Power in Numbers
Andre Silva shares the significance of the number sigh 11:11 in his new work of the same name for Texas Ballet Theater’s performance this weekend.
Photos: Andre Silva (L) courtesy of Texas Ballet Theater. Andre Silva’s 11:11 (R) courtesy of Steven Visneau.
Fort Worth — You have seen him portray princes, villains and heroes in numerous ballets presented by Texas Ballet Theater (TBT), but, for the first time, audiences will get to see who Andre Silva is as a choreographer in his work 11:11, part of TBT’s In The Middle performance March 1-3 at Bass Performance Hall in Fort Worth. The program also includes William Forsythe’s In The Middle, Somewhat Elevated and Christopher Bruce’s Ghost Dances.
Originally from Brazil, Silva began his professional ballet career with TBT at the age of 17. He danced with the company until 2009 when he decided to leave to dance abroad with Les Grands Ballets Canadiens de Montreal from 2009-2014. From there he danced with Germany’s Ballet Augusburg for a year before returning to TBT in 2015, much to audiences’ delight.
Throughout his time with TBT Silva has danced leading roles in many of Ben Stevenson’s ballets, including Peer Gynt, Romeo and Juliet, Swan Lake, Dracula, Bartok, Preludes for Van, Five Poems, and Mozart Requiem. Some other works he has performed in include Val Caniparoli’s Without Borders, Christopher Wheeldon’s DGV: Danse à Grande Vitesse, Christopher Bruce’s Rooster, Carlos Acosta’s Carmen and Alexei Ratmansky’s Seven Sonatas.
Silva says what ultimately brought him back to TBT was Stevenson. “I love his leadership. What he brings to the table. The way that he coaches the dancers. The way that he choreographs. And I love his energy.”
He goes on to say, “TBT was my first company when I was 17 so I came into the company very young and I learned so much from Ben. He gave me my first leading role when I was 18. So, I really wanted to dance under the direction of Ben Stevenson again. I wanted to do his ballets again and I also wanted to work with the staff again. So, that was the reason I came back and I am very happy to be back.”
He also points out that his decision to leave TBT was mostly to explore what was out there and learn from various directors and choreographers in Canada and then Europe.
Silva admits that he was speechless when Stevenson approached him about creating a piece for the company. He says up until then he had only set work on the school and second company. “He really took me by surprise. In a year and a half I had created three to four pieces so I suppose I showed him that I was capable of doing this. When he approached me he said ‘I think you are ready for the company’ and I was like WHAT, but I was obviously extremely grateful and I still am and forever will be because I get to show what and who I am as a choreographer.”
The title, 11:11, came to Silva while he was working in Germany and has remained in the back of his mind so when Stevenson came to him about doing a piece Silva knew exactly what he was going to call it. The 25-minute work features 22 dancers (11 men and 11 women) and is broken up into nine movements. The work also includes costumes by Brazilian native Sonia Roveri, which Silva says fits the theme with its blending of colors and concepts that connect with the movement.
As for his experience in the studio with the dancers Silva says, “It was very collaborative. I would come in with a short phrase and allow the dancers to collaborate and let their bodies move in a way, and if I like the way they move or the way they approached it then I loved to put that in.”
He continues, “I am a very collaborative choreographer. I think it makes the work much more interesting because the movement comes in the moment and it becomes real and natural, and that’s also what 11:11 means to me. 11:11 is in the moment. 11:11 is infinite. And so it becomes this beautiful experience for me to be able to have dancers that are opened as well. It becomes a natural and interesting approach and I am always content with how things turn out.”
When it comes to organizing movement ahead of time Silva says he prefers to do it at home in his back yard or at the park where he can garner inspiration from everything around him in nature. He also says that he used to try to write everything down, but now prefers not to prepare too much before coming into the studio with the dancers. “This challenges me to accept that it will be O.K in the end and that I will come up with something special out of that.”
Going back to the title Silva says that for some people it may mean nothing, but for others it could have many different meanings. In this work the nine movements represent nine experiences Silva has had with 11:11. As for the audience he says, “I hope that people can understand perhaps what it means or take away something for their future reference as 11:11 or just have some kind of perspective of 11:11.”
He adds, “It’s important that each audience leaves the theater hopefully inspired and intrigued by their next experiences with 11:11.”
During our phone conversation Silva was also very opened about the struggles that come with choreographing any type of work. The main one being what happens when a choreographer gets stuck. When this happened to Silva he says he would remind himself of his intentions for the work. “When I am struggling and stuck I have to remember what the intention behind it is. What is it that I want to come through? And the moment that I think about that the feeling is what actually gives me movement.”
He confesses, “It’s not easy to do, but I have to trust that intuition and just let it flow. And the moment we trust it, that’s when it flows better than you ever thought it would.”
This preview was originally posted on TheaterJones.com.