Next Generation

The atmosphere is relaxed in the scenery magazine of the Deutsche Oper Berlin on a Monday in December. Here, where the sets for all current productions are stored, nine dancers from the Staatsballett have gathered for a quick group photo. They all want to present their own choreographies as part of the Next Generation production. The ideas are still mainly brewing in their minds. However, initial rehearsals are already underway whenever the tight rehearsal schedule allows. Among them are newcomers who are stepping into the role of choreographer for the first time, as well as «old hands» who have already developed several works and have also presented works on major stages at home or abroad.

Gustavo Chalub is one of those developing his own work for the first time. «I have danced in three companies now, in works by so many different choreographers, that I have developed a desire to choreograph something of my own.» The Brazilian received his ballet training at the Académie de Danse Princesse Grace in Monaco and then danced with the Ballett Zurich and the Semperoper Ballett. His compatriot Aurora Dickie is also venturing into the unknown for the first time and wants to use the opportunity to find out if this profession might also be an option for life after her active dancing career. «This is the best opportunity to try out whether this is something that suits me and would also be something for me in the future. But since it's the first time for me, I have to see how the process feels and just try it out.»

But how do you begin to develop a choreography? Everyone has their own approach. Clotilde Tran loves the beginning of this process the most. «Developing a concept, writing something, imagining the different elements, I really like that.» This time even more so, because she is working with her partner. «He is a set designer and now also responsible for my set and the lighting, I am particularly looking forward to that.» Collaborations with different artists are also an important part of the working process and the artistic result for Vivian Assal Koohnavard. «I want to invite other artists into this institution and our Staatsballett world to develop something interesting together.» She engages with a theme that has been the starting point for previous works: the situation of women in Iran, their rights, and their struggles.

Political and societal issues also motivate other ensemble members to develop their own works. Frenchman Théo Just explores the theme of ‹water›. «I love this element and the quality of movement it can bring. Since humans are mainly made of water, it is something that unites us all. Considering how many crises are currently driving people apart in the world, I want to create art with my choreography that brings people together and reminds them of their common origin.» And even new technologies are not stopping at the ballet world, leading to different types of choreography. Alexander Abdukarimov has been dealing with this for some time. In September 2020, he presented the work «Control Shift», which used a digital wristband with which the dancers could «compose» the music and control lighting effects. «I am working with this technology again, but it is much more advanced now, so I can delve even deeper into the sequences of movements. I have invested five years in developing this type of choreography.»

And what happens when you are in the studio for the first time? Ross Martinson has developed four solo works so far and knows this moment well. «I work a lot with improvisation. I start with the text, I speak it and see which gestures naturally emerge. These small gestures are then amplified, and I build the movements on them.» The Briton combines spoken word with dance in his works. Now he is working with four dancers for the first time and is curious how their individual expressions will influence his work. Shaked Heller also wants to expand a solo work into a choreography for two dancers. He deals with his own difficult birth through dance, but since he is a twin, he wanted to open up the choreography to another dancer. Additionally, two special protagonists are of importance: two tattoo chairs, whose limbs are movable and with which the dancers interact. «Working on this choreography is unfamiliar to me because I am working with objects. I have never created something for a person and an object before. It's almost like working with four bodies.»

So the choreographers are not only responsible for the dance but also for set design, lighting, and costumes. For this, each ensemble member can go to the stock of the Deutsche Oper and use sets or costumes from past productions. Dominik White Slavkovský can make good use of this because he loves it colorful and surreal: «Sometimes the reality of climate change seems to me like a horror movie: everyone knows who the murderer is, but no one does anything. My piece draws a parallel to this. It's called Phoenicopterus, which means flamingo in Latin. A group of these endangered species receives phone calls from a murderer who wants to kill them. It's satire, but it's also real! Besides, I love Pop Art, so I'm most looking forward to going to the stock and rummaging through the old costumes. I'm sure twelve dancers in pink pointe shoes will make great flamingos!»

Like every production, the young choreographers are supported by the Staatsballett team with questions about music, dramaturgy, and budget planning. In addition to answering questions about concrete implementation, Mathias Hofmann, Technical Production Manager at the Staatsballett, is also available to assist the creators with advice and assistance. «The biggest challenge for me is to accompany the choreographers in their creative process and to show ways in which the diverse and sometimes crazy ideas can be translated into a feasible and convincing evening for everyone.» Which light will make the flamingo costumes shine even brighter? Is water allowed on stage and where can you get two cheap tattoo chairs? For the subsequent technical implementation of nine artistic concepts, Steffen Hoppe, Technical Director of the Tischlerei, gives his all: «I have accompanied several evenings with young choreographers. This is always a challenge because there are many short works with the most diverse settings. But ultimately, we can implement most wishes, and great productions emerge.»

From abstract and theoretical to narrative and quirky: at the Next Generation evening, the young choreographers show the range of the future of dance. And it is as diverse as life itself.

Quoted from the Ballet Paper No. 2, author: Corinna Erlebach