Acting Professionally in a Rehearsal Studio

The Royal Ballet in rehearsal (Photo: Unknown)

Rehearsal etiquette is one of the many unspoken areas of our silent art form. There is no particular way that each and every rehearsal studio is run. But at the same time, there are general no-no's (and yes-yes') that are taught within the culture of a company as they create, fine-tune, and prepare a work for the stage.

Back a handful of years ago I was working with a pickup company that employed enough dancers to fill a small rehearsal room. In other words, our athletic group of 8 had to get along considering our company's size. A few of us were more seasoned than the others. But one dancer was enjoying the raw, empowering, and often shocking experience of their first job as a professional. Previously, I talked about my experience at my first full-time job with Houston Ballet and how I stepped on dancer's toes without even realizing it. After watching this type of situation from the other side, as a senior dancer, I was taught a lesson in kindness, patience, and humility.

Dancing for a big company is very different than dancing for a small ensemble. In a bigger company, dancers often feel more comfortable being up front (if not, sometimes, mean) when trying to streamline a young dancer into their place in the unique culture of a professional company. If any interaction becomes tense, dancers can retreat into their clique for comfort or hide behind other dancers who are more willing to stand their ground. But in a small company, there is nowhere to hide, very little hierarchy, and everybody has to interact frequently with one another in the studio.

Smuin Ballet in rehearsal (Photo: Chris Hardy)

Back to the occasion of watching this new dancer enter a rehearsal studio without the assimilation that the rest of us dancers had. It was a generally difficult situation to endure. The leadership wasn't very good at running a rehearsal studio and they let the dancers have a bit too much control over what happened. This new dancer became a stressor for other dancers as they were acting in ways that went way beyond the etiquette of most professional environments. Things like actively telling other dancers how to fix their dancing, counting over the choreographer, and regularly interrupting the process to crack jokes became the norm. And while the other dancers with more experience didn't approve of this behavior, the director and ballet mistress chose to allow it to continue.

Now, it is perfectly healthy to run a studio where dancers feel that they are a valuable part of the process, where the environment is light and friendly, and where a dancer feels that they can speak up when they feel that something isn't working properly. But this dancer started to become a distraction and affected the ability of others to work to the best of their abilities. Due to the size of the company, where another more experienced dancer may have talked to their freshly minted colleague, this dancer was left continually breaking "rehearsal-code" for the extent of the gig. This was most likely due to the fact that, in such a small group, everybody knew that a small amount of tension between two dancers would be felt by all.

In this company, many of the dancers looked up to me and respected my work. And for that reason, it was suggested by some that I speak to this dancer to give them an idea of professional rehearsal etiquette. But, as I stated before, I felt it would cause too much tension and that it was actually the responsibility of those in the front of the studio to hone this character in. Looking back, I'm glad I maintained this position. But this is the advice that I would offer that dancer today if I were the person at the front of the studio.

First things first, the way you act in a rehearsal studio as a student is completely different than when you are a professional. Most students who become professionals have reached the top of the hierarchy of a school. Essentially, if the school had a ranking, these dancers are the Principals of the school. In a professional company, a top-level student most often enters at the lowest rank and seniority. In most professional rehearsal setting, Principals have more leeway and freedom in their choices, actions, and vocal interaction than others. Not to say that a new professional can't have a voice or input. But it is the job of an apprentice or first year dancer to sit back and absorb what is happening around them. They don't have equal cultural standing to those higher ranked or more senior dancers. Just like in medieval times, the apprentice to the blacksmith didn't walk in on day one and start working with the iron. It may have taken a long time before the mentor allowed the apprentice to even touch any equipment, let alone lead the creation of a work of art.

My next bit of advice is to keep an open mind about your idea of what a rehearsal should look like. School rehearsals are often much slower paced with more time to retain choreography, fine-tune, and engage in conversation. Many professional environments are much faster-paced and don't open up the room to ask questions or discuss particular material until all of the material is already out. This is to help streamline the process and may even be an effective money-saver. In school, most of the students are paying to dance. In a professional environment, time is money. The longer dancers are in rehearsal, the more they get paid and the more time spent paying for rehearsal space (esp. in freelance or project based gigs that don't have a home studio). There are reasons for professional rehearsal culture that go beyond personalities and people getting along.

