Guest Blog: Joining Cullberg Ballet

Last fall, American dancer Eva Mohn joined Sweden's eclectic Cullberg Ballet. The company, founded in 1967 as part of Sweden's National Touring Theatre, showcases zany choreography and distinctive stage personalities. Here, Mohn shares her experience with pointemagazine.com.


There is something happening in the Cullberg Ballet company that is truly unique for a troupe of its size and historical significance. The word that comes to mind is patience. I was intending to write for this blog in August, when I first started the season. But upon getting here, I noticed that I had to slow my motor down and take some time to watch the way this company works. There was a difference that was unfamiliar and subtle enough that I couldn't put a name on it. The schedule was not so different from the Kassel State Theater job I was coming from. And the physical demand on the body was equal parts training and creation, also not dissimilar to way I was familiar with working. I enjoy athletic training, and I get consumed by creative process, but I noticed a very tender and playful way that my colleagues managed the rehearsals, and a patience that was used in the physical explorations, as well as the conversations. I noticed on the schedule that for the first two weeks, my days would be 100 percent dedicated to practicing a specific improvisation structure. This was my luxurious way to meet to these individuals. I felt the carnivorous appetite that I have for “work” start to be satiated by small tastes of strong sensations in the body. I was enjoying watching the inventions of my colleagues as much as inventing myself. The first days I felt like I was hurrying, and then I noticed that hurrying didn’t make any sense. There was nothing to "know” or “learn” the way I had been anticipating. I was only asked to arrive and participate, and the “knowing” would follow. Even our company meetings were slowly paced, regularily occurring on the schedule, and allowed for plenty of conversation and questioning of our intentions, methods and goals. 

 

The company has a commitment to work somatically and I see that practiced in the training studio, in creation, in the office, at lunch, in the green room. It’s an ever-present part of our days.

 

Now I have been here for 8 months. I've had many confrontations with myself. I have, of course, had the recurring questions that I think all dancers ask themselves about his or her “place” in this industry of entertainment, the value of his or her efforts, the discipline by which we all judge ourselves, the longevity, the sacrifices. However, I've noticed that being in this environment where we encourage each other to let our intuitive body lead us, and are given independence to work as we see fit, that I have lightened up. I approach all of these questions with a greater sense of ease, and let the grappling go much more quickly than I was able to before. In a physical sense, I let it pass through my structure.

 

The Cullberg is taking an enormous risk in the creations it is choosing to premiere, this year featuring Benoit Lachambre and Jefta Van Dinther, as well as taking another enormous risk to manage its dancers in a loose and playful manner. It seems that this company trusts that it does not have to be the industry of entertainment that dictates our working methods, but that a commitment to curiosity can open the experience beyond being merely fed a spectacle, and into being nourished by an experience.

 

 

 

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Pittsburgh Ballet Theatre's 'The Nutcracker.' Photo by Rich Sofranko

Catching a performance of The Nutcracker has long been a holiday tradition for many families. And now, more and more companies are adding sensory-friendly elements to specific shows in an effort to make the classic ballet inclusive to children and adults with special needs.

While the accommodations vary depending on the company, many are presenting shorter versions of the ballet with more relaxed theater rules. Additionally, lower sound and stage light levels during the performance, as well as trained staff on hand, make The Nutcracker more accessible for those on the autism spectrum and others with special needs.

Pittsburgh Ballet Theatre's performance will take place on Tuesday, December 26th, and they are one of the pioneer companies in presenting sensory-friendly performances of The Nutcracker (their first production was in 2013). PBT also offers sensory-friendly versions of Jorden Morris' Peter Pan and Lew Christensen's Beauty and the Beast throughout the year.

See our list of sensory-friendly performances, and check out each site for all of the details regarding their offerings.

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Your Best Body
Pilates hundred intermediate set-up, modeled by Jordan Miller. Photo by Emily Giacalone.

The Pilates hundred is a popular exercise used by many dancers for conditioning and warming up, but it's also one of the most misunderstood. Pumping your arms for 100 counts sounds simple enough, but it requires coordinated breathwork, a leg position that suits your abilities and proper alignment. Marimba Gold-Watts, who works with New York City Ballet dancers at her Pilates studio, Articulating Body, breaks down this surprisingly hard exercise. When done correctly, the benefits are threefold: "If you're doing it before class," she says, "the hundred is a great way to get your blood flowing and work on breath control and abdominal support all at once."

