An evening to remember with Dita, Diane and Mr. Pearl. (After John Cranko's ONEGIN in Paris.)
January 25, 2012
August 04, 2011
pestov
- Rest in Peace Mr. Pestov -
Photo: The John Cranko School, Stuttgart.
Pyotr Antonovich Pestov came into my life when I was 14. He was doing a tour through the US with other teachers from the Bolshoi and Paris Opera and he invited me immediately to join him in Stuttgart where he had been teaching at the John Cranko Schule. I remember my classmate and friend, David Hallberg (now of ABT stardom) and I marveling at how much Pestov demanded from us during our first master-class with him in Vail, Colorado. (David was also invited to attend Stuttgart School but opted to go to school in Paris for a year instead.) Pestov expected the utmost clarity in each movement which was near impossible during those first few classes because we were all shaking just hoping to get through his complicated barre exercises.
When I did decide to join Pestov in Stuttgart I learned that what set him apart from other teachers was his obsession with articulation. He filled our heads with history of ballet, art, music and wanted us to be able to bring this knowledge with us when we stepped out onstage. That was the fun part. The difficult part was that his method required that we express all of this through our bodies in the absolute purest ways possible. One single gesture or stretched foot at the exact right moment in the music could speak volumes and connect with the audience. Everyday was like trying find a needle in a haystack and he was rarely satisfied. His painstaking attention to detail inspired all of us boys to keep trying until we developed a love for the ''swimming upstream'' work ethic that good ballet requires. I often think about the kind of ''articulation'' Pestov asked for especially in Cranko roles like Onegin, that require nuance and subtleties that are difficult to get just right. Even working with Wayne McGregor on developing his detailed and contemporary choreographic language reminded me of some of Pestov's effective movement principles.
Pestov's list of students guarantees that his legacy will grow and live on in the modern world. Words cannot give him the kind of tribute he deserves. His male pupils all over the world know that the only way to pay hommage to him is to do what he taught us to do through dance.
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I interviewed Mr. Pestov for DANCE magazine last year and here are some of the things that he revealed.
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November 14, 2010
jp
Japan is a nation that means a lot to me as a ballet dancer. I truly don't think I would have been able to become a Principal Dancer without the constant support of some of my most devoted Japanese fans. The unbelievably generous gifts, surprise Stuttgart visits and heartfelt appreciation for the hard work that it takes for me to prepare and share a role with a huge audience is one of the most valuable parts of my profession. It is nice to know that when I go out onstage, I am taking you with me. Because I love you all so much, I could feel your pain when you were hit with such difficult circumstances a week ago. I monitored my Twitter account every hour during rehearsals in hopes that things would start to look a bit better for you. They just seemed to get worse. I was touched to read about your people sticking together to overcome the obstacles.
In my career, I have suffered some injuries that almost ended my life onstage altogether. It can be so difficult because they hit you when you least expect and they can devastate. A serious injury can lead to other complications in other parts of the body until sometimes you ask yourself ''how could this happen?'' and ''how will I possibly fix this?'' Feeling like you have lost all control and dealing with major losses is awful and can be so depressing. This is what I imagine your nation might possibly be feeling right now. I know that you are all experiencing things on a much larger and more important scale but as a dancer, dance is my life and when the world threatens to take this away from me it can be awful.
Looking back though, I realize that yes, I have lost parts of my muscles and bones that I will never get back and lost roles because of these injuries but it was actually my heart, soul and time, itself that made these problems eventually go away. I saw that when all of my body parts worked together then I became much stronger physically and spiritually. This is something that can be learned by seeing how all of you in Japan work together as one beautiful force that is already starting to heal.
I cannot imagine how you feel. In my head I can only come up with the above comparison to my personal struggles in my artform. But this gives me hope because if there is one thing that all ballet dancers can agree on it is that we always emerge from these dark times as better artists. My injuries have made me more aware, creative, flexible, resourceful and compassionate and with each ugly scar I carry new invaluable wisdom. I am stronger and I am so grateful to be able to share that with you during performances because you are the strongest nation I know. You might not realize it now, but you are inspiring the rest of the world with that strength and it's undeniable grace.
your,
Evan
November 13, 2010
October 20, 2010
October 19, 2010
October 13, 2010
October 03, 2010
Garcia
September 30, 2010
September 26, 2010
September 21, 2010
September 19, 2010
September 18, 2010
July 15, 2010
June 15, 2010
PRESS OLD
DANCE PRESS QUOTATION:
''Onstage, McKie is Svengali, turning himself inside out.''
-Dance International Magazine
''...of Ballet’s stars, Evan McKie is one of the brightest...’’
-Danse (Paris)
''...McKie’s brilliant portrayal of the jealous poet Lenski left the audience literally breathless...’’
-Ludwigsburger KreisZeitung
‘'..The tall, strapping, dirty blond boy with the catchy Scottish name exudes a noble purity but doesn’t realize it...He is the perfect candidate for roles that require classical perfection and yet he has also managed to accumulate an astounding list of today's avant-garde choreographers who have created especially for him...''
-Stuttgarter Nachrichten
''...known for his passionate lyricism in both classical and contemporary roles...’’
-DANCE Magazine USA
''Lithe and elegant, McKie isn't the sort of dancer who tends to wield flat-out emotion. He's not a reckless, in-your-face exponent of aggressive technique either. It goes much deeper.... (In) finding a darker, more provoked heart in Hamlet, he summons resources of great intellect and phycological pain. It is his remarkable technique, inner tension that makes McKie a Hamlet for today...''
-Dance International Magazine
''...McKie is such a dream cast that he is almost the perfect model for the role of Siegfried in this 'Swan Lake'...’’
-Stuttgarter Nachrichten
''an exquisitely pure interpretation combined with flawless technique...''
-Der Neue Merker (Vienna)
Critics Choice young dancer to watch.
-Gary Smith & Dance Europe (London)
''He is visceral, make no mistake about that!''
-Dance International Magazine
World famous shōjo manga artist Kyoko Ariyoshi was recently inspired to draw Evan for the spring 2010 issue of Japan's Dance manga ''The Swan Magazine''. Out Now
FEATURED IN:
Dance (USA), SWAN (Japan), Dance Spirit (USA), Dance International (Canada), DANCE(Japan), DANSE (Paris), BalletTANZ (Germany), Dance for you (Germany), Der Neue Merker (Vienna), Dance Europe (London), PRINZ and re.Flect magazine (Cover) (Germany), Dolce Vita Japan (Blog), The Ballet Bag (Blog), Swan Lake Samba Girl (Blog), ASVOF A Shaded View on Fashion (Blog) -
May 16, 2010
April 09, 2010
WRITER
DANCE Magazine Advisory Board Member. (2011)
CHACOTT Brand Contributor, Tokyo, Japan. (2012)
Shinshokan DANCE Magazine Guest Contributor, September 2012.
FASHION Magazine Canada, Guest Contributor March 2012.
DANCE Magazine Articles:
''Striking Gold- STUTTGART BALLET at 50''
''Turning into Tatiana''
Chacott DANCE Cube 2012-2013...
''From Stuttgart...''
--
''Turning into Tatiana''
Mentor Interview:
Chacott DANCE Cube 2012-2013...
''From Stuttgart...''
--
photgrapher OLD
PHOTOGRAPHER
Until now McKie has created mostly large-scale works for private collections and held his first official exhibit, SCHICHTEN in 2009. Nearly all 50 pieces of the SCHICHTEN vernissage sold out in one day.
