Dissecting Dance
The 4th Dance Prix organised by the Indonesia Dance Society returns with special performances by the lead dancers of Teatro dell’opera di Roma. Here, we talk to one of them 31
he indonesia dance society will stage its 4th dance Prix Ballet and Contemporary Dance Competition—a three-day performing-arts happening held at the 19thcentury opera house, Gedung Kesenian Jakarta—from April 13-15. The contest invites aspiring talents in dance to win the Jury’s Choice Awards of a two-week ballet masterclass series in Montana in the US valued at US$ 1,600 and two Special Talent Awards valued at Rp10m each. The Embassy of Italy and the Italian Cultural Institute will participate by proudly presenting the lead dancers of the Teatro dell’opera di Roma, Susanna Salvi and Claudio Cocino. Excerpts from a chat with Claudio Cocino are here.
What are the dances designed to be presented at the Dance Prix 2018? When was your first encounter with this dance?
The first piece is the pas de deux from the third act of Sleeping
choreographed by the former star of the Paris Opera, JeanGuillaume Bart, in 2017. It’s a masterpiece and the ballet that got me nominated as principal dancer in the role of Prince Désiré. The second one is more neoclassical, with choreography by former étoile of the Paris Opera, Benjamin Pech.
In the span of your career, what is the dance that you like the best and why?
Le Parc. Dancing the choreography by Angelin Preljocaj for me was discovering a new way of performing. It’s about showing emotions and the choreographic commitment that a dancer faces on stage. When I was 7 years old, I started dancing at a small private school. At 12 I entered the Ballet School of Teatro dell’opera di Roma where I graduated and completed my studies at the Royal Ballet School. My passion and dance experiences led me to where I am today.
Please name three of 10 famous classical ballets that you prefer the most and tell us the reasons behind your choices
Swan Lake is an evergreen ballet. I love dancing it as well as hearing the music that is part of it. Sleeping Beauty for all the difficulties inside this four-act-long ballet. Last, but not least, Giselle for feeling the girls in the second act around me, desperately trying to kill me but also supporting me. It is one of those indescribable moments.
Do you like the work of Nijinsky? Why?
Yes, absolutely! Dancing the reconstruction of his Rite of Spring was not only an interesting journey, but it also got me closer to Nijinsky’s view of dance and to a different choreographic approach.