• Contributors
    • Catherine L. Tully, Owner/Editor
    • Dance Writers
      • Rachel Hellwig, Assistant Editor — Dance
      • Jessika Anspach McEliece, Contributor — Dance
      • Janice Barringer, Contributor – Dance
      • José Pablo Castro Cuevas, Contributor — Dance
      • Katie C. Sopoci Drake, Contributor – Dance
      • Ashley Ellis, Contributor — Dance
      • Samantha Hope Galler, Contributor – Dance
      • Cara Marie Gary, Contributor – Dance
      • Luis Eduardo Gonzalez, Contributor — Dance
      • Karen Musey, Contributor – Dance
      • Janet Rothwell (Neidhardt), Contributor — Dance
      • Matt de la Peña, Contributor – Dance
      • Lucy Vurusic Riner, Contributor – Dance
      • Alessa Rogers, Contributor — Dance
      • Emma Love Suddarth, Contributor — Dance
      • Andrea Thompson, Contributor – Dance
      • Sally Turkel, Contributor — Dance
      • Lauren Warnecke, Contributor – Dance
      • Sharon Wehner, Contributor – Dance
      • Ashley Werhun, Contributor — Dance
      • Dr. Frank Sinkoe, Contributor – Podiatry
      • Jessica Wilson, Assistant Editor – Dance
    • Dance Wellness Panel
      • Jan Dunn, MS, Editor
      • Gigi Berardi, PhD
      • James Garrick, MD
      • Robin Kish, MS, MFA
      • Moira McCormack, MS
      • Janice G. Plastino, PhD
      • Emma Redding, PhD
      • Erin Sanchez, MS
      • Selina Shah, MD, FACP
      • Nancy Wozny
      • Matthew Wyon, PhD
    • Music & Dance Writers
      • Scott Speck, Contributor – Music
    • Interns
      • Intern Wanted For 4dancers
    • Contact
  • About
    • About 4dancers
    • Advertise With 4dancers
    • Product Reviews on 4dancers
    • Disclosure
  • Contact

4dancers.org

A website for dancers, dance teachers and others interested in dance

Follow Us on Social!

Visit Us On YoutubeVisit Us On TwitterVisit Us On PinterestVisit Us On FacebookVisit Us On Instagram
  • 4dancers
    • Adult Ballet
    • Career
    • Auditions
    • Competition
    • Summer Intensives
    • Pointe Shoes & Footwear
      • Breaking In Shoes
      • Freed
      • Pointe Shoe Products
      • Vegan Ballet Slippers
      • Other Footwear
  • 4teachers
    • Teaching Tips
    • Dance History
    • Dance In The US
    • Studios
  • Choreography
  • Dance Wellness
    • Conditioning And Training
    • Foot Care
    • Injuries
    • Nutrition
      • Recipes/Snacks
  • Dance Resources
    • Dance Conferences
    • Dance Products
      • Books & Magazines
      • DVDs
      • Dance Clothing & Shoes
      • Dance Gifts
      • Flamenco & Spanish Dance
      • Product Reviews
    • Social Media
  • Editorial
    • Interviews
      • 10 Questions With…
      • Dance Blog Spotlight
      • Post Curtain Chat
      • Student Spotlight
    • Dance in the UK
    • Finding Balance
    • Musings
    • One Dancer’s Journey
    • Pas de Trois
    • SYTYCD
    • The Business Of Dance
    • Finis
  • Music & Dance
    • CD/Music Reviews

Digging Deep: Dancer Katherine Crockett On Her Role In “Fall To Rise”

May 29, 2014 by 4dancers

Aeric Meredith-Goujon, photo by Aeric Meredith-Goujon
Katherine Crockett, photo by Aeric Meredith-Goujon

The other day we reviewed “Fall To Rise” and posted the preview for this dance-themed movie on the site. Today we have dancer/actress Katherine Crockett with us to talk a little bit about her role in the movie…

Even though your role in Fall To Rise is that of a dancer, it is really an acting role. Can you talk a little about the differences and similarities in preparing for a performance in dance as compared to getting ready to play a character in a movie?

In many ways it is very similar, in that you need to be able to let go and become the character you are playing, you must do research on your character and rehearse whether it’s rehearsing movement or words it is the same, the goal is to integrate the form so deeply and find the instinct behind the form (the movement or words) that will give you a personal connection and meaning when you perform it for an audience of the camera or the theater.

