Patricia Rwanne, conversation with ballet actress In an interview with Bill Bissell
Introduction
Patricia Rwanne is interested in habitual aesthetic and ethical values to establish a ballet group in an artistic manner. In this world art value is informed by aesthetics and ethics. Her impressive record as a performer, coach, ballet actress, dance artist like répétiteur brought a remarkable career. The clear evaluation of Ruanne's European ballet scene is based on Royal Ballet schools and companies, the 1960s until the early 1980's - a proud member of creativity and strong character - and a long and formal labor association with Rudolph Nureyev .
At the Royal Ballet School in England in White Lodge and Baron Court, Patricia Ruanne's dance family was obtained. A number of performers appeared, including the Royal Ballet Company, the Royal Ballet Tour, the London Festival Ballet Company (now the National Ballet Company), guest appearances on numerous projects and tours. For Nureyev. Nureyev became a turning point for Lunen's career as a dancer when she chose her to play Juliet's breakthrough in Romeo and Juliet's innovative production. 2002 marked the 25th anniversary of this work before the London Festival Ballet held at Coliseum on June 2, 1977.
In 1979, in addition to Juliart, a female fan of the London Festival Ballet Company of Ronald Hind, she declined acting in 1983, and in the season of last year she was named Olivier of Tatyana portrait in London · In the festival ballet John Cranko Onegin, it was the first performance of the ballet. From 1983 to 1985 she is LFB 's ballet goddess, incorporating history as a whole, cooperating with ENB on the resurgence of Numeyev' s Romeo and Juliet now, and on 5 March 2002 Liverpool Spring tour at.
When Nureyev achieved the artistic orientation of the Parisian ballet group in 1983, Ruanne went on to become a ballet actress in 1986. For the ten years that followed in Paris, Rene was responsible for replenishing many ballet works to many companies around the world. Since leaving the Paliopera in 1996, Rouen is one of the important artists of Rudolf Nurejev's choreographer, but he has worked throughout Europe and continues his works by Kenneth McMillian. From 1999 to 2001 he was in charge of directing the ballet team at the La Scala Theater in Milan, Italy.
In the first part of this conversation, advising on Ruanne's expert development as a dancer through her recently held position as La Scala's Direttore del Corpo di Ballo from the Royal Ballet Touring Company under the direction of John Field To do. The second part of the conversation focuses on work with Rudolph Nuerref. Her point of view supports the need for new important attention of Nureyev's ballet classic such as Swan Lake, Don Quijote, La Bayerard, Sleeping Beauty. Ruanne politifies the fact that these pieces of work need to be documented and saved and need to preserve its value. In spring 2002, the evidence that Don Quijote of Nureyev was "not improved" in both the Royal Ballet of London and the Paris Opera Ballet is provided by Ruanne's estimate.
This interview by Bill Bissel took place on March 2, 2001 at the Palais Garnier in Paris and Ruanne was involved in the restoration of Manon of Kenneth MacMillan of the Paliopera Ballet Company. The subsequent interview was held in the summer of 2001. Bill Bissel interviewed Ruanne and is a director of dance advance in Philadelphia, Pennsylvania. A full interview was found at http://www.dancemasters-jahn-ruanne.com and submitted by Frederic Jahn
Part 1: Maintain dance
Bill Bissell: I have read your name in publication for many years but I think that you saw you as a member of a European community that you have never actually experienced living or being exposed to because you are an American I will. For all the intimacy of the dance world there is also a geographical set of boundaries that divide us. However, you danced in the USA but I wonder if you can start talking about the visit.
Ruanne: The first guest appearances in the US were in Tulsa and Hawaii. That was absolutely fun. And when Rudolph made Romeo and Juriet for the London Festival Ballet (now the National Ballet Company), we went to America and went to the Metropolitan Opera House and Washington. It was my big formal step to the United States. It was a great success, especially because it was the area of the Royal Ballet. The work of Rudolph was quite productive, so we returned to Rudolph.
BB: Does New York have the same attractive power as a dancer of a European company located in a US company?
Mr. Lune: If I could make this in New York, I think that everyone in this business is specifically absorbed in the image of New York, expertly. But I am not convinced that everyone in Europe has a great grasp of how important this experience is. I think that the wider the dancers are, the more they recognize that they are better as artists, but how important it is, and what inspires it is to touch different people I do not know yet that it is.
