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Dancer Olivia Ancona’s path from Portland to ‘Suspiria’

Olivia Ancona has collected plenty of passport stamps in her journey from Portland stages to the silver screen. A student and performer with The Portland Ballet, Jefferson Dancers, and Northwest Dance Project in the mid-2000s, Ancona plays the dancer Marketa in Suspiria, Luca Guadagnino’s 2018 remake of the 1977 horror movie, which is set in a dance school and company run by (spoiler alert!) witches. Besides performing in the film, Ancona served as a dance coach for stars Dakota Johnson and Mia Goth.

We caught up with Ancona while she was settling into her new digs in Berlin, and got her take on her early career, her time performing internationally with companies including Batsheva and Tanztheater Wuppertal, the Suspiria experience, and the real horrors that professional dancers can face.

Oregon Arts Watch: Where are you now? What are you doing currently?

Olivia Ancona: I’m in Berlin where I’m based, although just came from Wuppertal, in the north of Germany, having spent the past month guest-dancing for Tanztheater Wuppertal | Pina Bausch.

I’m putting my suitcases down for a couple of months after several years of nomadic living and freelancing. I will teach a workshop in the city alongside my partner, Scott Jennings, a member of the Pina Bausch company, and in January will prepare to set the work of Israeli choreographer/L-E-V artistic director Sharon Eyal at Konzert Theater Bern, a contemporary company in Switzerland.

Describe your trajectory from Portland to present.

I returned to Portland in eighth grade after living abroad with my family in London; my experience with The London Children’s Ballet solidified my desire to be a part of new creations and to perform. Upon our return, I continued my classical training at The Portland Ballet for three years. However, pointe work became too painful and I was told I had pre-arthritis in my feet and should probably stop dancing. I had no plans to listen to doctors’ recommendations and sought out other platforms for movement and training, auditioning for the Jefferson Dancers. This pre-professional program gave me the opportunity to rehearse in a variety of styles and to perform numerous times a year.

I saw the Batsheva Dance Company for the first time in Portland through White Bird and I fell in love with the company. The dancers were like no others I’d seen before—individualistic and unique but with the skills of superheroes. Their agility and passion really spoke to me. I decide to pursue dancing with the company; I applied to the Juilliard School with an essay about Batsheva!  I was able to work with Batsheva’s artistic director, Ohad Naharin [at] Juilliard, and I attended summer courses with him in Tel Aviv.

At the end of my junior year, Ohad invited me to join the Batsheva Ensemble, the junior company which most dancers [join] before entering the main company. After two years, I left as a founding dancer of L-E-V with Israeli/Batsheva choreographer Sharon Eyal … [I did a] half-year tour in Europe for Belgian creator Sidi Larbi Cherkaoui and his troupe, Eastman.

Despite feeling artistically fulfilled with these freelance projects, I craved some stability, and after two years with L-E-V, took a soloist position at the Royal Swedish Ballet as one of the contemporary members. But before long, I returned to Batsheva’s main company, where I had the opportunity to create with Ohad Naharin and Roy Assaf.

Olivia Ancona in “Mr. Gaga,” the documentary about former Batsheva Dance Company artistic director Ohad Naharin. Photo by Gadi Dagon.

After almost three years working full time for institutions, I was hungry for freelance opportunities and a creative world beyond Israel. Although I had never worked with [choreographer] Damien Jalet prior to Suspiria, he had spent years collaborating with Sidi Larbi, and had seen me perform, which was my link to participating in the film. Beginning in the fall of ’16, hours after my last show with Batsheva, I caught a flight to Milan and was immersed in preparation, research, coaching Dakota, acting, and dancing in Suspiria for about four months. After this intense experience, I returned briefly to the States. I spent six months teaching Gaga workshops in the U.S. and Europe and returned to Juilliard as one of the choreographers in their summer intensive.

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Chantal Akerman series begins at Northwest Film Center

"Looking, Really Looking!" probes the difficult but rewarding cinema of the Belgian filmmaker who passed away in 2015.

by MATTHEW LUCAS

 

A young woman enters her apartment and joyfully demolishes it, sets it on fire, turns on the gas range and lays her head down. This is the plot of Chantal Akerman’s twelve-and-a-half minute first film, “Saute ma ville,” a self-funded project made in 1968—a date reminding us that Belgium’s greatest filmmaker surfaced at a crucial point in French-language cinema: The decade-old New Wave was sinking under the cultural malaise engulfing France after the demonstrations of May ’68. By the time Akerman reworked “Saute ma ville”’s premise as the three-and-a-half hour “Jeanne Dielman, 23 Commerce Quay, 1080 Brussels” in 1975, the cinematic landscape was very different, and she was at its forefront.

“Jeanne Dielman” will not be screened during the Northwest Film Center’s brief summer survey of Akerman’s career, Looking, Really Looking! The Films of Chantal Akerman 1968-2015 (“Saute ma ville” will screen in a shorts program, and the series itself will resume in September and run through May 2017.). And it’s just as well because, with Akerman’s passing late last year, it is an opportune time for audiences to become acquainted with the more intimate side of her oeuvre. Beyond the shadow of her masterwork and occasional fictions, the majority of Akerman’s film work took the form of essays, letters, diaries, or documents of personal landscapes.

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