Mini interview: Patricia Vázquez

Dancer Patricia Vázquez joined Cullberg Ballet in 2007. This spring she performs in Tilman O’Donnell’s new work in The Strindberg Project.

Improvisation plays an important role in Tilman O'Donnell's works. As a dancer how do you work with/approach the impro technique?
It’s a very challenging process. It’s the first time (besides “The progression of things” by Tilman as well) that I work this way. I think it requires a full engaging to acknowledge your “stablished patterns” throughout your studies and professional career to encounter a new way of dancing for oneself. It’s all about practice... even when you don’t know what you should be looking for. Do not think, feel!

How would you describe the piece you dance in?
I can’t describe it… I would say that the personal process is what matters in this piece.

Why did you start dancing?
I liked to move a lot as a kid, I was physically very active, sometimes too much. Before dancing I swam. But a few years after I started with ballet, it was clear I wanted to continue developing a dance career.

If you weren't a dancer, what would you work with?
I think I’ll be doing something oriented towards sports (maybe a swimmer), health (physiotherapist, masseur, osteopath) or photography-video, in the artistic side of it but maybe in the management as well.

Patricia was born 1981 in Spain and educated at Royal Academy of Dancing in Alicante 1990-1998 and at Instituto del Teatro in Barcelona 1998-2002. Patricia was engaged by IT Dansa in Barcelona 2002-2004 and thereafter by Stadttheater Bern 2004-2006. She has danced in choreographies by Stijn Celis, Nacho Duato, Jo Strömgren, Jiří Kylián, Rui Horta and Wim Wandekeybus among others. In addition to her career as a dancer, Patricia has worked with different projects and been active as a choreograph assistant in stageing Mats Ek's Aluminium for Ballett am Rhein and assisting Johan Inger in the creations In Exact for Les Ballets de Monte Carlo and Rain Dogs for Ballett Basel.