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Dancer Profile: Maria Kochetkova

May 8, 2015 by Rachel Hellwig

Maria Kochetkova in Cinderella. Photograph by Erik Tomasson
Maria Kochetkova in Cinderella. Photograph by Erik Tomasson

“Trust yourself, you can do so much more than you think you can.” –Maria Kochetkova

Maria Kochetkova did not want to be a dancer. She wanted to be a gymnast. But her parents encouraged her to try ballet, arguing that dancers had longer career prospects than gymnasts. Kochetkova hated the idea at first, but came to appreciate dance and proved talented enough to be accepted into the Bolshoi Ballet’s school. Still, she found ballet hard and training at the school intense and often intimidating. She also came to learn that her height of five feet would limit professional opportunities in her home country.

Against the wishes of her teachers, she entered the Prix de Lausanne competition at age 18. The plan paid off–she won an apprenticeship to the Royal Ballet. She took it, as the Bolshoi did not offer her a job. But life in London wasn’t easy. She felt restrained in the company and her contract was not renewed. She left to join the English National Ballet where she rose to the rank of soloist. Eventually, though, she felt restrained there as well and desired to explore a more contemporary and diverse repertoire. She had her eye on San Francisco Ballet and sent them an audition tape. She did not hear back. In the meantime, she serendipitously crossed paths with choreographer Christopher Wheeldon who happened to be searching for a short female dancer for San Francisco Ballet. He was impressed by her work and recommended her to the artistic director, Helgi Tomasson. She was soon offered the position of principal. She has been with the company ever since.

[Read more…]

Filed Under: 4dancers Tagged With: ballerina, bolshoi ballet academy, christopher Wheeldon, dancer profile, Helgi Tomasson, Maria Kochetkova, san francisco ballet

Choreography, Collaboration & Laughter: Margi Cole & Peter Carpenter

April 24, 2015 by Rachel Hellwig

Choreographers Margi Cole of The Dance COLEctive and Peter Carpenter of Peter Carpenter Performance Project discuss collaborating on “Rituals of Abundance for Lean Times #14: Curious Reinventions”, a project that explores the concepts of mimicry and imitation.

Photograph by William Frederking.
Photograph by William Frederking.

What first inspired you to collaborate?

Margi Cole: Pete and I go way back, and I have always admired his work as a performer and choreographer. After a very chance conversation about the possibility of me being a performer in his work, it happened, and I had the great pleasure of performing in two of his very recent installments of Rituals of Abundance for Lean Times, the series he is working on. To be blunt, I am totally turned on by working with Pete in the studio, creating movement vocabulary, exploring the use of text and the creative process. As a result of my own experiences, I wanted my dancers to have an opportunity with him too, as I know firsthand how much can be gained from the work. Double bonus: I get to be a co-choreographer and continue to learn as well. It’s an awesome opportunity created by being in the right place at the right time.

Peter Carpenter: Margi and I have known each other as part of Chicago’s dance community for years. In the fall of 2012, she performed in an earlier installment of the Rituals of Abundance for Lean Times series (a series I’ve been working on since 2011), and then last year she invited me to come and do some workshops with her company. Several of her company members are former students of mine (from Columbia College Chicago, where we are both faculty members) so I was excited to work with them. From there we pursued an opportunity via the Department of Cultural Affairs and Special Events for a produced event at the Storefront Theater. That was about a year ago, and we’ve been in the planning stages of this performance ever since.

[Read more…]

Filed Under: Editorial, Making Dances Tagged With: chicago, chicago dance, choreography, collaboration, DCA Storefront Theater, making dances, margi cole, Peter Carpenter, Peter Carpenter Performance Project, Rituals of Abundance for Lean Times #14: Curious Reinventions, the dance colective

French Twist Tutorial

April 19, 2015 by Rachel Hellwig

by Cara Marie Gary

The dismissal bell rang to signal an end to a long school day. Students crammed materials into a large book bag and bustled about the halls. It was an inevitable race to leave the building in order to avoid the long traffic line in the parking lot. My ballet studio was an hour away and I didn’t have a second to spare. I took off in my swift sprint and was one of the first students to drive out of the lot. I took off my lanyard and placed it on the rearview mirror while I grabbed a hair elastic off the stick shift. One might think a cup holder held a refreshing beverage, but mine held dozens of tiny hairpins. At the first stop light, my foot pressed against the brake as I quickly maneuvered my hair into a ponytail. A flash of green light meant it was time to keep driving. Twist and pin as fast as you can was my method for my completing my bun. This definitely wasn’t the safest driving method, but it was efficient at cutting out a few minutes so I could do my splits before ballet class started.

Experimenting with different hairstyles has always been an interest of mine. I love being able to change a look completely by simply adjusting where a few strands of hair lay. It’s amazing how hot rollers, straighteners, curling irons, gels, and hairspray can transform one’s hairstyle.