McKie's photographs focus mainly on the layers and lives of some of the worlds most fascinating theaters.
April 01, 2010
March 17, 2010
DATES
December 2011- Cranko's Onegin with Paris Opera Ballet.
January 2012- Stars of the 21st Century Gala. Theatre de Champs Elysees, Paris.
March 2012- Rudolf Nureyev's Sleeping Beauty. National Ballet of Canada.
April 2012- Ballet evening with The Stuttgart Ballet. (Cranko, Bejart)
June 2012- Swan Lake and Taming of the Shrew. Stuttgart Ballet in Japan.
September 2012-November2012 Lady of Camellias with Stuttgart Ballet in China and Onegin with Stuttgart Ballet in Stuttgart.
December 2012- Albrecht in Giselle with The National Ballet of Canada.
February 2013- Special Performance of Romeo in Cranko's ''Romeo and Juliet'' with Sue Jin Kang in Stuttgart.
March 2013- Sigfried in Universal Ballet's Swan Lake, Seoul, South Korea.
April 2013- Mixed Program Robbins, Tetley, Balanchine in Stuttgart.
May 2013- With Stuttgart Ballet at Bolshoi Theatre in Moscow.
July 2013- Onegin with the Bolshoi Ballet, Moscow.
September 2013- Gala des Etoiles. Theatre de Champs Elyees, Paris.
November 2013- Sadlers Wells Theatre in London. with the Stuttgart Ballet.
March 2014- Swan Lake and Onegin with The National Ballet of Canada.
(for all Stuttgart Ballet performances please visit Staatstheater Stuttgart's website.)
December 2012- Albrecht in Giselle with The National Ballet of Canada.
February 2013- Special Performance of Romeo in Cranko's ''Romeo and Juliet'' with Sue Jin Kang in Stuttgart.
March 2013- Sigfried in Universal Ballet's Swan Lake, Seoul, South Korea.
April 2013- Mixed Program Robbins, Tetley, Balanchine in Stuttgart.
May 2013- With Stuttgart Ballet at Bolshoi Theatre in Moscow.
July 2013- Onegin with the Bolshoi Ballet, Moscow.
September 2013- Gala des Etoiles. Theatre de Champs Elyees, Paris.
November 2013- Sadlers Wells Theatre in London. with the Stuttgart Ballet.
March 2014- Swan Lake and Onegin with The National Ballet of Canada.
(for all Stuttgart Ballet performances please visit Staatstheater Stuttgart's website.)
January 21, 2010
January 17, 2010
ABOUT OLD
Evan McKie is a dancer, a photographer and free-lance writer.
He is a Principal Dancer with Stuttgart Ballet in Germany.
His photography consists of mixed-media portraits that focus on the world of the Theater.
As a free-lance writer, McKie has contributed to Dance, Design and Fashion publications.
His birthday is April 7th and he is Canadian.
Recently published Interviews:
ASVOF, Paris
D.V. Tokyo (with Japanese Translation)
The Ballet Bag, London (Dancers and Technology)
Neue Merkur, Vienna (auf Deutsch)
Click one to read.
Evan McKie interviewed by Diane Pernet of ASVOF, Paris.
(visit: ashadedviewonfashion.com )
DP: Evan, do you remember the first dance performance that you ever saw? What was it and how old were you?
EM: I don't remember a clear beginning to my love for the theater. There isn't a time that I can recall not being immersed in performances and videos and records and books. Mostly I was the one performing as a kid. I remember being intrigued by the way some of the soul-singers from my parent's record collection would phrase everything by playing with their breathing; extending a note and letting it linger and burn! It made me become emotionally attached to the melodies and ideas. Suddenly I was dancing. I was 5! I learned about Mozart and Beethoven at school at the same time which created new images in my mind that I guess I tried to process and share by dancing even more. Then I took my first dance class...
DP: Did you become obsessed with dance from that moment on? How did your family react?
EM: I danced improvisations around parking lots, supermarkets and even as 'outfielder' in a baseball game once. I come from a theatrical background of directors, make-up artists, musicians and lighting designers so everybody understood where I was coming from. There was always something different to dance to. I got heavily into jazz and tap after seeing Astaire and Gregory Heinz in all their greatness. But I became truly obsessed when I first saw ballet performances. Elegance, athletisism, grace, the music, the stories being told and the incredibly complex nature of actions speaking louder than words. I would cry at ballets like Onegin. That turned me into a theatre-lover which is the most important thing to me; to really have that enduring 'love' for the theatre. I was the one at school watching ballet videos with all the Japanese exchange students getting chills with every gesture of history's great dancers.
DP: When did you feel you really became a dancer?
EM: I think anyone can dance and everyone should. I respect anyone who isn't afraid to shake it a bit! (laugh) Its the easiest way to feel good instantly. Because I chose something as complicated as ballet, I had to get very academic so that I could be a 'professional'...it takes years and very few can do it well. Even if you graduate from an esteemed academy somewhere, there's no telling what might happen to you once you enter life working in a real theatre. Many get spit out before they have even been chewed up and others can't bear some of the traditions and cliches that are often associated with life at the ballet. But it's so beautiful. It's like learning latin. Once you understand it so many doors into other places and languages are opened.
DP:Who are your icons from the dance world and why?
EM:I like the genuine crazies. The ones who have not been afraid to indulge themselves in the art itself. Some artists can lose touch with themselves after intense favorable exposure and start being motivated by the wrong things... stardom, rivalry etc... Most of the dancers I have truly admired like Nureyev, Hart, Donn, Pina Bausch are people who I can imagine let their infatuation for dance, itself do the driving for most of their careers…far past the many bumps and obstacles. The motivation to continue and train each day comes from this kind of odd obsession. I don't like dancers that think it's cool to look like they don't give a shit. Nonchalance can be fun but I wouldn't pay to see it dancing.
DP: Why did you leave home at such a young age?
EM: I was an incredibly strong-willed child who really wanted to know everything about everything. I attended one of the best schools in the world in Toronto but wanted something regimented to the extreme. I felt like I was more serious about certain things than some of the people around me. I wanted military training for my body. I wanted to be in a position to push myself to un-natural extremes. I knew the Russians would be perfect so I asked my parents if I could audition for one of the best Russian academies in the world. The academy told me to come immediately. My family knew that I would be forced to be an adult from that moment on. I'm sure it was difficult for them. The school's director was particularly hard on me and this other girl saying that we could really 'be something' but we would have to work 200% harder. He was the incredibly strict director of the Maryiinski/Kirov Ballet in Russia at that time. I did work...really hard.. and a few months later was invited to train in Europe with one of the world best men's teachers, Pyotr Pestov.
DP: As a male ballet star who is known for doing things differently yourself, what are your feelings on Rudolf Nureyev and his famous jump to freedom?
EM: He was an example to many. I liked that he just took risks all the time. That's what is missing in many of the worlds dancers today. I think he is the one dancer who was comfortable in his own 'crazy' skin. He expected the best from everyone around him and demanded it! He is responsible for bringing up a whole generation of stars at L'Opera in Paris who were the dancers that I looked up to growing up. His charisma must have rubbed off on them because they are a group of such incredibly passionate people that really took over the dance world in the nineties. Most like Legris, Loudieres, Guerin, Platel, Dupond are now bringing the traditions and passion into the future by teaching and directing my generation. Legris in particular always has words of wisdom to offer me when I see him. And of course, Sylvie Guillem remains a fixture of greatness in our world.
