Her plays are like books that you eagerly reread. She designs unique dances that do not have a beginning or an end, nor do they have a climax or a predictable outcome. For an entire hour, these unique movements enter your very being, your very life and leave you with an impressionable image: you find yourself with tears rolling down your cheeks, yet your heart is bursting with joy.   

Tatiana Domovidova is a modernist #1 one in Vladivostok. For many admirers of contemporary art, her dance company Kauri has become a household name.  Tatiana, through Kauri, is creating history of modern dance in the Russian Far East. One only needs to attend these outstanding dance performances, which for the past fifteen years have catered to sold-out audiences.  

Tatiana has not limited herself to performances in her native Russia. She has fearlessly left her comfort zone and pursued new ideas and experiences in the international arena. Recently, she was invited to an American Dance Festival in Durem. Just this year, she received a Masters degree from the prestigious George Washington University in America’s capitol. And most recently, Tatiana was invited to choreograph and teach students at the internationally acclaimed dance school Joffrey Ballet in New York City. 

I met Tatiana one early August evening before her American premiere.

Tatiana, I’ve heard you mention a number of times that your performances are based on your dreams. Is that true?  

I can’t say that I view the entire performance in my dreams. Often times, there are specific feelings or emotions that emanate from them. A psychologist once described my plays as a form of“self therapy.” I realize that it’s true. All the characters in my plays – whether there is an angel falling from heaven, a homeless woman, a lady in a red hat, or a man with two identities – are a reflection of me.  I unconsciously created these characters from my own features, portraying them on the stage.  I found this to be a way for me to speak out about my own personal problems, and to deal with them. 

 So, basically are you emotionally and psychologically getting naked on the stage in front of the audience?

Yes, but that audience doesn’t realize it. In fact, I am actually standing naked in front of myself, facing my own issues.

And how many unresolved issues would you like to work on through your performances?

It’s an infinite process:  unresolved issues are constantly popping up…. 

I’ve been following Kauri for quite a while and have noticed that each new work is less narrative, less dramatic. Consequently, I’m reminded of an enigma that needs to be unraveled in order to better understand the meaning behind the performance. 

 Recently after a premiere, a women approached me and exclaimed, “I was crying during the entire show. I didn’t understand what it was about, but I knew it was about me.”  This is exactly the impression I want from my audience.  I don’t want them to take the show literally. The narrative style of dance is a primitive way to deliver a message. I want to communicate in a language that involves the senses so that my audience can connect to the performance on a higher level.   

When you create a choreography, do you make the message clear to the audience?  In other words, if dance is equated to body language, how legible is this language? 

 My initial performances were very easy to understand; they resembled a movie script with detailed, written dialogues. I am glad that I have evolved. My newer creations give the audience an opportunity to understand the performances as they see it. Each spectator has his own opinion: one may be completely astonished, another questioning, it all depends on the person. 

Speaking of feedback. It’s very important for me to ask for an audience’s opinion. I am happy to hear praise of course, but what I am truly seeking is negative feedback.  It’s important to hear what people did not like. If you only receive compliments regarding your work it means that there is something fundamentally wrong with it.

 It has been said that the French couturier Yves Saint Laurent was truly happy only for fifteen minutes after each of his shows.  I am curious, what do you feel right after the curtains close?   

Calm…..before and even afterwards. On the day of the premiere, the product is finished and delivered.  During the show, I’m in the lighting control area, ensuring the best use of stage lights for the performance. It is during the creative process that I am excited, anxious, full of emotion.   

How do your dancers react to your creative ideas?  I assume that sometimes they don’t understand exactly what you’re trying to do.

Our dance troop is pretty tight.  We’ve known each other for years and are so used to each other that we consider ourselves members of one big family. The individual dancers accept me the way I am. At times, I don’t even notice that something did not go as planned… but then, after the premiere, the dancers will come to me and give me relevant feedback. 

For example, a dancer will confess that he experienced a “breakdown” at some point during rehearsals – especially after I asked him to do something that he is not familiar with. This kind of situation happens frequently at the beginning of the creative process…at a time when you are trying to introduce unique and exciting ideas. At this point in time, it’s unclear what the outcome of the show will be.  But, the dance troupe is very flexible, readily allowing me to indicate what I want – whether or not I can clearly explain it to them. I gesticulate a great deal, talk continuously. All the while, the dancers are concentrating on what I’m trying to communicate, and trying to follow up on my ideas. Do note that a certain level of trust has developed over time. In all, we’ve created more than twenty full-length performances together.   

This year Joffrey Ballet School invited you to choreograph their summer intensive showcase.  How different was it for you to work with American dancers?

 I learned how to quickly adapt to new groups of dancers, to engage them on short-term projects. And I fully dedicate myself to working with them, despite any stress or emotions that may arise. It’s not easy…. There are cultural barriers that I need to address as well as the language barrier. Plus, I’ve never worked with American dancers before, so it is a unique learning experience for me!  

As far as working with young students: the Americans are not any different from Russian or any other dancers. Some of them are more skilled at their craft; others, not so much. In the beginning, the young American dancers are quite shy, but with time, they open up.

Last year, you were awarded a full scholarship to attend one of America’s best universities George Washington University in Washington D.C. and this year, earned a Masters degree.  For a person coming from the Russian Far East, this achievement seems nearly impossible. 

 In reality, it seemed impossible to me as well, until I submitted my application forms and related documents.  This experience made me realize that what is impossible truly is possible!  If one wishes strongly for something, and does everything in his power to achieve it, eventually, that wish may come true!  It’s really amazing: sometimes, things that seem unachievable become surprisingly accessible. 

I learned a tremendous amount from this American university program. I realized that choreography is a multidisciplinary discipline, requiring professionals to work with dancers, direct stages, style costumes, and concurrently, become proficient at producing shows, editing videos, advertising, and following performances, and negotiating contracts.

A professional choreographer also needs to read a tremendous amount of books, watch a variety of performances, listen to all sorts of music, go to various museums, and learn foreign languages… and that’s just the beginning! A modern day choreographer doesn’t just spend his days creating movements in dance classes. Being a successful choreographer requires constant study and non-stop self development.