BB: How do you rate options that will help you define yourself as an artist by looking at your career trajectory?
Ruanne: All work in my career as a dancer was based in England where I started the Royal Ballet. What I did was crossing the river and going to the festival ballet. I worked all over the world, but I needed a house. I needed a company. I did a lot of guest appearances, but I never really enjoyed that life. I was never satisfied with a guest circuit like a specific dancer. I was thrown into production and I was inevitably surrounded by people you do not really know as a collection. You do not have time to work with them or work with each other in a production. You have just been inserted in something and I found that it was deeply unsatisfactory. Any performance is a collection of many people. That is not only stars. When I was with a group of people I knew and had a wonderful contribution from everyone's feelings on the stage, I was comfortable. So my background was the Royal Ballet Tour Group Royal Ballet and I felt pleasure by working with Ben Stevenson at the festival ballet.
BB: How was your career as a coach and ballet queen, how did it develop?
Ruanne: I was always interested in working with dancers. I was still coaching at the festival ballet, but I was still playing it and I loved it. I love to work with young adults and I saw the results. It is a wonderful feeling to see people understand and develop. But I do not know that I would have had the courage to advance myself like someone who has done as a ballet list or profession. But Rudolph looked at it and he said, "Well, just come and just stop it. So, I have been working with him for many years.The rehearsal and its rest After leaving the dance, my learning process has been long and lasted because you have different skills to teach and coach the dancers.You will be another type of transmitter.So he I think that I finally had the greatest influence on the direction I went after I quit acting.
Coaching can help you understand. It is not that important if the physical elements are not yet fully kicked out, since the physical part can occur automatically automatically in 2 years, so as long as the mind understands how the dancers do As we understand what we have to do, what should they look for in that role? That is what they are advancing and that is ideal: they understand how to understand what they know about the search. If they have not gotten it yet, they will not necessarily know what the public knows. The degree of perfection we need to know, and what the dancer should be aware of is that the dancers "are not the way I learned it, the dancers do what they are going to do Knowing what you understand is disappointing very often, but not everything is still being controlled.
Coaching is not only about technical problems but also about sensibility. The role of coaching is truly transmitted. Here is the big problem. You can tell the whole life, but the listener needs to receive it. No one can force you to switch your radio.
BB: Were there other other personal role models and other people who influenced you while you were dancing or when you started coaching and guidance?
Ms. Ruanne: The artist is certainly Fonteyn. The generation that produced the performing artists who we have just watched is not in parallel today. Indeed, in today's generation, I feel that it is artistically weaker than it is frequently. The abundance was rich. Today is a very unique tapestry of wealth that we can not trust today. I mean that it is the most amazing fertile field to see, praise and try to emulate. You can not become like those people and you can not learn everything they are passing through. Svetlana · Belishova, Merle · Park, Beryl · Gray, Lynn · Seymour, Antoinette · Siburu were all amazing for us.
I was very lucky to have been a tour company by John Field Director Royal Ballet Company. He had a very clear passion. He believed that you should not wait. He believed in fostering dancers, but when he was young he was not terrible, he decided not to put too many obstacles into his mind. So, we were all thrown into a deep place very early. And before you play your first role, I think that it was a wonderful gift you do not have to wait 7 to 8 years. And its practical experience is inevitably precious. I think that in all generations, I believe in John, especially to understand and advance dance career. I think that his first great love is for the theater. This was important to him, he was right. In some small towns north of England, dancers never saw. Billy Elliot [the fictional character in the recent film of the same name] It was raised. However, English has a very strong dramatic tradition. It seemed that we touched it as a dancer was a sense of general theater. I noticed that we are telling stories about what we are doing with dance. If you do it through dance, it still required you to talk to such stories and storytelling methods. And this view that John held very tightly had great influence on me and other dancers. What became important to me was the reliability of that person, the element of the story that can be found in the movements involving questions. There are a few actors in us, which is what I became most passionate about. I was never comfortable in an abstract piece, but I did not dislike them, but I loved the role of finding personality and letting people believe that person. And John Field was very influential in this sense for my development.
