Aaron S. Watkin New AD of English National Ballet

[bridiem]

5 minutes ago, Angela said:

Then I guess you must turn to the people who hired Watkin.

 

ENB, as other ballet companies with a part-modern repertory, still hires ballet dancers with classical training. If you want pure Petipa or Bournonville dancers, you are right, and some Mariinsky dancers have tried out modern and went back to their pure style. Others did not - Vladimir Shklyarov as an example: after he danced some modern ballet works at Munich, his Lavrovsky Romeo changed considerably, more acting, more passion. I liked it very much, but the Russian audience was divided, I guess. Why did the Russian companies take in Neumeier, Cranko, Wheeldon, Clug, even very modern choreographers like Sharon Eyal, Ohad Naharin? Because they have dancers who want to try out different things. Don't you think you may have to leave it to the artists also? Many dancers want to dance modern ballet and work in both worlds, because they think like Watkin, that it makes them better artists. If ENB was a company with a pure, single-choreographer style, let's say Ashton, I would accept your points, but it has not been for years. The diversification of ballet styles started long ago, also with the Royal Ballet. And most audiences enjoy to see different styles, not only the classics. ENB won't become something like contemporary dance theatre in the Wuppertal style with Aaron Watkin, it will keep a mixed repertory.

 

I do partly agree with what you're saying, Angela - this is a definite trend that started quite a long time ago and for a range of reasons. But I don't think that dancing a wide range of dance styles necessarily makes classical ballet dancers better artists (even if they enjoy it). And I'm sure ENB won't become a contemporary dance company; but it sounds as if Watkin would prefer it to be a dance company (including some ballet) rather than a ballet company.

[FionaM]

The upcoming programme for 2023/24 has good ballets in it.  I don’t think we need to worry.  

[capybara]

I feel for Aaron Watkin insofar as he is being obliged to ‘say something’ but it’s difficult for him to speak in terms of a vision which is distinctively different from Tamara Rojo’s.

[San Perregrino]

57 minutes ago, capybara said:

I feel for Aaron Watkin insofar as he is being obliged to ‘say something’ but it’s difficult for him to speak in terms of a vision which is distinctively different from Tamara Rojo’s.

What do you mean? Has he said something else somewhere else?

[capybara]

33 minutes ago, PeterS said:

What do you mean? Has he said something else somewhere else?

I am not personally aware of anything Aaron has said to date which has not already been reported/commented on here.

 

 

Edited July 25, 2023 by capybara

[Naomi M]

5 hours ago, bridiem said:

 

I do partly agree with what you're saying, Angela - this is a definite trend that started quite a long time ago and for a range of reasons. But I don't think that dancing a wide range of dance styles necessarily makes classical ballet dancers better artists (even if they enjoy it). 

 

As Angela has said, I think that classical dancers experiencing wider range of dance (such as Naharin, Bausch, Clug, Goecke for example) will make them better artists. That is how ballet is evolving and ENB has already been successful with creating Akram Khan’s Giselle. 
 

in Japan classic ballet companies only do classics and to be honest the scene is very boring. 

[Naomi M]

I have to add that the National Ballet of Japan did bring David Dawson’s A Milliin Kisses to my Skin to their repertoire this season which was a wonderful addition and did strengthen the dancers abilities. (As everyone knows Dawson has been often danced at Dresden) but there are no new productions next season and their only modern repertoire will be Nacho Duato’s Duende. 

[FionaM]

@Naomi M I’m glad you mentioned AK Giselle.   I remember that the ENB company and dancers remarked after the first run that his version gave them fresh eyes on their interpretations of the traditional Giselle.  
 

I would say the same for myself.  I realised what a masterpiece of emotions it is … that are relevant today, even if Act 1 is dressed up in twee German village costumes.  Act 2 is timeless and ethereal when done right.  
 

So I agree with Aaron that modern works can inform both the quality of movement (which is what he mentioned) and the dramatic intention of classical works.  

[Emeralds]

It’s one of those clips where you can read too much or not much into it. To me, he sounds like he’s saying that the same kind of varied repertoire in Rojo’s time will be programmed, new choreographers (which we’ve seen being done in Rojo’s time already) and he’s very thrilled with the new company premises in East London. So far, he’s programmed classics (Skeaping’s Giselle, Deane’s Swan Lake, Nutcracker, Theme and Variations), two new choreographers (Inger, Miller) and one familiar choreographer (Dawson) creating a new piece, so all in all, reasonably reassuring. As far as the dancers are concerned, they’ll still need to be classical ballet dancers to dance the classics. I think I prefer the dancers (whether ENB or another classical company) dancing contemporary pieces made for them rather than pieces made originally for a contemporary company, but some might be equally happy with both.

Edited July 26, 2023 by Emeralds