The action, whether acting or dancing, should feel organic and come from a place of intimate truth from within, that can only be arrived at through deep study of the character and the material (script/choreography) you wish to bring to life. Coming from Martha Graham’s world which has been my main background, her work demands that you dig into your own being and the character beyond what is even happening on stage. She said, “when dancing Medea, I knew her so well I even know what she had for breakfast!”  When you walk onstage you don’t just walk onstage, you must know where you are walking in from, and carry that history with every step you take.

In acting it is the same, you have your own inner subtext, you have personal connections and associations with very specific details of your character and these may or may not be revealed through the action or script, but serve as an inner life that fills the action and even the stillness that one carries forth. So the preparation involves exploring every avenue to embody this character you are about to inhabit, you must become possessed by her, again to quote Martha Graham, “There is a moment when you look in the mirror and she looks back at you and recognizes herself in you.” You must find this connection first by looking at yourself, and how you can connect to this character on the deepest most primal level, and I believe some of the smallest details hold a particular link to finding these connections. Being a dancer, I’m highly sensitive to my body and know how to use the power of nonverbal communication, so my challenge was how to have that same organic flow and ease with words.

For me, the preparation for this role was a similar process to my preparations for other dance roles. What was more of a difference was how your character comes into play with the other characters during the process of shooting or performing. It is not just about acting, but for me, almost more about reacting to your fellow actors. Like in life, you don’t now what is going to happen next, so there needs to be the same unknowing, for me that meant really listening, really being in the moment, and then letting my reactions and my words come from that impulse, even though the words themselves are of course scripted and rehearsed.

Performing a dance has this same quality of reacting and responding to your fellow dancers, but the difference I felt was that in shooting, because there were several takes of a scene, I could try several different ways of communicating the same lines, or actions, and my co-stars would do the same which would then necessitate my own actions/reactions to change on the spot. It really puts you in the moment, you are not performing any virtuosic, spectacle, you are being present, you are being open and vulnerable, you can’t worry about how you look,  because that will take you away from your emotional connection of the moment. Sometimes, we had to shoot an emotionally difficult scene over and over, and you really have to keep yourself connected to your character and the moment, or you will have nothing. There is a sensitivity to subtlety in your expression that is really important. The camera catches every detail, so unlike the stage where some things have to be exaggerated, in film, much of the power comes in the subtle movements and expressions.

Are any of your character’s struggles things that you have had to deal with in your own dance career?

Well, I don’t have a child, so that major struggle that my character is dealing with, I don’t have. But what I relate to and every dancer understands, is how after living a life as a professional dancer for a significant amount of years, your identity is absolutely linked to that. I’ve struggled with injuries that put me out for a year twice in my career, and I felt so lost, and depressed during that time. Dance, for me, is the heightened sensation of life moving through me, performing is an adrenaline rush, and the years of practice and dedication to your craft can finally be the means to which you can express your soul. Without that, you feel empty. It exists only in the moment, there is no product, nothing to hold or show after, it only exits the moment that it is lived. And by it’s very nature, of the instrument being the human body itself, it is a career, that has an early death.

Martha Graham said ” A dancer dies 2 deaths, the first one is when she can no longer dance.” I’ve been at this career my whole life, and my body has been through a lot, and I am terrified for the day that I can’t dance as fully as I want. I see things that already have shifted. Aging as a dancer is painful, emotionally and physically as well. The dance world is a ageist world, where youth is glorified, the extreme exaggeration of what our culture already does to women in particular. I feel this pressure, and though I’m still at my prime, I know that there will be a time when it will become more difficult.

Martha Graham broke this stereotype in her own life and choreographed and performed her major peak life works in her 50’s and continued to perform into her 70’s on stage.* I admire artists like Mikhail Baryshnikov, who continue to transform and evolve reaching out to new territories, and redefining themselves.

I think my character, Lauren Drake, has tried to give up dance and replace it with motherhood, which she had hoped would make her feel whole, and she is trying to live a different life, the life that society says should make her happy. She misses her art. She doesn’t know how to be a mom, and she doesn’t have the one thing she knew she was good at. She feels lost.

That for me was something I connected with, through having to be out with injuries. And also, the need to have someone understand her, which she is looking to her husband for, and he doesn’t get her–which is why her friendship with Sheila becomes such a huge moment for her. Though I’m happily married now, I was engaged to another man before I met my current husband, and I went through a very similar experience as my character Lauren. It was so painful, he didn’t understand my need to dance, and wanted me to fit into the traditional wife role, and I was tying to please him but was losing myself. He was jealous of my dancing, and took it out by cheating on me. So that scene in our film Fall to Rise, was really tough and deep for me. It triggered a lot of painful memories. I think a lot of women, even non dancers will relate to this feeling.

