A couple of things that I really appreciated her mentioning were the Tanny Le Clercq documentary, and the effect of the AIDS epidemic on the arts/dance scene in the 1980s. And your conversation about Macaulay/critics and their attitudes in print was rather humorous.
Looking forward to the next one. ;)
I hope that later on in the year you are able to speak with Mathilde Froustey or Simone Messmer at SFB. Or Tan, Kochetkova, Van Patten...
[EDIT] This reminds me, when you feel up to talking to another photographer - Erik Tomasson, son of SFB Director Helgi Tomasson, is the company’s photographer. And if that sounds like nepotism, you just have to see the quality of his photos to get why they would really want him. He may well have an interesting perspective on things.
“First, I never ask anybody to pose anything,” he says. “I don’t move around. I let dancers work. They’re more comfortable, more relaxed, and I get what I want, the more natural stuff.
“I see both the dancer and the environment: the lighting, the background, the shadows. I see it as a product. The dancer should look right and good as the focal point. The ‘look’ of my photographs, my signature, comes from the idea of ‘crushing the blacks’; of achieving the truest black background with no gradations, making the dancers really jump out.”