Tan Sağtürk: "Technique is necessary, but it should not overshadow the artist's personality"

Tan Sağtürk (Advisor to the Minister of Culture and Tourism of Turkey on Arts Affairs, Vice President of the International Federation of Ballet Competitions (IFBC)), an artist, teacher, and director with extensive international experience, reflects on the importance of competitions like the International Ballet Competition, the balance between technique and artistry, how the jury recognizes a young performer's potential in the first round, and why a single mistake shouldn't ruin the overall impression of an artist.

At the XV International Ballet Competition, participants represent different schools and countries. What's particularly interesting to you about this professional comparison of participants from different disciplines?

It's important to me that the competition is organized at a very high level. It's a large and serious organization. This is especially important for an International Ballet Competition.

The jury is carefully selected. Participants who come to these competitions from various countries, such as Korea, China, and elsewhere, are typically very well prepared and focused on the outcome. The level of a world-class ballet competition truly shines through.

Today, organizing such a major international competition is important not only in itself but for the entire art of ballet. Due to the political and economic situation, many countries are currently unable to host such competitions. Some renowned competitions, such as the one in Varna, the Prix de Lausanne, and other major ballet competitions around the world, are experiencing difficult times or are undergoing changes due to external factors.

Therefore, the opportunity to participate in such a major event is extremely important. It's a great opportunity for both young dancers and the professional ballet community. The jury and the participants are of a high caliber.

In your opinion, how can a young artist, in a difficult, stressful competitive situation, maintain a lively performance and avoid turning the performance into a mere technical demonstration?

This is a very important question. I've been involved in ballet life, competitions, and stage practice for many years. Today, dancers' technical abilities are becoming very high, and sometimes technique comes to the forefront more than artistic merit.

But the competition is important precisely because it showcases not only the technical abilities but also the artistic qualities of each young performer. There are very talented artists, and the task of the professional community is to help create a balance between technique and artistry so that these talents can flourish in the future.

Technology is necessary, but it should not completely obscure the artist’s personality, his stage thinking, musicality and ability to be alive on stage.

Is it possible to see in the first round whether a participant has potential for the big stage?

Yes, to a certain extent, it is possible. There are several parameters here. One of the most important ones is the artist's physical attributes, their stage presence, and the beauty of their lines. The second is how they use their body, technique, and the stage space.

When these qualities come together, you can sense an artist's future potential. Of course, a future career depends on more than just talent: there are circumstances, opportunities, luck, health, and injuries. It's like in sports: many things can influence an artist's path.

But an experienced eye can discern who has the potential to become a soloist, a principal dancer, or a vibrant stage personality in the future. It's important to consider not only the young artist's current mistakes or results, but also their future prospects.

How strictly do the judges approach potential errors during the competition, which are not always due to the artist's technical skill? For example, force majeure related to stage slippage or simple accidents.

The jury understands that a competition is a stressful situation. Many of us have been through such competitions ourselves and understand the process, including psychologically. If a participant is worthy of attention, if they have confidence, quality, and potential, then a single mistake shouldn't ruin the overall impression.

Of course, technical reasons and errors are taken into account, but it is important to see the whole picture: the artist’s level, his capabilities, his stage presence and how he handles the situation.

What would you like to wish to the participants of the last rounds?

I wish them courage to take to the big stage. This was the first round, and more stages lie ahead. They need to keep moving forward and believe in own victory.

Interviewed by: Nina Teseyko

Photo: Stanislav Ivanov