The professional dancers of Fort Wayne Ballet will bare it all today. Well, as much they are allowed to bare for a PG-rated performance.
Karen Gibbons-Brown, executive director and artistic director, says Love Dance not only marks the ballets debut at the new Auer Center ArtsLab, it also makes way for the intimate black box series the company will debut next season. The versatile theater can be outfitted with several staging and seating options for experimentation and exploration of movement that Gibbons-Brown says is necessary for a dancers professional growth.
Whats been fun about it is that for so long we have thought about the proscenium arch (of a traditional stage) as where the dance happens, she says. For us, it allows the focus to be more on the movement and the lighting as opposed to the distance and the costumes. The focus is not on big, rich velvety costumes with full-beaded work as it would be for The Nutcracker or Romeo and Juliet. Its a little more minimalist.
Love Dance is a collection of modern, classical and avant garde styles of dance depicting a variety of love-centric stories. The VIP seating offers a floor-side view of the performance, along with champagne, roses and chocolates. The dances range from a flamenco solo to a preview of the classic balcony scene from Romeo and Juliet; the company will perform the entire ballet in March.
Principal dancer David Ingram, who is transitioning into his new role as artistic associate, says it was important to tell the story of different phases of love from infatuation to obsession to actual love.
We want to offer different avenues of love from your first experience to maybe your last experience, he says. The transition of love in its different phases is something I hope to thread throughout the evening.
Gibbons-Brown says the romantic evening will also be a night of recognition. She says that Fort Wayne Ballet will honor the Edward D. and Ione Auer Foundation by dedicating the companys dance academy in their name before the first performance. The foundation gave a $1 million contribution for the creation of the ballets endowment fund last September.
Gibbons-Brown says the endowment focuses on funding the companys repertoire, professional dancers, artistic growth and scholarship that the students of the newly named Auer Academy of Fort Wayne Ballet will fall under.
I think this is one of those things that dance companies arent particularly real good at looking at – making sure they grow strategically and they grow beyond a specific directors time, she says. We have been here for 57 years and hope to be here another 65 years plus. It was one of those things we just needed to do to ensure that would happen for generations to follow.
Gibbons-Brown says Love Dance will test the environment for a three-program black box series the company will perform next season.
She says she would like to present one performance consisting of choreography created by the professional dancers; she also would like to present an art installation that uses movement and local artists. She says another performance will consist of shorter repertory pieces that may not translate as well on a traditional stage.
With this series, the audience is right up at you. Were not trained as dancers to present that way. In our rehearsal process for this performance, thats been a little bit different because I will sit right there, and say if you cant look at me, how are you going to look at your audience? The connection is a little more vulnerable, she says.
You dont have the distance of the orchestra pit. Its very much one-on-one as if youre having a conversation. There is a theory that dance is a conversation – and it is. But what is it that you are going to say to your audience? You dont have that breathing moment to think about what you want to say next. When youre in a situation like this, what you say is very much in the moment and in some instances, the audience member and the dancer will be very close to one another. Thats a very vulnerable place.
Gibbons-Brown and Ingram both are interested in seeing how audiences respond to the dancers in this setting, which is why there will be question-and-answer sessions after performances.
You can often read into movement what you choose to read into it. The question-and-answer piece helps connect to what was the process of creating that piece, Gibbons-Brown says. The more people get to know our dancers as people and get to know our repertoire, they will feel more free to ask questions. The more comfortable they are with us, the more comfortable they will become with dance.