Why the single name?
It’s a long story and some think it is because I want to be like Madonna. But you try spelling my full name, Eustathios Petros Antonopolous, to journalists. Anton is easier and is my chosen professional title and sole trading name.
Where were you born?
Canberra. Don’t hold that against me – there are so many great things about Canberra when you don’t mention politicians.
Where did you grow up?
I grew up in Canberra, Sydney, Blue Mountains, and then with dancing have spent time in Brisbane, Townsville, Adelaide and now back in Sydney.
Do you have any siblings and what are their occupations?
No, I am only child. I think because of my massive energy it scared my Mum from having more children – hee hee. I remember her taking me to the park and saying “run” and I would just run and run and run and run and run!
What is your earliest memory of dancing?
Two-years old dancing in front of speakers with my European family around me shouting, “dance, dance!”
You graduated from Queensland University of Technology in 1996. Did you always aim to choreograph?
Yes, at QUT we had choreographic lectures and we studied practices and ideas of past and present ballet and contemporary choreographers. The ideas behind the movement intrigued me. I was hooked. My first piece at uni was about the movement inspired by spring board diving (I was an A.C.T junior age division champ before full time dancing).
What was your first professional commission?
Dance North In House Choreographic Season 1997 under Jane Pirani. The piece was called No Regrets and featured music from Edith Piaf. (At the time I thought it was all very deep, hee hee!)
How did you get into commercial choreography?
I am a guy who believes movement is everywhere and just love making dance anywhere.
Has choreographing for commercials changed your approach to choreographing for contemporary performances?
Not directly but I think that some of my contemporary work has references to popular culture especially within the works’ themes and music, which may at times give the contemporary work some commercial flavor. But for me personally I give the same amount of creativity to choreographing both commercial and contemporary work; every job is an opportunity to be creative.
As a choreographer, what has been your most challenging role to date?
My latest work, SuperModern – Dance of Distraction. It took me five gruelling years to find the specific ideas and the support to get the work up.
What has been your most unusual?
Choreographing two “My Little Pony’s” in a stop start animation for an independent commission.
What is the best venue you have worked in?
Ummm – too many amazing places around Australia and OS, but two places in my heart are the Sydney Opera House and performing on Mornington Island with Dance North at night in a field on a purpose-built stage to firelight.
Once you have premiered a work, do you make many changes?
Yes, as much as the dancers hate it. A work is always in constant evolution but the changes are to keep disciplining the work’s ideas and connection with the audience.
Where do you look for inspiration?
Everything is inspiration and everything is nothing. Inspiration is there if you take the time to see it.
Do you have a favourite work of art?
Just one? NO, artists and commercial artists inspire me in some way everyday.
What is your pet hate?
Bad public transport! GRRRRRRRR!!!!!
What do you admire in people?
I admire people who have empathy, are honest, committed, disciplined and who have a good sense of humour.
What do you like about yourself?
I embrace my quick twitchy-ness and my ability to immerse myself utterly in things.
What annoys you about yourself?
I think too much sometimes and over-analyse things.
What makes you sad?
War, hatred and bad hair.
What occupation would be furthest from your true nature?
Prison warden.
What word(s) would you use to describe your feet?
Gnarly, knobbly and with big veins, OMG! If people read this next time they see me perform they are going to be checking them out, how embarrassing!
You can check out Anton’s feet when he performs in his own work ‘The Blur’, which is part of a Tasdance double bill called ‘Identity’.