Make Magic Onstage
How to become the kind of performer audiences can’t take their eyes off of.
Lesley Rausch, here in Swan Lake, uses visualization techniques backstage. Photo by Angela Sterling, courtesy Pacific Northwest Ballet.
After countless hours in rehearsal, the stage can sometimes feel like a foreign country. Mirrors are replaced with blackness, your periphery is filled with light, and the floors, spacing and even the rosin feel different. Suddenly the variation you’d mastered in the studio is shaky and your performance falls short of everything you’d accomplished in rehearsal.
Performing is a skill of its own, and great dancers are not always great performers. It takes a particular kind of confidence to share yourself onstage and relax into your body when the pressure is on. But by working on their performance skills, dancers can grow beyond what was possible without an audience.
Shake Your Nerves
Dancers who flourish under the spotlight typically focus on the work itself rather than outcomes like audience reactions, reviews or possible promotions. Because such results are beyond your control, fixating on them can zap your confidence and exacerbate nerves, explains Dr. Jim Taylor, psychologist and co-author of Dance Psychology for Artistic and Performance Excellence.
When those thoughts take over, Alvin Ailey American Dance Theater’s Demetia Hopkins-Greene practices deep breathing to calm down and slow her heart rate. “I focus on my goal for that performance: What’s my role? What am I trying to convey?” she says. She forces herself to stay in the moment and shifts her mind-set to revel in the blackness of the fourth wall, rather than worrying about all the people on the other side.
Other dancers learn to use their nerves to their advantage: If you can channel that adrenaline into controlled energy (while staying present), it can give you an extra boost. “Enjoy the butterflies,” suggests Houston Ballet II ballet master and coach Claudio Muñoz. “It’s the best part of the performance.”
Discover Your Ideal Prep
Whether you always listen to a certain song backstage or a put on a “lucky” pair of mukluks, there may be more power in your backstage routines than you think. “Great performers and athletes are meticulous in their preparation,” Taylor says. That means your makeup, hair and warm-up are all thoughtfully done on a schedule that makes you comfortable. “Consistency of preparation leads to consistency of performance,” he says.
Hopkins-Greene, here with Glenn Allen Sims in Chroma, uses the fourth wall to help her focus. Photo by Paul Kolnik, courtesy Ailey.
The trick is finding what makes you feel comfortable enough to open up and be vulnerable onstage. Dancers with an internal-focus style often need space and quiet to get into that zone—you’ll find them off in a corner with earbuds in, avoiding eye contact. But others, says Taylor, will begin to stress and self-criticize if they overthink things, so they might need to spend their prep time blasting silly pop music and laughing with friends.
Either way, get into performance mode from the moment you start warming up. “Don’t wait until you’re onstage,” says musical theater choreographer and performer Al Blackstone. “Immediately during pliés, be as present as possible, actually look at your hand, engage with the space around you, project energy. Then you won’t have to make a huge shift once it’s time to perform.”
Positive imagery should also be part of every dancer’s backstage prep. Studies have shown that visualization can have a real effect on how our muscles behave. Imagining your ideal performance can help embed it in your muscle memory before you go on. “I’ll visualize doing the steps successfully rather than focusing on the time that I fell out of the pirouette,” says Pacific Northwest Ballet principal Lesley Rausch. During the rehearsal period, go through your choreography mentally at least three times per week so that visualization feels natural come opening night.
Watch Your Body Language
The way you hold your posture can affect how an audience perceives you on a subliminal level, says Jennie Morton, an osteopath and former dancer. For example, by curling your stomach inward while pushing your chin up in a slumping position, you are communicating that you are afraid, whether intentionally or not. Similarly, elevated shoulders or tension in the neck and arms can denote a lack of confidence. “The audience will be waiting for something to go wrong because they don’t feel comfortable watching you,” says Morton. “For an audience to connect to a performer emotionally, trust has to be established.” Of course, these postures can be a choreographic or dramatic choice. But otherwise, Morton suggests aiming for neutral alignment—particularly focusing on your pelvic position—to give your body language greater authority.
Find Your Way Into the Role
When Hopkins-Greene was cast in the title role of Matthew Rushing’s Odetta last year, she was intimidated to depict the iconic singer known as the voice of the civil rights movement. But once she found herself in the role, she shined. “I can’t be Odetta,” she says, “but I can tell you what I feel from Odetta. I can show you how I see this woman.”
