By Quinn Wharton member of the corps de ballet of San Francisco Ballet. April 9, 2009
The fact that we ended Program 6 today feels strange, like the run is cut short, but that might also be because we had the day off on Monday. When you rehearse so intensely, and then have a day off, it can be hard to get back into character right away (like for West Side Story Suite).
For me, it’s been interesting to watch Within the Golden Hour from the audience. When we first premiered it as part of the New Works Festival last year, there were so many new pieces that I think it got a little lost in the shuffle. But now it’s had a chance to sit with the dancers (we performed it a lot on the American Tour) and it’s in between two very different pieces—Stravinsky Violin Concerto and West Side Story Suite—and I just love it; I think it’s a beautiful piece.
I go through phases where I don’t watch from the audience as much and then there are times when I can’t get enough, and I’m aware that I’m watching one of the best ballet companies in the world. I also go to support my friends in the Company.
What I’ve noticed is that, as a dancer, you naturally tune into dancers of the same sex, when you’re in rehearsals or class—because how they move relates more directly to what muscles you’re using for a given combination or step. But when I watch a performance, I look at the artistry of all the dancers. I’ve noticed that in performance, especially a pas de deux, the female dancers seem to have more latitude to interact with the audience while their partners have to be more focused on supporting them. That changes with more contemporary choreographers like Wayne McGregor, who requires a different kind of partnering.
Yesterday, I went and met a friend who is a former winner of the TV show The Amazing Race. We filmed him training and did an interview; his next project is to try and run across Iran. He’s now waiting for his visa to get approved, and we’ll see if he makes it.
Will Tyler Make it?
member of the corps de ballet of San Francisco Ballet.
April 9, 2009
The fact that we ended Program 6 today feels strange, like the run is cut short, but that might also be because we had the day off on Monday. When you rehearse so intensely, and then have a day off, it can be hard to get back into character right away (like for West Side Story Suite).
For me, it’s been interesting to watch Within the Golden Hour from the audience. When we first premiered it as part of the New Works Festival last year, there were so many new pieces that I think it got a little lost in the shuffle. But now it’s had a chance to sit with the dancers (we performed it a lot on the American Tour) and it’s in between two very different pieces—Stravinsky Violin Concerto and West Side Story Suite—and I just love it; I think it’s a beautiful piece.
I go through phases where I don’t watch from the audience as much and then there are times when I can’t get enough, and I’m aware that I’m watching one of the best ballet companies in the world. I also go to support my friends in the Company.
What I’ve noticed is that, as a dancer, you naturally tune into dancers of the same sex, when you’re in rehearsals or class—because how they move relates more directly to what muscles you’re using for a given combination or step. But when I watch a performance, I look at the artistry of all the dancers. I’ve noticed that in performance, especially a pas de deux, the female dancers seem to have more latitude to interact with the audience while their partners have to be more focused on supporting them. That changes with more contemporary choreographers like Wayne McGregor, who requires a different kind of partnering.
Yesterday, I went and met a friend who is a former winner of the TV show The Amazing Race. We filmed him training and did an interview; his next project is to try and run across Iran. He’s now waiting for his visa to get approved, and we’ll see if he makes it.