John was the only director I knew with enough conditions to speak and understand his viewpoint and thought process. In de Valois, this kind of intimacy never came. She was already a great woman. I was too young to have social contact with her. Beryl Gray of the festival ballet was wonderful, she was a good director, but at the same time she was not a person whom, where, in the company or about the problems involved. John was closer. And interestingly, he always believed that I should always tell him He thought that I was a director's material when I was still dancing. So inevitably there was a conversation about how he saw things, how he felt about it and how he thought he should take care of dancers. But I think that abstract information is in vain because I depend on what you are doing where you are. I think you might be able to enjoy somewhat from the command of the ballet if you have an executive who is able to participate in the load, if you are directing a company that has amazing backup assistance. I can not talk about being a company director. Fortunately, I have been exposed to many people working at dance companies for years, but how other functions are working in our environment, a lady of a lighting man or a wardrobe - who.
BB: Do you distinguish companies such as Royal Ballet, Paris · Opera Ballet, La Scala etc?
Ruanne: I do not think there are many differences. I know that there was an era in which we could talk to French dancers before they danced. The English dancer had the same influence. First of all, I think dancers have become gymnastic all the time. The whole formula has been changed. Our perception of perfect physique is changing. Men's dancers tended to be awkward in the past, but now there is a specific Andronie that is part of the photo. Many male dancers have feet and feet and can have girls' belongings. This physical appearance is always in the process of change. I think physical change is very organic for art form. My hobbies change, ideas change, there are factors to be raised, but I am almost convinced that everything will change again in ten years.
BB: Do you have anything lost?
Ruanne: Yes, to some extent, things are lost. For example, there are amazing scenarios. There is a male ballet dancer who says quite openly that they are not interested in partnership. Interestingly, you can possibly have a pretty good career, picking up a girl and putting a strain on your shoulders. So far, it was a problem of pride of both accounts. A man was known not only as an excellent dancer but also as an excellent partner, wanted to be recognized. And one of the things every girl felt was that it was difficult to become a partner. As you are a member of the team, one of the most wonderful things being being a dancer is to find some kind of chemistry with someone. Thanks to good partnership, it is similar to heartbeat pause to pick up each other's rhythm. It is the most perfect sense that exists when it happens. Even if you are with other people who are dancing together regularly rather than every time. I regret those people who do not know how wonderful it is to work with someone, but they have choices and you can not change. And, in a way, I can sympathize. If they do not have a ballerina everyday, the knees will last much longer. All I know is that people are seeing many changes. A somewhat gymnastic, somewhat cool, uncommitted element at this time is what the public is seeking and is the most valuable. The Royal Ballet is one of the most satisfying companies in Europe due to the existence of cultural heritage. When dance stands on the stage, the reliability of the story the ballet is talking about and the personality of the work still have great importance. It is rather difficult to join other companies because it is not part of the tradition or part of the approach to maintaining the company's identity.
BB: Can we generally describe the difference between the generation of dancers and the dancer of today that you participated when you were playing? What is different from today's career in the 1960's, 1970's, 1980's?
Ruanne: This is difficult. I think their life is much easier in terms of working conditions than those surrounding them. I do not know if I have the same hunger, but all generations say that. Everyone says, "Well, this was not the case on my day." What I most notice is that the theater has little or very discreet attention. Dancers do not seem to care about the people around them. They seem to be very isolated from what we do
You hear a dancer shouting to people from the wardrobe about the dress. However, the dancer can not go on stage unless there is a screaming person. For me, respect for the work of all people preparing your performance is lacking. They do not look perfect, but they are occasionally becoming magicians. Dancers are not the only rehearsals on stage. They are also for the technical crew. They are also for the lighting people. They can know how quickly their change is due to your dress. Also, if you are not successful at the beginning, it is a way to learn what to do for the second time. The lack of such a community in the atmosphere of the theater in the dance is what I noticed in Europe. It does not happen in other companies whose organization is not so big. You know that you will go to the Finnish National Ballet Company, which is a small business. People dyeing shoes are in the same building. To get them, the wardrobe must go through the hall that makes your costume. Inevitably, people working with the people you see occupy far more parts of the same world, so you build a completely different relationship. The advantage within the company during the tour, after the performance, there is one pub that was still open, next to the stage door, probably the restaurant of Greek and Chinese cuisine was selected. In meeting with a technical crew or a musician of an orchestra, you can not sit opposite the lighting man and you can not begin discussing the problems of writing and dancing, so completely different understandings of each other's work was. And regardless of whether you are studying or not, you are another person who is working, just knowing that you are acquainted with this other participant in the dance.