Claudia Muñoz coaches dancers to approach performances the same as rehearsals. Photo by Cameron Durham, courtesy Houston Ballet Academy.
Blackstone says that performers who struggle with being expressive onstage can improve by digging even deeper into the material. “Talk to the choreographer, ask yourself questions about the character and how you want the audience to feel,” he suggests. “Performance is about communication—how can you have a great conversation if you don’t know what it is you’re trying to say?”
Based on your interpretation, discover places in the choreography to play with your energy and focus, and find those moments when you can feed off other performers onstage by making eye contact. “Take those moments when you’re not engaging straight out to the audience to look down or over your shoulder or at your partner,” says Blackstone. Not only will this give your dancing more nuance, but it will leave you more energy to give to the audience when you are sending it out in their direction.
Don’t Aim For Perfection
Because the stakes are high in performance, dancers tend to put more pressure on themselves. “When I was younger I felt this sense of needing to be perfect technically in my performance,” says Rausch. She’s not alone. But this approach can backfire, aggravating stage fright and leaving dancers unprepared to bounce back from the inevitably imperfect moments in a performance.
When coaching dancers for competition, Muñoz tells them to approach it just like they do every day in the studio. “If they’re good, they’re going to win anyway.” A performance is not the time to try for an extra rotation in your turns; simply execute what you know you can do and remain open to what comes onstage. Strive for excellence rather than perfection, advises Taylor. “Excellence still sets the bar incredibly high, but it takes away the pressure of having to be perfect.”
So what is that sparkle? The je ne sais quoi that makes certain dancers seem magical onstage? Simply put, it’s you. “The dancers that I enjoy watching the most are the ones who are very comfortable with who they are outside of the studio because they allow themselves to be that person onstage, too,” says Rausch. Watch other dancers to see what it is about their performances that you respond to. And replay videos of yourself performing to see how you’re coming across, whether you look comfortable in your own skin.
“With performers, their whole identity can be wrapped up with their label as a dancer,” says Morton. “It’s those who manage to retain their humanity, that connection with the self, that find it more natural to be expressive.” Make time for activities and friends that help you stay in touch with all the quirks and oddities that make you uniquely you. And once you’re in front of the footlights, don’t hold anything back. n
Kathleen McGuire is a contributing writer to Dance Magazine.
I have a commitment, a romance, a love affair with dance, with the feeling that happens when the music and the steps so perfectly align and I can't help but get chills. That feeling when my partner and I are dancing as one, when everyone onstage feels the same heartbeat, when it's just me alone in my bedroom.
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
You can see them in "Fosse/Verdon" episode one. Michelle Williams, playing Gwen Verdon, wears them with a cool, retro, forest-green jumpsuit. Tucked beneath a mop top of tousled Gwen Verdon locks, Williams sports a pair of discreet and tasteful onyx drop-earrings—the dancer's favorites. Verdon wore them all her adult life, according to her daughter Nicole Fosse, a co-executive producer of the FX series that puts a spotlight on a great woman of American dance.
"I have very little memory of my mother wearing other earrings. They were her Gwen Verdon earrings," says Fosse, speaking by phone from her home in Vermont. "She's wearing them in 99 percent of the pictures of her performing."
Four years of lectures, exams and classes can feel like a lifetime for college dancers who have their sights set on performing. So when a professional opportunity comes knocking, it can be tempting to step away from your academics. But there are a few things to consider before putting your education on hold.
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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We've all been there: You see the craziest/most beautiful/oddest/wildest clip of a dance on Facebook and you simply have to see more.
But do you actually get yourself to the theater and sit through a 90-minute performance? The consensus, at this point, typically seems to be: No.
There is no clear correlation between a company's social media campaigns and how many seats they fill in the theater. That doesn't mean social media isn't, of course, vital. It simply means that "social media campaigns operating without other marketing campaigns don't cut it," says Rob Bailis, associate director of Cal Performances at UC Berkeley. "But campaigns without social media are far worse off."
Since the project was first announced toward the end of 2017, we've been extremely curious about Yuli. The film, based on Carlos Acosta's memoir No Way Home, promised as much dancing as biography, with Acosta appearing as himself and dance sequences featuring his eponymous Cuba-based company Acosta Danza. Add in filmmaking power couple Icíar Bollaín (director) and Paul Laverty (screenwriter), and you have a recipe for a dance film unlike anything else we've seen recently.
One of the country's top arbitrators has decided to reinstate Amar Ramasar and Zachary Catazaro to New York City Ballet. The former principals were fired last fall for "inappropriate communications," namely graphic text messages.
