Soloist Jennifer Stahl discusses working with choreographer William Forsythe during rehearsals for Pas/Parts 2016—an unusual process of learning and relearning and working beyond perceived limits—and how the experience influenced her as a dancer. She also talks about her roles in Yuri Possokhov’s Magrittomania and Liam Scarlett’s Fearful Symmetries, plus dancing a diverse repertory that encompasses story ballets, abstract works, and themed, non-narrative works that suggest a story.

Soloist Jennifer Stahl discusses working with choreographer William Forsythe during rehearsals for Pas/Parts 2016—an unusual process of learning and relearning and working beyond perceived limits—and how the experience influenced her as a dancer. She also talks about her roles in Yuri Possokhov’s Magrittomania and Liam Scarlett’s Fearful Symmetries, plus dancing a diverse repertory that encompasses story ballets, abstract works, and themed, non-narrative works that suggest a story.

Principal Dancer Sofiane Sylve, who has a working relationship with choreographer William Forsythe going back to her earliest days as a performer at the Dutch National Ballet, speaks eloquently about the challenges and pleasures of interpreting his movement. Katita Waldo performed many of his pieces prior to her role as Ballet Master, and she discusses his musicality in using both classical and contemporary works. They each emphasize their appreciation for the collaborative nature of Forsythe’s creative process.

Principal Dancer Sofiane Sylve, who has a working relationship with choreographer William Forsythe going back to her earliest days as a performer at the Dutch National Ballet, speaks eloquently about the challenges and pleasures of interpreting his movement. Katita Waldo performed many of his pieces prior to her role as Ballet Master, and she discusses his musicality in using both classical and contemporary works. They each emphasize their appreciation for the collaborative nature of Forsythe’s creative process.

In her current role as as a member of the faculty at the San Francisco Ballet School, former SF Ballet principal dancer Tina LeBlanc talks about what’s important to her as a teacher. She discusses the benefits of ballet training, how to motivate young dancers, the use of imagery, and how a “good” dancer becomes “great.” Tina also reflects on her own retirement from the stage and comments on her work as a ballet mistress for Balanchine’s "Rubies."

Choreographer Liam Scarlett is a vivid spokesperson for the art form, and he describes the choreographic process with eloquence. He reviews his evolution as a choreographer and talks about how greatly he values the relationship of trust he develops with his dancers. He speaks about taking his inspiration from music in general and how the score by John Adams supports this work, also titled “Fearful Symmetries”.

Choreographer Liam Scarlett is a vivid spokesperson for the art form, and he describes the choreographic process with eloquence. He reviews his evolution as a choreographer and talks about how greatly he values the relationship of trust he develops with his dancers. He speaks about taking his inspiration from music in general and how the score by John Adams supports this work, also titled “Fearful Symmetries”.

Principal Dancer, Lorena Feijoo, and Ballet Master, Felipe Diaz, discuss the experience of creating the new work by choreographer, Liam Scarlett, Fearful Symmetries. Felipe speaks of how his role as Ballet Master is informed by his experience as a performer. Lorena describes the excitement she feels as she interprets Scarlett’s creativity. Each speak eloquently about how skillfully the choreography is supported by the powerful music by John Adams.

Principal Dancer, Lorena Feijoo, and Ballet Master, Felipe Diaz, discuss the experience of creating the new work by choreographer, Liam Scarlett, Fearful Symmetries. Felipe speaks of how his role as Ballet Master is informed by his experience as a performer. Lorena describes the excitement she feels as she interprets Scarlett’s creativity. Each speak eloquently about how skillfully the choreography is supported by the powerful music by John Adams.