Forsythe's Artifact—Then and Now: "It Makes You Think For Days"
Kathryn Bennetts credits William Forsythe's Artifact with changing her life. “I've heard a lot of people say that—the piece is just a monster in its importance," she says during a break in rehearsals at Boston Ballet, where she and Noah Gelber are staging the full-length work for what will be its North American company premiere tomorrow night.
Bennetts has danced in and staged Forsythe ballets for more than 30 years as a Stuttgart Ballet soloist, ballet mistress at the Frankfurt Ballet and artistic director of the Royal Ballet of Flanders. “Audiences are transported, even overwhelmed, by the enormity of Artifact. It ends with a bang, after which the audience tends to sit in silence for a minute."
“It makes you think about society and life for days after," she says.
Video by Ernesto Galan, Courtesy Boston Ballet
Even as a seminal work—the first full-length ballet Forsythe created as director of Frankfurt Ballet in 1984—Artifact is not pinned to its place in history, forever under glass. Forsythe has allowed his “ode to ballet" to evolve with the advancement of ballet technique and his own experience as a choreographer, says Bennetts.
For the first ballet of a new five-year relationship with Boston Ballet, Forsythe came to town just a few weeks before opening night to tweak certain parts to suit specific dancers, while creating a new group section before the finale and updating Act Three. (In the early years, Act Three gradually included less improvisation and more structure. “Part three in Frankfurt was rather crazy aggressive," says Bennetts.)
Boston Ballet rehearses Artifact. Photo by Liza Voll, courtesy Boston Ballet.
“Bill doesn't hold on to the past," Bennetts explains. “He doesn't get sentimental; he can just let it go." After all, Forsythe was 33 years old when he choreographed Artifact. “Now he says he's a grandpa. His movement is less harsh, less like an attack."
He wants this to be the Boston version, says Bennetts. “Bill always wants to update certain parts for the dancers in front of him. It challenges them, but it's also an older piece and the technique has improved."
Forsythe working with Misa Kuranaga. Photo by Liza Voll, courtesy Boston Ballet.
Forsythe is also spending time with the Boston Ballet dancers just as he's discovering his enthusiasm for ballet again. “He took a break for a long time, and I think he's having fun challenging himself as much as the dancers," says Bennetts. “This process is also for himself—he's like a painter or an actor watching himself in film. He has examined this work for more than 30 years and never had time to fix it."
“I've never met anyone not blown away by this piece, but every choreographer has doubts," she adds. “Recently he said to me, 'I can actually do this.' "
Photo by Liza Voll, Courtesy Boston Ballet
We're sure of it.
William Forsythe's full-length Artifact runs February 23–March 5, 2017 at the Boston Opera House.
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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:
Yes, we realize it's only August. But we can't help but to already be musing about all the incredible dance happenings of 2019.
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.
If you're seeking an extra dash of inspiration to start the new season on the right—dare we say—foot, look no further than dance documentaries.
Starting August 23, OVID, a streaming service dedicated to docs and art-house films, is adding eight notable dance documentaries to its library. The best part? There's a free seven-day trail. (After that, subscriptions are $6.99 per month or $69.99 annually.)
From the glamour of Russian ballet stars to young dancers training in Cuba to a portrait of powerhouse couple Carmen de Lavallade and Geoffrey Holder, here's what's coming to a couch near you: