NEXT
GENERATION
4 BALLETS—3 WORLD PREMIERES
Interview with Helen
Pickett
Questions for Helen Pickett about her new work
for Boston Ballet:
Introducing Helen
Pickett
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Helen speaks about her 2006 World Premiere,
Etesian
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Can you give a brief description of
your new work, Eventide? What are the set and costumes
like for the piece?
Listen to Helen give more detail on her staging
20 people! I wanted to use a big corps this time. I have 10
soloists (5 men and 5 women) and 10 corps women. I have gotten
inspiration from Edward Hopper, fashion, and E.E. Cummings this
time around. Also, the inspiration came from the dancers. I chose a
combination of dancers I have worked with before and newer members.
It is such a privilege to know them and grow with them. They
inspire me so much.
The music is a juxtaposition of Classical Eastern Indian music with
Minimalist composers. I would like to flirt with stark, clean
lighting; maybe light fixtures will be seen on stage in one part. I
had just seen a Hopper exhibit! The 3rd part lighting idea is based
on pictures I saw in National Geographic. The costumes are very
colorful; I drew inspiration from fashion magazines.
What was your inspiration for the
piece?
Listen to Helen giving more insight to her inspirations
The piece is an ode to a few special people that have been a part
of my life and an ode to dance itself. The piece is divided into 3
parts. It is a group dynamic. The inspiration for the piece comes
from many different sources. I layer the ideas into each other. My
hope is that the outcome of these layers results in many distinct
feels.
I’m told that you selected is:
Michael Nyman's compiling of The Colours: Samhitha, Jan Garbarek's
Anouar Brahem, Philip Glass - Meetings Along the Edge. What
prompted these selections?
Listen to Helen talk about her music selections
The music came to me from a few sources. Two parts, Samhitha and
Gabarek, were suggested to me from a good and very trusted friend.
I had been listening to the third piece, Glass, for a while. I had
also been to India and always thought the morning ragas were
beautiful. I wanted something of a mixture though, so the
combination of the composers enticed me. I am drawn to
collaboration in general.
Can you talk a little bit about your
experiences working with Boston Ballet dancers and Mikko
Nissinen?
Listen to Helen talk about working with the dancers
Boston Ballet is a welcoming, generous place. To be able to return
and create a relationship is a gift. I love the dancers. They are
ready for anything and so versatile. We are speaking the same
language now and rehearsals flow. It is a pleasure to choreograph
on them.
Mikko is a person ready to take risks. He is interested in dance
moving forward. He loves his art so much that he wants his dancers
and his public to see as many sides - as many possibilities - as
possible. He simply is devoted to ballet - to dance. It is always
an honor to work with such people. Not to forget, Mikko gave me my
first commission. My ballet master, Pino Alosa, is amazing. We
share a great relationship.
How would you describe your creative
process?
Listen to Helen give more depth to her process
Each creative process is different. With Mikko, we talk together
and bounce ideas off each other. He watches rehearsals. Music is
always the first inspiration. I listen and then I start focusing on
other aspects. When I am creating a piece my environment gives me
ideas. For example, I went to the Hopper exhibit and a saw
possibility for lighting.
Creating a ballet, or creating in general,
is incomparable. I enjoy nearly every aspect. The studio is home.
The dancers, kindred spirits. The stage...well, there is nothing I
would rather be doing.
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to "About the Choregrapher" on Helen Pickett
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Generation.