I’m more of a micromanager; it works better for me.I like to have a lot more control over the outcome. And I don’t think there’s any shame in being prepared. But it’s such a high-maintenance art form, it’s almost irrational not to work that way.I would watch from the wings, and during the second act I would go out front. Was there a dancer that you particularly identified with? It really unveils details that you might not pick up on from just listening.I mark certain things in the score, and I draw a lot of structural images, sketches.Usually I spend a couple of hours by myself in the studio before I get to work with the dancers.
So, I always try to come into the studio as prepared as possible.
After our lunch, as I ran through our conversation in my mind on the way home, another quality rose to the surface: a certain fastidiousness, combined with kind of steely determination. (Click image for larger version)" title="pk-in-creases-wide-2-pianos_1000" width="1000" height="700" class="size-full wp-image-3701" srcset=" , " sizes="(max-width: 1000px) 100vw, 1000px" /. I came for the summer program and was invited to stay year-round. You don’t get to experience that unless you start at the intermediate level.
I saw Ethan Stiefel and Marcelo Gomes and Herman Cornejo. I worked with a teacher there, Jeffrey Middleton, and then afterwards I continued for two more years, working privately with him.
The ones where you get into the studio and you can immediately tell they know what they want and what they’re doing.
I think it’s respectful of the dancers to work in that way.
What immediately came through was an ability to create complex, shifting structures that were constantly engaging to the eye, but also balanced and, somehow, logical.