This week, Boston Ballet hosts its first-ever Choreographic Intensive in Marblehead, MA. Student Leah Hirsch will be blogging daily from the Intensive for Pointe. Read Leah's first entries here, here and here, and stay tuned for more!
Dancing and writing share many parallels. That thought came to me as Helen Pickett taught us the different parts of Forsythe improvisation technique today. The ideas of pausing and hovering are very prominent in both art forms. Contemporary and classical dance contain significant pauses—punctuation—that are equivalent to semicolons, dashes, even exclamation points.
But choreography doesn't have to obey set grammar rules. A dancer or choreographer's response to music can be more interpretive. It is not a dancer’s ability to simply regurgitate choreography, but her ability to add to it elements in tune with her own physical structure that makes contemporary dance unique. No piece is ever danced just one way. As Boston Ballet soloist Jeffrey Cirio (who visited us yesterday) pointed out, his choreography is constantly changing to fit a specific dancer at a specific moment. Catching a director's eye is not solely based on technical ability, but also on movement quality, emotion, and imagination.
Today, we had the privilege of taking technique class with Boston Ballet artistic director Mikko Nissinen. He not only urged us to dance with an expansive quality, but also to toy with the musicality of each combination. Our goal, he said, should be to create a sense of excitement for the audience. He brought the ideas of musicality and movement highlighted in our contemporary classes into a classical ballet setting. At the halfway point of this intensive, I've realized the many connections and parallels between classical and contemporary dance. Both feed off of one another.