Mercurial & Magical

Paul Taylor's Parisa Khobdeh blends beauty, grace, and comic timing.

 

 

Paul Taylor’s Also Playing. Costume by Santo Loquasto, photo by Matthew Karas.

 

After nearly 10 years as a member of the Paul Taylor Dance Company, Parisa Khobdeh is being rewarded in the way every dancer loves most: showered with plum roles by a modern master. Still, one part in particular, the stoic, fearless female lead in Promethean Fire, fills her with awe. She first encountered that majestic dance in 2002; its tumultuous duet, performed by Lisa Viola and Patrick Corbin, blew her away.

 

“I saw Lisa run from Patrick to the edge of the stage and then she turned and threw herself at him,” says Khobdeh after a rehearsal at the company’s Lower East Side studios. “As he caught her, her face grazed the ground. I took the same gasp the audience took.”

 

The moment was life-changing. “At that point, I knew: I don’t want to be a great dancer—I want to be a great Taylor dancer.”

 

To accomplish that requires range, and in Khobdeh’s dancing—from her eloquent lyricism to her sly sense of humor—there is a rainbow of emotion and physicality. “I look at Paul’s dances, and it’s not light and dark,” she says. “It’s how many shades of gray. In one dance like Esplanade, you have tremendous pathos, you have romance, you have darkness, you have absolute abandon and letting go, and I feel like being a Taylor dancer is executing all of those things. That’s what I try to achieve. There’s beauty in the madness and the sanity, in the pure gorgeousness and exhaustion, and in the disparity and the dignity.”

 

In many ways, Khobdeh is impossible to typecast. She’s a beauty, with finely arched eyebrows that lend her dancing a sensuous air in works like Brandenburgs and Arden Court; they also seem to let you in on the joke in humorous pieces like Offenbach Overtures or Troilus and Cressida (Reduced). Despite her delicacy, she is tougher than she looks: Khobdeh is a Texan whose parents left Tehran a few years before the 1979 Islamic revolution. She grew up in Plano, a suburb north of Dallas.

 

Khobdeh began dancing for practical reasons: Her parents worked full-time and they needed a place for her to go after school. “Also, I think my mother always admired dancing when she was younger, so this was an opportunity for me to be exposed to the arts,” Khobdeh says. “She couldn’t dance. She wanted to as a youngster and her father didn’t approve.”

 

At the Chamberlain School of Performing Arts, under Kathy Chamberlain, she received rigorous training. The main focus was ballet, and Khobdeh had the chance to perform with high-level guest artists, including Carlos Acosta. “But it wasn’t until I saw modern dance that it spoke to me as an expressive medium,” she says. “I immediately fell in love with it. It blew my hair back.”

 

She entered Southern Methodist University as a pre-med major, but halfway through realized that she wanted to pursue dance instead. It was at SMU that Khobdeh feels she developed, not just as a dancer but also as a person. She recalls asking herself questions like, Who am I? Where am I going? “That’s where I discovered what I wanted.” Khobdeh set her sights on joining the Taylor company. “And then,” she continues, “it was like I’d walk through walls for it.”

 

She auditioned twice. The first time she was cut immediately, but the second audition, about a year later, occurred after she had completed a Taylor intensive. “The line was out the door at 7:00 in the morning, and I was a little cold, so I went to the third floor to the yoga studio that I had been training at.”

 

It wasn’t open, but a cleaning woman was working; Khobdeh asked her if she could use one of the smaller studios to warm up and meditate. “As I was leaving, I looked at her—there was a window behind her—and she was just glowing like there was a halo around her,” Khobdeh recalls. “She said, ‘I have a very good feeling about you today.’ ”

 

At the audition, Khobdeh says that she felt superhuman. “They were pounding out choreography,” she says, snapping her fingers. “When you’ve got so many eyes all over your body, it’s incredible. The next thing I knew, the dancing was done and I couldn’t believe that I had made it that far. Paul came up to us, and he was so generous. He said, ‘You guys are all beautiful’—and he kind of wrapped his arm around me and gave me a little squeeze—‘but I’ve made my choice.’ ”

 

Taylor hasn’t had reason to second-guess his decision. This fall, Khobdeh performed as the lead in his newest work, To Make Crops Grow, after this piece went to press. Taylor says that the role “is one of the most demanding I’ve ever made for her.”

 

"Parisa connects with you in the moment. You can tell when you look in her eyes that there is nowhere else she would rather be.” —Michael Trusnovec, her frequent partner. Photos by Francisco Graciano, Courtesy PTDC. 

 

Khobdeh, who wears heels in the dance, laughs. “He’s warned me that it doesn’t end very well for me,” she says. “I don’t have a very good relationship with my husband. I’m kind of fancy and I’m married to an older gentleman. We have one child together, and he doesn’t do it for me. Paul says I’m very flirtatious. I think it’s because I’m unhappy.”

 

Actually, offstage, Khobdeh, who is single, is as sunny as they come. Michael Trusnovec, her frequent partner, says, “She’s one of those people that whenever we go somewhere on the road and get into a taxi, not two minutes into the ride, she knows everything about the driver.” That curiosity, in part, is what keeps her challenged by Taylor’s prodigious imagination. There’s no way to know what’s around the corner, and that’s how she likes it.

 

“Maybe that’s why we’re so fiercely loyal and devoted to Paul,” she says. “In doing parts like Piazzolla Caldera, Promethean Fire and Company B, I feel like Paul has a lot of trust in me. That he feels I’m capable of doing them justice. Being in the studio and making something is a very special process. When we find out who’s going to be in the new dance, it feels like Christmas morning. It is the best part of my job. It’s such a beautiful thing, especially to see him move. I admire the man so much. And I love trying to read his mind.”