DP: Any thoughts on Rudolph's relationship with Dame Margot Fonteyn?
EM:Many of the worlds best dancers are gay but onstage if you are into it the boundaries can get very blurry. Chemistry is chemistry. (laugh) I have never been adversed to life imitating art.
DP: Has dancing with the incredible Stuttgart Ballet brought you some kind of freedom?
EM: You mean like Nureyev's freedom? I didn't have to defect from a country. I have fallen in love with Stuttgart Ballet because it IS about personal freedom. The roles are incredible and personality is paramount here. It is the place for a dancer who has that need to dip into everything…When I first came I had real trouble adjusting to the small size of the city but what the city may lack in glamour the theatre more than makes up for. There are theatres that I have been to in wonderful cities that are dulled because of audiences that are not educated or open. Here we have an outstanding ballet audience and an immeasurable archive of things created here over the last five decades that would seem 'new' to other theaters even now. And of course we continue to have he absolute newest modern choreography every season. There are maybe three companies in the whole world that can offer this kind of package to a hungry dancer. That's it.
DP: What is the pattern of performance with them?
EM: About 200 shows of 15 different ballets 11 months a year with a few big foreign tours.
DP: What have been the highlights of the last ten years of your life?
EM: Dancing. It's bizarre because the roles start to become the highlights...of one's life. You put so much into them and become them. Then you discover that each role was inside of you to begin with! It's also fascinating to push yourself physically to the point where your mind and body finally sync up and suddenly you can do something you couldn't do before. When you work with a good choreographer it's the same sensation that a child has when they learn to walk and run. It can be difficult and frustrating but it's natural movement all the same so it IS in our bodies somewhere! I often try to run before I can walk and then after some thinking, things shift and suddenly you can do a sequence that a day earlier seemed so foreign. It's always fun to play with one's own cerebral capacity! I have also seen people and places that fascinate me because of my work. It is a fantasy to be able to be around live music and attractive people dancing all day, every day.
DP: What are your dreams now as a dancer?
EM: Someone asked David Bowie once if he performed to escape or gain an identity and he answered neither… rather that it was with each performance he understood his own identity more. This is how I feel about things. Of course we strive to dance better all the time. I love roles...roles that are exhausting. There are only a few real gems for male dancers who feel like they understand their own identities better through these roles and transformations. I am a junkie for material that requires a balance between simplicity and some kind of character-shading that takes you deep into yourself. Let's see what happens...
DP: Which people have influenced you the most in your dance career?
EM: There is a dancer who I learned a great deal from. Watching him I learned exactly what I wanted to get out of each show. I saw that it was possible to be extremely articulate with each movement and yet somehow have an almost reckless sense of abandon at the same time. Anyone who has believed in me along the way has had an enormous impact….. I also feel like I am influenced by my favourite actors. I see things they do that make my heart react and think about how I can use by body to do that onstage. I fell in love with Christoph Waltze's performance in ''Inglorious Basterds''…Simple and incredibly harrowing at the same time. I love how Streep and Seymour Hoffman can transform themselves. There's are dancers like Lloyd Riggins and Robert Tewsley who dance and act incredibly well. Textured and at such an amazingly high level. Roberto Bolle (see Bruce Weber's new book) opened the door for the really physically BIG boys of today. I saw him in the 90's all the time. He was so legato in his movements and that meatiness had a sense of masculine power.
DP: How long does it take you to prepare for a performance?
EM: It depends on the day. I don't have weird rituals. I try not to look in the mirror too much directly before the show because I think it changes what sides of yourself you display onstage. I mean I look at the external things like if the costume fits where it should and so on but feelings and gestures and facial expressions are things better left for the moment onstage. Mirrors are such weird things. Dancers look into them 8 hours a day for rehearsals but they take more from a person than they give.
DP: Do you have anxieties about fading youthfulness? Certainly Dame Margot, Rudolph Nureyey and Merce Cunningham had very long careers?
EM: I care about character, which is the one thing that doesn't fade with age. This makes me very happy. Besides, BOTOX doesn't lend itself very well to mime.
DP: When one thinks of dancers one thinks of the intense discipline that is required, how does that rule your life?
EM: Anyone who wants to get the most out of their body or mind understands that discipline is the only key to expanding upon the bare minimum. Dance (especially ballet) is so strange because it requires so much physical and mental preparation all the time and yet I have never met people who can go out and go crazy like dancers do. It's a world of extremes, I guess. Dancers, athletes, designers, actors are people that are driven by heart and spirit. We don't behave like other people and it takes a certain amount of self-imposed structure to allow oneself to be free and get what one wants out of a situation.
DP: Do you have any tricks to fire yourself up before going on stage?
EM: Yes, but it's a secret. All the reasons why I started dancing come flooding back when the orchestra starts to play and the stage lights up. Some dancers like to be a bit nervous going out onstage but I hate it. There is enough adrenaline that goes into a show.
DP: How has the role of a male dancer changed over the years?
EM: Men used to just be there to support a glamorous ballerina during her moment of glory. There is still that responsibility of course but over time there have been more ballets that have been based on a 'male' character rather than a female. That is another responsibility altogether...and a thrill.
DP: What parts do vanity, self indulgence or cruelty play in your life?
EM: As much or as little as one lets them. Dancers have to pay attention to themselves and take care of themselves all the time so there is a certain self-involvement. I don't think vanity is healthy but I do spend much of my time thinking about what 'I' need and what's best for 'me'. It's the nature of the role being a dancer. I have moments where I need to step outside of that for sure though. I like to just sit back and watch my colleagues sometimes. After a rehearsal I am not afraid to offer support and criticism. Just little things that a dancer genuinely wants to hear to be better. It excites me to be in this environment of heightened expectations if it is all in the spirit of continuing the artform. I like offering my ideas to my colleagues because it's a way to get out of myself as an obsessed dancer. I imagine that directing (like a play) is pretty much about wanting the best for everyone else. An interest in seeing others do the best 'they' can do. It's a selfless feeling that can be very refreshing.
DP: What do you eat and what is your typical daily routine?
EM: What do I eat? I'll try anything. I like Dom Perignon! A good dancer is performing and working ALL the time.
DP: Tell me about your fascinating debut as Onegin...
EM: I love the story of Onegin because it is all tragic love. Not cheesy stuff but real emotions that people understand and experience with you. Onegin is one of the most celebrated ballets in the world because it's so passionate in the way the story unfolds. My debut was fulfilling in so many ways and it was extra special that my partner also gave her debut on the same day. The whole ballet is based around the way the relationship between Onegin and Tatiana changes so the two characters and their chemistry really keep the story together. I like the opera 'Onegin' too and I am a huge Tchaikovsky fan but I find Cranko's balletic version (also to Tchaikovsky, but different material) outstanding in how effective and romantic it is.
DP: Tell me more about some roles you have loved...
EM: I danced a version of Hamlet recently which I found pretty all-encompassing. I loved it. I have found myself being cast as a lead role AND it's literary foil alot which is odd for a dancer but I find very intriguing. In Hamlet I danced Hamlet some nights and Laertes other nights . In Onegin, I dance Lensky and Eugene Onegin who are extremely different people with different motivation. I find that dancing opposing roles on different nights really makes each character all the more clear in my head the next time I come back to it. It's also interesting because in both stories one of the men kills the other in a duel.
DP: In a life full of discipline, is there time for outside romance?
