Leipziger Ballett

Unfolding

The dancer Urania Lobo Garcia speaks about working with Mario Schröder.

von Nele Winter Friday 29.01.2021
Urania Lobo Garcia at a rehearsal with Mario Schröder © Ida Zenna

Our series #marioschroeder10 that celebrates the 10-year anniversary of Artistic Director and Chief Choreographer Mario Schröder at the Leipziger Ballett continues with the dancers speaking about the choreographer. We start with Urania Lobo Garcia who has been working with him for many years.

Beginnings

»I started working at the Leipziger Ballett in 2010 at the same time as Mario. But we have known each other longer. I met him in Kiel for the first time where he was the Artistic Director back then. We worked there together for two years, although we could not work consistently because I was injured and he was ill. He gave me the first opportunity to discover who I am as a dancer especially in terms of modern dance. Before I was a very classical dancer. The short time working together in Kiel gave me the slight impression that he was the right person to help me develop as an artist. It was then here in Leipzig that we began to work in a deeper sense.«

© Ida Zenna
© Ida Zenna

Atmosphere

»Mario is not just a director or a boss. We don't have a cold business relationship, but a very amicable and close one. This humanity towards me and all his dancers is one of the things I like most about him and that make him so special. He manages to promote an atmosphere of integration, global awareness and community even though we all come from different cultures. I also like that he has his own signature as a choreographer which has developed throughout all these years. His development as a choreographer has not only been inspiring to watch, but it has also influenced me and my own development as a dancer. His art is not only aesthetic, but it also has a meaning. There is always something to reflect when you look at one of his works.«

© Ida Zenna
© Ida Zenna

Highlights

»There are many productions that are memorable to me. One of them is »Chaplin« which was one of the first of his pieces that I performed in. It is incredible from a technical perspective and I also love the story behind it, that made me cry the first time I saw it. Another piece I really like is »Le Sacre du Printemps«. The interaction of Strawinsky's music and his staging with the clowns is very powerful. It tells a humanistic story and overcomes the stereotypes of many other »Sacre« choreoraphies. The last piece that is very memorable to me is »Swan Lake«. Mario gave me one of the greatest gifts of my life by giving me the opportunity to dance such an important role. Working so closely with him to create this role was really intense and fulfilling.«

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Urania Lobo Garcia in »Chaplin« © Ida Zenna
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»Le Sacre du Printemps« © Ida Zenna
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»Swan Lake« © Ida Zenna
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»Le Sacre du Printemps« © Ida Zenna
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»Swan Lake« © Ida Zenna

Pretty

»We always have so much fun, especially in the ballet hall when Mario creates a new choreography. The process of trying out, of transforming his imagination into reality, of experimenting can be really fun and funny. One of the things I will never forget is when he told me, that I looked too pretty. For me that was a bit strange at first, because as a ballet dancer that is what you are looking for. Being confronted with the opposite of what I was taught before made me think. Why am I so focused on looking pretty? What could be another meaning of beauty? And that made me explore the different ways I could move my body without thinking about whether it looks beautiful or ugly to other people.«