You can have high expectations for a pre-professional training position or an entry-level position with the professional company affiliated with the summer intensive if you’re attending it shortly.
Companies have long invited dancers to participate in a summer intensive in order to benefit from these factors. Because I had the chance to attend the Orlando Ballet summer intensive in 2007 on a scholarship in order to be considered for a job in the second company, I can say with certainty that this has been going on for at least 15 years. I was planning to launch my professional career after receiving my BS in Dance and Arts Administration from Butler University.
securing employment during the summer intensive with Orlando Ballet.
I found the extended audition via summer intensive to be really difficult. I didn’t have any other job offers, and I wasn’t sure what I would do if Orlando didn’t work out. In addition, I lacked many coping methods and had a very unhealthy connection with food and my body.
I sustained an injury during the first week of the intense. My ribs were injured by the partner’s hands as we worked on a lift together. This was probably a result of my persistent undereating in the years before to the intensive, at least in part. Any chance of getting a job was gone because I was unable to fully participate in the intensive.
Decide on and uphold a good outlook.
There are typically certain persons who gravitate toward more pessimistic views in dance organisations and institutions. For some people, this comes naturally, but it’s crucial to avoid that influence. Performance depends on your ability to maintain a happy attitude, even when circumstances prevent you from receiving the casting you like or the attention you desire (more on that in #2).
You have a strong mind. Staying mired in your dissatisfaction will make you miserable and hinder your performance. To continually advance, keep your head up and surround yourself with optimistic individuals.
Continue to be highly motivated by yourself.
Dancers are prone to getting into a mental state where they feel like they require teacher approval. Students experience this naturally since they are impressionable and youthful. However, it quickly becomes apparent that you must maintain your technique and put in the effort once you begin dancing professionally.
Depending on the business, artistic staff tends to be significantly less involved when you’re a professional than when you’re a student. They don’t need to constantly scream your praises—you just need to be on your game and persevere. In these circumstances, self-motivation is crucial.
Make ambitious yet doable goals.
You’ve probably heard a lot about goal-setting at The Whole Dancer since it first began. It shocks me that it isn’t a bigger component of dancer training because it is so crucial! To advance to the next level, you must set your next major objective. Dancers that work with me one-on-one discuss their overall dance, body, and mentality goals in addition to the goals for their coaching programme.
Interact with others skillfully.
You must be able to interact with those around you whether you are a soloist, major dancer, or part of the corps de ballet. Being a corps dancer makes it a little more visible. For your dance team to have a unified and consistent appearance, you must be able to communicate with your other dancers. That’s no simple task!
You might assume that social interaction is unnecessary when dancing alone. Instead, you need to be able to communicate clearly so you can cooperate with whoever joins you as a partner or répétiteur.
Talk to yourself well.
The coaching programmes offered at The Whole Dancer place a lot of emphasis on this as well. What do you think your body is going to do when that little voice in your head keeps bringing you down?
You’ll have much more success than if you indulge your inner critic if you can keep your attention on the good, recognise what is working, and push through the hardship. Name that obnoxious critic, and urge them to go!
Use uplifting mental picture.
Visualize. Consider the advantageous result you desire. Before you even begin dancing, observe the ideal double pirouette you are capable of. This will be really beneficial during summer intensives when you are surrounded by new people and competition.
There was a particularly difficult sequence of turns while I was performing professionally as an angel in Beauty and the Beast. I branded myself as “not a turner” and found it difficult to get through rehearsals. Identify what transpired during the performances. Each time I attempted such turns, I failed. I’d be so intrigued to go back, use visualisation, and perhaps get a different result.
Effectively control anxiousness and jitters.
You need to find a means to overcome your nerves, whether it is by doing some breathing exercises, writing out your worries in a notebook, or giving yourself a pep talk. Accepting that most dancers experience anxiety while performing can be beneficial.
The truth is that some dancers experience performance anxiety in the studio more so than on stage. In contrast to dancing in the studio where you can see their every glance and whisper, you feel more at ease when there is more space between you and your artistic director.
Effectively control your emotions.
Turn off anything else before entering the studio. This will help you become more adept at controlling your emotions onstage. Allow yourself to let go of any stress you may be experiencing while dancing. In the event that you are unable to turn them off, channel them into your performance to enhance what you bring to the stage (or the recording studio)!
Continue to pay attention.
Get your attention. Although audiences are wonderful, you must be able to largely tune them out and concentrate on the dancing. Use your fellow dancers to maintain character if you are a member of the corps de ballet. Music has the extra advantage of helping dancers focus, so take advantage of it! Let the rhythm of the choreography and the music keep you focused on your goals.