Eleni loving the Unfols movement as a magic round. Dance the percussive of Twyla Tharp The Fugue (1970/2024) with Gibney Company, she captures the airy land of the work with precise musicality and impassive delivery. In Jermaine Spivey and Spensify Theberge's RemainsIt is a puppet which cut off its own strings, its gestures both precisely calibrated and entirely in the moment, both cerebral and instinctive. Like an illusionist master, she draws attention precisely where she wants, while maintaining a feeling of spontaneity, natural and discovery.
Company: Independent dancer
Age: 24
Hometown: Arlington, Texas
Training: Dallas Black Dance Academy, Fort Worth Academy of Fine Arts, Mejia Ballet International, Geralyn Del Corso Dance Co., Booker T. Washington High School for Performing and Visual Arts, The Juilliard School (BFA in Dance)
Distinctions: 2022 Princess Grace Award Honoraria, finalist Youngarts 2018
Worse criticism: At the start of Juilliard, Loving's trend at self-criticism “was so intense that she was debilitating,” she said. She attributes to her professors Risa Steinberg, Taryn Kaschock Russell and Francesca Harper for having noticed what she lived before annoying her career. “In themselves, many more maternal ways, they took my shoulders and said,” Calculate yourself. ” “”
Hit the floor: Loving joined Gibney Company a month before his graduate of Juilliard, sharing his time between rehearsals for Johan Inger Happiness And finish his diploma.
Sing: For the premiere of Spivey and Theberge's 2024 Work RemainsLove was asked to vocalize solo towards the end of the room. “The voice is just as much a muscle as your calf or your deltoids,” she says, describing how the choreographic duo “uses it as another part of the body.” She had taken vocal lessons as a choice at Juilliard and remembers the end -of -year showcase: “I had never had such frightened life. I was shaking. ” Develop this set of skills for Remains “Forced me to do a lot of exploration to find the ends of my own voice.”
Lean about frustration: Loving arrived in a place where she learned to treat frustration as “a good thing,” she said. “The minute when I am frustrated is when I know I now need another tool to be able to dig more in work. It is not necessarily the end; It is simply a question of obtaining the right information to understand it. ”
Always question: “Eleni is a thoughtful artist,” explains Gilbert T. Small II, director of Gibney Company, who describes her approach as a cerebral with a beautiful sense of abandonment. “She continuously presents ideas out of the box, breathing in a new life to everything she dances.”
Oriented towards the process: Love is energized by the research and discovery that occurs in the studio, both by itself and with its colleagues. “I love to ask questions,” she said. This is an interest that could lead to his teaching of dance on the line, “where everything is a question of questions, where you can get the prospects of others.”
Verification of the McKittrick Hotel: Earlier this year, Loving joined the cast of Be sleeping For part of the last race of the legendary immersive. “It's really stretching my mind,” she says. “The intention is essential, because it is a dance theater show, so you express a lot through the movement.” She chose to leave Gibney Company in August and plans to pursue an independent career after Be sleeping farm.
Person of people: Apart from the studio, Lover prioritizes the priority to spend time with her friends and his community. “They remind me who I am every time I am lost,” she says. “The dance industry is really insulating, sometimes. Just to get other lifestyles can be really refreshing. To see the people I love, no matter what we do, that's what I like. “
