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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.
It can be hard to focus when Alice Sheppard dances.
Her recent sold-out run of DESCENT at New York Live Arts, for instance, offered a constellation of stimulation. Onstage was a large architectural ramp with an assortment of peaks and planes. There was an intricate lighting and projection design. There was a musical score that unfolded like an epic poem. There was a live score too: the sounds of Sheppard and fellow dancer Laurel Lawson's bodies interacting with the surfaces beneath them.
And there were wheelchairs. But if you think the wheelchairs are the center of this work, you're missing something vital about what Sheppard creates.
"I'm sorry, but I just can't possibly give you the amount of money you're asking for."
My heart sinks at my director's final response to my salary proposal. She insists it's not me or my work, there is just no money in the budget. My disappointment grows when handed the calendar for Grand Rapids Ballet's next season with five fewer weeks of work.
"It just...always looks better in my head."
While that might not be something any of us would want to hear from a choreographer, it's a brilliant introduction to "Off Kilter" and the odd, insecure character at its center, Milton Frank. The ballet mockumentary (think "The Office" or "Parks and Recreation," but with pointe shoes) follows Frank (dancer-turned-filmmaker Alejandro Alvarez Cadilla) as he comes back to the studio to try his hand at choreographing for the first time since a plagiarism scandal derailed his fledgling career back in the '90s.
We've been pretty excited about the series for a while, and now the wait is finally over. The first episode of the show, "The Denial," went live earlier today, and it's every bit as awkward, hilarious and relatable as we hoped.
A Jellicle Ball is coming to the big screen, with the unlikeliest of dancemakers on tap to choreograph.
We'll give you some hints: His choreography can aptly be described as "animalistic," though Jellicle cats have never come to mind specifically when watching his hyper-physical work. He's worked on movies before—even one about Beasts. And though contemporary ballet is his genre of choice, his choreography is certainly theatrical enough to lend itself to a musical.
What is the right flooring system for us?
So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.
These days, everyone tells you how important it is to be versatile. But what if you're convinced there's just one style that's right for you? It can be tough to balance a deep interest in a single specialty and still meet many choreographers' expectations. Luckily, you don't have to choose between all in or all over the place, as long as you follow your interests thoughtfully.
So far, the fervor to create diversity in ballet has primarily focused on dancers. Less attention has been paid to the work that they'll encounter once they arrive.
Yet the cultivation of ballet choreographers of color (specifically black choreographers) through traditional pathways of choreographic training grounds remains virtually impossible. No matter how you slice it, we end up at the basic issues that plague the pipeline to the stage: access and privilege.
Christopher Wheeldon is going to be giving Michael Jackson some new moves: The Royal Ballet artistic associate is bringing the King of Pop to Broadway.
The unlikely pairing was announced today by Jackson's estate. Wheeldon will serve as both director and choreographer for the new musical inspired by Michael Jackson's life, which is aiming for a 2020 Broadway opening. This will be Wheeldon's second time directing and choreographing, following 2015's Tony Award-winning An American in Paris.
Wheeldon is a surprising choice, to say the least. There are many top choreographers who worked with Jackson directly, like Wade Robson and Brian Friedman, who could have been tapped for the project. Or the production could have even hired someone who actually choreographed on Jackson when he was alive, like Buddha Stretch.
Broadway musicals have been on my mind for more than half a century. I discovered them in grade school, not in a theater but electronically. On the radio, every weeknight an otherwise boring local station would play a cast album in its entirety; on television, periodically Ed Sullivan's Sunday night variety show would feature an excerpt from the latest hit—numbers from Bye Bye Birdie, West Side Story, Camelot, Flower Drum Song.
But theater lives in the here and now, and I was in middle school when I attended my first Broadway musical, Gypsy—based, of all things, on the early life of the famed burlesque queen Gypsy Rose Lee. I didn't know who Jerome Robbins was, but I recognized genius when I saw it—kids morphing into adults as a dance number progresses, hilarious stripping routines, a pas de deux giving concrete shape to the romantic yearnings of an ugly duckling. It proved the birth of a lifelong habit, indulged for the last 18 years in the pages of this magazine. But all long runs eventually end, and it's time to say good-bye to the "On Broadway" column. It's not the last of our Broadway coverage—there's too much great work being created and performed, and you can count on hearing from me in print and online.
Let's start with the obvious: Over the weekend, Beyoncé and Jay-Z released a joint album, Everything Is Love. Bey and Jay also dropped a video for the album's lead track, which they filmed inside the actual Louvre museum in Paris (as one does, when one is a member of the Carter family). And the vid features not only thought-provoking commentary on the Western art tradition, but also some really incredible dancing.
So, who choreographed this epic? And who are the dancers bringing it to life in those already-iconic bodystockings?
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
This week, New York City's Joyce Theater presents two companies addressing LGBTQ+ issues.