Dancers Rob Fordeyn, Aki Saito and Virginia Hendriksen on their favourite parts of this production...

“ Impressing the Czar is like good wine—it becomes better as it ages. And if I have to compare "Impressing the Czar" with a wine, it is a Sancerre, a slightly tingling top class white wine,” jokes Rob Fordeyn (left, with Sebastian Tassin).

His favourite part of "Impressing the Czar" is Potemkins Unterschrift (Potemkin's Signature), the first part of the ballet. “So much happens on the stage. Dancers enter and leave, there is a tremendous amount of movement, yet there is never chaos. And that's where Forsythe's genius comes in: with lesser gods this first scene would slip into mere chaos,” says Rob.

During the rehearsals he quite enjoyed the improvisation session with the dancers from Frankfurt and Forsythe. “Originally "Impressing the Czar" resulted from improvisation and it is rather odd to study the improvisations of others. I also appreciated the extent of freedom, i.e. as we studied the piece, it turned out that there were various versions of it. So we had to make choices. Forsythe creates ballet for today's world. There used to be a sharp distinction between the actors—the performing artists— and the director, who was considered the creative artist. In the theatre that sort of distinction has disappeared. Actors have a much larger input and help to shape what the piece will look like. In the art of dancing, too, this distinction between performing artist and creative artist seems to fade. Dancers have to think about what the performance should look like. I like that. What I personally find inspiring in Forsythe's production, is the explicit reference to the art of painting.

"As we have to improvise, I am inspired by the visual arts. It is very pleasant to perform a certain movement and to imagine how that will affect the image the public sees. While dancing, you direct yourself. As we danced "Impressing the Czar", I couldn't help noticing how we have become more mature. With each performance the result was richer, more interesting. It will be fascinating to see how we continue to evolve when we restage "Impressing the Czar".”

Aki Saito became the centre of attention in 'Czar' — both literally and figuratively. She talks about In the Middle Somewhat Elevated, the second part of "Impressing The Czar", in which she starred.

“ My older sister was a ballet dancer. As a very young child I was interested in her beautiful tutus. And I remember we looked together in dance magazines at pictures of "Impressing the Czar". These pictures had a tremendous impact on me. It was quite obvious that Forsythe used a new language and had developed new sensitivities,” Aki tells us. We are interviewing her during a rehearsal for "Sleeping Beauty". Aki wears one of the ravishing costumes by the young Chilean designer Pablo Nuñez. “ In classical ballet, you want to achieve perfection. You know perfectly what is being asked of you when you dance in "Sleeping Beauty". In a Forsythe choreography you are very free—the dancers are allowed to improvise. The concept of ‘perfection’ seems to be different in Forsythe's work,” muses Aki.

Last season Virginia Hendriksen left the Ballett Frankfurt and joined the Royal Ballet of Flanders.

“ But I never danced "Impressing the Czar" in Frankfurt,” she says. "Bongo Bongo Nageela", the exuberant fourth part of "Impressing the Czar", is her favourite part of this choreography.

“ In "Bongo Bongo Nageela" (left), the entire troupe appears on stage dressed as well-behaved catholic schoolgirls. For me that part of the ballet is a parody of the life we lead. We try to conform to the demands of society, but underneath the mask of respectability quite different emotions rage. I think it is almost impossible not to love this fourth part of "Impressing the Czar". All this movement radiates so much energy that the public can hardly keep still,” she tells us.

Virginia Hendriksen was born in Texas. She dances in no less than four of the five parts of "Impressing the Czar". “You're really exhausted afterwards,” she laughs.

She is happy to have joined the Royal Ballet of Flanders. “ Of course I miss the people from Frankfurt and I am pleased that some came over to study "Impressing the Czar" with us. Next season there will be more dancers from the Frankfurt Ballet coming over for "New Sleep". I was readily accepted here in Antwerp. Yet for me it was somewhat strange to find myself in a classical ballet company . In Frankfurt the dancers are not divided in principals, soloists and corps de ballet. There is of course the same healthy urge to dance better than the others, but there is not this strict hierarchy of the classical ballet company. In Antwerp there is, and it is obvious that a certain position involves certain obligations. Having danced with the Ballett Frankfurt, these obligations are a bit odd to me. But what I like here, is that we do not only dance contemporary choreographies, but also the great romantic ballets. I really have learned a lot since I have joined the Royal Ballet of Flanders.”

About William Forsythe

About Thom Willems

Czar photos: Johan Persson | Portrait of Virginia Hendriksen: Feriet Tunc

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