Spoznajte Christopherja Thompsona, baletnega plesalca, ki sooblikuje prepoznavnost mariborskega baleta zadnji dve sezoni!
Dragi Christopher, dobrodošli na portalu Parade plesa. Prvo vprašanje se vedno glasi: kdo je ‘kriv’, da ste postali baletni plesalec?
Hvala, da ste me povabili, Barbra. Sam ne bi rekel ‘kriv’, vendar je oseba, ki ji največ dolgujem za svojo kariero, Jacques d’Amboise. Brez njega in njegove organizacije, Nacionalnega inštituta za ples (NDI), ki je prišel v mojo šolo, dvomim, da bi danes bil plesalec. Bil sem izbran iz P. S. 199 za NDI-jev šolski program. Njihova ekipa se je takrat sestajala v studiih Srednje šole La Guardia ob koncih tedna. Sprva smo se osredotočali predvsem na hip-hop, pozneje pa so me povabili na njihov poletni program v New York City Center, kjer smo imeli poglobljen ‘boot camp’ v mnogih slogih, vključno z baletom. Poleti je NDI odprl svoj center v Harlemu in organiziral novo avdicijo zame ter še enega fanta za Ballet Academy East (BAE). Prejela sva štipendiji in med nadaljevanjem izobraževanja pri NDI začela z baletnim usposabljanjem na BAE.
Vaša baletna izobrazba je precej raznolika in fascinantna, od New Yorka, Pensilvanije do Londona. Kdo je vplival na vašo razvojno pot?
Imel sem srečo, da sem obiskal odlične šole, kot so Baletna akademija Vzhod, Šola ameriškega baleta, Centralna mladinska baletna šola Pensilvanije in Plesna akademija Danceworks, in živel na različnih, zanimivih krajih. Med svojim časom v vsaki šoli sem spoznal neverjetne učitelje, mentorje in vzorne osebnosti, kot so Jenna Lavin, Joseph Malbrough, Peter Frame, Darla Hoover, Jock Soto, Marcia Dale Weary, Nick Ade, Robert Steele, Xristina Mittelmaier in Kim White. Njihovo vedenje in delovna etika sta me navdihovala, in to poskušam posnemati tudi danes.
Zdi se, da vas je vaše potovanje pripeljalo na avdicije v Ljubljani in Mariboru med študijem v Londonu. Ste plesali v kakšnem ansamblu pred Slovenijo?
Da, moj prvi profesionalni nastop je bil v Ljubljani na Kongresnem trgu. Pred tem sem nekaj časa delal kot ‘freelancer’. Med obiskom Dunaja sem srečal Petra Đorčevskega, takrat umetniškega direktorja ljubljanskega baleta. Dal mi je svojo vizitko, malo kasneje pa sem opravil avdicijo in dobil službo.
Kako in zakaj se je potem zgodil Maribor? Ste poznali mariborski balet pred tem?
Mariborski balet sem prvič videl v Londonu na baletnem večeru, katerega del je bila tudi uprizoritev Radio and Juliet. Med svojim obdobjem v Ljubljani pa sem spoznal Antona Bogova, ki mi je ponudil priložnost, da se pridružim Mariboru.
Na odru ste precej prepoznavni po postavi in svetlih laseh. Lahko opišete, kakšen tip plesalca ste? Se nagibate h klasičnemu, modernemu ali kombinaciji obeh?
En razlog, zakaj mi je všeč delo v mariborskem baletu, je, da moraš biti kombinacija obojega. Nenehno menjujemo stile, in mislim, da je v tem naša moč. Moje izobraževanje je temeljilo na tehniki Balanchina, zato je bilo zabavno in hkrati izziv preizkusiti te različne sloge.
Plešete seveda oboje. Kje pa ste kljub temu bolj vi?
Samega sebe bi označil za neoklasičnega glede na svojo izobrazbo, hkrati pa je to stil, ki mi je najbolj všeč. Vendar ko delamo v slogu, v katerem nimam veliko izkušenj, se trudim razumeti pogoje in parametre.
Vaš trenutni čas je namenjen novi kreaciji Fausta koreografa Edwarda Cluga, ki bo doživel premiero 10. novembra. Nam lahko poveste, kako gre proces?
Zabavno je. Zelo mi je všeč glasba, na katero plešemo, in zahvaljujoč Gaju Žmavcu (asistent koreografa Edwarda Cluga, op. u.) smo se hitro naučili koreografije. Mislim, da bo to zelo vizualno impresivna uprizoritev. Imamo zelo bogate kostume in kulise ter delamo s številnimi različnimi rekviziti, ki prinašajo svoje edinstvene izzive.
Kaj je najpomembneje v življenju plesalca?
Verjamem, da je to subjektivno. Želim si plesati, imeti nove izzive in izkoristiti vse priložnosti za potovanja, ki jih prinaša ta poklic, ter se imeti lepo. Plesna kariera je kratka, zato si želim uživati v njej, dokler traja.
Stari ste 23 let, torej ste zelo mladi zapustili družino in se podali na samostojno pot. Kako se Newyorčan počuti v Mariboru, mestu z bistveno manjšim številom prebivalcev?
Ja, pri 16 letih sem se preselil v Pensilvanijo in od takrat živim samostojno. Določeni vidiki Maribora me spominjajo na Pensilvanijo.
Kakšno je življenje v Mariboru, vam je všeč ali se ozirate mogoče za kakšnim drugim mestom, ki bi ponudilo nove izzive?
Živeti v Mariboru je prijetno, delo mi prinaša izzive, in dokler bo tako, bo Maribor moj dom.
Ali obstaja posebno mesto v Mariboru, kjer najdete mir ali nemir?
Zame je najbolj mirno mesto v Mariboru ob reki Dravi.
