“Being vulnerable onstage, and allowing one’s true self to shine through the steps… is what makes a highly esteemed dancer,” says Daniela Thorne of the Berlin Staatsballett. In our interview, Daniela opens up about her journey, inspirations, and the mentors who shaped her career. You can feel her passion in her words and movements, showcasing the deep dedication of this Brazilian-American artist to her craft.
Accompanying this insightful conversation is a captivating photo series by Zoe Akihary. Titled “Summer Dreams,” the series captures Daniela amidst the beauty of a sunlit meadow, embodying the essence of flowers and the joy of simple, natural moments.
Daniela, can you share some of your earliest memories of ballet and what initially inspired you to pursue a career in dance?
My mother studied ballet in Brazil when she was younger, but gave up her passion after immigrating to the United States in her early 20s. Before I was born, she would spend her evenings at the San Francisco Ballet, reminiscing on her youth where she would buy the cheapest standing tickets, and save their stubs.
When I was only seven months old, she took me to see my first Nutcracker. The usher tried to turn me away, afraid I would cry and cause a disturbance, but my mother knew better and convinced the man to let me watch. Although I cannot recall the details of the day, I know I was transfixed. Throughout the entire performance, I hardly moved, let alone cried. At the end of the show, my mother took me to the gift shop where we bought a CD of Tchaicovsky’s score. She played the music in the car and in the living room at home where I would twirl around the couch in my favorite dresses, and it is safe to say that I have not stopped dancing since.
Growing up in different countries and experiencing diverse cultures, how has this multicultural background influenced your personal and professional life?
It has been such a blessing to have been able to be exposed to many different cultures throughout my career. I feel incredibly grateful for my parents and upbringing in San Francisco, which primed me to keep an open mind in not only accepting, but also being willing to learn and understand different cultures. Sometimes I forget just how incredible it is that within my current company one can hear a different language in each pocket of the studio. Though we may all come from different parts of the world, our shared passion speaks louder than the languages we cannot comprehend.
“I know I was transfixed. Throughout the entire performance, I hardly moved, let alone cried. … I have not stopped dancing since.”
You’ve performed a wide range of roles from classical ballets like “Paquita” to contemporary works like “Emergence” by Crystal Pite. How do you approach preparing for such diverse roles?
Every ballet has an entirely different story. In preparing for a role, I love to research the vision behind the choreographer’s work. You can tell a lot about a choreographer based on their ballets, but you can also tell a lot about a ballet based on the choreographer. Although there is always freedom of interpretation, I believe there is a level of respect and understanding that comes from the willingness to learn about the creator of the work to better understand the deeper meaning we as artists are meant to project.
Who have been some of the most influential mentors in your career, and what valuable lessons have they taught you?
It is true that you can learn something from anyone if you are willing. Sometimes, I catch myself finding golden nuggets of information in the least likely of places. It is rare that just one person can give you 100% of the support you need, and tough love can prove just as effective as the sweetness of affection. There was one teacher at the arts school I attended, Eva Draw, who really took me under her wing. When we trained together, she would work me to the bone, grabbing my feet and legs and shaping them perfectly in position. She would craft complex exercises for me to repeat, tailored to strengthen my weakness. Eva would raise her voice, and tell me off when needed, but outside the studio she would kiss my cheek and call me “bunny” giving me gifts and asking about my family. She showed me a human side to the art that I had not recognized before. Eva initially recognized me for my work inside the studio, but in managing to extend that support after hours, she made me feel safe enough to bloom as an artist.
“Being vulnerable on stage, and allowing one’s true self to shine through the steps… is what makes a highly esteemed dancer.”
What do you believe is the most important quality a dancer should bring to their performance to connect with the audience?
To acquire pristine classical technique is a next to impossible task, but it is still easier to hide behind the strict rules imposed by ballet, as opposed to truly expressing oneself artistically. Being vulnerable on stage, and allowing one’s true self to shine through the steps premade for us to perform, is what makes a highly esteemed dancer. When the curtain goes down, most audience members will not be able to remember, nor understand, the difficulty in which one has sustained a certain movement, but they will most certainly remember the impression left with them by a dancer.
What are your favorite self-care practices to stay mentally and physically healthy amidst the rigors of a ballet career?
My routines are absolutely essential in maintaining my sanity, and they have provided incredible comfort in an often dizzying career. Yoga has been a favorite of mine for a long time. I like to practice at home in the mornings just after waking up. On Sunday’s, if we do not have a show, I sometimes like to go to group classes at my local studio to be in an environment with others and pick up a nice matcha on the way home. Whenever I feel too much in my head, I also like to go on long walks. I always have music playing when I am alone but frequently enjoy a good podcast when going around the neighborhood. On Being with Krista Tippett, and On Purpose with Jay Shetty are two of my favorites.
“It is true that you can learn something from anyone if you are willing.”
Beyond ballet, you have mentioned a passion for writing. Can you tell us more about that?
In ballet, we speak with our body and not our words, but sometimes, I feel as though one outlet just isn’t enough for all I have to say. Since the age of ten, I have religiously confided all of my secrets and truths in a journal I keep on my bedside table. When I travel, it is as imperative as my passport, and personally, much more valuable. With a daily practice of journaling, I have found a rhythm to my words that I guess one could compare to a type of dance. I love the way a sentence changes when we rearrange the wording, and how a writer can play with the timing and fluctuation of syllables to create flow.
One of your favorite books?
I often go between books on spirituality, essays, and fiction. One of my favorite collections of essays is, “The White Album,” by Joan Didion. There is something truly magical about the way she captures my home of California, and continues to beautifully describe both the seemingly mundane, and often tumultuous historic events that took place in the 60’s and 70’s. It covers politics, Jimi Hendrix, personal relationships, and everything in between.
The most important thing in life is?
Thanks to my career in ballet, I have had the great fortune of being able to both travel and live in several different countries around Europe. Moving away from home at seventeen, (thrilled as I was), was a daunting task to undertake and I often grew lonely. Since then, I have found a small circle of friends who have quickly become my family. Opening myself up to life long connections like the ones I cherish today has been the greatest blessing, and the relationships I hold close to my heart are ultimately the most important thing in my life.