We are a very fragile occupation, dance and cultural work do not let people survive. It does not fulfill the function from an artistic and aesthetic point of view. The only way for a company to survive is to hire and fire in my mind. It sounds badly cruel, but that is the truth. If someone is not pulling their weight or if someone loses power and loses the desire to participate fully in the dance or theater's life whatever their work is, do something else please. It is not a profession for a faint heart. This applies to European homes that have received large funding where people have permanent contracts, as opposed to having contracts renewed annually by artistic management.
I think that getting a job is getting harder. Competition is getting much more intense than when I started dancing hundreds of years ago. There is less help and less funds. I will never be a dancer today. When I started training, the local council paid my dancing fee. My parents could not be finished by me at the Royal Ballet School. I received a huge subsidy that paid all fees. Today, unless it is impossible to obtain a scholarship, it is impossible and scholarships are usually not comprehensive, so obviously dancers have far more problems to enter the company.
You know that the image you need to become a dancer in a professional classic company is somehow collapsed. Because there are so many companies in the USA compared with Europe, I imagine that it is different in America. I do not know if they are having trouble surviving, but considering the number of companies in Europe, the probability of exceeding work is not halved here in comparison with the United States. In Europe there is a big company with a big reputation and it is very difficult to enter there. They are classical ballet and all other "guardians of the state". Even though the door is open, it should be able to be done more easily with the European Community, but I do not think so. I think dancers are on the rise, but I do not necessarily have any more work.
BB: Today 's dance world is concerned about "career transition" after dancers stop acting. Can you point to something that might be helpful in preparing you for your career role as a coach, ballet actress, or corporate director? Can you propose some ways that dancers can help you better prepare for retirement from the stage?
Mr. Ruanne: Dancers in England Dancers & # 39; The Resettlement Fund, as its title suggests, helps fund dancers while studying for re-employment or another occupation. It has existed for many years and has been very successful. In some European homes, I am helping to place dancers in other roles in the system, such as engineers and administrators. Of course, these families provide a very comprehensive pension at retirement. As a result, the dancers are waiting until the end of persistence and in many cases there is no urgent financial need for further employment.
I personally did not have access to DRF. Because Rudolf pushed me out of the bridge. The whole process seemed inevitable. Also, my conversation with a mentor such as John Field of Royal Ballet Touring Company has penetrated, learned about other aspects of business through penetration, despite the idea of a distant future retirement still remained. I do not understand what you know until you call.
I think that most companies are as informative as possible regarding giving dancers a vacation to make their transition easier. However, I believe that it is the responsibility of the dancer to seriously consider what kind of road he wants to walk in the future after stopping the dance. The company encounters an amazing number of dancers who are already maintaining them in their chosen profession and believe to provide the company with the idea of the next life.
BB: What kind of contributions do you think is contributing to building a good ballet artistic supervisor in today's dance world?
Mr. Ruanne: artistic direction to accept business and satellite divisions indispensable to function, the public responsibility that it provides, irrespective of abilities. At the grassroots level, the role of art director is the caregiver's work, it seems to be increasingly difficult to maintain this basic part of the work description. 39; Now, basket. Companies that require a board of directors will take time to reach artistic points inevitably along with artistic, administrative and financial administrators.
Ideally, horses should stop at the desk of the artistic director. But is it really fair to make a person publicly responsible for what might have been a decision of a company with many compromises? Perhaps we will have to admit that today's artistic director can no longer enjoy the luxury of being simply qualified and experienced within the theater environment.ほとんどの企業で理事会メンバーの特殊な影響力のゾーンが与えられているため、少なくとも専門知識についての実用的な知識を持つことはおそらく不可欠です。これは、芸術監督がマーケティング、資金調達、会計などの分野で信頼と権威を持つという意味での力のバランスを促進し、芸術的問題について最後の言葉を持つより良い機会になるかもしれない
パート2 ルドルフ・ヌレエフと仕事に対する情熱 フレデリック・ジャーン（Frederic Jahn）によって提出され、Bill Bissellによってインタビューされた。 www.dancemasters-jahn-ruanne.com
