Jorge Sandoval has been a dancer, and now he sees his career in design as a natural evolution that keeps him in that world. He was just in Banff for the tenth consecutive year, working with a team of staff and work studies on the costume and production design for Dance Masters. He’s recently finished his Master’s degree in theatre and performance, and is now getting ready to start his PhD in the fall. He recently answered a few questions for me around process, design, and dance.
Why do you love designing for dance?
One of the reasons I think they keep inviting me back is that I understand movement. So when dancers move, creating these characters, the costumes have to be an extension of those characters. I’m always thinking about how they can really move the way they need to move and still look the way I want them to look.
How do you approach this type of design?
Before the performance, the choreographer and I have a lot of conversations. I always ask a lot of questions about the style of dance … choreographers tend to include a lot of different styles of movement, a little bit of hip-hop, acrobatics, and balletic style. I ask them are they doing a lot of stuff on the floor, or are they doing a lot of jumping, or are they doing a lot of partnering? Some choreographers want to prepare in the studio with the dancers, which is a more organic, a more artistic way, to collaborate. They count a lot on what the dancers bring to them. So a lot of the questions that I have are just theoretical until the moment we see the dancers in the studio. Continue Reading →