Preview: NDT 2 at the Royal Concert Hall

You are part of one of the most popular and influential dance theaters in the world. Do you feel pressure because of it, or is it mostly pride?
I think there’s definitely a sense of self-inflicted pressure that comes with dancing in this company. Being somewhere that has had such a big impact on the concert dance world makes bringing in your expectations from the outside almost inevitable. But in three years with the company, I’ve found that feeling – the need to achieve or maintain an externally perceived standard isn’t really the best way to be part of what makes this company what she is. It gave way to a transfer of emphasis from the institution and its reputation to the values ​​and the work that is done within its walls, and the contribution that everyone can make to sharing.

You often do several performances on consecutive days. How do you deal with the physical and mental challenges of that, if there are any?
The sequel shows definitely have their issues. Fatigue is a frequently faced enemy and physios, naps and coffee machines are close allies in combat. The tight-knit nature of the group also helps us get through such times – there’s a lot of mutual encouragement and crowdsourcing of energy and morale that happens. But I find trying to reframe my perspective has been very helpful – these energy dips often come with little hidden gems. There is a culture of adaptability and research in varying the approach based on your current state which I think is truly invaluable. I find the fleeting vulnerability and inimitability makes live performance what it is, the great reminder that no show can or will ever be the same.

For many of us, this will be the first time to travel and perform internationally as a company.

What’s it like to be on an international tour, to come to historic and beloved venues like the Royal Concert Hall in Nottingham?
For many of us, this will be our first time traveling and performing internationally as a company – so it’s really exciting to be on this tour, especially after this two-year hiatus. For me there is a lot of excitement surrounding the unknown of a new space, it’s a wonderful opportunity to experience the unique relationship of a place to performance through a space that has been created for this purpose. . And places with deep artistic and historical pasts such as the Royal Concert Hall in Nottingham also create an important juxtaposition of time and the evolution of art. The past is honored in the space and the works created, the present in the continuous interpretation of the interpreter and the spectator, and the future in the memory of it which lives and influences what is to come.

Have you ever felt different types of energy coming from different audiences? Do you have any idea that people enjoy the show when you’re on stage, and if so, does that affect your performance?
Absoutely. I believe there is an inherent connection between the viewer and the performer. Vulnerability being a key part of this art form, I think, allows for the development of a great sensitivity to the buzz of many attentions that have you in common. It is a continuous dialogue, in constant evolution, which breathes, perhaps more or less strongly. And with each different location comes a variation in its intensity, as changes in proximity and visibility to the public can sometimes play quite a large role in the parameters of this energetic exchange. At the moment it’s mostly labelless – just an awareness of focused energy being siphoned off in one direction. For me, the deciphering comes after the silent seconds of a blackout, during the unveiling of the evening energy source.

Why should people come and see the show when you come to Nottingham? What can they expect from the performance?
I think this program is definitely a must see – the three pieces by Van Manen, Inger and Goecke all bring something very different to the table. Each world allows you to visit a unique facet of the human experience. Each is asking for something different from us and therefore hopefully from you – a solicitation to participate in the aforementioned energetic dialogue.

NDT 2 arrives at the Royal Concert Hall in Nottingham on Friday 25th and Saturday 26th February. Tickets are now available online.

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