EM: It depends what one calls 'romance.' There is always time for romance but alot of people have difficulties understanding dancers in relationships. Then there is romance on the 'inside' which is a whole other game.
DP: Who are your friends? Are they all in the dance world?
EM: God no. I like most of the people I dance with and am close with them in an intimite way that maybe other people at different jobs find difficult to understand. But I have other friends. They are, however mostly all artists.
DP: Has there been anything so far that you have really regretted?
EM: %&'& regrets!
DP: What is your biggest fear?
EM: Losing people.
DP: What brings you the most joy?
EM: Dance. Music. Discovery...
DP: What music inspires you?
EM: Depends on the day! I need ALOT of variety and something that evokes some kind of mood.
DP: What is it about dancing live that changes your performance?
EM: I don't know! I have only ever danced live! That will soon change though.
DP: Which choreographer would you most like to work with and why?
EM: I have worked with people that I would love to work with again. Wayne McGregor and I will be doing some stuff soon again which I am so looking forward too... John Neumeier never fails to inspire me with his story telling and I have never really had the chance to do a lead role with him. Once he singled me out in a room of 40 people for doing exactly what he wanted to in his ''Streetcar'' rehearsals when I was quite young and told everyone to watch me. It was a moment of trust because I believed in what he was saying and he in turn believed what I was doing. After that I didn't see him for awhile and I guess he forgot that instance. I have wanted to bring it up with him so many times but how do you do that without being completely akward and arrogant sounding? ... In my life so far the things I have lusted after have changed shape and form. Recently I was desperate to create a famous literary role with a choreographer I have had great experiences with before but he decided against using me for the part. He has no idea what I would do with the role and I have no idea what he wants it to be so the trust to launch into such an endeavor was just not there in the moment. For me, this was very depressing because in a sense, this is the kind of work I live for but as a dancer or actor you just have to let go of stuff like that and know that the right things come at the right moments. All of the creative experiences that I have benefitted from and enjoyed the most are the ones that totally caught me by surprise! Dance is like fashion in that sense, the most beautiful moments are usually the ones you don't expect.
Evan McKie interviewed by NAOMI MORI,
Researcher, writer and dance blogger. Tokyo 2010.
Japanese blog: La Dolce Vita
What roles (i.e. Onegin) have you enjoyed dancing and are there any that you want to dance in the future?
あなたにとって踊るのが楽しい役、そして今後踊りたい役は何ですか？
EM: I love any role that I can really get into. I am inspired by actors. Onegin is a role that I just never want to ever stop doing because it's magic. Hamlet was something that required a great deal of spirit and it was fun to do a role like that with such contemporary choreography. Lensky from Onegin is another great one that I have done alot. I like dramatic stuff. i have a kind of wishlist, of course: Armand in Kameliendame, Prince Rudolph in Mayerling or Edward II from Bintley for example but sometimes the most inspiring stuff is the stuff you don't expect!
自分自身が入り込めるような役であったら、僕はどんな役でも大好きだ。ぼくは、俳優たちによって
大きなインスピレーションを得ている。「オネーギン」は、魔法のような役だから、ずっと演じ続け
たい役だ。「ハムレット」は気迫を持つことを必要とする役で、このような、人間性を表現している
コンテンポラリーな振り付けのある役を演じるのはとても面白いよ。「オネーギン」のレンスキーは、
今までも何回も演じてきた素晴らしい役だ。古典作品ももちろん好きさ。僕はロシア・バレエの教育
を受けてきたから、嫌いなわけがない。シュツットガルトで僕が幸運にもいつも踊っているほかのネ
オ・クラシカルな作品も好きだ。
本当に正直なことを言えば、僕が一番好きなのはドラマティックな役だ。もちろん、今から踊りたい
と思っている役のリストはあるよ。「椿姫」のアルマン、「マイヤリング(うたかたの恋)」のルドル
フ皇太子、ビントレー振付の「エドワード2世」など。でも、実際には、期待していなかった役に一番
インスピレーションを与えられることもあるんだ。
What are some of your signature abilities/qualities and what do you want to develop further?
あなたのダンサーとしての長所はどこにあって、どの部分をより強化したいと思いますか？
EM: I don't really like to break it down like this because I really feel dance is an art-form. It's difficult to simply 'talk' about sometimes. It's not for me to decide what I am good at... It's the people dancing with me and the audience's reaction that I love.
僕はダンスは芸術だと思っているので、そのように分解して考えたくない。正直言ってそのようなこ
とを話すのは難しい。いつも、僕の全てをよくしようと努力することが好きなのだけど、正しい訓練
と姿勢によって、自然とそれは実現していくものなのだと思う。自分自身が何を得意としているかと
いうことは自分では決めるべきではないと思う。僕と踊る人々や、観客の反応を僕は愛しているからね。
What do you think are the requirements of a good ''Onegin'' dancer?
「オネーギン」役を踊るダンサーには、どのような資質が必要と思いますか？
EM: An 'Onegin' dancer? I think this character should be portrayed by someone who knows and loves the story and understands what Cranko wanted from certain parts (Gerogette Tsinguirides and Reid Anderson taught me so much about this..). One has to understand that the 'partnership' has to be real and passionately vulnerable to let the audience feel it too.... I think it takes a larger than life character to play the role to it's best and one that craves the responsibilty of carrying the whole ballet on their shoulders. Feeling the energy of the company and everything happening onstage and being the one to serve it to the audience. I wanted the weight of this responsibility to reflect in the weight of the character. It is heavy and juicy. My favourite Onegin's in the past have been the ones who have done this.
オネーギン役を演じるに当たって、ダンサーは物語を良く知り、愛し、そしてクランコが作品の一つ
一つの部分から何を求めていたのかということを本当に理解しなければならない。(リード・アンダー
ソンとジョルジェット・ツィングリーデス(Georgette Tsinguirides)がこのことについて、本当にた
くさんのことを教えてくれた) この役を演じる人は、観客が同じように感じることができるためには
ふたりの「パートナーシップ」が本物であり、また情熱的なあまり傷つきやすいものであるということ
を理解しなければならない。この役を最高のものとして演じるために、そしてバレエ全体を自身の肩に
背負うという責任を負うためには、実際よりも堂々としたキャラクターでなければならないと思う。
カンパニーのエネルギー、そして舞台上で起きる全てを感じ、それを観客へと伝える役割を担ってい
るのがオネーギン役なんだ。僕のお気に入りのオネーギン・ダンサーは、みなこのようにこの役を演じ
てきた。
How does your experience of acting Lenski reflect on your Onegin?
レンスキー役を演じてきたことが、オネーギンを演じるに当たってどのように影響を与えてきましたか？
EM: Because the character's are literary 'foils' , their differences compliment eachother. Doing both (and being on both sides of the friendship and duel) means that I can understand each character clearer. What would Onegin have to be like for Lenski to become so smitten with him and then enraged and what would Lenski have to be like for Onegin to want to taunt him so dangerously and then feel such remorse after things go to far?
レンスキーというのは、文字通りにとらえれば引き立て役だけど、二人のキャラクターの違いはお互いを
うまく補完している。両方の役を演じるということは（そして、友人と、決闘相手の両方を演じるとい
うことは）、僕がそれぞれのキャラクターをよりはっきりと理解できるということだ。オネーギンのど
んなところが、レンスキーにとってとがめるものがあって、それがレンスキーの激しい怒りへと結びつ
くのか。そしてレンスキーの何が、オネーギンが彼を危険なやり方で嘲るようなことに結びつき、すべ
ての物事が行き過ぎた後に激しく後悔するようなことにさせてしまったのだろうか？二つの役を演じた
ことで、僕は二人の複雑な感情を両方理解できるのだと思う。
Who is the choreographer/artist you would like to work with?
