Georgettle and her eternal modern eye

Georgette Tsinguirides is over 90 and more modern than most of us. Actually not modern. “Zeitlos” we say in German. So timeless yes. I guess it’s the same in English.

Yes, fashion wise she always has looked impeccable and still does. High heels and a tight dress? No problem. She even still gets lifted sometimes by dancer Marti she told me yesterday with a twinkle in her eye ☺

Georgette is a tiny lady with a beautiful Greek nose of which I think she is quite proud of. She has the ‚nose photo‘ of her and John Cranko hanging in her house.

She was born in Stuttgart, traveled back and forward to Greece and finally settled here in the city of Mercedes, Porsche and the Stuttgart Ballet where she danced even before it was John Cranko’s Stuttgart Ballet. 

John Cranko, the motivator for her to becoming a choreologist. She wrote down all his ballets. Yes, she is that feisty lady that wrote these amazing bibles as we know them now. Onegin, Romeo and Juliet, Taming of the Shrew, Initials R.B.M.E., Poeme de L’Extase and all the rest… All these treasures that are written down. Years, years, years and more years of hard work, devotion and love.

But I don't want to give you a history lesson. Cause Georgette for me is much much more than that. And she is not history ☺

What I would like to talk to you about is her knowledge…

She just knows. And then I am not talking about how she knows that in 1939 the 2nd world war started. Because that, she most definitely knows…

She looks at you in the eye and she knows… Even before you do sometimes. 

She sees a dancer trying to be Onegin, entering the stage in the famous book pas de deux‘ and she instantly knows. She knows if it's right or wrong. She knows what it needs, more pepper or more salt or some intellect or just some time. Her taste is impeccable and she knows that too. But she doesn't brag about it. Cause she doesn't need too. She is comfortable and confident in her knowing. And that is still so refreshing. 

It’s a rare something. One doesn't come across that a lot. And with many great dancers, ballet masters and huge choreographers that used to have that knowing eye, it disappears. Disappears because they lose the “Demut”. Another beautiful word that I think is not well translated by Google. Humility. They lose humility. They lose the touch with plain humanity. With compassion, with human error, with education. Often because nobody gave a defense word. Ein “Wehrwort”. 

But Georgettle, she still has it. And she didn't and doesn't need a Wehrwort to keep being grounded. I think God might be part of that. He is definitely part of her humility.

I think she is the most special lady I know. She never lost this eye, because she is so connected to humanity in a way. Her intuition is her guide. At least that is what I think/feel. I will ask her about it next time I see her.

Of course her experience in life helps too. Helps to see and know. But I think she has always let her intuition lead her. 

I worked with her when I was a dancer at the Stuttgart Ballet for 15 years and still see her every week. At my time at the Stuttgart Ballet, if I was rehearsing with her, there was always this anticipation. I wanted to put my best foot front. She was always honest, she would tell you if it was good, if you were on the right way, but also if it was not the right way and if you needed to think and reflect. Or read a book, think of air under the arms or be more grounded. I remember us working on Petruccio’s walk. It was so hard. Because I was vulnerable as ,a typical blond prince type’, thinking I couldn't be a Petruccio. But she wouldn't have it. She knew I could do it. And she gave me so much confidence. She allowed me to make mistakes and to take my time (which lately is not being given much anymore unfortunately (god I sound like an old man). And not to feel bad about these mistakes. Many dancers feel so so bad about mistakes you know?? Everything needs to be perfect immediately for them. 

For the dancers reading this: mistakes are great. Ok? This is how we get better. How we transfigure.

Anyway, that’s for another topic. 

MacMillan’s Song of the Earth. It was her that printed out the poems and made them available for us dancers to read. (Or at least asked them to be printed out ☺)

It's a small detail, but it says a lot. The “Ansatz” is just right. Sorry, I keep having to translate German words. “Ansatz” means for me, the beginning of something. Approach. Her approach is just right. She wanted us to understand what we were dancing. She always tried to go to the core with us, the essence. 

Not only when she helped dancers bringing out their full potential, but also in “normal” life. Asking her advice about relationships, life decision making or anything else really, there is the same knowing, the same approach.

For instance after I showed her my new dance film “Transfigured Night” she sat quiet for 2 minutes. And I was just there, waiting in silence, wondering what she was thinking or might say. But this is so so beautiful→ Whatever the outcome, whatever she says after this silence, it is real, it is thought about, it is really what she believes in and she only wants the best for you. 

Georgette just cares about the right things. Has an immense heart. Has an immense experience. Lost a lot and gained a lot in her life. Is still standing strong and very aware. Living in the small house for 40 years with paintings, photos and things that she loves around her and reminds her about her parents, sister and youth and of course John Cranko and all the dancers she nurtured.

Her knowing, her eye, even though Georgette Tsinguirides is over 90, she is eternal. 

Because with this, she in essence, inspired, inspires and will inspire.