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Tanzrecherche NRW: Classical Tradition / Modern Society by Mirjam Otten

A handbook for creators and decision-makers on keeping classical ballet relevant

A handbook for creators and decision-makers on keeping classical ballet relevant

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THE ARTISTIC PROCESS<br />

Andrew McNicol shines a light on the importance of an intentional artistic process.<br />

In his own practice, he makes sure to be very clear about what a specific<br />

combination of environment, group of artists, time frame and culture lend<br />

themselves to in terms of artistic impact. To understand and integrate this well into<br />

his work, he has found it important to get to know the artists and environment they<br />

work in before beginning the artistic process. In building that rapport, McNicol<br />

hopes that ‘the work is serving the environment, the culture, the community of<br />

where it's happening’. This ties into an understanding of ballet as a contextual art<br />

form described in earlier sections.<br />

Speaking about challenges and hurdles within the artistic process, Richard<br />

Bermange warns that ego can get in the way of creative success. He calls creators<br />

to be reflective and regularly question their own role and contribution in the studio<br />

alongside the the other involved artists.<br />

TRAINING<br />

The classical ballet technique is characterised <strong>by</strong> an inherent appeal described in<br />

earlier sections. However, it is also a fundamental part of the industry’s daily<br />

practice, and as such requires regular modernisation. Antonucci explains that an<br />

important part of his work at Birmingham Royal Ballet is to ensure that technical<br />

standards and methods used in training and rehearsals are current. As technical<br />

abilities and understanding – fuelled <strong>by</strong> disciplines like physics and medicine —<br />

evolve, it is important that the way of working is up to date. ‘Physical demands on<br />

the dances are greater than they were, so how do we intelligently achieve those<br />

demands while still keeping the dancers safe and healthy?’, is what he asks himself.<br />

His strategy is keeping an open mind, taking on new input from other institutions<br />

and companies and integrating them in one’s own practice. Richard Bermange<br />

echoes that companies should put advancements in understanding of the human<br />

body, dancer safety and training techniques at the forefront of their practice.<br />

<strong>Classical</strong> <strong>Tradition</strong> // <strong>Modern</strong> <strong>Society</strong> 46

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