Smo Slovenci prijazni do vas?
Da, popolnoma, tukaj sem se srečal z veliko prijaznosti in gostoljubja.
Kaj pa slovenska hrana, nad čim ste navdušeni, kaj pa pogrešate od doma?Nenehno me navdušuje kakovost prehrane v Sloveniji. V Ameriki je veliko gensko spremenjene in pretirano predelane hrane. Kljub temu pa pogrešam pekarne z bageli.
Ste oseba, ki natančno načrtuje, ali pustite življenju, da gre svojo pot?
Na splošno sem zelo spontan. Menim, da preveč načrtovanja odvzame veselje vsaki ideji.
Kaj menite, po čem ste prepoznavni?
Upam, da me prepoznajo po energiji, ki jo prinesem na oder, in mojem umetniškem izrazu.
Kaj vam pomeni ples?
Zame je ples del življenja. Leta treningov so ga vtkala v mojo identiteto. Ne plesati bi se zdelo nenaravno.
Hvala vam in najlepše želje za prihodnost.
Hvala, Barbra.
In English!
Dear Christopher, welcome to my website. The first question is always: who was “guilty” of your becoming a ballet dancer?
Thank you for having me here, Barbra. I wouldn’t say “guilty,” but the person I owe my career to the most is Jacques d’Amboise. Without him and his organization, the National Dance Institute (NDI), coming to my school, I doubt I would be a dancer today. I was fortunate to be selected from P.S. 199 for NDI’s in-school program, which led me to their team, which at the time would meet in the studios of LaGuardia High School on the weekend. We were primarily hip-hop oriented but as I continued, I was invited to their summer program at New York City Center where we’d get a thorough “boot camp” in many styles including ballet. After the summer, NDI opened its headquarters in Harlem and organized another boy and I audition for Ballet Academy East (BAE). We received full scholarships and while continuing our education at NDI, we started our ballet training at BAE.
Your ballet background is quite diverse and fascinating, from New York, Pennsylvania to London. Who influenced your ballet education?
I was fortunate to attend some great schools like Ballet Academy East, The School of American Ballet, Central Pennsylvania Youth Ballet, and Danceworks Ballet Academy, and lived in a lot of cool places consequently. Throughout my time in each school, I met incredible teachers, mentors, and role models such as Jenna Lavin, Joseph Malbrough, Peter Frame, Darla Hoover, Jock Soto, Marcia Dale Weary, Nick Ade, Robert Steele, Xristina Mittelmaier, and Kim White come to mind in particular. Their behavior and work ethic inspired me, and try to emulate it myself today.
It seems that your journey led you to audition in Ljubljana and Maribor during your time in London. Did you dance in a company before Slovenia?
Yes, my very first professional company performance was in Ljubljana on Kongresni trg. Prior to that, I had limited freelancing experience. I met Petar Dorćevski, Ljubljana’s artistic director, during a trip to Vienna. He gave me his card and a while later I auditioned and got a job there.
How and why Maribor happened? Were you familiar with it beforehand?
I first learned about Maribor Ballet when I saw a performance featuring “Radio and Juliet” in London. During my time in Ljubljana though, I met Anton Bogov, who presented me with the opportunity to join Maribor.
You are quite recognizable on stage with your build and blond hair. Can you describe the type of dancer you are? Do you lean towards classical, modern, or a combination of both?
One reason why I like working for Maribor Ballet is that you have to be a combination. We are constantly changing styles and I think that’s our strength. My training is in Balanchine technique so it has been a fun and challenging time trying to embrace these different styles.
How do you bridge modern and classical ballet? On which side are you more you?
I would consider myself neo-classical given my training and it’s the style I enjoy dancing the most. However, when we’re working on a style that I may not have a lot of experience in, I try to understand the conditions and parameters.
Your current focus is now dedicated to a new creation “Faust” by Edward Clug. Could you share how the process is unfolding?
It’s been fun. I really like the music we’re dancing to and thanks to Gaj Žmavc, we’ve been learning the material very quickly. I think it’s going to be a very visually stunning performance. We have very elaborate and detailed costumes and sets and are working with many different props that come with their unique challenges for us.
What, in your opinion, is the most significant aspect of a dancer’s career?
I believe it’s subjective. For me, I want to stay busy and challenged, take advantage of all the opportunities to travel that this career provides, and have fun. The career of a ballet dancer is short so I want to enjoy it while it lasts.
You are 23 years old. Having left your family at a young age, how do you, a New Yorker, feel in Maribor, a city with significantly different population demographics?
Yes, I first moved to Pennsylvania at 16 and have been living independently since. Aspects of Maribor remind me of Pennsylvania.
What’s your daily life like in Maribor? Are you seeking new challenges or something you miss from home?
I have a very cozy life in Maribor, but at work, I still find challenges for myself and as long as I continue to find those challenges, I will call Maribor home.
Is there a particular place in Maribor where you find peace or restlessness?
For me, the most peaceful place in Maribor is along the Drava River.
Have Slovenians been friendly to you? What do you appreciate about them and what do you miss from home?
Yes absolutely, I’ve been met with great kindness and hospitality here.
What about Slovenian food?
I’m always impressed with the quality of the food in Slovenia. In America, a lot of our is genetically modified and overly processed. That being said, I really miss bagel shops.
Are you someone who plans meticulously or prefers going with the flow?
Generally, I’m very spontaneous. I believe that too much planning takes the joy out of an idea.
What do you think makes you recognizable? Besides your blond hair, are there specific characteristics by which people identify you?
I hope what I am recognized for is the energy that I bring on stage and my artistry.
What does dancing mean to you?
For me, it’s a part of life. I’ve spent years training and it has become a part of my identity. To not dance would seem unnatural.
Thank you and best wishes for the future.
Thank you, Barbra.
