Is Virtual Reality Ballet the Next Big Thing in Audience Engagement?
The premiere of Dutch National Ballet's Night Fall. Photo by Michel Schnater, Courtesy DNB
Fog envelops you as swans and sylphs flash right past your shoulder. This is Peter Leung's Night Fall, a new virtual reality 360 dance film featuring Dutch National Ballet. It puts you inside the "white acts" the film portrays as though you were a member of the corps.
Over the past year, ballet companies and premier artists have been creating new work and adapting existing ballets for the virtual reality world via 360-degree video technology. From English National Ballet's Giselle VR, a two-minute adaptation of Akram Khan's new production, to The Royal Ballet's snow scene from The Nutcracker, classical ballet is forging new partnerships with technology and entertainment companies to cross over into this new platform.
360-degree video technology offers unprecedented access and astounding visuals. Using an omnidirectional camera or several cameras, every angle is captured and the resulting footage stitched together. During playback online, the viewer has the option of exploring the entire panorama.
But for choreographers used to the distance of proscenium stages and a clear sense of front and back, working with this new medium poses creative challenges. When Leung began creating Night Fall for DNB, he placed himself in the middle of the studio and choreographed out from the center. "The only way to learn was to do it," he says. "I told the dancers 'Your audience is now the camera.' " Even more challenging than working in the round was figuring out where to be during filming, so that he could see the take but also be out of sight: "There were two cameras, one on a fly bar coming down from out of the sky and another on a tripod at eye level. I hid behind scaffolding and boxes in this large warehouse so I could see parts of the dance."
In a time when entertainment options seem endless and dance companies are eager to court younger audiences, VR 360 offers a fully immersive experience. ENB artistic director Tamara Rojo views this as a necessary part of ballet's evolution. "Ballet, more than any other art form, has the ability to be reinterpreted and transformed, and this is vital to drive our art form forward," said Rojo in a press release. Yet the question remains, Can this technology capture new audiences for concert dance or will it become an art form all its own? For now, the possibilities of both are intriguing. "There is something so sacred about the theater, nothing can replace it, so my hope is that VR can become an access point, a reason for people to go to see a show," says Leung. "But if some people just appreciate it for VR, that is cool, too."
When Thomas Forster isn't in the gym doing his own workout, he's often coaching his colleagues.
Two years ago, the American Ballet Theatre soloist got a personal training certification from the National Academy of Sports Medicine. Now he trains fellow ABT members and teaches the ABT Studio Company a strength and conditioning class alongside fellow ABT soloist Roman Zhurbin.
He shared six of his top tips for getting into top shape.
Glenn Allen Sims and Linda Celeste Sims (here in Christopher Wheeldon's After the Rain) are couple goals both onstage and off. Photo by Paul Kolnik, Courtesy Alvin Ailey American Dance Theater
No matter how much anti–Valentine's Day sentiment I'm feeling in a given year, there's something about dancer couples that still makes me swoon. Here's a collection of wonderful posts from this year, but be warned: Continued scrolling is likely to give you a severe case of the warm fuzzies.
Last summer's off-Broadway run of Be More Chill. Photo by Maria Baranova, Courtesy Keith Sherman & Associates
When Chase Brock signed on to choreograph a new musical at a theater in New Jersey in 2015, he couldn't have predicted that four years later, hewould be receiving fan art featuring his Chihuahua because of it. Nor could he have he imagined that the show—Be More Chill, based on the young adult novel by Ned Vizzini—would be heading to Broadway with one of the most enthusiastic teenage fan bases the Great White Way has ever seen.
It's no longer just Les Ballets Trockadero de Monte Carlo and the few pointe-clad male character parts, like in Cinderella or Alexei Ratmansky's The Bright Stream.Some male dancers are starting to experiment with pointe shoes to strengthen their feet or expand their artistic possibilities. Michelle Dorrance even challenged the men in her cast at American Ballet Theatre to perform on pointe last season (although only Tyler Maloney ended up actually doing it onstage).
The one problem? Pointe shoes have traditionally only been designed for women. Until now.
Camille Sturdivant, a former member of the Blue Valley Northwest High School dance team is suing the school district, alleging that she was barred from performing in a dance because her skin was "too dark."
The suit states that during Sturdivant's senior year, the Dazzlers' choreographer, Kevin Murakami, would not allow her to perform in a contemporary dance because he said her skin would clash with the costumes, and that she would steal focus from the other dancers because of her skin color.