“It was such a moving piece for me to see post-COVID, to see people so close to each other, touching and helping each other,” he recalls. “I’m normally incredibly skeptical of my work. But The fix is one of those plays where I love to sit with an audience and watch them experience it. It’s just pure happiness. »
For those familiar with Shechter’s biting work, “pure joy” will be a start. The dance disrupter agrees that The fix is different for him – in less immediately obvious ways.
“I felt that one of my – to shamelessly call it – ‘tools’ normally takes time a way of the public,” he said. “It’s happening faster than your mind and feelings can handle. You have to watch because it’s in front of you all the time, which I like.
“But with The fix I thought, ‘I want to give time return to the public now. I want to find the same intensity not by taking time, but by giving time to the public.’ »
Take all of this as a sign that Shechter is in a rich creative period at this point in his career – one word he says scares him, by the way. It shouldn’t. After dancing at the famed Batsheva Dance Company, Shechter moved to London in 2002, and when he won the Place Prize 2004 audience award for his sextet Worship, he saw his career take off on a meteoric rise; he formed his own company in 2008, has toured the world and created pieces for such leading troupes as New York’s Cedar Lake Contemporary Ballet and London’s Royal Ballet. But looking back on that decade, he says he felt “G-force pressure”.
“I had to deal with a lot of things and digest a lot of things, and now I just feel like I’m living my life,” he recalled, adding that he still spends a lot of time outside of the classroom. dancing, just making music.
The day Stir joins him, Shechter creates a new solo in a studio in London, and is about to leave for Stuttgart to make a short film with a dance company. The in-demand artist says he is in a happy place, thrilled to be able to work with his hand-picked team of top dancers from around the world.
At this point, Shechter seems to be refining and becoming more assured with his singular voice – a sort of “total” theater driven by atmospheric music and cinematic-style edits and leaps. This vision, as always, is rooted in staying true to yourself, regardless of the “G-forces” at work outside.
“I imagine myself in a theater and ask, ‘What do I want this to happen? What would really excite me? What would be really awkward? I can imagine that would be really beautiful?” he said. “The only judge I have in my head is me and my instincts.