I was shocked! " A British director and Shanghai Ballet for 23 years, "When I first came here to rehearse, the Phantom of the Opera | Shanghai Ballet"
In 1983, at the age of 26, Derek Dean made his debut on the Chinese stage as a young actor in the Royal Ballet of the United Kingdom.
In 2000, he, who had transformed into a world-renowned ballet choreographer, hit it off with Xin Lili from the Shanghai Ballet and began a 23 year collaboration with Shangba.
From "Swan Lake" to "Phantom of the Opera", Derek Dean, as the invited artistic director of the Shanghai Ballet, has witnessed the growth of many actors. They went from unfamiliarity to tacit understanding, achieving success with each other and creating multiple high-quality ballet productions.
Derek Dean is proud of this team and looks forward to allowing more audiences around the world to see the brilliance of Chinese ballet.
I once felt troubled and even somewhat discouraged
Upper view: Your cooperation with the Shanghai Ballet began in 2000. How did you get to know each other 23 years ago?
Derek Dean: In 2000, I first met Xinlili when she was searching for a suitable ballet for the Shanghai Ballet. When she saw the British National Ballet perform the version of Swan Lake that I directed, she really liked it. She contacted me and hoped to cooperate with me.
To be honest, before that, I knew very little about the Shanghai Ballet, but after communicating with Xin Lili, I had a premonition that we could create excellent works. So, I came to Shanghai.
When we started working together, I found that our ideas were very consistent, and we shared a common artistic pursuit. She is open-minded and values the openness, communication, progress, and change of the dance troupe. Our meeting and cooperation can be said to have happened at a very appropriate time.
Today, we are sitting in such a beautiful rehearsal hall talking, it is truly a miracle. In the past 23 years, I am well aware that this ballet troupe has faced various difficulties, and it still maintains a good state and rapid development, which is incredible.
Directed by Derek Dean and invited artistic director of Shanghai Ballet. Born in 1957, he has served as a leading actress for the Royal Ballet, the National Ballet of the United Kingdom, and the artistic director of the National Ballet School of the United Kingdom. Photo by Jiang Diwen
Shangguan: Do you still remember the scene when you first came here to work? What impression did the members leave on you? Are there any communication barriers between you?
Derek Dean: My first time working at the Shanghai Ballet was rehearsing "Swan Lake", and at that time, I felt a different culture from Western dance troupes, which shocked me. They are very disciplined, and for a director, being able to work in this environment is very wonderful. The dancers here are never late. They always arrive on time and do not whisper during rehearsals. They are really focused, like sponges, good at absorbing new knowledge. This is very different from Western dancers, they have a bit of freedom, they may say, I will learn this move tomorrow, but the dancer on the ballet will say, I will learn it right away.
At the beginning of the rehearsal, we did face the problem of language barriers and communication with each other was a bit difficult. But we persevered and through several months of effort, we completed the rehearsal for Swan Lake, and this collaboration was very successful. Although the Shanghai Ballet at that time was not as powerful as it is today, I saw their potential for development and realized that Xin Lili and I share the same artistic philosophy and expectations for the future.
Over the past 23 years, you have developed a deep relationship with the actors of the Shanghai Ballet, and I heard they usually call you "Ding Ding". In your eyes, what kind of growth have these actors gone through?
Derek Dean: There is a big difference between Chinese culture and Western culture, which is that Chinese people are more reserved and reserved in emotional expression, while Westerners are more individualistic. When I first came to work at the Shanghai Ballet, I found it difficult to mobilize the emotions of the dancers. I once felt troubled and even somewhat discouraged by this.
In my opinion, expressing emotions sincerely on stage is what dancers should do. We aim to make the audience detach themselves from daily life and immerse their emotions into the stories and emotions we create, allowing them to temporarily forget how difficult life can be. So, I never thought expressing emotions on stage would be awkward, but the dancers here didn't think so at the time.
