Boal Names Next Step Choregraphers
Posted 19 February 2012 - 02:39 PM
Eric Hipolito Jr.
Posted 19 February 2012 - 05:35 PM
Posted 19 February 2012 - 10:37 PM
Posted 20 February 2012 - 11:03 AM
You know the answer as well as any of us -- money.
The current program is descended from a much more ambitious project that the company started back under the last directors -- they had a staff person (Lila York) to run it and it had a more structured mentorship attached. It was, I believe, influenced by the Carlisle Project, where potential ballet choreographers took part in a composition class taught in much the same manner as most modern dance comp classes. They had the chance to develop material and work on structuring, getting feedback from teachers and peers thought the process. (Leigh, I know you did the Carlisle program -- if I've mis-described it, could you set us straight?) The program grew from a post-Balanchine concern that, while modern dance nurtured the next generation of choreographers, ballet didn't really have a similar mechanism.
I don't know how long the program in Carlisle lasted -- here at PNB it was only a full project for a few years. Since then they've been experimenting with other ways to give nascent choreographers the chance to develop in a mentored fashion, as Helene describes, and they arrived at the current solution about four years ago. I have a feeling that things will remain as it is, until the company finds a way to present these works in a smaller venue for a longer run.
Posted 20 February 2012 - 05:57 PM
Posted 21 February 2012 - 10:31 PM
These are the kinds of skills that I worked on when I was a modern dance student in college composition classes. Before I tried to make a whole dance, I made lots and lots of smaller studies, practicing the kind of skills that go into a bigger work. it's the difference between writing a two page essay, a 20 page short story, and a 200 page novel -- there are some skills that you don't notice on the two page level that you need desperately at 20, not to mention 200!
I often say that choreographers make all their mistakes in public -- there are so few places to practice craft that don't require an open showing of some kind. I know that there are many informal relationships between choreographers and other dance artists that can offer feedback -- I just wish that it happened earlier in their development.
Posted 22 February 2012 - 08:07 AM
August would be an excellent time for such a thing, when there is not much else being presented and students/choreographers time tends to be more free. It could work out nicely for the student dancers too, with a morning master class, then being thrown into rehearsals with a new choreographer as well as brush up rehearsals of the piece chosen for presentation. A great networking opportunity as well as a good sample of what a dancer's life in a company is like compared to life in a school.
I am not saying student performances at the regional company schools should be all new choreography; students should still ned to present the classic masterpieces, but it would be good for them to work with living developing choreographers as well.
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