想象一下，人们通过旧金山的现代艺术馆博物馆跳舞，毗邻Ellsworth Kelly Baintings和Alexander Calder Sculptures。在编舞师Myles atcher的最新作品“Colorforms”的一部分在旧金山芭蕾舞演员的数字2021赛季中，您将该愿景作为舞者旋转和跳过博物馆，追踪他们抛出的纸飞机的路径。
The film extends into Yerba Buena Gardens and the groves of Golden Gate Park and includes dreamlike passages filmed onstage at the Opera House. The dancers are giddy, but there’s also a pining for connection and togetherness in the staging that will probably resonate with many after the past pandemic year.
“The most interesting thing about this time is the way the dance world was going, there was no real push to commit resources to something this big (on video,)” Thatcher says. “This was such an incentive to go larger. It has to be a real journey — you don’t want to create something that feels like an appetizer. You want this to be a meal for people buying a ticket.”
当Coronavirus在3月关闭旧金山芭蕾舞赛季时，已经委托了2021年的“Colorforms”。虽然撒切尔选择了他将把佣金设定为委员会的史蒂夫莱切音乐，但他还没有构思这件作品。当大流行为撒切尔提供机会时，在博物馆关闭博物馆的一部分时，他跳了起来。
“有这些不同的环境和空间created an interesting contrast for the movement,” Thatcher says. “We really pushed how much we could showcase SFMOMA.”
“它真的让你感受到博物馆隐藏的角落，”SFMoma的公众参与总监Tomoko Kanamitsu说。“建筑物的建筑是一个角色本身。”虽然Kanamitsu说在大流行期间在博物馆拍摄是芭蕾舞和SFMomom的巨大努力，“每次我们和博物馆谈到这个项目的人时，他们都很兴奋地工作。”
This is Thatcher’s fourth San Francisco Ballet commission following 2015’s “Manifesto,” 2017’s “Ghost in the Machine” and 2018’s “Otherness.” It’s coming at a time when many dance companies are still trying to determine how to safely come together again, and dance audiences are hungry for new work.
“My inspiration for the piece was the circumstance we’re all in,” Thatcher says. “There’s a very strong outsider narrative that I think a lot of people will relate to right now.”
旧金山芭蕾舞艺术总监Helgi Tomasson表示，向数字季节的举动提出了对公司的新挑战，包括将新工程转化为视频媒体。Tomasson称撒切西人是一个有才华横溢的编舞者，并说他的运动风格有一个“美国的感觉”，即“Colorforms”是明显的。它正在编舞，也感受到了年轻，乐观和明白的21世纪，所有品质“Colorforms”令人难忘地在EZRA Hurwitz的全身电影摄影主任中挖掘，这展示了撒切尔的频繁使用集合。
“It’s a hybrid of human movement wrapped up in steps that are very natural and comfortable,” says Ballet soloist Isabella DeVivo, who danced in “Colorforms” as well as three previous works by Thatcher. “It’s a feel-good movement in a grounded and wholesome way, a mix of athleticism with very down-to-earth movements.”
At 30 years old, Thatcher already has an impressive resume as a choreographer. He has created works for companies including the Joffrey Ballet and Charlotte Ballet and has been nominated for two Isadora Duncan Dance Awards. Thatcher started dancing when he was a preteen and dealing with the difficulties of growing up queer in a small town.
“Art and creation have saved me from many a dark place,” Thatcher says. “I chose to dance partly to escape public school in Pennsylvania.”
Thatcher began as a student in the Ballet’s trainee program in 2009 and has been a dancer with the company since 2010. He was promoted to soloist in 2020. His ability as a choreographer has repeatedly been recognized by Tomasson with commissions for both the company and the ballet school.
“当你在跳舞的作品时，有些天生的信心，这是绝对必要的，”Devivo说。“当你把它放在古典芭蕾舞队旁边时，以最好的方式为Myles的工作有一种压力：你不必穿上你的芭蕾舞女演员冠军。”
Thatcher wants his work to address big societal themes, like ideas about gender in movement, exploring notions of queerness in dance and elevating the idea of ensemble work in ballet as a statement about equity. These are ideas that Thatcher says the ballet world needs to consider as it moves forward.
“I think what’s beautiful about this art is that there’s so many different ways to approach it,” says Thatcher. “The digital season gave us an opportunity to start thinking past the physical spaces and to ask, how do we make our art more accessible, more equitable?”
San Francisco Ballet’s Program 2:Available to stream through March 3. Single tickets, $29. Season tickets, which include three story ballets and four mixed bills, $289. 415-865-2000.www.sfballet.org