Why too much obedience is a bad thing on a ballet stage

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Why too much obedience is a bad thing on a ballet stage
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'I’m looking for a sense of self in the art form... a sense of who they are as individuals, what kind of choices they make,' says David Hallberg, the Australian Ballet’s artistic director. | NickdMiller

He doesn’t know the latter company very well, he says. But on stage his eye was instantly drawn to “certain people”, magnetically, unconsciously.

It’s a lesson that one of the nominees, 21-year-old corps de ballet dancer Adam Elmes, learned at a rare low point in a meteoric career. He was at ballet school, going up through the levels, but hit a wall around the halfway point.“I would always try my best, do what I’m told and plod along,” he says. “But I would get so nervous and get so overwhelmed by my thinking.

At the Ballet he sees his role as guiding choices rather than making them: to help dancers become confident and assured in their own path.

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