I still remember the first rehearsal of Romeo and Juliet, when the emotions of the male and female protagonists reached their peak, they had to kiss, but the dancers wouldn't kiss. Although I say "you must kiss" over and over again, it is still difficult for them to accept. In terms of emotional expression, I found ways to mobilize and then mobilize, pulling and tugging at each other for a long time. In the end, they slowly abandoned their restraint and restraint and indulged in expressing themselves on stage.
Of course, emotional expression cannot be separated from physical skills. To be honest, most dancers back then were not physically strong. Over the years, they have made great progress in body language and dance techniques, but what pleases me the most is that actors such as Wu Husheng and Qi Bingxue have gradually grown into true artists, and true artists must learn to open up and express emotions.
Ballet is a difficult and cruel art, and a dancer's dance career is very brief. They don't have time to waste, because once they reach the age of thirty-seven or eight, their dance career may come to an end, and time doesn't allow them to slack off. The dancers of the Shanghai Ballet have very strict requirements for themselves, and in them, I feel excellent professional ethics and the spirit of a dancer.
Derek Dean guides actor Jiang Diwen to take photos during rehearsal
Is ballet equal to beauty and elegance? Outdated
From your earlier works "Swan Lake" and "Romeo and Juliet" to this year's latest work "The Phantom of the Opera", what changes have your creative philosophy undergone?
Derek Dean: The reason I enjoy choreographing ballet is because I don't have to be static. The greatest pleasure of this job lies in choreographing dances with different styles of movements and telling different stories.
Swan Lake not only tells a fairy tale, but is also the purest classical ballet. Similarly, classical plays such as Sleeping Beauty and Giselle also have an established aesthetic path. And when I choreographed "The Camellia Woman" and "The Phantom of the Opera", I was able to break away from the conventional mode in choreography and make more attempts, which was a great thing for me. For example, in Phantom of the Opera, dancers can not only showcase their beautiful and elegant appearance, but also maintain the correct dance posture at all times. They can also demonstrate their value in terms of emotions.
How far a ballet choreographer can go depends to some extent on the dancer's development. As dancers continue to grow in body language and emotional expression, I can encourage them to try bigger challenges. At the Shanghai Ballet, I have taught many dancers to dance since they were seventeen or eighteen years old. As they grow, I can also take choreography to the next level.
If I had rehearsed "The Phantom of the Opera" 5 years ago, I might not have arranged it like I do now because I wouldn't have taken this risk. And now they can do more dance moves, I know they can withstand more challenges.
Upper view: Some people refer to your work as "psychological ballet" because you place great emphasis on portraying the character's psychological state. In traditional beliefs, the most important aspect of ballet is to showcase elegance and beauty. Why do you think that portraying the psychology and emotions of characters is so important?
Derek Dean: The idea that ballet only looks beautiful and elegant is outdated. Perhaps 30-50 years ago, ballet was indeed a beautiful and elegant art form, but over the years, ballet has changed a lot. Ballet is a big word that can be extended. If we stick to conventions and don't try to use new body language to make the audience emotionally resonate, and only create beautiful and elegant pictures of ballet, then this art will become boring.
I think it's important to find a balance between classical ballet and the new style of ballet like Phantom of the Opera. The story of "The Phantom of the Opera" is very charming and may attract people to enter the theater for the first time to watch ballet, or to view ballet in a completely different way from watching "Swan Lake".
Ballet "The Phantom of the Opera"
Recently, "The Phantom of the Opera" has received many positive reviews from audiences after its performance at the National Theatre. The graceful dance moves convey the character's rich emotions, including curiosity, fear, sympathy, and heartache. How did you make this ballet full of emotions through arrangement?
Derek Dean: Shaping a character on stage is actually the result of blending between the director and the dancer. I often observe dancers in the group, not only practicing in the rehearsal room, but also eating in the cafeteria and walking in the hallway. By understanding their temperament and abilities, I arrange the most suitable roles for them. Dance requires the use of body language to convey psychological language, and the final stage effect depends on the dancer's psychological state.
