Interview with a ballet dancer: A challenging life & career – Part 2

This is part 2 of the blog post series with Staatsballett Berlin soloist Michael Banzhaf, who gives an insight into his experiences and learning progress throughout his 19 year long career as a ballet dancer.

I’m sure his words will inspire you, because they not only apply to the ballet world but are also helpful in the everyday life!

Approaching a role

M.B.: I approach new roles from an intellectual perspective; I’m not a very intuitive person. Often times, I’m also quite wary. But then, when I figure it all out, I’m very enthusiastic and convinced of a part.

For my interpretation of Carabosse in Vladimir Malakhovs Sleeping Beauty, a character that’s very extroverted and exaggerated, I watched all the relevant Disney Movies to learn from the sophisticated witches.

Balletify:
So interesting to hear him say he’s rather intellectual and sometimes wary when approaching a new part, don’t you think? Perhaps this is more often the case when a dancer works in a big ensemble with lots of changing choreographers, that all have different personalities and styles.
I imagine that you dance a lot of roles that have been created for other dancers in other companies. It might be quite difficult to speak with the choreographer about his piece, because he won’t be there all the time.

If you work in a company that has (mostly) one director and choreographer (like John Neumeier at Hamburg Ballet) however, you already quite know his style even if you’re creating a completely new work.
Also there’s more of a tradition to pass on the roles in the company, as you know everyone who has danced the part before. You can easily talk with them or with the choreographer because you are likely to see them on a daily basis.

Partnering

M.B.: With female partners, I experienced great love and affection. It’s a very special connection, because you work out a lot of difficult things together.

First and most important duty for a man in partnering is to make sure the ballerina feels safe. The Pas de Deux must always be safe, because there are quite dangerous and difficult steps. When everything is rehearsed, then there is possibly a little space for you. The Pas de Deux is fundamental to a piece.

My male partners are competitors and confidants at the same time. You discuss what you want to show together.

Stage fright

M.B.: Although I rarely felt stage fright in the first half of my career, I always thought it’s going to disappear once I’m more experienced. However, the stage fright is getting worse the older you are!

That’s because you better realize the responsibilities you carry with interpreting a leading role, you sometimes think that another dancer fits your part better, you see all the striving young dancers and your body is no longer 100% at your disposal…

Balletify:
I didn’t realize before that stage fright can get worse the older you are. It makes perfectly sense though. When you are older you are more likely to dance bigger roles that carry the audience through the performance. Of course you are extra motivated to deliver the best interpretation you possibly can.

Most likely you compare your actual performance to your best ones or the ones of your younger self. As a young dancer you don’t have as much to compare to and know you still have to learn a lot.

On stage, I personally have never ever seen any stage fright in a dancer, whether young or older. So switching to performance mode always works!

Your Point(e):

Do you / would you approach a role from an intellectual or intuitive perspective? Why?
What do you think about stage fright getting worse the older you are?

Here are the other parts of this blog post series:
Interview with a ballet dancer – Part 1
Interview with a ballet dancer – Part 3