The dancers' union, American Guild of Musical Artists, fought the termination, arguing that the firings were unjust since they related entirely to non-work activity. After a careful review of the facts, an independent arbitrator determined that while the company was justified in disciplining the two men, suspension was the appropriate action and termination took it too far.
A woman passes three men in the street. The men pursue her. They thrust their pelvises at her. They continue to pursue her after she slaps one's hand and walks away. They surround her. She glances around at them in alarm. One snatches her purse (to review the Freudian significance of purses, click here) and saunters off with it, mocking her. She tries to take the purse back, and the three men toss it over her head among each other. They make her dance with them. Each time she indicates "No," the men try harder to force her submission to their advances.
This is all within the first 10 minutes of Jerome Robbins's Fancy Free, a 1944 ballet about three sailors frolicking on shore leave during World War II, beloved by many and still regularly performed (especially during the last year, since 2018 was the centennial celebration of Robbins's birth). Critic Edwin Denby, after the premiere with Ballet Theatre, called it "a remarkable comedy piece" and "a direct, manly piece."
When you're bouncing between hotel rooms without access to a kitchen, eating a pescatarian diet can be challenging. Stephanie Mincone, who most recently traveled the globe with Taylor Swift's Reputation Stadium Tour, told Dance Magazine how she does it—while fueling herself with enough energy to perform for thousands of Taylor fans.
Choosing music for your first-ever choreography commission can feel daunting enough. But when you're asked to create a ballet using the vast discography of the Rolling Stones—and you happen to be dating Stones frontman Mick Jagger—the stakes are even higher.
So it's understandable that as of Monday, American Ballet Theatre corps de ballet dancer Melanie Hamrick, whose Port Rouge will have its U.S. premiere tonight at the Youth America Grand Prix gala, was still torn about which songs to include.
What is an acceptable request from a choreographer in terms of nudity? On the first day of shooting All That Jazz in the 1970s, Bob Fosse asked us men to remove everything but our jock straps and the women to remove their tops. His rationale was to shock us in order to build character, and it felt disloyal to refuse. Would this behavior be considered okay today?
As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.
So where can companies find the money?
The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."
My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.
This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?
When American Ballet Theatre announced yesterday that it would be adding Jane Eyre to its stable of narrative full-lengths, the English nerds in the DM offices (read: most of us) got pretty excited. Cathy Marston's adaptation of Charlotte Brontë's classic novel was created for England's Northern Ballet in 2016, and, based on the clips that have made their way online, it seems like a perfect fit for ABT's Met Opera season.
It also got us thinking about what other classic novels we'd love to see adapted into ballets—but then we realized just how many there already are. From Russian epics to beloved children's books, here are 10 of our favorites that have already made the leap from page to stage. (Special shoutout to Northern Ballet, the undisputed MVP of turning literature into live performance.)
The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?
Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.
Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.
A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.
But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."
One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.
This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.
The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.
When George Balanchine's full-length Don Quixote premiered in 1965, critics and audiences alike viewed the ballet as a failure. Elaborate scenery and costumes framed mawkish mime passages, like one in which the ballerina washed the Don's feet and dried them with her hair. Its revival in 2005 by Suzanne Farrell, the ballerina on whom it was made and to whom Balanchine left the work, did little to alter its reputation.
Yet at New York City Center's Balanchine festival last fall, some regretted its absence.
"I'd want to see Balanchine's Don Quixote," says Apollinaire Scherr, dance critic for the Financial Times. "It was a labor of love on his part, and a love letter as well. And you want to know what that looks like in his work."
Even great choreographers make mistakes. Sometimes they fail on a grand scale, like Don Quixote; other times it may be a minor misstep. Experiment and risk help choreographers grow, but what happens when a choreographer of stature misfires? Should the work remain in the repertory? And what about a work that fails on some levels but not others?
After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.
Throughout 2019, the Merce Cunningham Trust continues a global celebration that will be one of the largest tributes to a dance artist ever. Under the umbrella of the Merce Cunningham Centennial are classes and workshops, film screenings and festivals, art exhibitions and symposia, and revivals and premieres of original works inspired by the dancemaker's ideas. The fever peaks on April 16, which would have been the pioneering choreographer's 100th birthday, with Night of 100 Solos: A Centennial Event, featuring a total of 75 dancers in three performances live-streamed from London, Los Angeles and New York City.