I don't think it's difficult to tell stories and express various emotions with ballet, because the Shanghai Ballet has a group of smart dancers who, after years of adaptation, can truly understand what I'm saying and know what effect I want. Especially for actors like Wu Husheng, we have a very tacit understanding between us. I still remember when I first met him, he was only in his teens and had not yet played an important role in Romeo and Juliet, but I saw that he had a very rare trait of being an excellent ballet dancer.
Being able to witness the growth of actors is the most valuable thing for me. From Swan Lake to today's Phantom of the Opera, they have always been innovative and passionate. Now, Wu Husheng and Qi Bingxue are at their peak, and it's really great to see them enjoying everything ballet brings on stage.
Not long ago, the Shanghai Ballet successfully performed "The Phantom of the Opera" at the National Grand Theatre
Theaters cannot disappear, nor can dance disappear
Upper view: Ballet is an ancient art. In this rapidly changing era, how can we attract more audiences, especially young people, to enter the theater and experience the charm of ballet?
Derek Dean: To bring the younger generation into the theater, perhaps it requires parental guidance. My father is very interested in drama. When I was young, he often took me to the theater. If it weren't for my father's hobby, I'm not sure if I would pursue the profession of ballet in the future, maybe lead a different life.
Most young people nowadays are not very interested in theaters, and their eyes are constantly fixed on their phones or tablets, which is a very sad thing. When I board the train or subway, almost everyone is looking at their phones. This may be a devastating blow to the theater and troupe. Because looking at a mobile phone is an easy task, you don't need to use your brain, create, or imagine, so I think mobile phones are like enemies for theaters and troupes.
Therefore, we must continue to work hard, the theater cannot disappear, and dance cannot disappear. We must find a way to keep it alive.
As a world-renowned ballet choreographer, what elements do you think are necessary to create a successful ballet?
Derek Dean: This is a difficult question to answer. I have been working hard to tell stories and create dramatic ballet with storytelling, hoping that the audience can truly understand ballet. If the audience cannot understand what the actors on stage are expressing, they may feel a bit foolish and won't walk into the theater again.
In fact, the movements and emotions of ballet are easy to understand. We should make the audience understand what they are watching, understand the emotions expressed by ballet, and constantly explore artistic forms, doing our best to keep ballet lively.
What do you think is the significance of an excellent ballet troupe for the cultural development of a city?
Derek Dean: It is very important for a big city to have a high-level art troupe, whether it is a theater troupe, symphony orchestra, or ballet troupe. London has the Royal Ballet of the United Kingdom, St. Petersburg has the Kirov Ballet... Every big city needs a high-quality art troupe because art is important to people's lives. Art can separate people from their daily lives, even if it's only a few hours.
The Shanghai Ballet is very important for the cultural development of Shanghai and even China. When we perform around the world, we often hear the audience's admiration. They never expected China to have such an excellent ballet troupe. In the future, we will spread our art more to the world, and the Shanghai Ballet needs to be seen by more audiences around the world. To achieve this, artists need to constantly climb the pinnacle of art and create excellence, which of course cannot be achieved without the investment and support of funds. In Europe, some dance troupes have insufficient funds due to government cuts in investment, which is a very bad thing. Ballet is not a leisure activity after meals, but a very serious art that represents the artistic level of a country and needs to be taken seriously and considered.
What is the biggest feature or advantage of Shanghai Ballet compared to other well-known ballet companies in the world?
Derek Dean: It's about discipline that I just mentioned. Dancers want to dance better every day than before. Over the years, I have led other artists to work here, such as designers and assistants. They all feel that this place is different from many European dance troupes, and working here is a wonderful thing. We can gain a sense of achievement and know that we can achieve our artistic goals.
