One of the most persistent misconceptions surrounding classical ballet, and traditional or folkloric genres in general, is the notion that they are too old-fashioned and rigid. However, true arts enthusiasts recognize the inherent diversity and multidisciplinarity that have always been present, even in the so-called "olden days." A prime example of this is the Ballet Russes, arguably one of the greatest ballet troupes of all time, led by the legendary impresario Sergei Pavlovich Diaghilev.
Fast forward a few hundred years, and the landscape has evolved, yet the core principles of collaboration and innovation remain unchanged. My own curiosity about the craft of producing and curation led me to one of the most influential ballet impresarios in Europe today: Paul Seaquist.
1. The art form is more important than the artist
Terms like "Death of the Artist," a concept rooted in the idea that the creator's authority over their art diminishes once it is released into the world, and the "Tortured Artist," a stereotype of an artist in constant torment due to frustrations with their craft, are tropes that frequently circulate within our industry. These ideas highlight the often tense power dynamics between artists and their creations, akin to a never-ending struggle over whose well-being should take precedence. In the world of football, it's commonly said that "no player is bigger than the club." Similarly, in the arts, no artist is greater than the art form itself.
For a multidisciplinary producer, this mindset is particularly crucial. Much like his predecessor Sergei Diaghilev, Paul has had the privilege of collaborating with the A-list of ballet superstars. However, his journey wasn’t a mere case of riding the coattails of fame. These renowned artists had the entire world of producers to choose from, yet they gravitated towards Paul — not because of his reputation, but because of his vision and unwavering passion for the art form.
Paul's approach goes beyond simply managing talent; it’s about nurturing artists who are not only exceptional on stage but also off it — true artists who are generous, brave, and willing to reinvent themselves by taking artistic risks when necessary. He understands that while stars burn brightly, their time is often fleeting. Yet, the art form they contribute to endures, transcending individual fame and continuing to inspire long after any one artist has taken their final bow.
2. Knowledge and wisdom and the human quality of a dancer are perceived onstage
In the performing arts, producers typically operate in one of two ways: they either represent a single company full-time, or they take on multiple projects across various companies — a role often referred to as a portfolio producer. The latter is especially suited to the freelance professional lifestyle but comes with a unique set of challenges. Chief among them is attracting the right roster of clients, as well as establishing a reputation for being both capable and competent within the industry. As with any curated portfolio, it's crucial to assemble a blend of collaborators who elevate the body of work, rather than diminish its value.
So, how does one achieve this? Paul is especially selective when it comes to this. For him, the focus isn't just on the immediate success of a production; it's about cultivating long-term relationships and recognizing the character and integrity of the artists he works with. He believes that a dancer's knowledge, wisdom, and human qualities are often palpable even from the stage. These traits can either draw him towards an artist or repel him, depending on what he observes.
In Paul's view, producing an artist transcends the mere logistics of staging a production. It involves nurturing both the artist and the art form, understanding what each project demands, and having the courage to present the work to the public with that context in mind. Just as in dance, producing is not merely a job — it is an art form in its own right.
3. A manager is always the first to be blamed and the last to be paid / Be kind although the industry many times is not.
As the visionary behind the 1st, 2nd, and 3rd editions of the “Ballet Star Gala” in Taiwan, the “Aurélie Carte Blanche” with Aurélie Dupont in Tokyo, and the 1st through 10th “Gala de Estrellas de la Danza Mundial” in Santo Domingo, Dominican Republic, Paul Seaquist has achieved what many producers only dream of. Despite what appears to be the pinnacle of success, Paul’s insatiable curiosity and passion for nurturing talent have driven him to continually explore new fields, including music and writing. His accomplishments extend beyond dance; he has authored two critically acclaimed books, “Silencios” and “Cartagena”, and written ballet librettos, including “7 Days,” and “Le Cirque” for Vladimir Malakhov.
Yet, behind the curtain of these impressive achievements lies a much tougher side to the job. Paul often emphasizes that the challenges of being a producer differ significantly from those faced by artists. It’s not just about managing logistical issues like ensuring dancers respond to emails or phone calls promptly. The real challenge is the often-overlooked role of the producer in the success of a show. Many fail to recognize that a great performance owes much to the impresario and the careful management of both the artists and the production itself. In this role, the producer is frequently the first to be blamed when things go wrong and the last to be acknowledged when things go right.
This harsh reality underscores the importance of kindness, even in an industry that can be anything but kind. Shaking off the outdated image of the shady, cigar-smoking impresario from the 1940s is a challenge, but it’s one that Paul tackles with grace. He reminds us that, despite the difficulties, maintaining compassion and understanding is crucial in a field where recognition often comes late, if at all. With his paintbrush and palette, Paul has definitely painted success with shades of sacrifice.
Check out the full episode here
23.12.2024