To Start

Lie on your back with knees bent and feet on the floor. Nod your chin toward the front of your throat, and reach your fingertips long.

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Pointe Stars

At just 16 years old, the Bolshoi Ballet's Maria Alexandrova already had the makings of a great artist. In this variation from Coppélia, she portrays the carefree Swanilda with blithe, youthful ease.

When she bounds on stage in her perky pink tutu, you immediately notice her legs–they just go on forever. In the first sequence of steps she keeps her jetés and développés low, but then the phrase repeats and she lets her gorgeous extensions fly. She sails through Italian fouettés and whirls around in piqués en manège that get faster and faster. While she nails all the virtuosic movement, Alexandrova also pays beautiful attention to detail throughout the variation. Even the simplest steps become something exciting, like her precise pas de bourrées beginning at 1:03 that sing with musicality.

Swanilda has been one of Alexandrova's signature roles throughout her career. For a fun side by side, watch her perform the same variation almost 20 years later in this video. Although Alexandrova formally retired from the Bolshoi in February, she still performs frequently in Moscow and internationally as a guest artist. Happy #ThrowbackThursday!


Pointe Stars
Ingrid Silva and her dog, Frida Kahlo. Photo by Nathan Sayers for Pointe.

You're probably already following your favorite dancers on Instagram, but did you know that you can follow many of their dogs, too? We rounded up some of our favorite dog-centered accounts and hashtags to keep you pawsitively entertained (sorry, we can't help ourselves).

Cora and Maya (American Ballet Theatre's Sarah Lane and Luis Ribagorda)

Sarah Lane and Luis Ribagorda's pups Cora and Maya update their profile pretty frequently. Often accompanying Lane to the ABT studios, they can also be seen using tutus or piles of pink tights as dog beds.

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Pointe Stars
Vladislav Lantritov and Ekaterina Krysanova in "Taming of the Shrew." Photo by Alice Blangero, Courtesy Bolshoi Ballet.

If you haven't checked your local movie listings yet for this weekend, hop to it. The Bolshoi Ballet in Cinema series and Fathom Events is broadcasting a performance of Jean-Christophe Maillot's The Taming of the Shrew to theaters nationwide on Sunday, November 19. (To see if it's playing near you and to purchase tickets, click here.) While the rest of the Bolshoi's cinema season features 19th- and 20th-century classics, The Taming of the Shrew gives audiences a chance to see the revered Moscow company in a thoroughly modern, 21st-century take on Shakespeare's famous play.

Aside from a limited run in New York City this July, American audiences have had little exposure to Maillot's 2014 production. To learn more, check out these two exclusive, behind-the-scenes webisodes below. Principal dancer Ekaterina Krysanova, who stars as the hotheaded Katharina, gives an intimate play-by-play of two major scenes in Act I. The first is her fiery rejection of three potential suitors (who all would prefer to marry Katharina's younger sister Bianca).

The second scene breaks down Katharina's first encounter with Petruchio (danced by the larger-than-life Vladislav Lantritov), the only man who seems to be able to challenge her. Here, too, we see the shrew's heart start to soften. (Don't miss her time-stopping attitude turn at 4:27.)

The Bolshoi Ballet in Cinema Series continues through June; for more details on upcoming screenings, click here.

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Smuin Ballet dancers Erica Felsch, Rex Wheeler, Mengjun Chen and Tessa Barbour in "White Christmas," choreographed by dancers Ben Needham-Wood and Michael Smuin. Photo by Keith Sutter, Courtesy Smuin Ballet.

Nutcracker-ed out? Or just can't get enough holiday ballets? These unique Nutcracker interpretations and non-Nutcracker productions will make your season bright.


The Hip Hop Nutcracker

Through December 30

Tchaikovsky's masterful Nutcracker score isn't just for classical ballet…

Hip Hop + a live DJ + an electric violinist unite in The Hip Hop Nutcracker, currently touring the U.S.

Familiar characters such Drosselmeyer, the Nutcracker, Mouse King and Marie (here called Maria-Clara) dance through an updated New York City storyline with choreography by Jennifer Weber, artistic director of the Brooklyn-based theatrical hip hop company Decadancetheatre.

Premiered in 2014, The Hip Hop Nutcracker is produced by New Jersey Performing Arts Center.

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