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New Paul Taylor Documentary Seeks to Reveal a Master's Craft
Dancer Amy Young in rehearsal with Paul Taylor. Courtesy Resident Artist Films.
Growing up near Louisville, Kentucky, there wasn't too much professional dance in my region. So whenever a company visited, it was a treat. I still remember Paul Taylor Dance Company's stop at the Brown Theatre during its 50th-anniversary tour. I was in high school, and it was the first modern dance concert I'd attended. Needless to say, I was absolutely captivated. The musicality, the theatricality, and the humanity of it all struck me. More than anything, watching Taylor's meticulously crafted choreography left me wondering just how he did it.
That's the question director Kate Geis and executive producer Robert Aberlin sought to answer with their new documentary Paul Taylor: Creative Domain. The film gives viewers an inside look into Taylor's creative process as he makes his 133rd dance, Three Dubious Memories. But even though it reveals intimate rehearsal footage, I found that it raised more questions, making me more curious. Who exactly is Paul Taylor? Where do his ideas come from? What's the motivation behind a certain movement? Creative Domain makes it clear that oftentimes, his dancers may never know, and that sometimes, Taylor himself delights in that very same ambiguity.
My favorite moments of the documentary were instances when Taylor revealed small secrets of his work. For instance, when flipping through the notebook he kept while creating Three Dubious Memories—he keeps one for each dance he makes—he points out a formation he took from Antony Tudor, saying, "Amateurs borrow. Professionals steal."
Now in his 80s, Taylor remains active in rehearsals, demonstrating movement, even partnering dancers to show just how he'd like something done. And he seems to prefer it that way, explaining that less talking in rehearsal is better. To finish the piece on time, he's lays out a strict schedule of no more than 90 minutes of rehearsal at a time for a maximum of four days a week for four weeks.
Interestingly enough, during an age in which "collaboration," in reference to the choreographic process, is a buzzword all its own, Taylor says that he doesn't think of himself as a collaborator. Instead, he does his part making the dance, and the dancers take it from there. Each person is a puzzle piece and all of them are necessary. At one point, rehearsal director Bettie de Jong likens the dancers to colors of paint, each having his or her own hue, but that sometimes they show a bit of another one's shade.
Is it any surprise a world premiere by choreographer Uri Sands and musician Justin Vernon, both renowned for the profound beauty and gorgeous musicality of their work, immediately sold out? We're hungry for creative collaborations that take reflective deep dives into what constitutes our humanity—and then there's the undeniable cool factor. Nine members of TU Dance will perform alongside Bon Iver (Vernon's band) during the evening-length piece. Presented as part of the Saint Paul Chamber Orchestra's Liquid Music Series. April 19–21. The work will also appear at the Hollywood Bowl Aug. 5. tudance.org.
Ah, the quest for the perfect, foot-flattering, technique-enhancing pointe shoe: It can feel like a never-ending saga. Still on the hunt for that ideal pair? Then you won't want to miss The School at Steps' annual Pointe Shoe Workshop and Fair, happening this Sunday, April 22nd, at 6:30 pm in NYC.
As always, the event—which is sponsored by our friends at Pointe—will feature an impressive panel of experts. This year's lineup includes orthopedist Dr. Andrew Price, professional fitter Mary Carpenter, master teacher Linda Gelinas, Pointe style editor Marissa DeSantis, and New York City Ballet star Sara Mearns (eee!).
Jennifer Nichols was rehearsing barefoot this winter when she got a split in the bottom of her foot. An independent choreographer, she was preparing a self-made solo to be performed as part of a new music show in Toronto, and the studio's Marley floor was usually used by winter boot–wearing musicians.
A split may not seem like a big deal. But this one led to a serious infection that would land Nichols in hospital and almost end her performing career.
You might feel like the second choice when you look at the casting sheet, but understudies are necessary, valued team members who are regularly called off the bench to perform—even with very little prep time. "It is like the ultimate trust exercise with your director," says Mia J. Chong, who understudied many roles in ODC/Dance's The Velveteen Rabbit as an apprentice before becoming a company dancer this year. "Often, you do a lot of the homework on your own to make sure you can produce a quality performance, even if you don't have the chance to demonstrate it right away."
Here's what to expect when you're learning from the back of the room and—when you're needed—how to step into the part with confidence.
In his final bow at New York City Ballet, during what should have been a heroic conclusion to a celebrated ballet career, Robert Fairchild slipped and fell. His reaction? To lie down flat on his back like he meant to do it. Then start cracking up at himself.
"He's such a ham," says his sister Megan Fairchild, with a laugh. "He's really good at selling whatever his body is doing that day. He'll turn a moment that I would totally go home and cry about into something where the audience is like, 'That's the most amazing thing ever!' "
I found a great boyfriend in my ballet company. I love how he understands my life as a professional dancer. The problem is we've started fighting whenever one of us gives the other a correction during partnering. Is dating him a bad idea?
—Lovesick, Toronto, Ontario
The #MeToo movement has made its way to France's biggest ballet company.
An anonymous survey recently leaked to the French press revealed major turbulence at the Paris Opéra Ballet. The Straits Times reports that the survey was conducted by an internal group representing POB's dancers. In it, there are numerous claims of bullying, sexual harassment and management issues.
Nearly all of the dancers (132 out of 154) answered the questionnaire, but they didn't know it would be made public. (Around 100 of them later signed a statement saying they didn't consent to its release.)
Merce Cunningham would have been 99 years old today, and, as a present to the dance world, the Merce Cunningham Trust has announced a dizzying array of celebrations to unfold over the next year in honor of the groundbreaking choreographer's 2019 centennial.
"Merce liked saying he didn't want to celebrate his birthday, and yet he always enjoyed when we threw parties for him," Trevor Carlson, producer of the Merce Cunningham Centennial, said in a press release. Though the Merce Cunningham Dance Company shuttered in 2011 (two years after the choreographer's death, per his wishes), plans to celebrate his legacy range from performances to film screenings to workshops to education programs to dinner parties.