Dance Company Theaterhaus Stuttgart, founded by choreographer, dancer, and musician Eric Gauthier, will be visiting Israel this October with two special performances: a repertoire evening on October 16-17 at the Suzanne Dellal Center where the group will perform works by Nacho Duato, Alejandro Cerrudo, Itzik Galili, Nadav Zelner, Eric Gautier, Johan Inger and Andonis Foniadakis, and an evening following the life and times of Nijinsky - Marco Goecke's masterpiece, which will be performed as part of the Israeli Opera's dance series on October 19-20.
We sat down with Goecke to find out more about his inspirations behind bringing Nijinsky's madness to life.
© Regina Brocke Klein
What is it about Nijinsky that haunts you?
I am in general interested in artist biographies. In the case of Nijinski, his biography was even connected to my own profession, so it was the perfect topic for me.
What specific inspiration do you draw from him?
His madness.
What biographical parts of Nijinsky's life are you focusing on?
I was interested in his school time (as that reminded me very much of my own school time), in the circling fever of his dancing, in the roles he interpreted, and in his encounter with Diaghilev.
© Regina Brocke Klein
Nijinsky was known for being quite daring and breaking the boundaries of male stereotypes in ballet (i.e. not wearing modesty trunks with his tights in a performance as Albrecht in Giselle)...do you make any efforts to break through these stereotypes? Especially in a more modern, accepting world?
This is what I have done in all of my work.
Nijinsky introduced radically angular movements to ballet and other trends that really redirected modern dance. What do you feel you've added to the progression?
I think I have found an authentic way to move dancers and to be bold enough to be myself and to show that.
How do you demonstrate the ties between art and madness in the performance?
It is very difficult to describe this. But I think that the madness has been there from the beginning in the deep beyond; one must calculate with the idea of madness and it is a matter of daring to do that. As Oscar Wilde said, “Those who go beneath the surface do so at their peril.”
Do you believe madness and art are always as intertwined as they were in Nijinsky's life?
Not always, there is also a more modest or colder form of art, which doesn’t go as deep. For sure there is an art that is healthier for the artist.
© Regina Brocke Klein
What is the most interesting thing you discovered about Nijinsky during the creation of this project?
I realized that many people in the dance world have very much in common, including myself.
I'm curious as to your musical choices (Frédéric Chopin, Debussy, Glazunov). Can you speak to those?
I had known the music from other choreographies and it had accompanied me during many years so I eventually found the moment to use it. It also fit perfectly because both Nijinsky and Chopin were Polish. Furthermore, the length of the piano concertos fit perfectly into my concept.
What can you tell me about costume choice?
The costumes are easy to read. One can tell a lot with just a hat or a coat. These are small details, but they are easy to understand and eventually the costumes stress the pure or naked dance.
© Regina Brocke Klein
What have you learned about yourself through this process?
It was one little step forward in believing that I can do something.
Is this your first time performing in Israel?
No, Mate Moray invited me to Tel Aviv in 2010 to perform “Supernova.” I also have an upcoming project with Tamir Ginz and the Kamea Dance Company–they will stage my work “Nichts” in 2019 in Beersheba.
How have audiences reacted so far to Nijinsky?
Very enthusiastically. In Germany, it won the audience prize for the best production from the dance magazine “Tanz." In Italy, it received the prize for the best choreography by Danza Danza. And most importantly, my good friend Itzik Galili came twice and cried both times. That was a great honor for me.
© Maks Richter
What is the most important advice anyone has ever given you?
Not to give up on the work (Trisha Brown).
What's next for Marco Goecke?
I am currently working on a world premiere for Nederlands Dans Theatre, which will be premiered on November 4th in Den Haag.
Catch these four special evenings of dance on Oct 16-17 at the Suzanne Dellal Center and Oct 19-20 at the Israeli Opera.