Dancer Exchange: Andreas Kaas
As part of a dancer
exchange, Andreas Kaas (above right) from The Royal Danish Ballet came
to Toronto for six weeks to rehearse and perform The Nutcracker with The
National Ballet of Canada.
What were your first impressions?
In some ways I felt I knew
what to expect – the life of a dancer includes daily class, rehearsals
and performances. But there were some differences I noticed right away:
at home our school, studios and theatre are all in the one building.
I’ve spent the last 13 years of my life there and it really feels like
home. Here the school is separate altogether, and there are different
rehearsal and performance buildings. Also, at the Walter Carsen Centre
there is one dressing room for men and one for women, and all ranks from
Principal to Corps share that room. For performances all the dancers
move to a multitude of rooms at the Four Seasons Centre. I’m used to
sharing a dress room every day, all year, with just one other person.
But part of the purpose of this exchange was for me to get out of my
comfort zone, go somewhere different and have new experiences. Although I
was nervous when I first arrived, and felt that people would be
assessing me critically, I felt that everyone at the National Ballet was
very open and welcoming.
What was the most memorable part of The Nutcracker for you?
Dancing as an Icicle in the
Snow trio was so different from anything else I’ve danced. In a pas de
trois for two men and one woman, the level of complexity is greater as
is the degree of trust required, not just with a female partner but also
between me and the other male. I thought it was fortunate that Félix
Paquet and I were both new to the parts and as a result we were both
discovering our way together. We were also lucky to work with Alexandra
MacDonald as our Snow Queen. She has done the part before so her
experience, confidence and suggestions made it easier for us. Our second
full rehearsal was on the stage, with full costumes, sets and lighting,
and with both a photographer and donors in the audience. But it was the
best thing to get out there, throw ourselves into it and to learn from
it. Overall we ended up performing in more shows than originally
expected, which was exhausting but a lot of fun. It was one of the most
satisfying parts I’ve danced.
How did you find audiences in Toronto?
There is a great audience
here in Toronto! When I was here for the Erik Bruhn Competition, I
thought the audience was so excited and involved because it was an
intimate competition and a special evening. But every day of The Nutcracker
the audiences were eager and responsive. I told my mother and brother,
who flew here for Christmas, and my uncle and his family who came down
from Barrie, how unique and important The Nutcracker is here.
In fact, ballet seems to be a valuable part of culture here – everywhere
I went as I explored the city I saw something about the National
Ballet.
What are you taking away from the dancer exchange?
I
felt this has been the best experience of my life so far. It has been a
true pleasure and privilege to be immersed in a new situation like
this. It has taught me a lot about myself in terms of how I work and the
support systems I am fortunate to have at home but could create for
myself in a new place too. I have grown incredibly from this wonderful
experience. After the intensive schedule of performances, and the great
people who are here, I really feel a part of the National Ballet. I’m
going to miss it. But I’m also eager to go home and appreciate the
wonderful opportunities I have there. Overall, I feel much more prepared
to tackle new challenges. I’m keen to do something like this again. And
I’d love to come back again too.
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| "Arabian coffee" with Tanya Howard (l.) |
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