Professional Lineage

William Forsythe calls himself a problem solver, a realist, and finds that the discoveries along the way in his choreographic process are more affective in his work than a plan. This is true throughout his life. Many people and places have made an impression on William Forsyth’s life and work. For starters, his early appreciation for the Great Fred Astaire. This was his first glimpse into the world of dance, and also inspired him to get involved with musicals in high school. This led him to Jacksonville University where he studied under Nolan Dingman, a George Balanchine Company member, which is whom he received his first ballet training from. William Forsythe uses ballet as a base or as a communication skill within his choreography, and Nolan Dingman played on early role in that. He also studied under Christa Long who gave him his first experiences and tools in choreography. She told him that he would go on to be a choreographer. This would serve to be a big “aha” moment for William. He went on to work with the Stuttgart ballet where he developed his unique eye for movement and started using choreography as an “organization mechanism.” At this time he worked with Glen Tetaly at the Stuttgart ballet (between 74-76) who left his mark on Forsythe by saying “there are no rules.” This is also where he learned the lesson in people’s judgment of things out of the norm. He became resident choreographer of the Stuttgart ballet and after 5 yeas the school felt he was pushing the limits of choreographing for a ballet company. He was also asked to choreograph in a more “classical” style. Needless to say, he left. After his time with the Stuttgart ballet he became a free lance choreographer and traveled all around the world. This had a huge impact on who he is as a person and choreographer. Seeing all of the architecture (which is a big interest and hobby of his), the people, and the different culture “molded” him. Germany, especially, he felt a connection to the space in Germany and all that is in the space, which is where his family, company, and himself resides. “Gange” (a piece about ballet, made in 1983), was a big break-out piece for William, it let to lots of controversy and publicity. Also, “Impressing the Czar” and "In the Middle, Somewhat Elevated" in 2004 were huge hits amongst the ballet world and led him to travel and set the piece's on many ballet companies.
One of his biggest and possibly most important inspirations, or “a-ha” moments happened in 1994, and led to his creation of Improvisation Technologies: A Tool for the Analytical Dance Eye. He had a conversation with a colleague Paul Kaiser in which he tried to explain how he makes dances by drawing shapes and tracing the air. Paul suggested he use a type of computer technology to superimpose the geometric shapes and lines in space on videos of himself demonstrating them. This series can be seen on-line and William uses the system in almost all of his work. This was probably the biggest impact on his work and choreography. There are so many influences, “a-ha” moments, and important impacts that have shaped William Forsythe as a person and an artist, these are just a few.

Here is a link to the Improvisation Technologies: A Tool for the Analytical Dance Eye, the series on youtube and the second link posted here is the interview between Paul Keiser and William Forsythe.

http://www.youtube.com/watch?v=wsRnVW96KN8

http://openendedgroup.com/index.php/publications/conversations/forsythe/