あなたが仕事をしたい振付家やアーティストは誰ですか？
EM: The one that comes and understands me and i understand them. I love surprises.
僕のところに来て僕をよく理解できて、そして僕が彼を理解できる、そんな人だ。僕はサプライズが好
きなんだ。
How was choreographing your own work and do you want to do it soon again?
自分の振付作品を創ってみていかがでしたか？また振付をやりたいと思いましたか？
EM: Honestly, I have more fun when i photograph because I can run away with the fantasy of that moment. It's just something I am drawn to....The choreography was fun too but there was a lot about it that I found frustrating. I have such a new appreciation for good choreographers now. I can't speak for other choreographers but everytime you see the piece, it is different. It is living and breathing all the time. Sometimes you are happy but mostly you think 'I should have done that..or that'' . I really enjoyed the process...being conceptual and presenting the whole atmosphere to an audience was fun. I also saw a sides of my dancers that I wouldn't have seen otherwise. They were so good and willing to try anything because they believed in the concept. Working with music by Antony and the Johnsons was great because his voice gave me so much inspiration for the movement which was pure and simple but also very difficult. There was alot of lifting and body contortions that require strenght and balance and that is what the whole piece was about. I think I definitely will challenge myself and choreograph something again, probably another pas de deux because I like the intimacy of a relationship. I just have trouble actually calling myself a 'choreographer'. Conceptualist sounds better because it is really the whole concept and atmosphere that I care about the most.
正直に言えば、僕は写真を撮っているときのほうが楽しい。その瞬間のファンタジーとともに駆けていく
ことができるから。それは僕がとても惹かれていることだ。振り付けも楽しいのだけど、フラストレーシ
ョンを感じることもたくさんあったよ。今では、僕は素晴らしい振付家たちをどんどん知っているからね。
他の振付家がどう感じているか、僕は代弁できないけれど、作品は観るたびに違ったものになっていく。
常に生きていて呼吸をしているかのように。時々は満足しているけど、ほとんどの場合「僕はああするべ
きではなかったか？」と考えてしまう。プロセスはとても楽しいんだ。コンセプトを作って観客に場の雰
囲気を提示することはとても楽しかった。また、他では観ることのできないダンサーの側面を観ることが
できた。彼らは作品のコンセプトを信じてくれたから、どんなことにでも挑戦しようとしてくれて、とて
も素晴らしかった。アンソニーとジョンソンズによる音楽を使うこともとても素晴らしいことだった。彼
の声は、ピュアでシンプルだけど難しい動きに対して、多くのインスピレーションを与えてくれた。リフ
トと身体のねじれが多用されており、強靭さとバランスを必要としている、そのこと自体がこの作品の本
質なんだ。間違いなく、僕は振り付けすることに再び挑戦すると思う。僕は関係性の親密さが好きなので、
おそらく、またパ・ド・ドゥとなるだろう。自分のことを「振付家」と呼ぶのは実際にはちょっと違うと
思っている。コンセプチャリストと言った方がしっくり来る。なぜなら、全体のコンセプトと雰囲気を僕
は一番大事にしているからだ。それは、僕が行うことすべてにも当てはまることだ。
Who is your favorite dancer?
では、好きなダンサーは誰ですか？
EM: Whoever gives me chills. People who take risks. People who share their love with you like, ''I'm here, I love it and I know you do too...''. People who have a alot to give and know how to do it. I'm not a fan of people who you can tell don't really care that much about what they are doing, especially in a story ballet. If they cared they would know how to touch you and be an inspiration. Nureyev, Donn, Pina, Haydee, Guillem, Ruzimatov. Do you understand the direction I mean?...
僕が思わず震えを起こしてしまうような人なら誰でも。リスクを好んで冒す人。「僕はここにいて、そのことが大好
きで、君もそれが大好きなことを知っているよ」と愛を分かち合ってくれる人。多くのものを与えてくれ
て、どうやってそれが与えられるかをわかっている人。僕は、特に物語バレエにおいて自分たちが何をして
いるのかどうでもいいという人のファンにはならない。もし、その人が本当に心をこめて演じているならば、
どのように物語を語るか、どうやって人々の琴線に触れるか、そして最終的にインスピレーションを与える
ことができるのか、そのことに没頭しているはずだから。「ワォ、彼もしくは彼女は素晴らしい！」という
こともあれば、「なんということだ！これがいったいどうやって起きたんだ？どうやってそれをやっている
んだ？明確にそれが何なのか説明できないけど気がつけば涙があふれている」ということもある。ルドルフ
・ヌレエフ、ジョルジュ・ドン、ピナ・バウシュ、イヴリン・ハート、マリシア・ハイデ、シルヴィ・ギエ
ム、ファルフ・ルジマトフ、そしてもちろん、マイケル・ジャクソン。僕が意味していることはわかるかい？
What inspires you as an artist? (e.g music, art, movies, literature etc..)
アーティストとしてのあなたにインスピレーションを与えるものは何ですか？
EM: Literally, anything can be inspiring. It's just a matter of being receptive to it. You have to put yourself in the position to be inspired. I think many people in Japan understand this. I read ALOT and am just a simple theatre-lover most of the time! Really!
文字通り、どんなものでも僕にインスピレーションを与えることはできるよ。全てのものからインスピレー
ションを受けるという姿勢でいなければならない。日本にいる多くの人たちはそれを判っていると思う。僕
はたくさんの読書をするし、そして単に観客として劇場に通うのも大好きなんだ。
Portrait by Udo Klebes
'Der Neue Merkur' Culture Magazine, Vienna. 2010.
