conversations in ten questions 18 : Dimo Milev (NDT 2)

In this series of interviews we try to get to know the artists of İstanbul Theatre Festival 2020. Our second guest is Dimo Milev. 

Ayse Draz, Art Unlimited Performing Arts Editor & Mehmet Kerem Ozel, Writer [The Turkish translation of this interview is published on art.unlimited] 

photo: Javier Garceche

NDT, the world-famous dancetheatre ensemble of the Netherlands, which we had the opportunity to watch many times in Istanbul thanks to different events in the past years and continued on its way under the new artistic director of Emily Molnar in August 2020, after the nine-year period of Paul Lightfoot, started with the opening shows of the 2020-21 season, reaching out to audiences both on the screen with online livestreaming and in the auditorum whose capacity was reduced according to pandemic conditions. NDT decided to livestream online, this time without spectators, as the Dutch government closed the theaters completely again in November due to the increasing pandemic cases. The first of these livestreams was the program titled "Dare to Say" of NDT 2, which took place at the beginning of November. 

The program consisted of two works. These are, the world premiere of "Fusions and some confusions" by the young Bulgarian dancer-choreographer Dimo Milev, and "Four Relationships" by the Swedish Alexander Ekman, one of the most popular choreographers of recent years, working with big ensembles such as Paris Opera Ballet, Swedish Royal Ballet, Gothenburg Ballet and Norway National Ballet. The Dutch Ballet Orchestra accompanied both works live. 

After graduating from the National Dance School in Sofia, Dimo Milev joined the Jeune Ballet de France ensemble, followed by as soloist dancer at the Ballet National de Nancy et Lorraine for 5 years, and as lead dancer at Compañia Nacional de Danza for 8 years. In his repertoire, in addition to classical ballets such as Giselle and Swan Lake, there are works by today's most important choreographers such as Jiri Kylian, Mats Ek, Wim Vandekeybus, Nacho Duato, William Forsythe, Ohad Naharin and Hans van Manen. 

Milev created a work for NDT 2 for the first time last season in the program entitled "Up and Coming Choreographers". Miguelangel Clerc Parada, who composed the music for that piece titled "Arpeggios, Flowers and some Maneuvres", is also the composer of this piece. As written in the program booklet, the choreography of "Fusions and some confusions" was created with the collaboration of Milev and the dancers. The costume and stage design of the work also belongs to Milev. 

"Fusions and some confusions" is a work that made its world premiere. Therefore, it emerged in the pandemic environment and conditions. And while being perceived, it is impossible not to think about and be isolated from this depressive, uncertain, risky times and conditions we are in. With this work, Milev has prepared a nightmare-like world for the audience, in which especially light design and music determine the atmosphere. The work also contains elements of uncanny, absurdity and dark humor, but none of these are heavily emphasized, on the contrary these are felt to the viewer very calmly, softly and deeply. I think the main effect of the work lies in that quality. 

The square platform, which differs from the rather dim stage space with its well-defined light and a step height, is like an area where fantasy and ecstasy flourishes for the people of the work; where they exist with themselves and are surrounded by “others”… The dim field seems infinitely vast and contains uncertainty; it's almost a bottomless void, half human-half souls are literally falling in that space. People's transitions between the limited luminous square and the infinite dim space are different each time, any situation is not fixed, not repeated, there are no rules. And that is exactly why the feeling of uncanny prevails. The dark humor, on the other hand, emerges when the smaller and smaller dimensions of the square area are brought by people and put on top of the previous one towards the end of the work. People who created their own mangles, are trying to exist in ever-smaller areas, getting stuck and falling apart.. 

The choreography of the work consists of fluent and soft movements, as well as strong physical movements, curved movements in which the weight points of the body change at any moment. The most obvious characteristic of the choreography is that the movements are hesitant, interrupted and stuck. “Fusions and some confusions” is a modest 35-minute work, a small masterpiece that unassumingly reveals the mood of the time we are passing through. 

Now let's leave the floor to Milev, whom we asked what we were curious about about art, dance, pandemic and this work. 

What is the spirit of dance in your opinion? How do you define contemporary dance today?    

There is nothing that can replace the live performance!!! Even not the best live stream with the best cameras! A Livestream is just a totally different experience and offers new possibilities as well. However, the feeling of assisting a performance and to feel the artists on stage and share that experience with the rest of the audience in the theatre will always remain a unique experience. Contemporary dance is in an evolution, because creating and performing today is accessible to everyone, which is different compared to when I was growing up when these opportunities were only available to the bigger names in the dance world. Today it is much easier to show your work. 

Do you believe in the transformative power of art? How?  

Yes of course! I think our goal as artists is to reflect topics and ideas and to raise questions on stage that can make the audience think deeper about life in general. It's not only about putting on a beautiful show for pure entertainment. The beauty of dance is that it is non-verbal language that everybody understands and that it creates space to connect. 

How do you think that this pandemic which humanity is facing at a global scale today will transform performing arts in the future?    

The pandemic is already transforming the performing arts. We will have to see if those changes will remain. There will be much more live streamings from now on, which means that the way we film the performances  will be more elaborated and will bring forth charges in the way we watch performances. Simultaneously it allows people from all over the world to watch performances without the need to travel. Many creations, classes and workshops can be made to cater to a diverse and global audience (via Zoom, Skype etc) to reduce costs and at the same time allows to collaborate with artists that usually would be harder to organize. There are good and bad things about this. Time will tell…. And of course there will be other changes I think the pandemic is making us think and perceive life differently so I think that will reflect on what we do and how we do it. 

Are there any artist whom you can describe as "my master", or any person whom you think influenced your art most? And if there is such an artist or person, who? 

It is difficult to name only few. So many people inspired me. There are so many interesting and inspiring artists. And not only the famous ones, personally I can be inspired and influenced even by a young student. 

When you are working on a piece, what sources inspire you? Do dreams play a role in your works?   

Books, movies, talks with friends and of course observation. 

When do you decide to give a title to a work you are working on if it already does not have one? 

Personality I need to see the piece almost finished before to give a title. 

When you think of this wide ranging repertoire of yours from classical ballet to contemporary dance, where do you position your own works? 

Definitely contemporary. 

How does collaboration with the composer affect your design? 

The music affects the piece a lot which is what I’m looking for when I collaborate with a composer; the influence from another mind and taste that will add new and unexpected elements. 

As a freelance dancer and choreographer how are you handling/dealing with the challenging conditions posed by the pandemic?  

I lost some projects, but I was lucky to have some other that came unexpectedly. I guess in general I had a lot of luck, but I know many friends that didn’t! At the same time his situation is an opportunity to reinvent ourselves and create our own opportunities. It is not easy though, you really have to persevere. 

Is there anything particular you would like to tell the Istanbul audience? 

I hope they can appreciate the piece even though it was meant to be seen live! Though I am very happy that audiences all over the world, like in Turkey for example, will have a chance to see it through our livestreams!