Joffrey Ballet in rehearsal (Photo: Lenny Gilmore)

The final idea I'd like to share about rehearsal etiquette is a grey area that is fluid from company to company, but generally recognized in some way or another. I'd like to bring up seniority and respect for dancers with more experience. One of the big issues with this fresh, new dancer was that they felt their presence in the studio was absolutely equal in contribution to the more experienced dancers around them. I'd love to say that this is the perfect ideal, but it was actually one of the most challenging aspects of working with this person. The difficulty laid in looking at them as a person versus their job and position as a dancer. As a person, we all enjoyed this dancer very much and wanted to give them a chance to find their place. But as a dancer, many of us felt disrespected by this person's actions. For instance, a young dancer should never think it is acceptable to offer unwarranted corrections to a more senior dancer. Additionally, taking over a rehearsal space and telling dancers how to count or how your exploration of the process is more correct can be horribly disrespectful and doesn't acknowledge a dancer's wisdom gained from time put in. Whether a young dancer is more naturally talented than a senior dancer doesn't play into the fact that dancers with seniority have spent years fine-tuning their technique, movement, and rehearsal practice. The value in hiring more senior dancers is that they have existed in a professional dance studio much longer than younger dancers. They are brought back to dance for an organization because they have a very keen sense of how to work effectively and professionally in a variety of work environments. Even a dancer with immense talent can not innately understand this. And for this reason, it is extremely important that they take a step back and absorb the culture that experienced dancers project. Because in the end, these senior dancers are not projecting their own idea of the culture. They are projecting the culture that came before them and taught them that culture and so on. You are essentially being taught the cultural history of the company by learning from those who came before you, absorbing it, and then will hopefully pass it on when you aren't the young or new one any more.

As you can see, I shied away from sharing too many specific items about how to act in a studio. This is mostly because each and every studio functions differently and most effectively per the needs of an organization. I don't want any dancer to ever feel completely stifled by trying to fit in to the culture of a dance company's rehearsal process. But if you approach a professional rehearsal studio with respect for those around you and respect for what came before, it will be much easier to acclimate to dancing for a company. And, if you are lucky enough, perhaps, you will have the staying power to become one of those dancers that helps the next generation learn a company's culture from your fine example.

The rules of taking open class

I know that my last blog was a list post, but inspiration has struck and I feel that it is completely necessary to offer you another list. I was taking our morning warm-up class today at the Westside School of Ballet, where I am preparing a performance with Barak Ballet, and I found myself wildly frustrated. The annoyance I felt is actually not uncommon for me. In fact, I find myself needing to stifle my emotions often while taking open class. Most people that don't take open class don't understand what I am referring to. But any professional that has had to suffer through an open class knows exactly what I am talking about.

Open ballet classes are essentially the zoo of dance, but for people. I have taken open class in New York City, Philadelphia, Seattle, Los Angeles, Houston, DC, and beyond. So I have a pretty good take on this. There can be any combination of people taking class, from young students looking for an extra class to middle-age professionals (non-dance professionals) trying to stay in shape. Sometimes, you find tweens in class and, at other times, the dancers may be closer in age to your grandparents. Add a handful of professional dancers trying to stay in shape and you can only imagine the cast of characters that have arrived to partake in the art of ballet. For some reason, "dance-etiquette" is rarely taught in combination with the strict set of exercises that are given from barre to center and jumps . For this reason specifically, I feel that I need to speak up about the horrors faced and the lack of understanding and respect that occurs around the world daily in these classes open to all. When I teach class, I do my best to educate my students about an art that is borne out of respect. So, let's proceed and learn a lesson or two in the etiquette of ballet.

King Louis XIV

- Traditional ballet was founded by a king to be performed by those in the higher class. Royalty. There were many expectations in place when these royals interacted with each other and those considered to be below them. While things have changed as we have evolved out of this culture, there should still be a great sense of respect for those around you and their relationship to you in class.

- Look around the room. Yes, most everybody has paid an equal sum to partake in class. But each dancer is individual and has come from a different background. If a dancer looks like they really know what they are doing, they are likely professional dancers. They have put in a lot of time and effort, plus they have been highly trained in the rules of ballet. Don't assume that you have an equal standing in class as these professionals. Take a step back and take a lesson in humility. Watch these dancers and learn from them. Dance is an art that is passed on by spoken word and careful, visual observation. The next step down from the professionals are the regulars. They have put in their time at the studio, they have cultivated relationships with teachers, and they have a better understanding of the culture of their specific community. Next on the list are pre-professional students. These students are hopeful to achieve the status of professional. They are still learning the ins and outs of ballet and may not fully grasp the system that is commonly in place during a class. But they are on their way. Lastly, you have the drop-in students that come for fun and health. These dancers aren't necessarily interested in performing professionally or regularlity in attendance, but they stop by here and there to keep in shape and enjoy themselves.

