative, the luxe line of women's wear is handmade in New York City's garment district and designed by the dancers themselves.
Royal Ballet dancers Yasmine Naghdi and Beatriz Stix-Brunell recently got together for a different kind of performance: no decadent costumes, sets, stage makeup or lighting. Instead, the principal and first soloist danced choreography by principal character artist Kristen McNally in a stark studio.
The movement is crystal clear, and at the beginning, Naghdi and Stix-Brunell duck and weave around each other with near vacant stares. Do they even know they have a partner? And how should they interact? The situation raises a much larger question: How often do we see a female duet in ballet?