Sabi Varga with Andrea Schermoly in Sharp Side of Dark. Photo by Angela Sterling
Creating History
Pointe spoke to several resident choreographers and artistic directors for the article “Home Field Advantage” in the Aug/Sept issue. But not forgetting the impact that resident choreographers have on company members, we also talked to three dancers, who gave us their thoughts on working with resident choreographers.
Sabi Varga, soloist with Boston Ballet
Has danced Plan to B, Carmen, Sharp Side of Dark, Brake the Eyes and In on Blue by resident choreographer Jorma Elo with Boston Ballet.
What was your initial reaction to Elo’s work?
When I first did one of his pieces at Alberta Ballet, L’Apres Midi d’un Faune/Spectre de la Rose, I thought, no way can I do that stuff. It was so creative. I had never seen anything like it before. But in performing the work I felt comfortable onstage and Mikko [Nissinen, artistic director of Boston Ballet] saw me as a dancer and brought me to Boston. I have to be very thankful for that opportunity—it made my career.
What are the benefits to having a resident choreographer?
It’s nice to be able to always reach to a choreographer and allow him to create something that is going to be part of the company’s history. Yes, as a dancer you perform the art form and keep the history going, but you want to have something that you create today.
What is it like to work with Elo?
What I find amazing about working with a resident choreographer is that you have a chance to have a relationship. It becomes intimate, because he knows everything about you—even personal stuff because after a while, it’s human nature to share. He really knows what you are capable of doing; he pays attention. I’m a lefty, and Jorma never really makes me do things to the right. He allows me to be me. And he allows me to be part of the creation. Sometimes we spend 20 minutes creating one jump. Which makes it easier for the dancer because it was created on you.
Alfonso Martín, principal with Tulsa Ballet
Has danced Vivace, Misa Criolla and Torque by resident choreographer Val Caniparoli and Blood Rush, Folia and Carmina Burana by resident choreographer Ma Cong.
What has been your experience working with Caniparoli and Cong?
They know what to expect. It’s a very easy collaboration, but it’s a big challenge because they are always asking you for more, pushing your limits. Every time Val Caniparoli sets a new ballet, he puts more ideas on us because he knows we are going to respond to that. And it’s fun to work with Cong because, as a new choreographer, he’s trying to make a statement with each piece.
What is it like having two resident choreographers?
They’re opposites, two totally different types of choreographers. But they really look at each other’s works and then discuss things with each other. The relationship between them is very good. We’re having their pieces together in the same program for the first time. It’s starting to get scary. I hope we’ll have a piece in between because if we do one after the other, my body will hurt big time.
What have you learned from working with Caniparoli and Cong?
They’re always thinking, always trying to make things better. I like how they ask about the dancers; they care about the dancers. They want to make sure you feel comfortable when the curtain goes up. I want to have that talent of putting everything together.
John Welker, Atlanta Ballet
Has danced bekken/the drum also waltzes, Shoo Pah Minor, The Great Gatsby and big by resident choreographer Lauri Stallings.
What is it like working with Stallings?
Her work is about the process of creating movement. She used improvisation as a tool in the beginning to get us to be less inhibited. It was also a way for her to come up with new movement and see how each of us moved. The improvisation sessions were videotaped and you could see how they made their way into the pieces.
What have you learned from working with Stallings?
With natural coordination you walk opposite arm and leg. Her stuff is like walking backwards with the same arm and leg. She takes classical technique and extends the line further. She proves to me that abstract movement can be joined with a complete story in a cohesive way.
Most resident choreographers create more contemporary works. Why do you think this is?
I think they see it as their task to do that. It’s easy for ballet to become stagnant because it’s so steeped in tradition. It’s a strength and a weakness. Resident choreographers try to further the art form but still stick inside the classical realm. In order for their work to be relevant they have to think outside the box.
