Lissa Kryska also interviewed MFA alumna, Corinne Imberski. Imberski set her work on the entire cast (double cast). The work is called Variations of an Echo and it is set to Cello Suites by Bach.
What inspired your piece?
“The Bach music was definitely a huge inspiration- I love just about all of Bach’s compositions, and I feel that his cello suites, in particular, are very “danceable.” They offer a wonderful structure, but also so much freedom to explore and delve into the nuances and personality of each section. I also choreographed this piece after doing several heavier, more dramatic works, and I wanted to kind of wash that away with a more lighthearted dance.”
What are some of your favorite memories from your time at U of M?
“I really loved just taking technique class everyday! I learned so much from all my professors, and it was such a joy to dance with a class full of wonderful dancers and see what the human body is capable of. My grad class was huge, and we were all very different, which was alternately difficult and fantastic fun. I also fondly remember Jessica Fogel’s spring tradition of the “slow walk on State St. I also jumped into the Huron River in November for a video project for Dance and Related Arts… it was very cold, but rather exhilarating!”
What was doing your MFA show like?
It was one of the most creative times of my dance career- I was really able to focus on my choreography and I got to work with a group of beautiful dancers. It was also terrifying and frustrating, but ultimately a huge sense of accomplishment pervaded!
Do you have any advice for budding choreographers?
Keep exploring. Search out what interests you at any given moment. Curiosity keeps you engaged, determined, and true to your voice.
What are you most proud of having accomplished since graduating?
On a practical level, I am proud of being able to support myself as an artist! It takes a bit of ingenuity, but it really is possible to do what you love and make a viable career out of it. As a teacher and choreographer, I am most proud when something I present makes a dancer dance in a way she/he hasn’t before, or if an audience member perceives the world around them in a different or clearer way.
What are your plans for the future?
To keep responding to the world around me. Short term plans involve a trip to Iceland this summer, and I am hoping this will inspire me in a completely new and unexpected way.
If you could dance in any piece or company, past or present, who/what would you choose?
Wow, so many to choose from… I would love to have worked with José Limon and George Balanchine, and to be around them as they create. I am also fond of the choreography of Jiri Kylian and Mark Morris. I would love to dance Morris’ “Grand Duo” and Kylian’s “Petite Mort.” I am also a huge fan of Pina Bausch, and would have loved to have been around during the creative process of any of her dances.
Did becoming a teacher at Hillsdale change how you approach choreography?
It made me more aware of knowing the audience to which you are presenting your work.
What's your favorite part of working with DDC?
I have worked with some of the dancers in DDC for over ten years, so it is nice to have that close bond with people when you are dancing or choreographing. DDC dancers are able to work wonderfully as an ensemble, and that is really nice to work with as a choreographer- there is a sense of cohesion and unity right from the start.
“The Bach music was definitely a huge inspiration- I love just about all of Bach’s compositions, and I feel that his cello suites, in particular, are very “danceable.” They offer a wonderful structure, but also so much freedom to explore and delve into the nuances and personality of each section. I also choreographed this piece after doing several heavier, more dramatic works, and I wanted to kind of wash that away with a more lighthearted dance.”
What are some of your favorite memories from your time at U of M?
“I really loved just taking technique class everyday! I learned so much from all my professors, and it was such a joy to dance with a class full of wonderful dancers and see what the human body is capable of. My grad class was huge, and we were all very different, which was alternately difficult and fantastic fun. I also fondly remember Jessica Fogel’s spring tradition of the “slow walk on State St. I also jumped into the Huron River in November for a video project for Dance and Related Arts… it was very cold, but rather exhilarating!”
What was doing your MFA show like?
It was one of the most creative times of my dance career- I was really able to focus on my choreography and I got to work with a group of beautiful dancers. It was also terrifying and frustrating, but ultimately a huge sense of accomplishment pervaded!
Do you have any advice for budding choreographers?
Keep exploring. Search out what interests you at any given moment. Curiosity keeps you engaged, determined, and true to your voice.
What are you most proud of having accomplished since graduating?
On a practical level, I am proud of being able to support myself as an artist! It takes a bit of ingenuity, but it really is possible to do what you love and make a viable career out of it. As a teacher and choreographer, I am most proud when something I present makes a dancer dance in a way she/he hasn’t before, or if an audience member perceives the world around them in a different or clearer way.
What are your plans for the future?
To keep responding to the world around me. Short term plans involve a trip to Iceland this summer, and I am hoping this will inspire me in a completely new and unexpected way.
If you could dance in any piece or company, past or present, who/what would you choose?
Wow, so many to choose from… I would love to have worked with José Limon and George Balanchine, and to be around them as they create. I am also fond of the choreography of Jiri Kylian and Mark Morris. I would love to dance Morris’ “Grand Duo” and Kylian’s “Petite Mort.” I am also a huge fan of Pina Bausch, and would have loved to have been around during the creative process of any of her dances.
Did becoming a teacher at Hillsdale change how you approach choreography?
It made me more aware of knowing the audience to which you are presenting your work.
What's your favorite part of working with DDC?
I have worked with some of the dancers in DDC for over ten years, so it is nice to have that close bond with people when you are dancing or choreographing. DDC dancers are able to work wonderfully as an ensemble, and that is really nice to work with as a choreographer- there is a sense of cohesion and unity right from the start.
No comments:
Post a Comment