Like, what is that about?WHELAN: I don't know. Carolina Performing Arts commission Dance Wendy Whelan review David Lang New York City Ballet Music Maya Beiser Lucinda Childs THE DAY by Brian Howe Oct. 17, 2019 So yeah, it was from one extreme, finding the safety in the other.GROSS: When you were describing how you dress, are you talking about onstage or off?WHELAN: Both - onstage and off. You know, it started to tell me what to do, and I stopped demanding from it. I have a leotard on and tights on and shoes. And I jumped like a little kid, you know, a little bit.
So that's part of the game. So she put me into ballet. Photo courtesy of Restless Creature. I'm a former ballerina now. I wake up. What do you mean, a tear? I'm David Bianculli, and this is FRESH AIR. I'm finding myself in a new, different place now, which is exciting. It's this ideal of perfection, of otherworldliness, of power and strength and confidence. I wear socks on my feet.
(SOUNDBITE OF JAKE MASON TRIO'S "THE STRANGER IN THE MIRROR")Copyright © 2018 NPR. That was really, like, your identity. And by January 2012, I had pain. But at the ballet, it must have been, like, wow, I don't know. We don't expect you to do this. And I think the shock was what hurt the most because I didn't expect it.GROSS: How long after that meeting did you get injured?WHELAN: That happened in, I think, October of 2011. But that was safe then. I have to, you know, make that step happen. But do you still have to deal at all with, you know, envy or - no?GROSS: Like, when you see, like, young dancers or when you look...GROSS: ...At the dancers in the New York City Ballet, do you...GROSS: ...Wish, like, you could be back there, that you could be that again?WHELAN: No. I didn't do the ones I was really well-known for and wanted to do. You know, I'm just - you know, just this girl. And in between each casting, I would go back into the hospital and spend a week in traction with a head halter on and leather straps holding my hips down towards the base of the bed and 12 pounds pulling on my head on this head halter.So as uncomfortable as that was, it really helped me straighten out my back. Beiser also recorded additional cello tracks to overlap her live performance.
I can't falter. And you calm down. And I just - I felt slowly like I was taking a skin off, like this kind of snakeskin. My hair's been strapped up for my whole entire life. And then we'll talk some more. And he's holding me in a certain way. In 2013, at the age of 47, my guest Wendy Whelan, who was described in The New York Times as America's greatest contemporary ballerina, faced the end of her career as a principal dancer with the New York City Ballet after a hip injury required surgery and months of rehabilitation and physical therapy. I was like, a tear?
And I liked the footage that I saw, and I liked the directors and filmmakers that I was working with and the - especially the cameraman. I tried massage. I was a very athletic child, very energetic child. And my mom was a basketball coach, a college women's basketball coach - so very serious basketball family. The Interview with Wendy Whelan, conducted by Nancy Reynolds, was video recorded by François Bernadi on October 12, 2011, for the Speaking of Dancing Oral History Project. INTERVIEW: Wendy Whelan rebounds, retires, renews in ‘Restless Creature’ June 7, 2017 John Soltes 0 Comments Adam Schlesinger, Linda Saffire, Restless Creature: Wendy Whelan, Wendy Whelan. Cellist Maya Beiser's history with composer David Lang's 2001 work In terms of building the creative team for the work, Beiser felt strongly that women should shape the artistic direction. I wanted to also be an artist. I generally wear my hair looser or even in a braid now.
I didn't want to share this very unknown part of my life - unknown to me, complicated and confusing and very vulnerable. I've let it go. He knew exactly how to move in the studio or wherever I was with me.And because it was such a difficult time, it turned into a supportive thing in a way. I always wonder if I'm doing enough; Lucinda gave me text and props in the first half with a template of actions in a freer structure for the second half, which requires refinement and restraint. Beiser valued Childs' approach to music and movement, noting that "not all choreographers read music." But at the same time, it pushed me to bare myself, open my story up and to do it with confidence and to do it in a creative way.GROSS: Was it a - kind of a preventive against wallowing (laughter)?WHELAN: I think it kind of turned into that, yeah.
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