- Show up to class before it begins. This doesn't mean you should walk in the door at the listed time. Arrive at least 10 minutes prior to the scheduled start time to sign in, pay your fee, and change. Here in Los Angeles, it is not uncommon for people to get stuck in heavy traffic and arrive late. This happens. But respect the fact that others showed up on time. If you are late, immediately look for a barre that is unused or the least full. DO NOT stand in front of somebody who has a direct view of themselves in the mirror. They probably arrived early to ensure that they could watch themselves and improve. If there are multiple barres in the room with two people on each side and one barre with 3 people on it, join one of the barres with fewer people on it and stand in the less comfortable spot. Whatever you do, if you are tardy, you should not place yourself somewhere that makes it harder for someone who arrived on time to work properly and effectively.

- It is perfectly fine to have a conversational moment with the teacher or your peers, but only for a short moment. Do not engage in loud, extended, or multiple conversations between combinations with the teacher. Also, if you have a question, by all means ask. But if you find yourself asking a question after nearly every combination, be more attentive and start watching other dancers. If you didn't catch a combination the first time in center, go in the second group. If you don't know how to execute a step properly, watch a dancer that looks like they know what they are doing. Ballet classes are a series of stops and starts to learn combinations, then execute them. Adding more time between the end of a combination and the start of the next one leaves time to get cold and to lose focus.

She does not belong in an advanced class

- Study the list of classes and ask the front desk questions before you enter a class at a level potentially higher than your ability. If you danced for years, but haven't taken class in five years, you should start in an intro or beginner class. Always take a level lower than you think you should before you consider moving up. There are constantly dancers taking the most advanced classes that do not belong in these classes. Not only are they a distraction to those that understand the intricacies of an advanced class, they are putting themselves in danger of potential injury. If you aren't sure where you should be placed, take the lower level classes and ask the teacher what they think after class. Also keep in mind that it takes a student years to progress to an intermediate, then advanced level.

- If you are not a regular or a professional, you should be weary of standing in the front or going first in groups. If you don't know the combination, you should definitely not go in the first group.

- Evenly space yourself in class. Do not stand in front of everybody while only moving forward halfway to the front. I always teach that the best way to respect others is to respect yourself. If you stand to close to a barre or person, you are making it more difficult for yourself to execute the combinations. You are offering yourself less of a chance to succeed. If you respect yourself by giving yourself enough space, you will also be respecting others because they won't be avoiding your limbs while they are dancing. Dance is based on ideals of respect. When you are at barre, if you are going to hit somebody, you need to turn the angle of your body away from the barre to the front and in towards the barre to the back. If you are doing center work, don't stand directly next to somebody. Stagger yourself. This means that one person stands forward and another stands back. If you are going from the corner, stand as close to the corner as possible in a triangle with the point towards the corner you are coming from or a square in two diagonals.

San Francisco Ballet dancers properly staggering themselves

 - If a professional or regular moves over, it doesn't necessarily mean that they are making space for you to move over as well. It likely means that you are too close to them and they are trying to gain more space to avoid hitting you.

- If you are not going to or unable to execute the combination in full, absolutely do not stand in front of anybody. It is disrespectful and prevents anybody behind you from fully executing the dance.

- One rule that is very important in ballet class is that you should never step in front of anybody. If somebody is standing in fifth position or B-plus, they are communicating that they are ready to perform. It is rude and disrespectful (and distracting) to step in front of or next to a dancer that has already expressed that they are going to do the combination.

- When a combination is over, it is proper to run forward, first, and to the side, second, as fast as possible to allow the next group of dancers to run into place. This will help you avoid collisions and keep class flowing.

- Most of the time, professionals are in class to stay in shape and improve their abilities. They are not in class as a hobby or to hang out. Think twice before you start talking to them. Chances are, if they don't approach you, they are working very hard and trying to concentrate on improving their art. If you want to start a conversation with one of these dancers, wait until class has ended.

- All dancers enjoy a compliment for executing a step exceptionally. If you absolutely feel the need to express your appreciation or awe, clap for that dancer or say something at the end of class. To constantly walk up to a dancer after each combination because you are impressed with them is a distraction and changes the compliment into a frustration.