Taking "Swan Lake" as an example, the Shanghai Ballet has 48 "swans" dancing together on stage, which is unprecedented in any other ballet troupe in the world. They even have the same eyelash and finger movements, which does not mean they are like robots. They are 48 people, but they can dance like a unified entity. This is almost impossible to happen in other ballet companies, which is why I feel so excited.
48 Swans from Shanghai Ballet
Shanghai is a city with an international perspective
On view: The Shanghai Ballet will perform "Swan Lake" in the Netherlands. You have successfully staged this drama in many countries before. As a ballet troupe from China, why do you think Shanghai Ballet's Swan Lake has gained recognition from Western audiences?
Derek Dean: Swan Lake is a global work that is like a moving fantasy and a classic movie worth watching repeatedly. I have re created it and explored some new aesthetic values. Ballet companies around the world have performed different versions of "Swan Lake". When our 48 swans danced together on stage, the visual effect was excellent, and many foreign audiences were amazed. As soon as they appeared, they could hear the audience gasping for breath.
I choreographed this version of "Swan Lake" in 1998, and 25 years have passed. The success of this drama is not only due to my own efforts, but also related to stage design, lighting, and design. It is the result of every "swan" collaboration on stage and behind the scenes. Every lamp, hairstyle, and detail on stage must be accurate and accurate. Of course, there are also the dancers from the Shanghai Ballet, who made this drama present what it should be.
What is your outlook on the future of Shanghai Ballet? How to showcase the charm of Shanghai style ballet to the world?
Derek Dean: The Shanghai Ballet has reached a considerable level of artistic excellence. When we perform abroad, foreign audiences are surprised that this dance troupe is so excellent, and people always say "Amazing".
I think the Shanghai Ballet still needs to grow in many fields in the future, such as hiring more teachers to guide, because different teachers have different teaching styles and methods, and even a little new change can trigger new thinking for dancers. Diverse choreography methods are also very important for dancers, and we must continuously instill new ideas and inspire their enthusiasm.
The Shanghai Ballet still needs to continue to develop in a diversified direction. A ballet troupe's repertoire should not only focus on classical ballet, in order to attract more audiences into the theater. We also need to bring more diverse plays overseas, not just limited to Swan Lake.
The reputation of Shanghai Ballet in the world dance scene is gradually being established, and we should go abroad more and spread the charm of Chinese ballet to the world. So, the future Shanghai Ballet has a long way to go, and I will continue to stay here and work together with everyone.
Looking up: You have visited many countries around the world. As an old friend of Shanghai, what are the characteristics that attract you to this city?
Derek Dean: I love this city. I first came to China in 1983 as a dancer for the Royal Ballet in the UK. We went to Beijing, Shanghai, and Guangzhou. There is a wonderful chemical reaction between modern civilization and traditional culture in Shanghai. Although Shanghai has undergone significant changes compared to the past, the first time I came to Shanghai, I had a special feeling about it.
Over the years, I have seen many tall buildings rise from the ground and witnessed the development of Shanghai culture and the changes of Shanghai people. Shanghai is a city with a very international perspective, and it also preserves traditional Chinese culture, where modernity and tradition blend perfectly.
Looking up: In your spare time, what are your favorite places to go to in Shanghai?
Derek Dean: I like taking photos and going to various restaurants. I mean Chinese restaurants, especially those that are very small and not even as big as this rehearsal room. They are often deep in the alleys. I didn't know what was inside the alley before I walked in, but it was only when I walked in that I realized there was great food inside.
I really enjoy exploring the city and searching for its beauty in various ways. Sometimes when I don't have a clear destination, I take a taxi and stop to explore randomly. This process of exploration is very enjoyable for me.
Compared to those large shopping centers, I prefer to visit some ancient buildings, such as temples, such as Jing'an Temple and Longhua Temple. These ancient buildings have profound beauty, where I can feel the historical pulse of this city. I also love going to parks. Being in them and looking at everything around me, I can feel the true China.
