Artist Spotlight
 | | | Muriel Maffre and Damian Smith in Possokhov's Reflections. |
1/4/2006
A common question dancers hear is, "Who do you look up to in the Company?" At San Francisco Ballet, dancers frequently name Principal Dancer Muriel Maffre.
A dancer committed to excellence, Maffre arrived in San Francisco sixteen years ago as a principal. She has worked with some of the greatest choreographers of both the 20th and 21st centuries, having roles created by Mark Morris, Christopher Wheeldon, and Helgi Tomasson to name a few.
Recently Muriel sat down in between Nutcracker and the repertory season to discuss her career.
When did you want to become a dancer?
It just grew in me. It was just a belief that grew stronger. It’s not a decision I made. No, I was introduced to ballet when I was four. The same year I did my first performance. At that age I didn’t have a real idea of what a ballerina was. I did not dream of dancing Swan Lake. Dancing for me was all about the physical expression, you know, it was a physical feeling.
When did you begin seriously training?
At age seven I was already taking class two or three times a week. When I entered Paris Opera Ballet School [POBS] I was nine and Claude Bessy, the director of the school, jumped me one class because she thought that I was advanced enough. But then I had to do another class later on twice because suddenly I had started to grow and had lost a lot of strength.
After POBS I went to the National Conservatory of Advanced Studies, a government-subsidized art school in Paris for music, drama, and dance. Those two additional years made a big difference in my dancing. I graduated from the Conservatory with a first prize and with honors.
Where did you spend the early part of your career?
Right after that, I did a year of apprenticeship at Hamburg Ballet. I accepted the contract because I had seen John Neumeier’s [Hamburg Ballet’s choreographer and Artistic Director] Saint Matthew’s Passion and I loved it as well as the dancers. Also, I knew that Truman Finney was there as a teacher/ballet master, and that it would be a good environment for me to learn.
I left Hamburg to join the revival of The Ballets de Monte-Carlo in June 1984. It turned out that the start was postponed a year. Since I had already given my resignation in Hamburg, I spent one year freelancing. During that time I attended two ballet competitions in Paris where I won the Gold Medal, and in Moscow where I was the only woman finalist in my category.
What was your experience like at The Ballets de Monte-Carlo?
Right away I was given a lot of responsibilities by the Artistic Director Pierre Lacotte. The repertory included many ballets from the old Ballet Russes de Diaghilev, and romantic ballets that Pierre was reviving. Pierre brought some great Balanchine ballets and also commissioned young choreographers to create on the company.
Why did you come to San Francisco Ballet?
To challenge myself with a different dance environment. San Francisco Ballet was a natural continuation of the work I had already been doing. Although, when I arrived here I found a very different method of work, and a much more intense performance schedule.
What do you mean by a different method of work?
Time is a very precious resource in the company. This forces the dancers to stay very focused in rehearsal. Being a ballet dancer in America is a choice that dancers make with a great sense of responsibility and commitment.
What did you find at San Francisco Ballet?
I found a company that welcomed me and in which I was able to carve a place for myself, developing my craft and sense of artistry still using the vernacular I had been trained for.
How would you describe your development as a dancer?
There is much more articulation in my dancing. The specific quality of my dancing came because of the physique, and also because over the years I found my own way to use my arms and legs. I also think there is much more sensuality in my dancing. When I came to the Company I was very eager to dance like American dancers: there was something very attractive to me about that. So I worked hard to go in that direction. And then I hit a wall. It felt like I was doing something against nature.
How would you describe American dancing?
It’s an energy, it’s a certain way to present yourself to the audience, a certain relationship to space that is very distinctive.
How would you describe San Francisco Ballet’s style?
There’s such a variety of style; the Company has become a crossroad much like the city itself.
You’re 5’10”. Has this made you feel different as a dancer?
Definitely. Many years ago, a teacher gave me this advice: “As you grow taller, don’t forget to lift your eye sight.” That was one of the best advice someone could have given me. It was about dealing with my height not only form the inside, but also in relation to the outside. As a tall ballet dancer, my center of gravity is much higher.
Also the length of my limbs creates a greater amplitude of movement which makes it more difficult for me to maintain my sense of verticality. That’s why it took me a while to really hone my technique. It has also been challenging to find partners. Not to mention that it is certainly technically more difficult for them to partner me.
What choreographers have you particularly enjoyed working with?
The one who challenged me the most was Mark Morris.
Why?
Because of his approach. The first time I worked with him I just couldn’t quite figure it out. I was trained to focus on the emotional content of a movement. With Mark it’s the movement first. Well, it is the music, then the movement as a support for the music. Little by little I learned a lot about choreography, and about exploring a new way of dancing.
Are there partners who stand out to you?
For each work it’s a different story. Obviously the one I connected most with was Benjamin Pierce because there was a dialogue about what we valued, about where we were willing to make compromises, and about the idea that the performance was not just a performance but rather a moment in a longer process.
What roles stand out for you?
Those I preferred were the ones that portrayed either fairies or creature like beings, or the roles that embodied empowered almost invincible women, or also roles in which the part called for a great sense of introspection, imaginary impersonation, and mystery. I also enjoyed very much dancing comedy and make people laugh.
What do you like to do in your free time?
There are times when I escape and go to art museums or galleries to challenge myself, be in awe and leave inspired. I love to reconnect with nature by taking hikes. One of my favorite places is Point Reyes. I love to read. Right now on my bed stand is Victoria Finlay’s fascinating Color: A Natural History of the Palette. I like watching old films or going to smaller independent cinema. I also enjoy cooking for friends.
What does your future look like?
I’m getting ready to apply for an M.A. in curatorial practice at the California College of Arts. Their program is very interesting to me. I am hoping to take the program part time but if they offer me a scholarship I might go full time. We will see what happens…