- After class, a professional is likely running to rehearsal or a job. Class is a warmup for them. Feel free to engage them in conversation, but be aware that they are probably trying to leave the studio. Make sure that your conversations are appropriate and not asking too much. Don't corner a dancer and remain unaware that they are trying to gracefully exit the conversation. Most dancers are glad to offer helpful advice, but in small pieces.

- If I have one rule that is extremely important to maintain, it would be to remain aware of your spatial awareness. Not to be dramatic, but there is an epidemic of ignorance towards spatial awareness in open classes. Learning how to dance within a certain confined amount of space is just as important as learning how to point your feet, lift your legs, and develop a floating sense in your port de bras. Nearly every professional dancer starts their career in the corps de ballet. Twenty four swans can not exist on a stage without having an acute sense of what is happening around them. Learn how to look around your body while you are dancing. Use your peripheral vision. Don't battements your leg toward a person if they "may be" too close. If there is any chance that you could hit somebody, you are too close. You can practice spatial awareness by dancing in a small, confined room and avoiding hitting the walls with your limbs.

If more dancers understand this set of rules before entering an open class, you will be more likely to enjoy yourself and improve faster. While it is important for many professionals to take open class daily to maintain their technique, it is equally important that anybody who wants to partake has the option as well. Not only do these classes fund schools and companies, but attendance of non-professionals keep numbers up, which allows class to keep happening. Attending ballet classes also develops certain appreciations for those that won't necessarily have a career in dance. These "open-class" dancers come to performances, spread the word to those less educated in dance, and may even be inspired to donate to professional companies to keep them up and running. While it is important that open class remains open to all, it is also important that we begin to educate dancers in the codes of conduct and the finer details that are involved in a ballet class beyond the steps.

The Fine Line Between Submissive and Aggressive

As a student of dance, you are taught to be as submissive as possible. You know nothing and the teacher holds the key to all of the possibilities of your future. Of course, there are good teachers and bad teachers and you submissively hope that each teacher is going to give you all of the correct tools for success. Whether you get proper training or not, if you make it as a professional, it is likely that you lucked out on a great teacher or moved along to find a new, better teacher to show you the way. Once you become a professional, you are hired to follow the lead of a director and their artistic staff. Essentially, show up, take class, come to rehearsal, do your job, and go home. Don't question authority, corrections, or advice. As a pro, your role as dancer changes to a degree and you have a bit more say in how you approach your work. But for the most part you must still remain subservient, even as a fully grown adult. At what point does this mindset help one's career and when does it begin to hinder your pathway to success?

When I am teaching a class, I fully expect my students to hang on every word I say. I've been through rigorous training at world-class schools, I have danced on many great stages, and I have had lasting power that has allowed me to continue dancing for 10 years and counting. My students are more than welcome to ask questions. But when it comes to questioning my approach, knowledge, and corrections, I am not open to holding a debate about my reasoning with a student in class. What it comes down to is this. A student is somewhere between a blank canvas and an uncolored outline of a beautiful picture. They still need the tools to determine what colors to paint the picture, what brush to use, and the appropriate technique to combine these things into a piece of art. Very rarely does a student have a natural knack to complete the image without any instruction. For the most part, a student needs articulate guidance to help them along their path to success. This idea of blind following is a necessary aspect of a student's training.

Because many dancers begin their career at a young age, the concept of blind following tends to bleed over in the transition from high-level student to professional dancer. As a pro, it is assumed that you will be that blank canvas I mentioned above. The expectation of a dancer is to walk into a studio, have previous choreography/new work transferred to their body, and then to go onstage and do exactly what they have been told to do in rehearsal. For the most part, the dancer is performing under great influence of those that they are submissive towards. Typically, the only influence dancers have in the choreography comes from their personality and individual nuance. It is not common for a dancer to be given liberty to make largely personal choices in the studio or onstage.

Dancing "Gold" in "Sleeping Beauty" - SAB workshop '03

I often ask myself whether adult-professional dancer submission is due to the nature of the work or the nature of the training. There was great controversy back in 2009, when New York City Ballet's Ballet-Master-in-Chief, Peter Martins, was called out by a dancer that had been laid off and felt the need to speak about certain aspects of dancing for America's largest dance company. In this article, former dancer, Sophie Flack, stated "we’re referred to as kids by the administration. Some of the people they’re referring to are 35-year-old women with children." I often question why this happens. For many dancers, especially within New York City Ballet, they are hired as teenagers that have come through the School of American Ballet. Peter Martins often taught at the school when I attended in 2002-2003. When students come through training programs as teenagers and transition to professionals at a young age, the leadership still has the memory of the dancers as students. I feel it can be difficult to make the mental transition, on the artistic staff's side, from aspiring child to working adult. This is not always the case, as many dancers move on to dance with companies that didn't see this progression. But the idea that most dancers don't have a transition in the most common sense, like going from high school student to college student to intern to working professional, blurs the line between submissive, child-like attitudes and more aggressive, adult-like independent thinking.

