Magazine

Taylor Made

Paul Taylor and Michael Trusnovec talk about the company’s 60th anniversary season and the next chapter.

 

Michael Trusnovec, in costume for Banquet of Vultures, in the company’s Lower East Side studios. Photo by Jayme Thornton.

Paul Taylor, the last of the 20th-century titans of modern dance, turns 84 this year and is celebrating the 60th anniversary of his company. Though physically fragile, he hasn’t lost his prickliness, drive or sardonic sense of humor. For the diamond anniversary season at Lincoln Center, Taylor will present two new works, American Dreamer and Marathon Cadenzas. The Paul Taylor Dance Company has also revived three older works, Fibers (1961), Private Domain (1969) and Dust (1977). Michael Trusnovec, now the most senior member of the company, has proved to be a singular force for PTDC, the central figure in works like Banquet of Vultures and Beloved Renegade. Trusnovec has taken on additional duties now: teaching the company and at Taylor intensives, doing interviews, scheduling rehearsals (“I love puzzles,” he says) and acting as “scribe” and rehearsal assistant to Taylor’s longtime associate, Bettie de Jong. At the company studios in New York’s Lower East Side, writer Joseph Carman spoke with Trusnovec about his responsibilities and his mentor’s creative process. Paul Taylor joined the conversation midway and spoke about his works, his inspiration, insects and legacies.

 

Dance Magazine: Michael, do you feel you are both a muse and an interpreter for Paul’s work?

Michael Trusnovec: I hope I have been and will continue to be someone who inspires Paul to be creative in the studio—that he sees you and wants to make a dance for you, that the way you move makes him think of something he wouldn’t have thought of before. Or that he came in with an idea and then when he saw you dancing, he changed it.

DM: What are the challenges of taking on some of the heavyweight roles like Aureole and Beloved Renegade?

MT: I think roles like those are a really interesting exploration in the art of stillness, where less is more. A lot of times I want to be the dancer that comes in and plows through it physically. I have to step back and find how quiet those dances are, especially in Beloved Renegade. Half the time I’m just sitting and being the observer, rather than the dancer. How do you physicalize an observer? How do you create a character out of someone who’s waiting and not doing?

In Aureole there’s a huge amount of weight to that role, knowing that Paul Taylor will forever be associated with that dance. For me it was wrapping my head around “I am not Paul Taylor,” and when I walk in the space, I’m not going to be him and I’m not going to look like him and dance like him. I’m going to dance like me.

 

Trusnovec, here with Annmaria Mazzini, in Promethean Fire. By Paul B. Goode, Courtesy PTDC.

DM: How detailed is Paul when he coaches you?

MT: Take a dance like Banquet of Vultures which he made in 2005 and is the ultimate gift he gave me. He was so specific. Day one, walking into the studio, he shaped every little nuance. He knew exactly what he wanted from that character. Not that he didn’t allow me to interpret and shape and embellish it.

DM: Do you choreograph or have aspirations to choreograph?

MT: I did as a student in school. But it’s not something I’ve really felt drawn to.

DM: Do you ever see yourself directing a company?

MT: I’d love to do that. It could be amazing. I think that shaping the everyday operations of a company, almost curating a company, creating a program—all of those things interest me. And being in the studio with dancers.

 

DM: Do you think you might at one point direct this company?

MT: That’s not for me to say. I know that I’d like to be involved in this company for as long as they’ll let me be.

DM: What do you think Paul has taught you that nobody else could?

MT: The way he structures a dance is unlike other people. I think he walks into a room with a structure and an idea, but he allows for accidents and magic to happen. The way he approaches natural everyday gestures in his choreography is so special. When he made To Make Crops Grow a couple of years ago, I sat in on the process because I wasn’t in the dance and I’d take notes every day. It kept coming back to me—this mastery of gesture and how he can say so much with so little and all the little tools he uses, like leaving space around the gestures so people can see them.

 

Photo by Jayme Thornton.

[Paul Taylor joins the conversation at this point.]

DM: This is your company’s 60th anniversary. Did you ever envision a 60-year run?

Paul Taylor: No. I didn’t think about it. I live from day to day. I didn’t care about the future. You hope for the best.

DM: How will this season represent a retrospective of your career?

PT: Fibers is the oldest. Rouben Ter-Arutunian designed the costumes.

