In The Studio: Elizabeth Streb Is Interested in More Than Danger
Although she constantly pushes the level of risk in her work, Streb Extreme Action Company artistic director Elizabeth Streb surprisingly looks for more than just a passion for physicality when recruiting
dancers action heroes. We went to S.L.A.M (Streb Lab for Action Mechanics) to get an inside look at a rehearsal, and quickly learned that though she may have an addiction to danger, Streb isn't quite as tough as she seems.
A sense of teamwork is really clear amongst your dancers when they are working. How is that something you have tried to instill in your company environment?
You have to be a team in this work or you are in big trouble. It certainly wasn't like that in the beginning. So this was an end game for a very incremental process. I figured out how to have people who love people in the room. It's a very pacific concept but it's a humane concept. And as we went along we realized it's our job to be socially kind and interested in anyone who walks in the room.
Speaking of which, your rehearsals are all open to the public. Is that something you have always been interested in doing?
When we moved from the Canal Street studio to garages in Williamsburg they were all on the ground floor, so we started practicing what it meant to invite the community in and let people who walk by and don't know Streb come in and be interested in watching us. And that's changed my set of questions and has changed who I'd like our public to be.
Photo by Teresa Wood
The level of risk in your work heightens each year. How do you visualize that risk in the beginning stages of a new work?
There's this great quote from Tim Cahill that says "the explorer is the person who is lost," so I don't pretend to know what I'm doing. I have an idea—is it the spinning ladder idea? Is it the high speed windshield idea? In any of those circumstances where we try to create a sense on unfamiliarity in the space, I don't really pre-amp ideas. If I know before I see it then it's happened before.
As you're prepping your Thanksgiving meal, why not throw in a dash of dance?
This year's Macy's Thanksgiving Day Parade is stuffed (pun intended) with performances from four stellar Broadway shows, the Radio City Rockettes and students from three New York City dance institutions.
Tune in to NBC November 28 from 9 am to noon (in all time zones), or catch the rebroadcast at 2 pm (also in all time zones). Here's what's in store:
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
Last week, Variety reported that Sergei Polunin would reunite with the team behind Dancer for another documentary. "Where 'Dancer' looked at his whole life, family and influences," director Steven Cantor said, " 'Satori' will focus more squarely on his creative process as performer and, for the first time ever, choreographer." The title references a poorly received evening of work by the same name first presented by Polunin in 2017. (It recently toured to Moscow and St. Petersburg.)
I cannot be the only person wondering why we should care.
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.