In dance, the audience’s eyes are often fixated on the perfect spins, elegant lines, and technique of the movements on stage.But there is something that cannot be rehearsed, that cannot be learned in the classroom and that defines the greatness and value of a dancer: his character. Out of the spotlight, it is behind the scenes and in everyday relationships that attitudes that really sustain his success are revealed: Humility in the process, respect for colleagues and ethics in coexistence.
The gaze of the jurors and the silence of values
In Brazil, where this artistic sport still struggles for recognition – not being as valued as a professional space –, discussing these values becomes urgent. There are (around the country) major festivals, selections and competitions, such as Passo de Arte, Vida ao Corpo and Joinville Dance Festival, which award, select and give opportunities to talented dancers and artists. The YAGP Brasil festival (Youth American Grand Prix) is the most loved one when it comes to scholarships, opportunities and international careers. It takes place annually and, if the dancers do well, they move on to the finals in New York.
It turns out that – not only in these festivals and competitions, but also in presentations and shows – the judges and scouts evaluate and search for technique, the perfect physical body and stage presence. In this way, we forget that art is also made of what cannot be seen: listening, care and humanity outside the scene.
Director of Ballet Márcia Lago and ex ballerina, the professional Márcia Lago comments that the jury is based on what they are seeing only on stage, which is nothing more than that: “It’s like they see a photo. They don’t see a movie. A photo is a momentary thing. It’s something you look at and see if you like it or not. If you like it, you say, ‘Oh, cool, I’d like to give that person a chance’”.
Maybe it is time to look beyond the stage and reflect on what kind of artists we are creating and who dance is giving a voice to.
Does only technical ability matter?
Priscila Azzini, a ballerina, dance teacher and choreographer with degrees in physical education and theater, says that in addition to an artist’s technical ability, she values the sparkle in their eyes. The desire to learn and interest in what you are doing are notable elements for any teacher. Furthermore, he points out that constant hard work and discipline are essential for the development of a great dancer, and that success on stage is just the consequence: “Of course, there is talent, there is a gift, there are some who are more artistic, who have stronger musicality and physical strength. But having love for what he does, him feeling it, you feeling that he loves being there, is very important”. In other words, what truly forms a dance artist for Priscila is the affection for routine and persistence: “That’s what makes a dancer, this love for the classroom. Because everyone likes to perform, to play a good character. But enjoying the day-to-day, enjoying taking classes, you know? That’s also worth it”, and concludes by saying that it is about having the humility to listen to those who are correcting you and observing you.
Márcia points out that ability comes third and that ethics and emotions come first: “The person’s character, the way they conduct things, their honesty in relation to work and how they propose themselves, is the most important thing”.
The gap between stage talent and personality
The director of the institution, with years of experience in the world of ballet, conveys the message that being off stage is not so different from being on it, when it comes to actions and way of being: “I think that if a person has a good character, if they are humble, if they have good things to convey, they will convey them on stage. If they don’t have this range of good things in their heart, in their head, they won’t be able to convey emotion… Then it becomes a fake thing.”
Not only in Brazil, it is often seen that dancers and artists in general present differences in their success on and off stage. In other words, their technical performance, pirouettes and arm movements are perfect, while their charisma, empathy and respect for their colleagues leave a lot to be desired backstage and in the dressing room. So, the following question arises: Do you really need to have a good personality to be successful in front of an audience?
Isabella Gasparini, professional ballerina and first soloist of the Royal Ballet in London tries to answer the question: “You can always see the artist’s character when they are on stage”. Bel says that people who are only focused on recognition or having the perfect foot don’t get her attention as much as those who do it to make themselves feel good. “The ones who really touch me are those who are honest, always humble, you know? Rather than someone who is forcing something or trying to show off. Who is thinking about their own ego and not about what they are really giving to the audience.”
Priscila, in agreement with Márcia, addresses this issue by saying that a dancer’s personality and character directly and intensely affect their performance on stage. “I think that the soul, what we have inside us on stage, increases a thousand times. A person can be in the middle of the spotlight, but if they don’t have light, it doesn’t really work. Because light comes from this, it comes from a person’s ethics, it comes from kindness, that’s where it comes from,” she commented, becoming emotional.
Isabella presented a more academic perspective when talking about artistic behavior off stage, using as an example a dancer invited to perform at the Royal Ballet for three performances and his attitudes during classes and rehearsals: “I fell in love with the way he worked in class. Before class, he would warm up, he would practically do a barre. I really admire this dedication and respect. People ask if they can stand on the barre next to you, you know?”, the professional admires. “Sometimes, someone comes in who they don’t know, who doesn’t know anything. And these people, instead of being receptive and giving them space, just look at them with a dirty look”. To summarize her reasoning, she adds: “Anyway, I think that everything we do off stage will be reflected when we dance, you know? But if you’re a disgusting person that no one likes, the energy changes. You won’t feel that warmth from the person. That support. I think something like that affects you a lot”.
The dark side of dance that doesn’t reach the public eye
Some say that the world of dance is competitive, selective and sometimes cruel. At an important audition, for example, it is rare to find a dancer who will give you a friendly look, especially because they see you as competition and someone who could take their place.
When talking about her professional journey until she arrived at the Royal Ballet in London, Isabella comments: “Rivalry exists everywhere. And falsehood too.” The ballerina comments that backstage at a performance, the vibe is to put on a beautiful and harmonious show. The problem would be in the classes and rehearsals.
When talking about classical ballet, Priscila addresses the difficulties that every dancer faces: the standardization of the body and its rigor, even if you have the perfect artistic side. “If the ballerina goes on stage thinking about this and her mind is not prepared, it swallows her. She freezes.” Furthermore, Priscila mentions that many dancers get unique opportunities in a dirty way and recounts the time when her colleagues rejected her at a tryout and said that if she didn’t remember her purpose there, she would give up. “Everyone who is close to you, who is with you, wants you to break your leg on the next pirouette. Unfortunately, it is a reality. Everyone fought hard for that and some don’t take competitiveness in a healthy way, they take it in a bad way.”
Márcia Lago explores her values in relation to how to face this rivalry: “You have to always keep in mind that you want to do your best and not prove to anyone that you are the best. It has to be for you and by you. Without trying to worry about what people think” and adds that art is subjective when it comes to judgments, that there is a taste for everything and sometimes it is difficult for a dancer to please a judge. To conclude, she comments a little on the comparison based on her own experience: “I think we don’t need to keep looking to the side or paying attention to others in order to move forward. Comparison is not healthy”.
EDUARDA DE NADAI GENERATO
Journalist