DM: They’re very evocative. Almost erotic.

PT: Yes, they are. When CBS wanted to do a duet from the piece, they demanded that we get their designers to design new costumes. I agreed, but only because it was a paying job.

DM: Private Domain is a dance not often seen.

PT: Well, nobody will ever see the whole thing. There is a draw curtain right in the front with three holes, openings that the audience sees. But in between the dancers are moving backward and forward. The idea was this very New York thing where you live in a building and look out the window and see what people are doing in other buildings opposite. But you don’t see exactly everything because they pass from room to room. It’s all kind of a puzzle. It places the audience in a voyeuristic position.

DM: I’d like to ask about the New York and world premieres this season.

PT: American Dreamer has been performed on tour. I grew up as a Virginian, and so I was familiar with some of the Stephen Foster songs. Santo Loquasto recommended that I use them. Strangely, most of them are very sad, which is a little hard to deal with. Or at least melancholy. Very few happy ones. One of the happiest and funniest is “My Wife Is a Most Knowing Woman,” one that someone else wrote the words to for a Broadway skit. She’s married to this guy who likes to have a good time and she keeps catching him. In the dance she’s beating him up. But most of the songs are sentimental.

The other dance is called Marathon Cadenzas. The music is by Raymond Scott. It’s very fast and upbeat, for 12 dancers.

DM: A lot has been said about the polarity of light and dark in your works. What themes in your life have contributed to that?

PT: I don’t do themes from my life. I don’t do autobiographical dances. I try very hard not to. They’re all information I’ve learned or seen or read about, not about my own experiences.

DM: Beloved Renegade does carry a wonderful weight and poetry to it that is quite striking. Have losses in your life contributed to it?

PT: No—I wasn’t thinking of myself. I read as much as I could on Walt Whitman. The title comes from a friend of mine who used to edit and talk about Walt Whitman. “Beloved Renegade” was his phrase.

DM: Why have nature and insects continued to be such an inspiration for your dances?

PT: As a little boy, bugs were my playmates. There weren’t any children around where I lived. So I amused myself with the bugs. The honeybees go into hollyhock blossoms. I’d wait and close the petals and listen to them buzz angrily inside and then run. That was one of my games. Where I am in the country now, I watch squirrels, deer, groundhogs, all kinds of birds to see what they’re doing, their relationships to each other, to see how they move, find their quirks.

DM: Has your way of crafting work changed over 60 years?

PT: I think only in that I work quicker now. I was developing the tools, of course. Some of the spatial patterns of Promethean Fire you could maybe spot in something I’ve done before. There are only so many patterns you can do with a dozen people. There was one pattern I was very proud of. It’s two circles that interlock and as the interlocking happens, the dancers are changing and criss-crossing in front of each other.

MT: I remember the day in the studio when you asked us to do that and wrap our heads around it. A lot of the times we were crashing into one another. We were running with our heads back. You didn’t let us look. [Laughs]

DM: How do you think the company has evolved over 60 years?

PT: Well, there are more dancers and more bills.

DM: Do you look for the same type of dancers?

PT: No, I need team players. They all have to do double duty in everything, as a soloist and also as a group member. Today’s dancers are a lot more technically capable. They do things my generation couldn’t do—they spin forever; they’re amazing.

 

At right: Paul Taylor in Fibers, which will be revived this season. Photo by Jack Mitchell, Courtesy PTDC.

DM: Do you think over the 60-year period, you could have had this company without the help of Bettie de Jong?

PT: Oh, sure. I could. But she’s been wonderful for us, a very strong presence, wonderful with the dancers. She and I still fight occasionally—that’s part of it. It wouldn’t be Bettie if we didn’t. In fact, if I’d say something, she’d say the opposite. She’s stopped doing that and I thought she must be sick.

DM: Let me ask you about delicious moments through this 60-year career.

PT: Yes. My favorite award—where is it? There it is—see that cup in the glass box? [Points to a china cup with “The Big B” painted on it.] The stagehands at City Center gave me that when we were opening Company B. It’s what they gave our men who passed over the Rhine on their way to Berlin to end the war.

DM: Are there other moments?

PT: I kind of liked Esplanade when I first saw it. But I pretty soon wished I didn’t have to look at it so much.