„Phantasie haben und träumen“
Im Portrait: EVAN MCKIE – Erster Solist des Stuttgarter Balletts „Phantasie haben und träumen“: Als Achtjähriger nahm ihn seine Großmutter mit in eine Aufführung von Crankos „Onegin“, die den bis dahin schon von einem Bewegungsdrang getriebenen Jungen fortan für Ballett entflammte und ihn erkennen ließ, dass mit Tanz auch eine schauspielerisch-dramatische Ebene erfasst werden kann. Genau das wollte er künftig machen. Nicht einmal zwanzig Jahre später stand er nun erstmals als Puschkin’scher Titelheld in jenem Cranko-Ballett auf der Bühne des Stuttgarter Opernhauses. Diese wichtige Rolle sollte er bereits anlässlich seiner Ernennung zum Ersten Solisten nach seinem „Hamlet“-Debut im Oktober 2008 für eine bevorstehende Tournee des Stuttgarter Balletts als Cover einstudieren. Dazu kam es dann nicht, stattdessen hatte er nun ein gutes Jahr Zeit um sich intensiv darauf vorzubereiten. Für Evan gehören dazu neben Videos und DVDs mit vorhergehenden Interpreten auch Literatur und die Auseinandersetzung mit dem darzustellenden Charakter. Dieses Debut gehört zu den großen Momenten in seiner bisherigen Karriere, wobei er einen Teil des erreichten Erfolges auch seiner ihm zugeteilten Partnerin Myriam Simon als Tatjana zuschreibt, die er noch als Landsmännin aus seiner Heimat kennt, mit der er sich sehr gut versteht und u.a. im 3.Satz von Crankos „Initialen“ gut harmoniert hat. Was aber nicht bedeutet, nur mit dieser einen Partnerin tanzen zu wollen, vielmehr fordern ihn wechselnde Besetzungen mit unterschiedlichen Temperamenten dazu heraus sich selbst wieder von einer anderen Seite zeigen und kennenlernen zu können. Bei seinen inzwischen zahlreich gewordenen großen Partien konnte er das mit verschiedensten Tänzerinnen beweisen. Inspiration im allgemeinen benötigt er für das tägliche Feilen an seinen Fähigkeiten. Die kann er sowohl von Debutantinnen als auch von erfahrenen Kolleginnen gewinnen, um festzustellen, wie weit er gehen kann. Zielstrebigkeit prägte Evan McKie schon in der Kindheit, manchmal auch eine fast übersteigerte Energie. Das Theater umgab ihn von Anfang an, speziell von seinen Großeltern, einer Schauspieldirektorin und einem Beleuchtungs-Designer wurde er schon früh in die Bühnenkunst eingeführt und lernte die wichtigen Details, auf die es zur Optimierung einer Aufführung ankam, von Grund auf kennen. Bücher und Musik bestimmten schon bald sein Leben und sind Teile seiner Animation zum Tänzer-Beruf und zum Formen und zur Vertiefung von Rollen-Gestaltungen. Auch seine Eltern unterstützten sein Bestreben Tänzer zu werden. Als der viel Sport (Basketball und Schwimmen) sowie modernen Tanz (Jazz und Stepp) treibende Junge nach erwähntem erstem Ballett-Erlebnis seine Ausbildung an der National Ballet School of Canada begann, wurde bald sein idealer Körperbau für klassischen Tanz erkannt. Angeregt durch viele Ballett-Aufführungsbesuche des damals von Reid Anderson geleiteten National Ballet of Canada sowie Gastspiele bedeutender Kompanien aus aller Welt und die damit verbundene Bekanntschaft mit einem größeren Ballett-Repertoire wechselte er auf Empfehlung einer befreundeten russischen Ballett-Lehrerin 1997 für zwei Jahre an die ganz auf die klassische russische Schule ausgerichtete Kirov Academy in Washington DC. Dort lernte er Petr Pestov kennen, der auch an der Cranko-Schule unterrichtete und ihn einlud in Stuttgart seinen Abschluß zu machen. Im Bewusstsein, dass inzwischen sowohl Anderson als auch einige der ihm bekannten Tänzer (z.B. Margaret Illmann und Robert Tewsley, später auch Jason Reilly und Eric Gauthier) beim Stuttgarter Ballett waren und folglich am Renommée dieser Kompanie etwas dran sein muß, folgte er dem russischen Pädagogen ins Schwäbische. Nicht zum ersten Mal, bereits 1994 wurde er für eine Deutschland-Tournee des National Ballet of Canada mit James Kudelkas „Pastorale“ und „Coppelia“ als einer von wenigen Jungen aus der Ballettschule ausgewählt und gastierte dabei u.a. auch im nahen Ludwigsburg. Aufgrund einer längeren Krankheit Pestovs, speziell auf dessen Kapazität er setzte und durch den er auch Russisch gelernt hatte bzw. lernen musste, kehrte Evan auch aufgrund der Wertlegung der Familie auf einen akademischen Abschluß noch einmal an die von Oleg Vinogradov gegründete Akademie nach Washington DC. zurück, um dort nach nur einem Jahr ( 2 Schuljahre in einem!) sein Diplom zu machen. Während diesem Zeitraum hatte er in Folge eines Bootsunfalles einen totalen Kreuzbandriss im Knie erlitten. Ärzte prophezeiten ihm nie wieder tanzen zu können. Nach zwei depressiven Monaten ging er dennoch zu einem bereits geplanten Sommerkurs nach Colorado und versuchte wieder zu trainieren. Dort begegnete er Gilbert Meyer von der Ballettschule der Pariser Oper, der viel mit ihm gearbeitet und durch Evans Tanzleidenschaft an ihn geglaubt hatte. Tatsächlich ging es mit den Beinen bald besser, so dass Meyer ihn einlud in die Abschlussklasse nach Paris mitzukommen. Mittlerweile war jedoch Pestov wieder gesund, weshalb es Evan schließlich doch wieder nach Stuttgart drängte, um dort die Ballettausbildung zu beenden. Das war 2001. Während dieser Zeit nutzte er wie schon zuhause in Toronto jede Gelegenheit so viele Vorstellungen wie möglich zu sehen. Bereits damals fiel der groß gewachsene Junge regelmäßigen Ballett-Besuchern durch seine Präsenz und Haltung auf, die manchen bereits an eine vielversprechende Zukunft denken ließ. Auf ein Jahr als Eleve folgte schließlich die Übernahme ins Corps de ballet. Früh bekam er kleine Charakterrollen anvertraut, mit dem Kapitän in Crankos „Pineapple Poll“ sein erstes Tanz-Solo und schließlich noch vor dem Hortensio mit Lucentio (Zähmung) eine frühe Einspring-Chance, weil sämtliche Alternativen ausgefallen waren. Eine Woche hatte er nur Zeit für dieses Debut. „Last minute“ sei das gewesen, aber durch gutes Zureden von Georgette Tsinguirides bestand er diese Herausforderung erfolgreich. Es macht ihm Spaß mehrere Rollen in einem Stück zu tanzen, wie später auch in „Dornröschen“ mit dem Prinz des Nordens, danach dem Blauen Vogel und schließlich im Juli 2008 als Desiré. Wie schon bei Siegfried (Debut Oktober 2007) wurde er auch in der Rolle des Aurora-Erweckers aufgrund seiner idealen körperlichen Proportionen als der klassische Prinz gefeiert. Wer jedoch glaubt, darin sieht Evan seine zentralen und wichtigsten Aufgaben, täuscht sich. Die Balanchine-nahen, vom puren Tanz lebenden Figuren bedeuten für ihn, so sehr er den Meister der Neoklassik schätzt, letztlich nur einen Teil seines Repertoires. Auf die Mischung neoklassischer und auch von modernen Tanzstilen beeinflusster Choreographien kommt es ihm an und vor allem immer wieder auf die darstellerische Entwicklung von Charakteren in den unterschiedlichen Handlungsballetten. Neben dem Lenski, der ihm nach dem Debut im Februar 2006 die spontane Ernennung zum Solisten einbrachte und dessen Gestaltung ihm bei seinem jüngst erfolgten Onegin-Debut enorm zum Verständnis beigetragen hat, waren das noch Des Grieux in „Kameliendame“ und die neu choreographierten Stücke von Christian Spuck (Alwa in „Lulu“), Mauro Bigonzetti (Vincenzo in „I fratelli“) und Kevin O’Day (Laertes in „Hamlet“, danach als ehrenvolle Aufgabe die Titelrolle – die er, wäre er Schauspieler, brennend gern spielen würde). Besonders gefreut hat ihn, dass O’Day mit