Dancer Insight: Improvisation in Artifact

Caralin Curcio as Woman in Gray and the Company in rehearsal for Artifact.

Video by: Lillian I

What’s it like to improvise throughout an entire ballet with up to 25 dancers following your lead? Find out from Soloist Rachele Buriassi. 

Caralin Curcio, stager Kathryn Bennetts, the Company in rehearsal for Artifact

Photo credit: Lillian I

Rachele Buriassi rehearsing Woman in Gray

Photo credit: Lauren Pajer

Caralin Curcio, stager Kathryn Bennetts, the Company in rehearsal for Artifact

Photo credit: Lillian I

Rachele Buriassi rehearsing Woman in Gray

Photo credit: Lauren Pajer

Tell us about the role of the Woman in Gray.

It has been an amazing experience learning the role of the Woman in Gray. This is a very important and extremely challenging role. She is essentially responsible for the whole ballet. People often think that it is an easy role because the dancer doesn’t wear pointe shoes and it looks like she is just walking the whole time. However, it is one of the most difficult roles because the dancer is actually improvising throughout the entire ballet and every performance is different.

There are moments when you have to do arm movements and the whole company has to copy you. You have to make sure your movement is very clear and precise so they can follow along. Sometimes there are 20 dancers in a line and you can’t do arm movements that go to the side because they will hit each other. You have to constantly think about each member while improvising. There are so many little things you have to be aware of and at the same time you have to free your mind so you can improvise.

Ballet can be very structured. What has your experience been like working on improvisation?
We have been working with stager and former Ballet Frankfurt dancer Noah Gelber. He’s taught us so much—we spend at least two hours a day with him. He’s given us many ideas on how to improvise. Improvisation is so much harder than I expected. When I first started I found myself doing the same thing over and over again. It gets better the more you do it, but you never feel fully comfortable. When you are improvising, you don’t have time to really think about what you’re going to do next. You can’t really prepare, you just have to do it in the moment.

I think the hardest part in this ballet is the finale. During this part, the whole company is on stage and you come out from the corner. Once you’re on stage you start improvising—upstage, downstage, across the stage—and then you end up in front of all the dancers. You turn around, clap your hands, and then you just have to start improvising as the entire company follows you. You literally feel like you’re giving every ounce of your energy on stage in that moment.

It is such a beautiful feeling because you get to go on stage and do something different every time. It is just so amazing, so unique, and so special. It is not physically tiring, but sometimes I would come out of improvisation rehearsal and be three times more tired. You’re using your mind and body at the same time. It is different when you are responsible for just yourself rather than when you’re responsible for 25 other people because you know if you lose focus then everything will fall apart. It’s terrifying, but also amazing.

The dancer is actually improvising throughout the entire ballet and every performance is different

Rachele Buriassi

Rachele Buriassi as Woman in Gray in rehearsal for Artifact.

Rachele Buriassi as Woman in Gray in rehearsal for Artifact.

Photo credit: Lauren Pajer

What it is like to work with William Forsythe?

It is an honor to have the opportunity to work with William Forsythe. Learning his ballets makes you a better artist and it takes you to another level. Sometimes you have been dancing a certain way all your life, but when you dance in his ballets it makes the same movement look so much better. His choreography makes you feel differently and it pushes you beyond your limits. When I dance his works I feel so much bigger, as if my arms are three times longer. I always feel like I know my body better after dancing in his works. As I am learning the role of the Woman in Gray, I feel like I learned new things about my body that I didn’t know before. And I can use this experience even in classical ballet, in class, or anywhere. It is incredible how working with him opens your mind.

Inside Look: The Nutcracker's Arabian Dance

What does it take to perform the alluring Arabian dance?

Inside Look: The Nutcracker's Arabian Dance

Taking on the role of Arabian dancer in The Nutcracker requires flexibility, strength, and above all, attitude. Watch how Soloist Rachele Buriassi’s channels the character of the sinuous seductress.

Video by Ernesto Galan 

Taking on the role of Arabian dancer in The Nutcracker requires flexibility, strength, and above all, attitude. Watch how Soloist Rachele Buriassi’s channels the character of the sinuous seductress.

Video by Ernesto Galan 

Behind the Scenes

Who is William Forsythe?

William Forsythe’s influence extends far beyond the dance realm. Here are 10 things to know about the world renowned choreographer.


 

Explore
Behind the Scenes

Dancer Insight: Improvisation in Artifact

What’s it like to improvise throughout an entire ballet with up to 25 dancers following your lead? Find out from Soloist Rachele Buriassi. 

Explore
Behind the Scenes

Dancer Insight: Working with William Forsythe

We got the inside scoop from Company dancers Misa Kuranaga and Patrick Yocum on what it is like to work with the renowned choreographer William Forsythe.

Explore
Behind the Scenes

The Life of Work


As a maker, a question I am frequently asked about my work is “Where does it come from?”

Explore

BB@home: Focus on Forsythe

See the creative process of choreographer William Forsythe

BB@home: Focus on Forsythe

At the recent BB@home program, audiences had the opportunity to see renowned choreographer William Forsythe’s creative process and catch a preview of an Artifact pas de deux.