It is quite difficult to work as a freelance dancer because of the submissive nature that is instilled in dancers at an early point in their training. At times, one can feel like they are fighting against their very own being. When a dancer chooses to freelance, they are finding their own work, promoting oneself, and looking out for their own needs. Much of this requires an aggressive streak. Dancers that remain submissive will find that they have trouble convincing employers that they are the right person for the job. The act of negotiating a contract is also an activity that requires the dancer to act more aggressively to have their needs met. Following these more aggressive behaviors, a dancer arrives in the studio and is expected to be completely submissive. To add to the confusion, if an issue, whether relating to comfort or safety, needs to be handled, it is the freelancers necessity to speak up for themselves. It can be quite confusing and cause problems if one can't determine when it is appropriate to be submissive or aggressive.

What I find works best for me is to get my most important needs written directly into a contract. This prevents any question if an uncomfortable situation arises and I need to address it. Responding aggressively to an action that is in opposition to expectations seems less aggressive if it is put down in writing prior to the issue. I find that it is easier to remain submissive in a studio if you respect the people you are working for and if they provide an atmosphere that is comfortable and safe. As it is often said, respect breeds respect.

To be completely honest, I find myself happiest in a studio where I feel that I can remain submissive. When I feel the need to step into a more aggressive role, it is usually because I feel disrespected or endangered. Moving away from my place of submission makes me horribly uncomfortable. Certain situations do arise that can push the boundaries of a dancers' reaction. For instance, if an employer makes last second changes to a rehearsal schedule, how is one supposed to react? What if rehearsals continue longer than they are supposed to? Or if the warm-up class is not what is expected or appropriate? What if there is a last minute costume change that could be potentially dangerous without any time to adjust? When is it appropriate to speak up (an aggressive act) and when is it time to let it slide (a submissive act)?

As I have already said, I am happiest in rehearsals where I can remain submissive. Unfortunately, working as a freelance artist, there will be times when one must stand up for themselves. This has been a challenge more than I would like to admit during my tenure as a freelancer. Dancing with an AGMA company, the dancers had a 40-something page contract that clarified every detail of expected conditions and terms listed. In the freelance world, there is no such thing. For the most part, you are at the will of whatever the employer asks you to do. If you don't feel safe and you choose to act submissively, you may be jeopardizing your own well-being. But if you respond aggressively, you may be upsetting the management and creating an insubordinate image. Essentially, it takes great judgement on the freelancers part to decide when it is appropriate to let something slide and when to speak up for oneself.

In the end, due to the nature of expected dancer submission, if one chooses to vocalize their concerns, they may risk souring the director's view of them and destroying potential for future work together. Whether the issue is small or large, an aggressive discussion (whether mild or severe) to resolve conflicts of interest can end in resolution or disaster. Unfortunately, I am not in a place to give advice on what is right and what is wrong. It is as personal as it gets. The only advice I can give would be to judge your relationship with the person you are bringing an issue up with, think about how important the problem is and how much it is affecting your well-being, and avoid entering into a discussion with anger and resentment. Keeping these things in mind, it will be easier to have a civil conversation. Essentially, be aggressive with a hint of submission. And if you see that the opposite party isn't responding well, have an exit plan. If the item is important, stand your ground. If it is anything less than important, consider taking a step back or compromising.

Many engagements come and go smoothly with both parties pleased with the work done. There are times that things don't go as planned. Working as a freelancer often means that an employer can request a dancer to do anything beyond the scope of their contract, which is often short and limited in language beyond pay, status, and expectation. Any dancer should be aware that they are expected to act submissively on most occasions. But as a freelancer, one can't be afraid to have aggressive moments. Work aggressively to find work and protect your comfort and needs, but keep a close gauge on managements responses and reactions to help maintain a good working relationship. In the end, if conditions are bad enough that you feel the need to play the aggressive card too often, it is likely that you won't be returning to dance for that employer again in the future.

Submissive dancers in the front - Aggressive dancer in the back