David Dorfman Talks Choreographing His First Broadway Play
Postmodern choreographer David Dorfman grew up watching experimental theater, so it makes sense that elements like text, abstract set design and socially conscious through-lines pepper his work. Choreographing for theater seems like a natural next step. The opening of Indecent on April 18 marks Dorfman's first outing as a Broadway choreographer. The play is about the making of God of Vengeance, a 1923 Broadway production based on a landmark Yiddish play, and deals with homosexuality and freedom of expression.
How did you get involved in Indecent?
I've known Rebecca Taichman, one of the creators, for 13 years or so now. We did a project together called Green Violin in Philadelphia.
What research went into choreographing this play?
I did more research for this than I normally do. Some of it is a bit tongue-in-cheek. In order to do that you have to get in deep about the hand gestures and rhythms of Hasidic dance. I don't believe that we have to produce a totally authentic version. But you have to know exactly where something comes from in order to stray.
What's been challenging for you?
I guess procedure. In theater you have to have prescribed break times, where in dance sometimes we'll work hours without taking breaks: "Do you need to eat or go to the bathroom? Nope? Okay, because we're on a roll." The work pattern in theater is more humane, but sometimes we're right on the edge of something...
In addition to running his dance company, Dorfman is also the Chair of the Dance Department at Connecticut College. Photo courtesy Connecticut College.
Will you take anything you learned to your choreography for dance?
The humbling moment for me is learning that there are movements that might be legible and exciting in dance that just don't work for this play. It's about what is needed right now, right here, with these bodies in space. It's made me question what vocabulary is absolutely necessary in my own work. It can be a crutch to say, "Oh, this is a great turn or partnering move."
How will people identify with the themes of this play today?
This project is about love, different kinds of love, and being bold with your art and your life and censorship. It's a complicated examination of expression, and how we express ourselves to each other is such a delicate issue. How do you have hope for a future that's hopefully filled with love? Can we use love to drive something that we might have as much distrust in as politics? I think a lot of us are thinking that now. It's often theater that helps us see how we express humanity. The strife in this play speaks to love on so many levels.
Social media has made the dance world a lot smaller, giving users instant access to artists and companies around the world. For aspiring pros, platforms like Instagram can offer a tantalizing glimpse into the life of a working performer. But there's a fine line between taking advantage of what social media can offer and relying too heavily on it.
If you think becoming a trainee or apprentice is the only path to gaining experience in a dance company environment, think again.
The University of Arizona, located in the heart of Tucson, acclimates dancers to the pace and rigor of company life while offering all the academic opportunities of a globally-ranked university. If you're looking to get a head-start on your professional dance career—or to just have a college experience that balances company-level training and repertory with rigorous academics—the University of Arizona's undergraduate and graduate programs have myriad opportunites to offer:
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We're getting ready for our annual Readers' Choice feature, and we want to hear from you about the shows you can't stop thinking about, the dance videos that blew your mind and the artists you discovered this year who everyone should know about.
On August 19, 1929, shockwaves were felt throughout the dance world as news spread that impresario Sergei Diaghilev had died. The founder of the Ballets Russes rewrote the course of ballet history as the company toured Europe and the U.S., championing collaborations with modernist composers, artists and designers such as Igor Stravinsky, Pablo Picasso and Coco Chanel. The company launched the careers of its five principal choreographers: Michel Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska and George Balanchine.