ihm einige Facetten anders als mit den beiden Alternativ-Besetzungen kreierte und ihn dadurch davon befreite, lediglich eine Kopie der anderen zu sein. Sich selbst finden ist für Evan in jeder Rolle, jeder Aufgabe wichtig. Auch wenn er in vielen Parts der einstigen Cranko-Größe Heinz Clauss auftritt und im puren, schlichten, auf wenig Äußeres setzenden Tanz Parallelen zu ihm erkennt, möchte er nicht dessen Doublette sein. Viel gelegen wäre ihm auch an Otello und Jago in Neumeiers Shakespeare-Ballett, denn leider war McKie z.Zt. der Stuttgarter Einstudierung in der Spielzeit 08/09 für einige Monate durch eine Achilles-Sehnen-Verletzung ausgefallen. Neumeier mit seinen akribisch genau erläuterten Vorstellungen, aber auch Wayne McGregors viel Flexibilität und Spiel mit dem Körper verlangenden Stil zählt Evan zu den bisherigen Höhepunkten choreographischer Auseinandersetzungen. Eine Sonderstellung nimmt für ihn Stuttgarts Hauschoreograph Marco Goecke ein, der sich wie Cranko enorm von den Tänzern inspirieren und ihre Persönlichkeiten wie Flammen aus der Dunkelheit seiner düsteren Bühnenräume herausglühen und flackern läßt. Da sei in der Tat so viel Persönliches und ungewohnt Neues aus ihm herausgekommen. Auch wenn er bei einer Choreographie oder Rolle mal gegen seine eigene Überzeugung oder sein Wesen eingesetzt werden sollte, würde er das nie ablehnen, denn er braucht eine große Verantwortung gegenüber der Kompanie, gerade auch bei widersprüchlichen Aufgaben. Von Balanchine ( Herren-Solo in „Theme and Variations“ ), über MacMillan (der Ewige in „Lied von der Erde“) bis zu Forsythe („Thrill“) und einigen Uraufführungen nachwachsender Choreographen hat McKie bislang auch ein breites abstraktes Repertoire erarbeitet. Von der schöpferischen Seite hat er sich bei der letztjährigen Reihe „Junge Choreographen“ der Noverre-Gesellschaft vorgestellt und in „Vapour Plains“ (= Dampf-Prärie) von der Partnerschaft seiner Kollegen Alicia Amatriain und Jason Reilly zu einem ungewöhnlich kühnen Pas de deux inspirieren lassen. Die ohne Bodenberührung um den Körper des Mannes gehangelten Bewegungen der Frau hatte er zuerst bei einer Puppe ausprobiert. Bedenkt man dabei sein zuvor nur einmal erprobtes Choreographien als 13jähriger! in der Ballettschule, ist diese durchdachte und körperlich ausdrucksvolle Präsentation umso höher einzuschätzen. Dennoch: an eine Zukunft als Choreograph denkt McKie nicht, auch wenn es ihm nicht an Ideen dafür mangelt. Überhaupt ist die Zeit nach dem Tanzen jetzt noch kein Thema, nur so viel ist sicher: es muß mit Theater zu tun haben, denn ein Leben ohne Musik, die ihn unwillkürlich zu Tanzschritten animiert, ohne Kunst, ist für ihn nicht denkbar. Vielleicht kommt ja auch eine Ballettmeister-Funktion in Frage, sieht er sich doch bei den Proben gleichzeitig auch als Regisseur, der anderen automatisch Korrekturen gibt. Als Tänzer, der sich um sehr viele Details kümmert, wird er von Kollegen oft gefragt. Sehr wichtig sei dies für ihn, um auch einmal vom eigenen Ego wegzukommen. Ein Choreograph oder Regisseur muß immer wissen, was das Beste für die anderen, ein Tänzer, was das Beste für sich selbst ist! Diese Balance hat er Robert Tewsley und Manuel Legris zu verdanken, die ihm oft während der Proben Korrekturen gegeben haben. Auch außerhalb seiner eigenen Aktivität saugt er das Angebot an Ballett-, aber auch Opern- und Schauspiel-Veranstaltungen in sich auf – von allem kann er etwas Positives für sein eigenes Wirken mitnehmen. Außerdem ist er dankbar für das familiäre Klima in der Kompanie und zwischen den Kollegen, die er nie als Konkurrenz betrachtet. Jede/r hat hier seinen Platz und seine Aufgaben. Von dem auch im Gespräch so rationell und emotionell ausgeglichen wirkenden Künstler mit der herausragenden Symbiose aus Eleganz, Noblesse und Charakterfestigkeit dürfen wir sicher noch viel erwarten – sowohl in der Vertiefung bereits studierter Partien als auch in den hoffentlich noch bevorstehenden Rollen des Albrecht („Giselle“), Armand („Kameliendame“) oder – als besondere Wünsche – Edward in Bintleys gleichnamigem Historienballett, Rudolf in MacMillans „Mayerling“ und Carabosse in „Dornröschen“. Generell weist Evan dem Handlungsballett eine wichtige Funktion zu und glaubt, dass auch künftige Choreographen wieder mehr auf diese Form vertrauen und setzen werden. Zuletzt bekennt er sich noch als Fan des Stuttgarter Balletts – einer Kompanie mit Persönlichkeiten und einem Publikum, dessen Anteil am Ballettgeschehen einmalig sei. „Phantasie haben und träumen“ - das ist genauso wichtig für die Zuschauer wie für ihn als Tänzer! Spätestens bei diesen Schlussworten wird klar, dass Evan McKie auch ein ausgesprochen liebenswerter Mensch ist, der sich viele Gedanken um das Leben, die Bretter, die die Welt bedeuten macht. Ein herzliches TOI-TOI-TOI für die Zukunft! -Udo Klebes
Interview with The Ballet Bag
(Dancers and Technology)
Online Dance Magazine
London, 2010.
Can you tell us about your early days: your training at the NBC; your move to Kirov Academy? How did you subsequently end up moving from North America to Stuttgart?
After falling in love with the theatre through plays, I went to dance class. I was pretty good at tap (though not as good as McCrae) and I loved jazz but when I saw ''Onegin'', my first dramatic ballet, I knew that this direction of dancing would be part of my destiny. I spent wonderful lower school years at Canada's National Ballet School (I am still drawing on things that I learnt there!) but when halfway through one school year I was suddenly offered a spot at The Kirov Academy in Washington D.C., I couldn't resist. There was an abundance of talent and sheer love of ballet amongst the students there. I have never seen such intense focus. Then I met Pyotr Pestov, who is one of the biggest and best male ballet pedagogues in the world. He sort of found me in the states and invited me to Stuttgart where he moved after being Bolshoi Academie's most heralded teacher for decades. I had heard such incredible things about the kind of work the company did in Stuttgart and I was hooked on Pestov's extremely demanding teaching style so I packed my bags and left North America. I was fourteen then and have never danced there since.
What would you say have been your biggest career challenges so far? [ie. injuries, technically, etc.]
I had to learn early to address my overwhelming ego and obsessive energy. I am an Aries and though I am extremely positive, I am demanding and critical when it comes to the pursuit of anything I feel is worthwhile. For my dancing not to suffer, I have to do other things outside of the theatre to focus energy on unexpected inspiration. I become very immersed in each ballet but I have always forced myself to find a balance in order to avoid 'overcooking' anything. I have no respect for lazy dancers but an over-eager artist can botch things up for him/herself too by losing perspective. When I go into any creative situation, I usually have ideas and concepts of how I believe something great can be achieved but I have learnt that when I am mentally flexible then the best things happen.
Injuries are always a nightmare and come at the worst times too but they are part of what we do, unfortunately. BUT, one can ALWAYS learn from them.
What do you see as your individual traits as a performer and dancer?