 

Khobdeh, 32, lives on New York’s Lower East Side and rides her bicycle everywhere. She also attends as many theater, dance, and music performances—from the Philharmonic to a three-person band in a Brooklyn basement—as she can afford. But Khobdeh doesn’t limit herself to simply sitting in the audience: She’s also part of a comedy-improv troupe called the Sea Monsters.

 

“The reason I got into it was because Paul was challenging me with more comedy roles,” Khobdeh says. “It’s like the yoga, the biking, and the weight training that I do. It’s cross-training for my mind. It helps me understand comedy, timing and, more specifically, Paul’s timing. And that’s really what I’m striving for.”

 

Clockwise from top left: Offenbach Overtures with Michelle Fleet. Photo by Paul B. Goode, Courtesy PTDC; In costume for Piazzolla Caldera. Photo by Matthew Karas; Esplanade, from backstage. Photo by Francisco Graciano, Courtesy PTDC. 

 

 

So far, her comedy-improv life is something of a secret. “Sometimes it’s really nice to walk into a random third-floor theater somewhere on MacDougal Street and perform and nobody knows who you are,” she says. “Nobody knows what you do. You’re just another player and I love that. I love completely being anonymous and turning into something else.”

 

In her dancing, she manages to do that all the time, performing such disparate roles as the forlorn young woman in Company B (her solo to “I Can Dream, Can’t I?” is heartbreaking) and as the lusty, space-devouring sexpot in Piazzolla. This March at Lincoln Center, Khobdeh dances with Trusnovec in three Taylor classics: Esplanade; Eventide, a delicately rendered look at love told through the simplest of means—walking; and Promethean Fire.

 

Photo by Matthew Karas.

 

 

Trusnovec finds something in Khobdeh’s essence similar to that of the recently retired Taylor dancer Annmaria Mazzini, who danced each performance as if it might be her last. “Parisa is one of those dancers who connects with you in that moment,” he says. “You can tell when you look in her eyes that there is nowhere else she would rather be, that there is no one else even onstage when you’re dancing with her. I feel like the world disappears. It’s very pure and beautiful.”

 

Khobdeh relishes dancing with Trusnovec; in Promethean Fire, which hints at the events of 9/11, she calls him her rock. “I do that blind leap,” she says. “I jump into the void. And I know he’s going to catch me. I trust him with my life.”

 

Photo by Matthew Karas.

 

At one point in Promethean Fire, the dancers collapse on top of each other only to rise up again. It’s a triumphant look at the human spirit, which is why Khobdeh loves it so much. “Being human is going through obstacles and overcoming adversity,” she says. “We’re all faced with tragedy at some point or another, and if you are afraid of it, it might overtake you. So you look beyond the obstacle.”

 

Before last season’s Lincoln Center engagement, the company performed a run-through of Promethean Fire for Taylor. “After we bowed, he gestured to me and I went up to his chair,” she says. “I bent down to hear him because he was sitting. He looked at me and he kissed me on the cheek and said, ‘That’s it.’ It was so tender. My heart felt huge. It was a beautiful moment that I’ll cherish forever.”

 

Gia Kourlas is the dance editor of Time Out New York and writes about dance for The New York Times.

 

 

How Parisa keeps her body dance-ready

 

Heavy lifting ”Here, the women are not the only ones being lifted. There are moments when I’m having to lift someone else, so I strength-train. I spend three days in the gym lifting weights, and I also do Pilates and Gyrotonics. I take ballet and Taylor too. I get massages and I do Thera-Band exercises and I try to eat a very high protein diet to take care of my muscles.”

 

Outside the studio “I bike everywhere. I do yoga and I swim, and especially on our off time, I try to do all of those things. To get the Taylor back, the closest thing without doing Taylor is to be in the pool and use the resistance of the water.”

 

On tour “I usually do some Pilates in my room. If there’s a gym in the hotel, I try to utilize that just to get some blood flowing, especially if I’ve been on a long plane ride. I’ll warm up before tech. I’ll give myself a barre and I will do the Taylor back exercises and rehearse and then do it all over again before the show. And I try to stretch after, while everything’s still warm.”

The Creative Process
Rehearsal of Yvonne Rainer's Parts of Some Sextets. Photo by Paula Court, Courtesy Performa.

Yvonne Rainer's Parts of Some Sextets (AKA "the mattress dance") hasn't been revived since it premiered in 1965. Nor has Rainer had any wish to do it again, to ask performers to heave 10 mattresses around while carrying out 31 tasks that changed every 30 seconds. It was an unwieldy, difficult dance. (Even the title is unwieldy.) But Emily Coates, who has danced in Rainer's work for 20 years, became curious about this piece and was determined to see it again—and to dance in it. She will get her wish November 15–17, when the mattress dance will be performed as part of the Performa 19 Biennial.

Keep reading... Show less
Sponsored by NYCDA
Ailey II artistic director Troy Powell teaching an Ailey Workshop at NYCDA. Courtesy NYCDA

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:

Keep reading... Show less
Health & Body
Getty Images

Nadine Kaslow, a psychologist who works with dancers at Atlanta Ballet, offers tips for creating a more body-positive studio experience:

Keep reading... Show less
Sponsored by Harlequin Floors
Left: Hurricane Harvey damage in Houston Ballet's Dance Lab; Courtesy Harlequin. Right: The Dance Lab pre-Harvey; Nic Lehoux, Courtesy Houston Ballet.

"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.

Keep reading... Show less

mailbox

Get Dance Magazine in your inbox