Krzysztof Pastor is resident choreographer of the Dutch National Ballet. He has created many works for international companies, including a new interpretation of Berlioz's Symphonie fantastique for the Australian Ballet’s upcoming double bill 'Destiny' - a tribute to choreographer Leonide Massine.
Where were you born?
In Gdansk, Poland, but I have double nationality — Polish/Dutch. Because I choreographed only one ballet in Poland, I consider myself a Dutch choreographer.
What was your family like?
We were very close. I lived in a small apartment with my parents, grandmother and brother. My parents were very supportive even though they were medical doctors and not artists. I was very close to my brother but we didn’t share the same passion to dance.
Describe your first dance performance.
It was in kindergarten before starting my dance education. I danced a Polish national dance called Krakowiak together with other children my age. My first time on stage was when I was nine — I danced with five of my balle classmates and our ballet teacher in Nathalia Konius’ production of Swan Lake. Our teacher performed as the jester and we were his six small jokers.
Have you ever had a mentor?
Moving to the Netherlands was the most important step in my artistic life. I was very much inspired by the rich dance scene there, but I didn’t have a particular mentor.
What first gave you a taste for choreography?
While working in Lyon (France) I experimented with choreography on myself. Although there wasn’t a possibility to perform, I was so gripped by this experience that after moving to Holland the next year I started to participate in company annual choreographic workshops.
What has been your most satisfying work to date?
It is very difficult to answer this question. I wish there was a particular work of mine I could say I am fully satisfied with, but in each ballet there are parts I like and passages that I would now do differently.
What role do the dancers play in realising your vision?
The dancers’ input is essential for my creative process. I create with the dancers, and the time spent together in the studio is extremely important and decides what shape the ballet will take. The final result depends as much on me as the dancers. The artistry and understanding of the piece is as important to me as their physical abilities. I always feel very attached and grateful to the dancers who are dedicated to the creation. Sometimes I
achieve a kind of understanding and loyalty which gives me a lot of confidence and creative force.
How would you describe Australian dancers?
They are very open and engaging on stage. In the studio they are cooperative, versatile and ready to try out many different things. I also appreciate their positive attitude towards their work, and that the women look feminine and the men masculine, which is important to me. It is also nice to see men who have visible pleasure in partner work.
What keeps you awake at night?
Worries about never having enough time to prepare the performance, and hearing the music I am currently working on constantly in my head.
If you could meet anyone, living or dead, who would it be and why?
My wife’s grandmother, Iris Origo, who was a writer and an extremely interesting person. I am often in places that affected her life and that she wrote about in her books.
If you weren’t a choreographer, what would you be instead?
I really like history and sociology, but I often think I would love to be an orchestra conductor.
What is your proudest moment?
Professionally: after a gala performance in the Latvian National Opera, critics wrote that watching this performance made it clear how much I did for the development of their National Ballet. Privately: even the smallest achievements of my children.