MT: I’ll remember that when I’m making the schedules. I’ll try to keep it to the end of the day, so you don’t have to watch.

DM: Paul, how do you want this company to look in 25 years?

PT: Oh, well, I like it like it is. I don’t know how it could be better. There’ll be different people, of course, but I’ll find them.

DM: Have you verbalized any of that?

PT: No...well, actually there is a plan drawn up for when I can’t make dances—what will be done then. But the company is to go on.

DM: Is there a trust that disseminates your works?

PT: I don’t know if it’s called a trust, but, yeah, I rent them out. And I donate a certain percentage of the income to come back to the company.

DM: Do you have any opinions about how other choreographers have handled their legacies, like Martha Graham or Merce Cunningham?

PT: Well, Martha, of course, didn’t want the company to exist. She may have said something else, but I knew she didn’t. She didn’t care. She thought of herself as a performer rather than as a choreographer, and when she couldn’t do that, the hell with it. Merce didn’t want to bother with it. They’ll run out of people who are able to teach his works before too long. I’m afraid there won’t be much left.

DM: What does Michael represent to you in the company?

PT: As a tool to work with, he can do anything. As a teacher, helping the other dancers learn their parts. What else do you do? Oh, he works with the archives. He’s very good at editing these films that we have made to preserve the past.

DM: Have all your works been archived on video?

PT: Most of them.

DM: Paul, is there anything you’d like to add?

PT: I do feel extremely lucky. I always have. Not any moment, but mostly I’ve been extremely lucky in the way things have happened and the people I’ve worked with. When I started, all the artists—writers, poets, composers, painters—all knew each other. I was younger than most of them, but they would invite me to their gatherings in their lofts or at bars. Jasper Johns and Bob Rauschenberg lived together and they hired me part-time to do Tiffany’s windows, and I would listen to them talk to each other about their work and other painters’ works. There were tighter, closer communications than is possible now. It was a very lucky time when I came to New York. But I thought I had just missed the boat.

DM: No one told you that the golden age of the dance boom was going to happen?

PT: No. They didn’t.

Joseph Carman is a longtime contributor to Dance Magazine.

The Conversation
Dancers Trending
Hamrick rehearsing Port Rouge in St. Petersburg. Photo courtesy Hamrick

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.

Keep reading... Show less
Hive by Boston Conservatory student Alyssa Markowitz. Photo by Jim Coleman

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.

Keep reading... Show less
Advice for Dancers
Photo by freestocks.org/Unsplash

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?

—Anonymous

Keep reading... Show less
Career Advice
Stephen Mills' Grimm Tales, which premiered last month, is the first ballet funded by the Butler New Choreography Endowment. Photo by Anne Marie Bloodgood, Courtesy Ballet Austin

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?

Keep reading... Show less
Sponsored by McCallum Theatre
Last year's winner: Manuel Vignoulle's EARTH. Jack Hartin Photography, Courtesy McCallum Theatre

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.

Keep reading... Show less
Dance History
Merce Cunningham in his Changeling (1957). Photo courtesy DM Archives

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.

Courtesy DM Archives

Dance in Pop Culture
Courtesy MPRM Communications

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."

Keep reading... Show less
News
A 1952 photograph of Merce Cunningham in Sixteen Dances for Soloist and Company of Three. Photo by Gerda Peterich, Courtesy Blake Zidell & Associates

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.

Keep reading... Show less
The Creative Process
George Balanchine's Don Quixote. Photo by Martha Swope ©The New York Public Library for the Performing Arts

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?

Keep reading... Show less
News
Sarah Lane will perform in one of the "You Are Us" benefit concerts. Photo by Erin Baiano, Courtesy ABT

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.

Keep reading... Show less
News
Malpaso Dance Company in Cunningham's Fielding Sixes. Photo by Nir Ariel, Courtesy Richard Kornberg & Associates

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.

Keep reading... Show less
Career Advice
Tan Li Min working with Queensland Ballet dancer Lou Spichtig. Photo by Jovian Lim, Courtesy Cloud & Victory

Cloud & Victory gets dancers. The dancewear brand's social media drools over Roberto Bolle's abs, sets classical variations to Beyoncé and moans over Mondays and long adagios. And it all comes from the mind of founder Tan Li Min, the boss lady who takes on everything from designs to inventory to shipping orders.

