Alexei Ratmansky’s Leap of Faith | Marina Harss
It was a rainy afternoon in Copenhagen, and four exhausted ballet dancers were hard at work in a large rehearsal room on the fourth floor of the Royal Danish Theatre. The choreographer Alexei Ratmansky was pacing the studio, intensely focused. An assistant stood beside him holding a score of The Art of the Fugue, Johann Sebastian Bach’s great unfinished work. The dancers had been at it for hours. They looked sallow, too tired even to sweat, but Ratmansky was not yet satisfied with what he saw. He asked the rehearsal pianist to play a passage from the score, took a moment to think, then blurted out two phrases of choreography for the dancers. He showed the steps, and they repeated them back. Then he showed them again, illuminating this or that nuance, and they did it again. Everyone in the room was trying things out, fixing, sculpting, connecting the movements until a phrase emerged, clear and new. It was a week before the premiere, and the ballet was still very much a work in progress. …