What was your greatest challenge in playing this character?

Not only was this my first leading role in a feature film, but I had to do most of my scenes with a screaming baby, which was a huge challenge, especially in scenes where she was supposed to be quiet. She was only 4 months old and did not like being in a strange woman’s arms, so it was really hard to focus on acting and her, but maybe that made my character’s uncomfortability with being a mom come through stronger. I felt so bad for her, especially when I had to change her diapers, it was not pretty, and I know she could tell, I didn’t have a clue how to change them!

What did you enjoy the most about the process of making this film?

These amazing artists, Daphne Rubin-Vega, Tamara Tunie, Desomond Richardson, Kohl Suddoth, Kate White and more, were such a pleasure to collaborate with. I felt so much openness, and respect from the entire cast. I really learned from everyone and had special moments with each one. Especially working with my director Jayce Bartok, I felt such encouragement and trust. He gave me permission to try things and I felt safe and supported to dig in and go for it. And of course, working with Daphne Rubin-Vega was a highlight, I learned so much on the spot by working with her. She pushed me, yet made me feel comfortable enough to just try things as crazy as they might be.

To have such a connection and chemistry with someone is really important, because it reflects on screen, and it definitely keeps the intense shooting schedule from killing you off. I adore Desmond Richardson, and to get to dance with him onscreen or off is a dream, so this was certainly a highlight, absolutely I loved our scenes together. And then I must say, the process of collaborating with our DP Kate Phelan was incredible. It was definitely a dance duet between she and I, and because she has a background as a dancer herself, she understood how to film my movement and to anticipate where my body would go, to capture the essence and flow as well as the emotion and depth. We developed a truly a special connection that made the process of creating each scene a really beautiful experience.

What would you say is this film’s greatest strength?

The vulnerable way it shares with us the journeys of these two women who both have lost themselves and find themselves again by finding each other for this moment in time.

Do you think that non-dancers could related to the movie? Why or why not?

Yes, because it isn’t just a film about dance or a dancer, it is a film about friendship, and about following one’ s heart. It is about being able to be a parent and also have your own career and how to balance this. It is the journey of losing oneself and coming to find oneself in a deeper and more whole way.

What is coming up next for you?

I’m currently starring as The Queen in the Off-Broadway immersive theater hit production of Queen of the Night, by the producers of Sleep No More and The Box. We opened on Dec. 31st 2013, and up indefinitely. I love immersive theater and am interested in continuing to work on this and other such projects in the future.I also, would love to collaborate with a few choreographers I like to create a full evening show to perform in NY and tour.

*edited at author’s request 5/29

Filed Under: Dance Video Tagged With: dance movie, fall to rise, katherine crockett, martha graham, martha graham dance company

Finis: Ang-Yi Sheu – Studio 5 At City Center

March 31, 2014 by 4dancers

by Christopher Duggan

Studio 5 at New York City Center is a dance event built around in-studio performances that really gives the audience an intimate look at the dances performed. Hosted and curated by Damian Woetzel, former dancer with New York City Ballet and current Director of the Vail International Dance Festival, the performances give his unique perspective on dance. His connections to the world’s most amazing talent makes the series a hidden gem in New York.

I photographed a performance in February by Fang-Yi Sheu, formerly of the Martha Graham Dance Company, and just as she was in Vail last summer, she was fantastic.

UnknownUnknown-1

Contributor Christopher Duggan is a wedding and dance photographer in New York City, the Berkshires and beyond. Duggan has been the Festival Photographer for Jacob’s Pillow Dance since 2006. In this capacity, and as a respected New York-based dance photographer, he has worked with renowned choreographers and performers of international acclaim as well as upstarts in the city’s diverse performance scene.
Christopher Duggan, Photo by Julia Newman
Christopher Duggan, Photo by Julia Newman

He photographs dancers in the studio and in performance, for promotional materials, portraits and press, and he often collaborates with his wife, Nel Shelby, and her Manhattan-based dance film and video editing company Nel Shelby Productions (nelshelby.com). Together, they have documented dance at performances from New York City to Vail International Dance Festival.

Christopher Duggan Photography also covers the finest wedding venues in the Metropolitan and Tri-State areas, in Massachusetts and the Berkshires, and frequently travels to destination weddings.

