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reid anderson stuttgart ballet orlando professional development giselle marco goecke john cranko evan mckie wayne mcgregor dancer transition resource centre friedemann vogel canada council for the arts petr pestov krzysztof nowogrodzki
Jun
2010
Dancer Talks
The Author and Friedemann Vogel
With 70 dancers and about 100 performances per year, it would be easy for a young dancer to get lost in the happenings of Stuttgart Ballet. It is for this reason, and others, that Reid sets aside time late in the season for what he calls “Dancer Talks”. In these one-on-one meetings, which he began about 15 years ago, he gives feedback and provides each dancer with the opportunity to voice any concerns. A director for 24 years, Reid’s ability to manage dancers (regardless of their age or personality) is extensive. His open-door policy provides a strong universal message: “ if you have a problem, please come talk to me”.
During my time in Stuttgart, I was fortunate to sit in on the majority of the “Dancer Talks”. With many of the young dancers, Reid stresses the importance of thinking beyond a career in dance. He is very supportive of dancers pursuing activities to further their education, as well as those who choose to have children, and is quick to remind dancers that there is life beyond ballet. Having and developing a strong sense of self and an awareness of the “bigger picture” is critical.
Reid is also incredibly honest and frank and never makes promises to a dancer that he cannot keep. Reid cares deeply about his dancers and this is particularly apparent around the issues of injury and transition. He is very patient and supportive of those that need to take time off as a result of injury. “Injury comes with the territory,” Reid states - firmly. “If a dancer becomes injured, my idea of that dancer does not change. I have had dancers who have been off for 2 years and when they return to work, they begin dancing where they left off. Their position and stature does not change because of an injury”.
Many dancers have had long, successful careers with Stuttgart Ballet and Reid is the first to acknowledge and honour their contribution. When it comes to transition, Reid believes in doing what he can, as “this is when a dancer usually needs the most help.” Reid has invited retired Stuttgart Ballet dancers to join his artistic staff, as well as the teaching staff at the John Cranko School. The most recent addition to the staff roster at the school is Dimitri Magitov, a long-time demi-soloist with the company. Reid is also a true champion of dancers who demonstrate an affinity and talent for choreography. In the case of principal dancer and emerging choreographer Brigitte Breiner, he finds creative ways to allow her to continue developing her choreography while retaining her on an interim contract during her transition.
John Cranko is mentioned and referred to in many of the meetings. Reid danced for many years for Stuttgart Ballet while John was the Artistic Director and resident choreographer. To this day, Reid upholds many of Cranko’s philosophies and often passes these ideas along to dancers during his talks. Reid believes that maintaining relationships with Stuttgart Ballet alumni serves to strengthen the company and the art form. He also supports and facilitates guesting engagements for his dancers for the same reason. He feels that it is in the best interest of the organization to assist, support or endorse the satellite activities of current dancers and alumni as it bolsters the reputation and profile of Stuttgart Ballet. Next season the company celebrates it’s 50th Anniversary and a month-long festival is scheduled in February 2011 to mark the milestone. The list of alumni (which includes dancers, choreographers, artistic directors, and companies with ties back to Stuttgart Ballet) set to descend upon the city is a who’s who of the dance world. Though the big 50th Anniversary season is set to showcase the work of homegrown choreographic giants such as Jiri Kylian, William Forsythe, John Neumeier, and Christian Spuck, Reid is the first to admit that: “we would have nothing without the dancers”. Thus, the significance and importance of the “Dancer Talks” is rooted in Reid’s sincere respect for the current generation of dancers of Stuttgart Ballet, as well as the legacy of those that have come before them.