Video by Ernesto Galan 

At the recent BB@home program, audiences had the opportunity to see renowned choreographer William Forsythe’s creative process and catch a preview of an Artifact pas de deux.

Video by Ernesto Galan 

Artifact 2017: Where did Part III come from?

Forsythe spoke to the audience in a post-show talk and explained the meaning of Part III. 

Artifact 2017: Where did Part III come from?

Forsythe took the opportunity during a post-show talk to explain the meaning behind the new Part III from Artifact 2017, which he recently recreated for Boston Ballet.
Video by Ernesto Galan 

Forsythe took the opportunity during a post-show talk to explain the meaning behind the new Part III from Artifact 2017, which he recently recreated for Boston Ballet.
Video by Ernesto Galan 

Artifact 2017: Why are they arguing about sticks?

Forsythe answers the question of why the Woman in Historical Dress argues with Man with Megaphone. 

Artifact 2017: Why are they arguing about sticks?

Forsythe answers the question of why the Woman in Historical Dress argues with Man with Megaphone throughout Artifact 2017.
Video by Ernesto Galan 

Forsythe answers the question of why the Woman in Historical Dress argues with Man with Megaphone throughout Artifact 2017.
Video by Ernesto Galan 

Spotlight: William Forsythe's Artifact

It's finally here…

Spotlight: William Forsythe's Artifact

Step inside the world of William Forsythe and join us for the North American company premiere of Artifact.
Video by Ernesto Galan 

Step inside the world of William Forsythe and join us for the North American company premiere of Artifact.
Video by Ernesto Galan 

Dancer Insight: Onstage in Artifact 2017 with Kathleen Breen Combes

Experience Artifact 2017 through the eyes of Principal Dancer Kathleen Breen Combes.

Dancer Insight: Onstage in Artifact 2017 with Kathleen Breen Combes

In the last of our three-part Dancer Insight Series, Principal Dancer Kathleen Breen Combes walks us through the striking choreography of the pas de deux in William Forsythe’s masterpiece Artifact 2017.
Video by Ernesto Galan 

In the last of our three-part Dancer Insight Series, Principal Dancer Kathleen Breen Combes walks us through the striking choreography of the pas de deux in William Forsythe’s masterpiece Artifact 2017.
Video by Ernesto Galan 

In the Studio: Artifact Men's Rehearsal

Step inside our studio for a sneak peek at our Company men rehearsing Artifact.

In the Studio: Artifact Men's Rehearsal

Step inside our studio for a sneak peek at our Company men rehearsing William Forsythe’s Artifact.
Join us Feb 23-Mar 5 as they take the stage for this North American company premiere.
Video by: Ernesto Galan 

Step inside our studio for a sneak peek at our Company men rehearsing William Forsythe’s Artifact.
Join us Feb 23-Mar 5 as they take the stage for this North American company premiere.
Video by: Ernesto Galan 

Making a masterpiece

Choreographer William Forsythe discusses the inspiration and evolution of his masterpiece Artifact with Mikko Nissinen.

Making a masterpiece

Sit in on a conversation between artistic director Mikko Nissinen and choreographer William Forsythe about the making of Artifact, as they discuss everything from its inspiration to the most recent evolution with Boston Ballet dancers.  
Video by: Ernesto Galan 

Sit in on a conversation between artistic director Mikko Nissinen and choreographer William Forsythe about the making of Artifact, as they discuss everything from its inspiration to the most recent evolution with Boston Ballet dancers.  
Video by: Ernesto Galan 

Mikko Nissinen on Artifact

Boston Ballet Artistic Director, Mikko Nissinen, discusses Artifact.

Mikko Nissinen on Artifact

Boston Ballet Artistic Director, Mikko Nissinen, discusses William Forsythe's avant-garde spectacle, Artifact.
Video by Ernesto Galan 

 

Boston Ballet Artistic Director, Mikko Nissinen, discusses William Forsythe's avant-garde spectacle, Artifact.
Video by Ernesto Galan 

 

Mikko Nissinen on William Forsythe

Boston Ballet Artistic Director, Mikko Nissinen, discusses what it means to work with premiere choreographer William Forsythe.

Mikko Nissinen on William Forsythe

Boston Ballet Artistic Director, Mikko Nissinen, discusses what it means to work with William Forsythe as the ballet kicks off a five year partnership with the choreographic legend. 
Video by Ernesto Galan 

Boston Ballet Artistic Director, Mikko Nissinen, discusses what it means to work with William Forsythe as the ballet kicks off a five year partnership with the choreographic legend. 
Video by Ernesto Galan 

Artifact 2017: Who Are These Characters On Stage?

Forsythe introduces us to the Man with the Megaphone, the Woman in Historical Dress, and the Woman in Gray.

Artifact 2017: Who Are These Characters On Stage?

From tradition, to exploration, to endless possibility–these three characters represent three stages in the evolution of ballet. Step inside Forsythe’s theatrical world.
Video by Ernesto Galan 

From tradition, to exploration, to endless possibility–these three characters represent three stages in the evolution of ballet. Step inside Forsythe’s theatrical world.
Video by Ernesto Galan 

The illusion we create is intended to deepen your understanding of reality.

Mikko Nissinen, Artistic Director
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