His photographs appear in The New York Times, The Huffington Post, The Knot, Destination I Do, Photo District News, Boston Globe, Financial Times, Dance Magazine, and Munaluchi Bridal, among other esteemed publications and popular dance and wedding blogs. One of his images of Bruce Springsteen was added to the Rock & Roll Hall of Fame and his dance photography has been exhibited at The National Museum of Dance and Jacob’s Pillow Dance Festival.

His Natural Light Studio (http://www.christopherduggan.com/portfolio/natural-light-studio-jacobs-pillow-photography/) at Jacob’s Pillow is his most ambitious photography project to date – check out his blog to see more portraits of dance artists in his pop-up photo studio on the Pillow grounds.

Filed Under: Dance Photography, Finis Tagged With: christopher duggan, dance photography, fang-yi sheu, finis, martha graham

Book Review: Facts and Fancies, Essays Written Mostly For Fun

May 20, 2013 by 4dancers

by Emily Kate Long

Fact and Fancies, Essays Written Mostly for Fun

Paul Taylor with foreword by Robert Gottleib, introduction by Susanne Carbonneau

Delphinuim, 2013

165 pages

paul taylor booksPaul Taylor’s writing is packed with wit and quirk. The pieces in this collection range from poetically reverent to ridiculously ironic, often within the span of just a few lines.

Taylor celebrates and satirizes indiscriminately: Martha Graham, the “Creative Process,” members of the press, himself, the institutions of Ballet and Modern Dance…the list of victims and heroes goes on.

As author and as subject matter, Taylor gives us many versions of himself: benevolent dictator, escapist (“My edges seriously frayed, I needed a quiet place to mend.”), keen observer, crafter of aliases, poet, satirist of self and others (His characters Dr Tacet and Sheriff O’Houlihan are foil and mirror), and, at times, cynic. Bewilderingly, or maybe not so, he asserts: “Ideally, my work would be anonymous.”

He tackles the very concepts of art and creativity as borrowing exercises. As his highbrow alter-ego Dr George H Tacet, Ph.D., Taylor gives himself a talking-to for his “shameless pirating of dance steps,” then in his own voice he asserts that “the whole world is one big, glorious grab-bag,” and “we don’t really own anything.” The episode titled “In the Marcel Proust Suite of L’Hotel Continental” is both a jab as the pervasiveness of American culture and an allusion to all art as pastiche. (And besides all that, the whole essay is sublimely, perfectly absurd.) He tears mercilessly into classical ballet, and writes that a fictitious colony of bees “…have all but mastered a simplified version of Pavlova’s ‘Dying Swan’ and as soon as they get the snake arms right they should be able to dance the whole routine in toe shoes!”

Taylor’s younger self also falls under his microscope. The ironic and heartfelt “Two Bozos Seen Through Glass” is titled as much for the past and present Taylor as for the two modern dance students auditioning on his rain-soaked patio.

Truly good art, whether written or performed, is made best by the creators who are not afraid to show up and be vulnerable, to borrow, to laugh at themselves…and to occasionally be “stark naked,” as Taylor says of his solo in Aureole. Facts and Fancies is one of those good works, and well worth adding to every creative person’s library.

Footage of Aureole danced by the Royal Danish Ballet: http://www.youtube.com/watch?v=0q-ztXxdG_o

Esplanade danced by PTDC: http://www.youtube.com/watch?v=qyGWsGl7Ezo

Commentary on the Taylor documentary Dancemaker: http://www.youtube.com/watch?v=Gs3B-Bzo_HM

Dancemaker on YouTube: http://www.youtube.com/user/danceconsortium/videos?query=dancemaker

Lovely 80th Birthday tributes to Taylor: http://ptdc.org/artists-dances/paul-taylor/80th-birthday-tributes/

Filed Under: Books & Magazines Tagged With: dance book, facts and fancies, martha graham, paul taylor

Dance And Movement Invention

March 4, 2013 by 4dancers

dancer in black
Photo by Catherine L. Tully

by Janet Neidhardt

The other day a student asked me if it is possible to create movement that has never been done before. I said that creating new movement can be a daunting task because it seems like every movement has been done before. It is difficult to know if what you are doing is brand new or not especially since dance is created all over the world all of the time.

When my students asked if they could make a “Harlem Shake” video because it was this cool new thing, I replied, “Harlem Shake? I had students doing that back in 2001. This is hardly a new move to copy.”  When my students research modern dance pioneers, like Martha Graham and Ted Shawn, they see movement in their videos that we still do today.  So the question comes back again: Is it possible to create movement that has never been done before?

