BWW Blog: Andrea D'Annunzio - How to Become an Invaluable Dancer

When professional dancers are interviewed in magazines or documentaries they are consistently asked the question, "How did you get your first job?" Aspiring dancers are always eager to know the tricks of the trade and any tips that could help them reach the top. But to my dismay the single response I hear over and over again is, "I was in the right place at the right time." I have continually found this to be an enormously frustrating and unhelpful response. Therefore, I've decided to share the tips and tricks I learned and utilized during my two years as a Trainee with American Repertory Ballet and Princeton Ballet School, and a few of the invaluable qualities that Artistic Directors may look for in a dancer.

Be Respectful: This is something I can't be more adamant about or stress enough. You must show respect not only to your teachers and the administrative staff, but also to company members and your fellow dancers in the program. Artistic Directors are not only interested in your technique and physicque but how you conduct yourself both in and out of the studio. This is a crucial aspect of "acting professionally." Someone who has zero respect for anyone, or anything, would not be able to work collaboratively with their peers or even a choreographer in a professional setting. A little respect really does go a long way. For more detail and insight into proper ballet etiquette I would highly suggest reading Claire Van Beaver's BWW blog from June entitled "Cracking the Code of Class Etiquette".

Be a Leader: This quality is very dependent upon the previous topic since leaders only rise to their position by gaining the respect, and trust, of their colleagues and superiors. If your fellow dancers trust you to lead them, your directors will trust you to take on a leadership role. Many times while I was a Trainee I was asked to run rehearsals, set up Trainee meetings to relay important information from the administrative and artistic staff, and to assist with the organizing or running of events. Making yourself available during any free time will help you meet the people who run the organization and learn about other facets of the company including administrative processes, community outreach, or even your wardrobe department. If you demonstrate that you are committed to your dancing, as well the organization as a whole, you can become an indispensable asset to the team in and out of the dance studio.

Be Versatile: Being a versatile dancer is the most invaluable quality you could possess, but it can also be the most difficult skill to master. Not all dancers are able to move seamlessly from one style of dance to another, and it seems to be especially challenging for ballet dancers. But in the ballet world specifically it is increasingly difficult, if not impossible at this point, to find a professional company that does not include pieces from other dance genres in their repertoire. Many ballet companies perform works in styles that have been classified as Classical, Neo-classical, Contemporary, and Modern to name a few. Be a chameleon in the studio and you will have a larger variety of companies for which to audition and you will be cast in more pieces once you have a job. If you have a reputation for being able to do anything, then you will get to do everything, and you'll set your path toward a long and fulfilling career.

Be a Great Understudy: In my experience, this is the second most invaluable skill a dancer can have. Every young dancer has heard stories from their teachers about how being thrown into a performance as an understudy hours before the show was what got them their first professional contract, or moved them up in rank within the company. It may be a bit cliché at this point, but it is no less true today than decades ago. Within the two years of my Traineeship I performed with the company at least five separate times as an understudy. Inevitably, a dancer will get sick, or injured and an understudy will be put in, whether it's just for one rehearsal or a full performance. I learned as many spots in as many pieces as time allowed, and when the artistic director, rehearsal mistress, or choreographer asked if anyone knew the spot, I was always the first to speak up. Artistic Directors, as well as company members truly value and appreciate someone who can jump in and save the day.

So, when you're having a bad day and don't feel like being nice to anyone, when you're on your break and there's nothing you want more than to take nap and do nothing, think twice. When you're sick and tired of standing in the corner of the room trying to learn choreography you think you'll never get to perform, and you're forced to take that modern, or jazz class that takes you out of your comfort zone, don't give up. It's the little things that you do, the things that you think may go unnoticed, that actually make you stand out above the rest.

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