It’s a treat to watch a work by the great twentieth century choreographer George Balanchine. But what’s it like to dance in a Balanchine work?
Dance Australia spoke to West Australian Ballet dancer Polly Hilton to find out how it feels to learn the work of Balanchine. West Australian Ballet will be presenting three Balanchine works - Who Cares, Concerto Barocco and Tschaikovsky Pas de Deux – as part of a bill entitled “Embraceable You” this month.
Everybody knows that being allowed to dance Balanchine repertoire is a gift, that's why every dancer wants to dance it.
But what you can't understand until you actually given the opportunity to learn these pieces, is that by rehearsing the steps you can become a whole new dancer. I think a lot of dancers, myself included, were under the impression that it's a different technique altogether, but in practice, Balanchine is just pure classical technique. Stretched further, pulled faster, made more luxurious, so it can only enhance your other work.
These ballets are gruelling exercises in physicality, musicality, femininity, and a true teaching tool for the professional. Each ballet has a different lesson to offer. I think that is the true genius of Balanchine's choreography. Not what you see on stage as the final product, but the transformative power it has in the studio.
Diana [White – Balanchine Trust repetiteur] told us that once we had mastered these ballets, we would never dance the same way again, and after just a few weeks I'm starting to believe she was exactly right. As a dancer in a professional company, often left to your own work, you just can't beat that opportunity.
- Polly Hilton
"Embraceable You" opens May 15. More info: waballet.com.au