I think that within this topic lies a deeper question about how we might manipulate and connect movements in original ways. I am always pushing my students’ creativity when choreographing dances. I often find myself saying I’ve seen that movement too much or if a movement has a name and we all know what it is then I don’t want to see it. Setting a high precedent for originality in work is important. I try to teach my students the difference between copying movement and making movement new and original. This can be a difficult task and can easily push students out of their comfort zone. Placing value in originality and creativity is necessary for students to grow as artists and for the arts to grow within their own discipline.

There are many ways to teach students how to manipulate movements like changing the size, putting it in a different body part, timing, energy quality, and so on. I think the more students feel comfortable taking chances and playing with movement ideas the more creativity with be fostered.

Here is one method of creating more original movement that I like to use with my students: [Read more…]

Filed Under: Editorial, Making Dances Tagged With: choreographing, create movement, harlem shake, martha graham, modern dance pioneers, teaching, ted shawn

DVD Review: Ghostlight

November 16, 2012 by 4dancers

by Emily Kate Long

Palisades Pictures and Mannic Productions

Produced and Directed by Christopher Herrmann

Introducing Richard Move as Martha Graham

martha graham dvdThe world knows Martha Graham as a dance icon. Ghostlight presents Graham as an icon in every aspect: her personal style is over-the top, her mannerisms are supremely theatrical, her speech is poetic and often cryptic. The tagline of the film, aptly, is “An impressionistic homage to Martha Graham.” It is loosely centered around the creation of Graham’s ballet Phaedra, but the focus is always Martha herself and all her eccentricities. In interviews with performance artist Richard Move and Director Christopher Herrmann (who worked for Graham and knew her personally), the phrase “truth is stranger than fiction” is used to describe Graham, and the film really highlights that. It’s obvious how much of a kick these two got out of making a film tribute to Martha.

Ghostlight features Ann Magnuson as a former Graham student-turned-filmmaker trying to capture the ins and outs of Martha at work—despite financial trouble and personal turmoil for both parties. The exploration of Martha’s relationships to herself, to dance as an inevitable part of her life, and to her former husband Eric Hawkins are not specific or detailed (the feature runs just 80 minutes) but they are highly suggestive. This is clearly a tribute paid with love, and extends its reach by making the viewer want to know more deeply its iconic subject.

dancer doing arabesque
Emily Kate Long, Photo by Avory Pierce

Assistant Editor Emily Kate Long began her dance education in South Bend, Indiana, with Kimmary Williams and Jacob Rice, and graduated in 2007 from Pittsburgh Ballet Theatre School’s Schenley Program. She has spent summers studying at Ballet Chicago, Pittsburgh Youth Ballet, Pittsburgh Ballet Theatre School, Miami City Ballet, and Saratoga Summer Dance Intensive/Vail Valley Dance Intensive, where she served as Program Assistant. Ms Long attended Milwaukee Ballet School’s Summer Intensive on scholarship before being invited to join Milwaukee Ballet II in 2007.

Ms Long has been a member of Ballet Quad Cities since 2009. She has danced featured roles in Deanna Carter’s Ash to Glass and Dracula, participated in the company’s 2010 tour to New York City, and most recently performed principal roles in Courtney Lyon’s Sleeping Beauty, The Nutcracker, and Cinderella. She is also on the faculty of Ballet Quad Cities School of Dance, where she teaches ballet, pointe, and repertoire classes.

Filed Under: 4dancers, DVDs, Reviews Tagged With: christopher herrmann, ghostlight, martha graham, modern dance

  • 1
  • 2
  • Next Page »

Dance Artwork

Get Your Dance Career Info Here!

Dance ebook cover

Podcast

Disclosure – Affiliate & Ad Info

This site sometimes features advertising, affiliate marketing, or affiliate links, such as Amazon Associate links and others. When you click on these links, we get a small sum that helps to support the website operations. Thank you! There’s more detailed information on ads and our disclosure policy under the About tab in our navigation at the top of the site. We clearly mark any and all posts that contain these features.

Copyright Notice

Please note that all of the content on 4dancers.org is copyrighted. Do not copy, utilize, or distribute without express permission. We take cases of infringement seriously. All rights reserved ©2022.

Copyright © 2025 · Metro Pro on Genesis Framework · WordPress · Log in