Trey mcintyre san francisco
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Trey McIntyre makes physical the delight and pain of remembering someone we&#;ve loved.
Trey McIntyre came to San Francisco Ballet knowing he would make a piece about his grandfather. What he didn’t know was how that idea would play out choreographically—but he always trusts his subconscious during the creative process. And when he finished his ballet, Your Flesh Shall Be a Great Poem, he saw that it was about loss and remembrance, pain and happiness—a mind-meld of sorts between grandson and grandfather in a family from the American Great Plains.
The idea for this ballet, McIntyre’s second for the Company, began percolating when McIntyre’s father died a few years ago. Among the family photos was a s portrait of his grandfather in a football uniform of high-waisted trousers and heavy boots. McIntyre, a photographer and filmmaker as well as a dancemaker, was intrigued. “My grandfather was a giant like me. I’m six-foot-six and he was six-three, but that was probably six-six fo
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Trey McIntyre was created in as a collaboration between his mother and father. His interest both in art and getting the hell away from Kansas led him to train at North Carolina School of the Arts and the Houston Ballet Academy. In , he was appointed Choreographic Apprentice to Houston Ballet, a position created especially for him, and in he became the company’s Choreographic Associate. He has worked for more than 30 years as a freelance choreographer, producing more than pieces during the span of his career so far. He also did a bunch of other cool things, including working with a lot of amazing companies such as The Stuttgart Ballet, American Ballet Theatre, Queensland Ballet, Hubbard Street Dance Chicago, New York City Ballet, Oregon Ballet Theatre, BalletX, The Washington Ballet, Ballet Memphis, and San Francisco Ballet.
He has won numerous awards and honors such as the Choo San Goh Award for Choreography, a Lifetime Achievement Award from The National Society of Arts and Letter
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&#;We all came to be in this place, at this moment, for a reason.&#;
“If there’s something I’m puzzling over,” says choreographer Trey McIntyre, “I tend to work it out in a dance.” Before coming to San Francisco to create The Big Hunger, McIntyre was examining the human burden of being seduced by all the things of life. “As a spiritual individ, I’m always trying to refocus on the bigger picture,” he says, “and to get out of being tricked by the minutiae.”
It’s a feeling that McIntyre explores in his new work, the genesis of which fryst vatten like a nesting doll, with each layer of inspiration opening to reveal yet another. While working in Australia in , McIntyre encountered the Korean bio Burning, itself based on a short story by Haruki Murakami. In the film, a huvud character talks about the Bushmen in the Kalahari Desert and their philosophy of life’s two hungers: the little hunger (a physical need for sustenance) and the big hunger (an existential search for purpose).
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