A common image associated with ballerinas is a high, slicked-back bun. However, there are so many options for dancer’s hairstyles (a French braid into a low bun, center part messy bun, cinnamon roll bun, side twist into a bun, etc.). One of my favorite dancer hairstyles is a French twist.

I believe this is a unique and elegant hairstyle. I’ve developed a 10-step process to perfecting a French twist:

1) Start by brushing your hair and parting the front to the side of your preference. (I like a left part.)

Photo Credit: Mahallia Ward

2) Using both hands, collect all of the hair into the center of your head. The hair should be gathered in line with the top of your ears. Avoid going too far towards the nape of your neck or top of your head.

Photo Credit: Mahallia Ward

3) The next hairbrush I use is called my “smoothie” brush. It’s produced by Conair and has nylon tuft bristles. This brush is the best at smoothing down bumps and wisps. Keep holding the hair in your left hand while brushing your hair towards the center gathering with your right hand. [Read more…]

Filed Under: 4dancers Tagged With: Ballet Hairstyle, Ballet Hairstyle Tutorial, cara marie gary, dance hairstyle, french twist, French Twist Ballet, French Twist Tutorial, hairstyles for ballet, hairstyles for ballet class, hairstyles for dance, hairstyles for dance class, joffrey ballet, the joffrey ballet

Atlanta Ballet’s “The Best of Modern Choreographic Voices”

April 18, 2015 by Rachel Hellwig

Seven Sonatas - Photo by Charlie McCullers, Atlanta Ballet.
Seven Sonatas – Photo by Charlie McCullers, Atlanta Ballet.

by Rachel Hellwig

Atlanta Ballet’s “The Best of Modern Choreographic Voices” opens with “Seven Sonatas” by Alexei Ratmansky, a work originally created for American Ballet Theatre. A piano ballet, featuring live performance of Scarletti selections, it depicts three lyrical, windswept, and witty couples in white. Some of the most distinctive features of Ratmansky’s style are its improvisational quality and playful, sometimes irreverent use of classical ballet, as well as unexpected moments of humor. Hard-to-get, push-pull, please-don’t-go-yet courtships are highlighted in the pas de deuxs, often with comedy. When one man’s beloved skims offstage out of his reach, he merely shrugs and keeps dancing until she returns. Interestingly, intermittent somberness and the quiet ending hint at a more solemn undercurrent of anxiety about losing “the one you love”, though this is usually hidden behind much lightheartedness. [Read more…]

Filed Under: Performance Reviews Tagged With: Alexei Ratmansky, atlanta ballet, Gina Patterson, minus 16, Ohad Naharin, Quietly Walking, Seven Sonatas, The Best of Modern Choreographic Voices

Dancer Profile: Isabella Boylston

April 13, 2015 by Rachel Hellwig

Isabella Boylston. Photograph by Rosalie O'Connor. Used with Permission from American Ballet Theatre and Rosalie O'Connor.
Isabella Boylston. Photograph by Rosalie O’Connor. Used with Permission from American Ballet Theatre and Rosalie O’Connor.

“That’s the goal: To really have your expression manifest itself in your movement” –Isabella Boylston

Isabella Boylston began dancing at three and fell in love with ballet at eleven. At that age, her lessons featured live piano music and the opportunity to improvise with silk scarves at the end of class– both out-of-the-ordinary experiences for most ballet classes. Boylston went on to train at Colorado Ballet and the Harid Conservatory in Florida. In 2001, she won the gold medal at the Youth America Grand Prix.

At age 17, she attended the American Ballet Theatre’s summer intensive and was asked to join ABT’s studio company. However, her parents wanted her to complete her education first. Boylston said, “We got into a big fight because I wanted to come to New York and they wanted me to finish high school. Eventually we compromised and I got to come halfway through my senior year and I finished high school through correspondence.”

She found the transition from school to company a little jarring a first. In the studio company, she had to learn choreography much faster than she did in school. When she moved up to ABT’s main company, her struggle was to fit into the corps rather than stand out as an individual dancer. But, she rose to the occasion and was promoted to soloist in 2011 and principal dancer in 2014.

Boylston has danced many famous roles from the classical repertoire including Odette/Odile, but her favorite character is Giselle. She explains, “I really relate to Giselle. She’s impulsive and I feel like she’s more like my younger self than me now. I’ve experienced betrayal and it can be quite devastating, but it didn’t kill me. I think in the first act she’s really really lively and vital, experiencing life to the maximum. She opens herself up completely and that makes it all the more tragic when everything comes crashing down.” Boylston believes in ballet’s power to convey complex emotions and its relevancy. She says, “Ballet is such a unique art form. You can say things through dance that you could never express in words, and ballet has the ability to touch people on a deep, abstract level. In some ways, ballet is more valuable now than ever.”

Fun Facts: [Read more…]

Filed Under: 4dancers Tagged With: abt, american ballet theatre, ballerina, Diana Vishneva, giselle, Isabella Boylston, odette, odile

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