Known simply (and affectionately) to the brand's 41K Instagram followers as Min, she's used her wry, winking sense of humor to give the Singapore-based C&V international cachet.

She recently spoke with Dance Magazine about building the brand, overcoming insecurity and using pizza as inspiration.

Keep reading... Show less
News
Alia Kache in rehearsal with Ballet Memphis. Photo by Louis Tucker, Courtesy Ballet Memphis

The Ballet Memphis New American Dance Residency, which welcomes selected choreographers for its inaugural iteration next week, goes a step beyond granting space, time and dancers for the development of new work.

Keep reading... Show less
News
Maddie Ziegler will play one of the Jets. (photo by Lucas Chilczuk)

This is huge news, so we'll get straight to it:

We now (finally!) know who'll be appearing onscreen alongside Ariana DeBose and the other previously announced leads in Steven Spielberg's remake of West Side Story, choreographed by Justin Peck. Unsurprisingly, the Sharks/Jets cast list includes some of the best dancers in the industry.

Keep reading... Show less
Cover Story
Courtesy Khoreva

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.

Keep reading... Show less
25 to Watch
Photo credits, clockwise from bottom left: Peter Mueller, Courtesy Cincinnati Ballet; Jayme Thornton; Jochen Viehoff, Courtesy Stephanie Troyak; Karolina Kuras, Courtesy National Ballet of Canada; Natasha Razina, Courtesy State Academic Mariinsky Theatre; Kim Kenney, Courtesy Atlanta Ballet; Jim Lafferty; Arian Molina Soca, Courtesy Pennsylvania Ballet; Altin Kaftira, Courtesy Dutch National Ballet; Scott Shaw, Courtesy Shamar Wayne Watt

What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.

Here they are: the 25 up-and-coming artists we believe represent the future of our field.

Keep reading... Show less
News
Youth America Grand Prix alumna Michaela DePrince. Photo by VAM, Courtesy YAGP

Since its inception in 1999, Youth America Grand Prix has grown to have an outsize impact on the ballet world, with more than 450 alumni now dancing with 80 companies across the globe.

Keep reading... Show less
Dancers Trending
Jesse Obremski captivates as a freelancer for many NYC–based troupes. Photo by Roi Lemayh, Courtesy Gibney Dance Company

At six feet tall, Jesse Obremski dances as though he's investigating each movement for the first time. His quiet transitional moments are as astounding as his long lines, bounding jumps and seamless floorwork. Add in his versatility and work ethic, and it's clear why he's an invaluable asset to New York City choreographers. Currently a freelance artist with multiple contemporary groups, including Gibney Dance Company and Limón Dance Company, Obremski also choreographs for his recently formed troupe, Obremski/Works.

Keep reading... Show less
News
Photo by @FullOutCreative

Last night at Parsons Dance's 2019 gala, the company celebrated one of our own: DanceMedia owner Frederic M. Seegal.

In a speech, artistic director David Parsons said that he wanted to honor Seegal for the way he devotes his energy to supporting premier art organizations, "making sure that the arts are part of who we are," he said.

Keep reading... Show less
Advice for Dancers
Getty Images

I've been on a crying jag since I sprained my ankle for the third time. It kills me that I can't dance my favorite roles. I'm also disgusted with myself for being a crybaby.

—Maggy, Philadelphia, PA

Keep reading... Show less
Dance in Pop Culture
Michael Parmalee/FX

It's a bit of an understatement to say that Bob Fosse was challenging to work with. He was irritable, inappropriate and often clashed with his collaborators in front of all his dancers. Fosse/Verdon, which premieres on FX tonight, doesn't sugarcoat any of this.

But for Sasha Hutchings, who danced in the first episode's rendition of "Big Spender," the mood on set was quite opposite from the one that Fosse created. Hutchings had already worked with choreographer Andy Blankenbuehler, who she calls "a dancer's dream," director Tommy Kail and music director Alex Lacamoire as a original cast member in Hamilton, and she says the collaborators' calm energy made the experience a pleasant one for the dancers.

"Television can be really stressful," she says. "There's so many moving parts and everyone has to work in sync. With Tommy, Andy and Lac I never felt the stress of that as a performer."

Keep reading... Show less

mailbox

Get Dance Magazine in your inbox