Felix Landerer x GroovyDancy
-You are an absolutely stunning choreographer, with a very specific vision. How did you develop your artistry as a choreographer?
“Developing artistry as a choreographer has been a long and winding journey for me. Initially, I was influenced by the choreographers I worked with as a dancer, and it took a few years to detach myself from those influences and develop my own voice. I had to get rid of and add to what my body knew in relation to those choreographers and explore my own physicality and theatricality.
I spent a lot of time improvising in the studio, experimenting with different movements and pathways, and trying out ideas that inspired me or that I wanted to explore further. Through this process, I was able to identify what I liked and didn't like, what inspired me, and what was adaptable to my body and vision. Slowly but surely, I began to filter out what belonged to my own aesthetic and physical language.
Creating a recognizable signature as a choreographer is a difficult task, and it was one of my primary ambitions from the beginning.
For a long time, my focus was on shape, movement, and composition. I developed what I like to call "architecture" in my work, paying close attention to the way movements fit together and create a cohesive whole. While these elements remain a crucial part of my work, I've realized that my journey can continue to explore how complex movement can be, not just technically, but in terms of how it reflects and depends the individual who is executing it.
I've become increasingly interested in how much information can be conveyed through movement and it’s relation to an idea or another body. By working with tension, release, timing, and the dancer's relationship to the movement, I try to create movement that is not just physically complex, but also deeply human and relatable.
The key to creating choreography which speaks to me is to focus on the human element. I want to create movement that feels like it comes from a real person, not an abstract space. I want viewers to be able to see the human being executing the movement and to feel a connection to them on an emotional level. This requires a great deal of focus and attention to detail but it is what makes the work so rewarding and fulfilling.”
-You are now creating a new piece for NDT, as part of “Raw are the Roots”. How do you feel about being back in NDT? Could you tell me a little bit about the piece and the creation process?
"Being back at NDT is a very special experience for me. The company has so much creative potential that working there carries with it a desire to create something which lives up to that potential. This can of course lead to a sense of pressure, but I learned to trust my process enough that thankfully I simply enjoy the time in the studio with these wonderful artists. It is so satisfying to be working with this group of open, curious, and invested dancers. It is a privilege and a joy to be back at NDT, where the combination of knowledge and artistic integrity that you encounter is incredible.”
-What are you looking for in dancers you are working with?
“For me, it’s important for a dancer to have a "smart body" and a quick understanding of movement. This means being able to quickly adapt to new movement patterns, as well as being able to reflect on their own habits and patterns as a performer. It takes patience and dedication to really delve into the logic of the physicality required in my work, and to truly understand the nuances of each movement.
Beyond physicality, I also look for dancers who are sensitive and intelligent in their approach to performing. This means being able to connect with an audience in a direct and meaningful way, and having a clear sense of how to communicate through movement. I'm interested in exploration and in addressing questions of focus, connection, and versatility with the dancers I work with.
I find it very valuable when a dancer can access a sense of vulnerability and transparency. This takes courage and a willingness to fail, as well as a deep sense of trust in the creative process.
Ultimately, the most important factor in collaborating general is the way it feels to work together. I am looking for dancers who are willing to put their assumptions aside in order to fully explore and experiment with movement. Sometimes, I find that a less technically skilled dancer can be more fun to work with than someone who is highly skilled, simply because they are more eager to learn and grow.”
-As a choreographer, what are you interested in? And, what fascinates you in creating? How do you always find new inspirations to continue creating new work?
“What i like the most is crafting movement, spatial structures, and timing. I believe that having good tools and knowing how to craft movements is essential to my approach. Sometimes I start with a vague idea and the piece reveals itself during the process though sharing ideas with co-workers and other artists. Other times, I start with a clear idea and reference it more directly as I generate movement material. In general, no matter how clear my idea is, I also like to leave room for the process to surprise me. What I have realized is that my mind can even be subconsciously set to an idea, such that when I craft movement, I am intuitively looking for connections to that idea, even if the movement feels random.”
-What do you hope audiences take away from your performances and choreography?
“I've given up on the idea of predicting or hoping for something specific, because it's too unpredictable. The audience in art is a mystery. There are so many factors at play, including the individual state of openness on a given day.
As a choreographer, I think about a subject and try to create a work that delivers to that subject as best as my craft and inspiration allow, and then I put it out there for people to engage with in their own way. I try to leave space for the audience to access the work and engage in a dialogue with it, instead of the work holding a monologue.
There are a few things that are important in attempting that. Aesthetically, you can invite the audience with different choices, such as whether you want to be provocative or gentle, or how you want to start and end the piece. But it's always subjective because I cannot predict or dictate the feeling to somebody else. You can try to lead them, but if you try too hard, it can become something too simple.
Complexity is something I really value, because it allows for different access points to an idea. I don't want to create pieces that ignore the audience, but not if it means diluting the integrity of the work from my perspective. Ultimately, I hope that audiences take away their own experiences and interpretations from my work, and that it sparks conversations and connections beyond the performance itself.”
-How do you deal with not inspiring days in the studio? How do you motivate yourself?
“I find that it’s important to be honest with yourself and others and to acknowledge when you're not feeling it. Forcing yourself can lead to frustration and ultimately hinder the creative process. Sometimes it's best to be open to ending the day early if you're not feeling inspired and don't have a clear direction.
That being said, there are also times when it's interesting to work through the uninspiring days. I've had days when I was very unsatisfied with the rehearsal but I let it happen and the next day, upon reflection, I found that sometimes unexpected things came up that were different from what I initially intended. These moments can lead to something that is really valuable.
It's important to me to be able to say "I have no idea how to solve this right now". Maybe somebody else in the room can come up with an idea or suggest trying something different.
Lastly, sometimes just going back to the basics or trying something that you've done before can spark new ideas and lead to a breakthrough. It's also important to be humble and realize that not everything can be an amazing new invention.”
-What role do you believe dance plays in society, and why do you think it is important to continue promoting and supporting the arts?
"In essence, dance plays an important role in society as it has the potential to offer a deep and complex experience that can raise questions of taste, tolerance, and acceptance. It confronts the unknown and unfamiliar, which can be difficult for people but valuable. Art in general is, in my opinion, increasingly important in a world of optimization as it requires taking the risk of not being pleased or delivered to. Dance is a cultural field which is still foreign to many people and promoting and supporting the art form is important because it offers access to a complexity that is emotionally and intellectually necessary.”
-What advice would you give to young dancers or aspiring choreographers who are just starting out?
“My advice would be to keep an investigative mind. Contemporary dance is characterized by a lot of openness and curiosity and this is something that should be embraced.
Another important aspect to keep in mind is to ask a lot of questions, including questioning your own habits and tastes in movement. As you gain more experience, you will uncover more layers in your work, and to me, this is where the beauty of dance lies. Developing your taste and knowing what tools you want to work with is important but without becoming too restricted by it.
Communicating effectively is crucial for dancers and choreographers. You need to understand the kind of room you want to create as a dancer or choreographer, and how to create it. I believe vulnerability and openness requires trust, above all in oneself.
A creative process requires vulnerability from both sides, but that doesn't mean you should allow everything in the room to happen. It's important to be selective and intentional in what you allow in.
The performances that have stuck with me are those that are characterized by vulnerability, transparency and courage.”
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