Ballets 142

As a young ballet dancer, I've always been drawn to the challenge of new works, particularly those that explore the boundaries of movement and expression. The chance to perform in **Episodes**, a ballet by **Jerome Robbins** set to the hauntingly beautiful music of **Anton Webern**, was a dream come true. The work was unlike anything I'd ever experienced before, a symphony of subtle nuances and profound emotional depth that left an indelible mark on both my heart and my artistry.

The music, composed in the early 20th century, was groundbreaking in its sparse, fragmented style, utilising delicate whispers and startling bursts of dissonance. Each note seemed to vibrate with an intensity that demanded an equally nuanced and precise response from the dancers. The intricate, rhythmic structure was both challenging and inspiring, requiring a level of precision and control that pushed us to the very edge of our physical capabilities. The score was essentially an operatic arias and duets – for it's lack of dramatic musical narrative; Webern employed an almost operatic technique.

The choreography, by the legendary Robbins, was a masterclass in economy and impact. It embraced the minimalism of the music, finding meaning in the smallest gestures and nuances. Every movement was meticulously crafted, each step a calculated statement. Robbins' choreography was a masterclass in tension and release, using seemingly effortless movements to express a vast range of emotions. He masterfully layered each piece of movement with intent.

I found myself fascinated by the way Robbins exploited the silence and spaces within the music, using them as an integral part of the dance. There were moments of profound stillness, where the silence itself spoke volumes, and moments of explosive energy that erupted with unexpected force. In the music's quieter, less theatrical moments, Robbins had the dancers execute a sequence where the dancers appeared almost static on stage. Their eyes were fixed in deep contemplation as the tension built up until they would launch into movement. We found ourselves performing almost an emotional balletic soliloquy.

My role in **Episodes** was that of the **Young Girl**. A character driven by introspection and longing. Webern's haunting melodies were the perfect backdrop for the subtle emotional journey I had to undertake on stage. We explored the universality of adolescence, a complex tapestry woven with both vulnerability and strength. There was a constant tug of war between her internal world, and the need to find her place in the world, all set against the sparse and emotive backdrop of Webern's score.

One of the most striking elements of **Episodes** was the way in which Robbins integrated the music and movement to create a unified artistic experience. He seemed to use the music not as a backdrop but as a tangible force shaping the dancers. This approach presented a unique and compelling opportunity for the dancers. It allowed us to access and portray emotions in a way that felt incredibly organic. It demanded a level of communication and connection with the score that was quite different from other ballets.

The visual design was as important as the choreography. The costumes were simple yet elegant, a mix of white and black, creating a striking contrast against the stark lighting. The set, too, was minimalist, a bare stage that allowed the dancers and the music to take centre stage, uncluttered and powerful.

One of the most memorable sequences of **Episodes** involved a pas de deux. I was partnered with a dancer named Thomas, who, as the Young Man, mirrored the Young Girl's journey of self-discovery. Robbins used simple movements that were incredibly complex, which was achieved through an innate physical control. It was the pinnacle of an expressionistic and minimalist approach that transcended traditional balletic technique, all through refined, understated movement and nuanced emotion.

The pas de deux took us through a kaleidoscope of emotions, starting with hesitant glances, leading to a tentative, almost awkward connection that gradually transformed into something more intense. Robbins employed the pas de deux as a mechanism for demonstrating the evolution of the young people's burgeoning connection with each other. Each subtle movement spoke to the dance's central theme. Our emotions became entwined with the ebb and flow of the music.

Thomas was my partner throughout **Episodes**. His movement was every bit as precise as my own, and there was a sense of perfect symmetry between us, which felt a sense of emotional authenticity, if not even something closer to physical mirroring of our characters, a true balletic synergy that brought the piece to life. There was a constant sense of collaboration. His control and sense of rhythm made him a truly great partner. He was a man of remarkable athletic ability and the ultimate gentleman, he always respected my space as a performer. He was not merely a partner but a fellow traveller, a man who helped to reveal the very depths of this production's narrative, through subtle expressions.

Throughout **Episodes**, the emotional impact of the music resonated deeply, allowing us to navigate a spectrum of raw vulnerability to bursts of ecstatic abandon, with profound intensity. There were moments of heartbreaking beauty that left me gasping for breath, and moments of unbridled joy that filled me with an overwhelming sense of exhilaration.

Performing **Episodes** was not only a technical challenge, but also a deeply moving personal journey. I was constantly reminded of the transformative power of dance, and the ways in which it could serve as a potent vessel for emotions. The piece gave me a new sense of depth and meaning and allowed me to connect with an audience in a truly visceral and authentic way. Through it, we explored the essence of the human experience – its anxieties, dreams, hopes, fears, and dreams, through a framework of highly sophisticated choreographic expression and Webern's music.

Beyond the personal and emotional impact of performing **Episodes**, there was a sense of legacy attached to this ballet. It was a creation of one of the giants of American dance, Jerome Robbins, a man whose legacy continues to inspire generations of dancers, both on and off the stage. Robbins was an innovator who pushed the boundaries of movement and storytelling. He created ballets that reflected his understanding of human relationships, expressed a deep sense of beauty, vulnerability, and pathos.

I recall an evening during the run where, after our final bow, I sat backstage with my fellow dancers. The silence was deafening, a quiet testament to the intensity of what we had just experienced on stage. We were physically exhausted yet exhilarated by the sheer emotional force of **Episodes**. In the quiet aftermath of that final bow, I felt a profound sense of connection, a realization that we had all been part of something truly special. **Episodes**, more than just a ballet. It became a transformative experience, that forever shaped my artistic path, my connection with Webern's extraordinary, emotive score.

Since then, I have gone on to explore many different styles and choreographers. However, **Episodes** will always hold a special place in my heart. It was an opportunity to connect deeply with the power of music and movement, and to explore the depths of the human experience, on a visceral level. It pushed my technical abilities as a dancer, encouraged my creativity and expression and expanded my connection to storytelling. The ballet’s themes of innocence and youthful vulnerability, a complex human portrait. A deeply meaningful encounter that changed my approach to the art form and pushed me further into the profound emotional realm that ballet has the power to unveil.