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A Conversation with Gelsey Kirkland & Misha Chernov

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A Conversation with Gelsey Kirkland & Misha Chernov Spring 2010 Ballet Revi ew From the Spring 2010 issue of Ballet Review A Conversation with Gelsey Kirkland and Misha Chernov On the cover: New York City Ballet’s Tiler Peck in Peter Martins’ The Sleeping Beauty. 4 New York – Alice Helpern 7 Stuttgart – Gary Smith 8 Lisbon – Peter Sparling 10 Chicago – Joseph Houseal 11 New York – Sandra Genter 13 Ann Arbor – Peter Sparling 16 New York – Sandra Genter 17 Toronto – Gary Smith 19 New York – Marian Horosko 20 San Francisco – Paul Parish David Vaughan 45 23 Paris 1909-2009 Sandra Genter 29 Pina Bausch (1940-2009) Laura Jacobs & Joel Lobenthal 31 A Conversation with Gelsey Kirkland & Misha Chernov Marnie Thomas Wood Edited by 37 Celebrating the Graham Anti-heroine Francis Mason Morris Rossabi Ballet Review 38.1 51 41 Ulaanbaatar Ballet Spring 2010 Darrell Wilkins Associate Editor and Designer: 45 A Mary Wigman Evening Marvin Hoshino Daniel Jacobson Associate Editor: 51 La Danse Don Daniels Associate Editor: Michael Langlois Joel Lobenthal 56 ABT 101 Associate Editor: Joel Lobenthal Larry Kaplan 61 Osipova’s Season Photographers: 37 Tom Brazil Davie Lerner Costas 71 A Conversation with Howard Barr Subscriptions: Don Daniels Roberta Hellman 75 No Apologies: Peck &Mearns at NYCB Copy Editor: Barbara Palfy Annie-B Parson 79 First Class Teachers Associates: Peter Anastos 88 London Reporter – Clement Crisp Robert Gres kovic 93 Alfredo Corvino – Elizabeth Zimmer George Jackson 94 Music on Disc – George Dorris Elizabeth Kendall 23 Paul Parish 100 Check It Out Nancy Reynolds James Sutton David Vaughan Edward Willinger Cover photo by Paul Kolnik, New York City Ballet: Tiler Peck Sarah C. Woodcock in Peter Martins’ production of The Sleeping Beauty. A Conversation with Vaganova? Vaganova is something very specif- ic. This is how I understand it: it’s not a series Gelsey Kirkland and Misha of set exercises and it’s not a series of posi- Chernov tions. Nor is it necessarily a particular style. Laura Jacobs and It’s an understanding of how to teach. It’s Joel Lobenthal a method of constructed exercises, divided ex- ercises. You start by dividing the exercise and Gelsey Kirkland: How do you figure out how then building it through the different levels, to train other people and not impose what you rather than teaching through mimicry. If you did as a dancer? That’s the most difficult thing. want to learn assemblé, you can teach an as- If you look at systems that have produced many semblé just like that. But in Russia they teach great dancers, you have to stand on their shoul- it: plié, dégagé, assemblé, stretch. So you learn ders. You really have to lean on that and keep the different elements. Vaganova also teaches on going back. So you look at what’s good a very specific port de bras with emphasis on about how people have developed technique épaulement, and value is given to the hands and use it. You can’t just go off on your own and focus, thus uniting the whole person so and say, “Oh, I think I know what I’m doing.” they can better express powerful theatrical BR: You both took a year-long teacher’s ideas. train ing course in the Vaganova syllabus. Kirkland: If you’ve never taken a Vaganova Kirkland: At the Victorian College of the course, then you can’t connect to the artistry Arts in Melbourne, Australia, with Robert Ray, that’s underneath it. It’s really an artistic or- who had studied with Evgeny Valukhin, the ganization of principles. The way they organ- head of the GITIS teaching institute in Mos - ize the points of focus, how your eyes move cow. However, we do not teach any one system is from a very theatrical basis. You can’t focus exclusively. We teach a synthesis, which is just anywhere. As long as you’re an artist you what I believe many before us have done. can interpret it. If I were taught like a ma- BR: Why is it that today in America, as you chine – move your head here, on this count told me several years ago, Gelsey, “Vaga nova move your eyes here –it would drive me crazy. is a dirty word now? You’re not allowed to say How they train the coordinations in, how they the name. It really pushes people’s buttons.” train the focus, you realize is describing what Kirkland: I’d like to hear your opinion. an actor does. You can’t focus just anywhere. BR: I think there’s a rebellion against it be- There are certain principles where you draw an cause, first of all, not enough dancers have