This is always tough to answer. One of my favourite things about theater is that each person may see something different in each dancer. When I go into any new role I try my hardest to combine detailed precision (from the stringent school that I love) with spontaneity (remembering why I started dancing in the first place!). The artistic staff here and outside choreographers have also given me incredible chances to display a kind of plasticity dramatically and physically. 'Versatile' was something that I didn't know I was until I started growing up here in Stuttgart and now this is the one quality I am the most thankful for. I am grateful that I am given a wildly diverse rep of roles (from the old-notary in La Fille mall Gardee when I first joined at 18 to Hamlet to the Messenger in ''Song of the Earth''). There are an astounding number of weaknesses and uglies to me aswell but I don't try to hide them. Instead I let them be a part of who I am so that when I am with an audience I can offer at worst, something gripping.
Are there any dancers you greatly admire? [ie. role models? coaches? Or just dancers you admire, etc. ]
There are so many pretty dancers today but because I have never really felt like one of them I find myself touched by actors who create a moment that moves you. If I cry or laugh out loud at a show, I'll make sure I go back to see this artists again and again. I really appreciate an 'individual' onstage.
What actions do you take every day to improve your dancing?
Follow my instincts and take everything past where I think my limits may be. Physically, emotionally, artistically. Listen to and learn from everything and everyone.
Part 2 - Drama Juice & Onegin:
You said in the past that what you love about dance is the link with "movement and music". How do you see the connection between drama & dance?
Music inspires me to dance because of that dramatic connection to each note. Little pictures flash through your head. It starts out so pure and simple and yet through each movement the music suddenly has endless dramatic possibility. The drama is the part of moving+music equation that becomes dance. It's actually scientific which means it can always be re-created in different forms. I think Science can feel very magical….just ask Wayne (McGregor).
What's your take on plotless, “pure dance” ballets?
There is no such thing.
Can you tell us more about your collaborations with Wayne McGregor?
There was an immediate connection. I was lucky to meet him when I was just starting out and he had no problem plucking people from the corps ! This made me very happy at the time because it was something that I could pour every last drop of energy into!! For that production in 2003, he decided to have me be the only second cast for ALL of the seven or eight soloist boys aswell as having my own part in the ballet! It was so much material and I thought I'd never learn it all but now I still remember half of it! It was challenging in all the best ways! When he created EDEN I EDEN here a few years later people would stop me on the street and want to have a conversation about the eerie theme of the piece: the evolution of cloning. They were moved and had opinions and wanted to debate! This made me so happy because involving audiences in what we are doing is what keeps us in existence, as humans! I love every part of his process and wish he'd never leave.
You've been highly praised for your portrayal of Lenksi and now Onegin which you've just debuted at a very young age. Can you tell us more about your history with ''Onegin'' ?
Cranko's ballet is a masterpiece. He made it so easy to get into each role. There is such a rich frame for each character that one can just shamelessly indulge in impromptu shading and whatever may feel right with the music and your partner. The steps ARE words. Each role is masculine, yet extremely vulnerable. The chance to become one of the roles has immeasurable value when becoming the other on another night. This ensures that the dialogue between the two men is truly understood by the actor. I was promoted to Soloist during an ''Onegin'' performance (as Lenski) and when I was made a Principal dancer two years later I was told simultaneously that I would be debuting as Onegin! It was also the first dramatic narrative ballet I saw so you can see how this particular ballet is really part of my theatre make-up. Any dancer who gets to dance even one of these roles is extremely lucky. I am thrilled to be dancing both.
What are your favorite roles & your dream roles? [ie. those you haven’t yet danced but would like to in the future]
Something that is multi-facetted, challenging, involves beautiful partners, and gives me the responsibility to make or break a show for the audience. This thrill is the dancer's answer to what dare-devils and mountain-climbers seek. Got any suggestions? :)
Part 3 - Social Media:
Why do you think it is important to connect with audiences using the new technological tools available [websites, social media, etc]?
I don't understand a dancer not wanting to connect to an audience though the way one goes about it can speak volumes. There is no replacing live-performance but it's valuable to share theatre experiences with others who want to hear it. I don't think a dancer HAS to have a website but it's a far more theatrical way to present necessary information than a simple business card.
I have found TWITTER appealing since I first heard about it. Nothing is being forced down your throat and I think dancer's updates in particular celebrate our differences . I, personally, would find it very difficult to tweet during a show for example (though I don't disrespect anyone who does), I also prefer to provoke interest rather than over-promote a place or thing. Using the platform as a mask seems silly to me aswell because the people who follow me are interested in what is ACTUALLY going on whether I'm riding on a performance-high or an injury-low. The recent NYTimes article opened discussion about whether or not Twitter was removing some of the mysticism of the great 'ballet star' . I think when an audience member knows what each of us do individually each day (whether it be traveling, rehearsing, training, researching or just being stupid) it makes the actual moments of undeniable beauty onstage all the more enchanting. Good dancers HAVE to have different sides to them and must embrace the rapid thoughts firing through their heads each second in order to coordinate their lives. Twitter is a simple way to demonstrate how complicated and extraordinary a dancer's existence can be. Especially in this generation.
How important is it for ballet to attract new audiences? What do you think ballet companies should do about it?
Just like individual artists, I don't see any good reason for a company to shy away from attracting new audiences. I understand that some of the worlds best companies may not be on twitter yet for example because the seats are usually full due to the quality of the performances. But it's become apparent that thousands of young internet-savy people are dying to know more about what these exact companies are doing right now. I find it ironic that some of the theaters doing the most current work are ( at this point in time ) the ones who haven't fully embraced a modern relationship with the audiences who are hungry for more. It is not my position to tell someone how to run a company but Art is about exploring new creative options and touching people afterall.
Do dancers worry/care about the fact that a large chunk of their audiences are usually formed by older crowds? What do you think dancers should/can do to help attract fresh,younger audiences?
I believe alot of ballet-goers have found that dance is an acquired taste. When one finally gets to know what they like, they are often older and let's face it, anyone who wants to truly appreciate any fine art has to pay a certain price. I think it's cool for dvd's and online videos to be available to people who are not in an immediate position to come pay for theatre tickets. People get to know who and what they are attracted to seeing and then want nothing more than to enjoy a particular person or performance up-close and live. Offering a glimpse here and there (whether it be online or whatever) is imperative when leading up to any big reveal! People understand more and want more.
If you had to convince a dancer to join Twitter, what would you say to him/her? [have you convinced any of your colleagues to join?]
It's funny because some of my colleagues laugh about tweeting. Some think that certain things that go on in our lives in the studio are of no interest to anyone outside of these walls. A few of my friends were also surprised when I joined twitter because I am a person who appreciates a great deal of privacy. I have a very close group of friends in and out of the theatre and unless it's a wild party, I am not the person who wants to be heard and seen when I go out for dinner or to other performances. Social media simply let's me offer my experiences with those who are interested and allows me to learn more about artists that I, myself am interested in!
I wouldn't force anyone to join twitter because the worst is reading people's updates when they don't have much to say. Like in dance, if someone wants to express something then they will.
Do you manage your new website directly?
I do not manage it directly but I do have a personal diary on it and have creative control. I am not as interested in html as a whiz-kid like Daniil Simkin may be but I am interested in concepts and curation. I am happy people seem to like the site so much.
What are your favorite Iphone apps?
I am not a real game player on my phone. I got so frustrated with Hell's Kitchen that I deleted it and downloaded LAST.FM instead. I listen to music ALL the time and love the variety.
:)
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