Tom Weinberger.

Tom Weinberger. "I have too much energy in my body.”

Tom Weinberger
Tom WeinbergerMarcus Palmqvist

Tom Weinberger was extremely wild as a child. He almost demolished his parents' house, just because he didn't know what to do with all of his energy. As a 15-year-old he started attending dance school – there, he was finally able to find an outlet for his need for movement.

During his time at the school, he dreamt of working at the world-famous Batsheva Dance Company and, straight after his exams, he had the opportunity to do just that.

"You might even call me hyperactive. Dance helps me find a balance between body and mind, and to use my energy constructively. I have great capacity and really need to be moving.” / Tom Weinberger

A genius of the dance world – and his very own language of movement
Batsheva is led by the choreographer Ohad Naharin. Tom describes him as a one of geniuses of the dance world, a person who has changed and regenerated dance. He is also the one who developed GAGA, a language of movement which is used by dancers throughout the world.

Tom says that initially it is not a matter of what a movement looks like, but about how it feels and what information you can gain from your body. In Batsheva, every day starts off with GAGA. For example, Ohad might provide instructions like "feel your body floating", "relate to the sensitivity of your skin, try to pull your bones through your flesh " or "register the delicacy of your hands". A lot of it is passion of movement, and about visualising and experiencing your body.

A playground where everything can happen
Tom says he looks upon contemporary dance as one big playground. "It is a form of dance in which there are no given rules from the outset. You go into the studio with the choreographer's imagination in your mind and explore, try things out, and find different ways of bringing out the choreographers," he says.

"Of course, the choreographer can set certain rules as work progresses, but not in the same way as in classical ballet where someone has already determined exactly the way I should move. Quite simply, we use composition and movement to try to achieve the choreographer's imaginative ideas."

Dance balances body and soul
Sometimes, Tom is asked if it isn't hard work, dancing from 10 am to 6 pm every day. "But for me it is just the opposite – it means I can get myself in balance. If I am not dancing, I get anxious – I have to use my energy. I need movement and dance. Even when I am not working, I go to the studio and train by myself, "he says.

But despite the fact that he cannot go without dancing, it is hard work. One of the challenges is always to remain focused, present and to be able to convey the performance as a new experience one evening after another.

"It can be difficult not to fall into a sort of autopilot-mode, to maintain presence and bring the performance alive. Every time you take the stage you always have to use resources from within yourself," he says and goes on: "I would really like to do everything that I haven't tried yet. Dance is my passion and I just want to keep researching and playing.”

In spring 2013, you can see Tom dance in The Rite of Spring and Rue Vandenbranden


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/om-oss/goteborgsoperans-danskompani/7-dansportratt/fan-luo/
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