audience in and certain principles that make seen the videos of the great ballerinas pro- everything else disappear. duced by Vaganova, so they don’t appreciate One of the first classes that we had de- the results. Second, perhaps the stringent scribed the underlying geometry. It’s like what Rus sian and particularly Soviet mentality is is underneath a painting. I said, “Oh, that’s ex- confused with the Vaganova syllabus. actly what I’ve been searching for. I’m sur- Misha Chernov: Yes, possibly. prised somebody else discovered it.” Which is BR: Third, not many in ballet are perfec- what an artist should feel: as if you’ve just dis- tionists, the way you were, Gelsey. I think covered eternity, and then somebody happens people just don’t want to get into something to write it down. You think, Oh, that’s a very that deeply. They don’t want to aspire to some- good way to teach that. thing beyond what is readily attainable. Some- I think I imitated a lot of what the Vagano- how Vaganova symbolizes the attempt to reach va system was because I danced alongside an impossible ideal. Ba ryshnikov and saw Makarova. Then David Kirkland: Right. A cultural change. Howard helped me analyze what the patterns Chernov: You have to ask yourself, what is were and how to build them in. Baryshnikov ©2010 Gelsey Kirkland, Misha Chernov, Laura Jacobs, Joel Lobenthal 31 said to me, “You should study Russian port Kirkland: It’s compatible with the Danish de bras. Have a look at Irina Kolpakova.” I got system. Coordination as taught in the Vagano- very angry. I think I was very tense at the time. va system is totally compatible if you want to After I retired, I could study it. Not while you’re do a Bournonville ballet. You just round out just trying to get your stuff together. It takes the port de bras, rather than using allongé time. so much. You bring the body a little bit more Nina Osipyan, who will teach for us this forward. But it’s related. And then, for exam- summer, is also a graduate of GITIS and was ple, if there’s a hole in the system, like petit a student of Marina Semenova. She was orig- allegro, you know things are very joined and inally brought in by the Australian Ballet and bound together in the Danish technique. They taught for us when we ran a program in Aus- have all the joins, which is what I learned from tralia. When I first saw Nina teach, I thought, Stanley, so you have to build that in. Okay, that’s what Makarova was doing. The BR: Although I think that Vaganova put a lot students looked like they had slightly soft of stock in petit allegro, gradually it was less knees when they were standing at the barre, emphasized in the training after she died in which surprised me. Nina explained they are 1951. taught not to lock the back of the knee; so that Kirkland: With Bournonville choreography the muscles can rotate around, wrap. You use you wouldn’t use the same port de bras as you your sartorius muscle, rather than locking the would for Petipa choreography because there back of the knee . is no time to go through all those patterns. The Chernov: Which takes your weight back. As step wouldn’t look simple. If you did all those soon as you lock your knees, your pelvis tilts ports de bras you would be outside the style, forward pulling your center of gravity back, whereas in the Petipa choreography, you don’t and then to counterbalance for the weight look right unless you use those exact coordi- change you have to stick out your rib cage. nations. Then if you do Tudor, often you can’t A ballet syllabus is simply a means to an end use your arms at all, you can’t do any move- and in the past especially was connected to a ment unless it’s absolutely necessary dramat- particular repertory. Gelsey’s history includes ically. You have to know which principles have several great teachers, so she brings what she been developed for which repertory and how has learned to the next generation. If you’re to modify or extend these principles. brought up with Vaganova or Bournonville, The main thing is you have to find the be- you’ve got to pass that on. But Gelsey learned ginning of all movement, which is what David the Danish method from Stanley Williams. Howard helped so much with. He taught me Maggie Black taught her something else, to release many of the holding patterns that which is more Margaret Craske, more Cec- were preventing me from moving and coordi- chetti. David Howard taught her how to apply nating classically. He spent ages just encour- kinesthetic principles. aging me not to lock into my joints.
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