• Bavarian State Ballet  (Bayerischen Staatsballett)     
• Dortmund State Ballet ( Ballett Dortmund)and at the
• Semper Oper in Dresden Germany  (Ballett der Semperoper Dresden)

She also had the chance to perform in cities like:

• Moscow
• Tokyo
• Seoul
• London
• Singapore
• Bangkok
• Macau
• Muscat and
• Toronto

all the way until she sat down on this very stool to tell us about her current creative process.

Greetings and welcome to the show, Chantal Fink.

Great to have you on the show.

We like to start with one of our signature icebreaking questions.

Which cartoon character would you like to be?

Do you know Pipi Langstrumpf?

Oh yeah, I do.

I read the books and watched all the movies and I just love this mix of, she can do whatever she wants to and she’s still super strong, but she only uses her power when it’s necessary and still kind of very responsible. I like that whole mix.

You already liked the responsibility at such a young age?

Haha, yeah, I was an odd child.

Dead or alive, can you name three people that you would like to meet?

I would start with the one that’s still alive:

1. Mick Jagger, because I love the Rolling Stones. I’m a big fan of good music.

2. Rudolf Nureyev, one of the biggest dancers and choreographers of all times.

3. Karl Lagerfeld, because there are so many stories about him and the way he created fashion; I find it really fascinating, so I guess that would be my top three.

All right, interesting choices.

Do you have a ritual that you do before the curtain opens?

What is passing through your head?

Not much, but I always move. I usually always make my colleagues very nervous but I’m always the one at the last second jumping around and warming up. I need that so I don’t have to think.

Because once I would start thinking I wouldn’t enter the stage to be honest. So, that’s why I always keep on warming up and I always stay in action.

I don’t really have like a silent moment; I don’t do that.

Are there some moments where you also go through all the choreographies again?

Or when there’s like a lot of movements happening on the stage?

I think about the choreography before but maybe like half an hour an hour before, or like in the studio, but then when I’m backstage or on stage, no.

I just do my warm-up routine, that’s what I do.

We all heard in the introduction you have been to so many countries.

Can you feel a difference regarding the audience reactions in different countries?

Yes, especially when you try to compare Russia to Asia, because the Russians they also used to clap in between. In Germany no one does that. You know, there’s no “Bravo” or something in between, maybe like when there’s a guest soloist it might happen from time to time but usually, not.

They’re kind of, I don’t really want to say polite, but they know when to clap.

While like in Russia they’re so passionate for ballet they always truly want to show you their appreciation.

And in Asia, as soon as the curtain closes, they stop clapping, and start again when it opens.

That was super interesting I never experienced that before. At first it was like ‘uuh’ they didn’t like the show? What’s the issue?  But, no, it’s normal there. They loved it but it’s just their way.

How about Backstage, like the people working around you, stage technicians

for example, or makeup artists?

Not really, I have to say. They were all super friendly and super helpful.

I mean, I have to say when we went to Muscat it was a bit different of course, they were still very nice, that’s not what I want to say but we always had to wear like long sleeve t-shirts which was a unique experience. At first, they were also keeping the distance but then after one or two weeks it was all very much how we used to do it.

How long were you in one city?

Were you on tour with the same production, or a different one?

Same production usually. I mean the longest tour was Tokyo and Osaka and then we went to Seoul, that was like a month in total, but usually it was about a week or ten days. I think in Japan we danced

‘Swan Lake’ and in Seoul it was ‘The Taming of the Shrew’.

Is there a preference regarding shows within the countries?

Or just mixed variety of shows?

It’s mixed yes, but the Asians usually like the kind of storytelling ballets.

I mean in Stuttgart we have a lot of John Cranko pieces and they love them. Also like ‘Onegin’ which is a drama but it’s just like beautiful ballet, ‘The Taming of the Shrew’ is very entertaining, so yeah.

Talking about the John Cranko Academy,

I thought we could address some answers towards our next generation of dancers.

How hard is it to get into the John Cranko Academy in Stuttgart Germany?

Yeah, to be honest when I auditioned, I was 15, I was in the Ballet Academy Munich before (Hochschule für Musik und Theater München, der Ballettakademie München.) and at that age I didn’t really think that much about it, I just went there, did the class and got in.

So maybe because I didn’t think so much, and therefore wasn’t too worried, that’s why I kind of took it easier. I mean nowadays I guess I would just freak out but at that age it was simpler.

Although, I think I was the only girl they took that day. So, I guess it is hard to get in.

I was lucky maybe and had a good day.

Which advice would you give young dancers when they audition?

I guess just to do their best and stay calm. I mean it’s hard but also to breathe is so important.

I learned it much later, also during my ballet education, you’re always told to suck your stomach in and bring your shoulders down and you forget to breathe and sometimes you then lose your performance because of that, so keep on breathing. That’s like the most important thing I would advise anyone.

What was your daily routine at the ballet school?

I mean in the John Cranko Academy I had more classes than in the Ballet Academy Munich.

We had a super early ballet class starting at 8.30 or 9.00 and usually I was there quite early to warm up, like an hour before maybe. I wouldn’t do that today, because it makes not much sense, I would do a shorter warm-up and then push through it, then lying in a split for one hour. It doesn’t do much for you. But no one told me at that age, so I just did it.

Then we had a short break and usually a Pas de deux or modern class, then a lunch break and then rehearsals for those school shows. Because at John Cranko they had quite a lot of performances also like with the company of the Stuttgart Ballet and then in the afternoon sometimes you would go to the theater to rehearse with them for other productions, like ‘Giselle’ or ‘Swan Lake’ where they always need extra people. Usually I was done like at six o’clock in the evening, sometimes 7.30 PM because we took Spanish dance classes.

So yeah, it was a full day and then six days a week. 

Is there like a general pressure in the air when you’re in such a prestigious school?

Yes, you can feel it. I mean you know that you always must give your best every single day, but to be honest, I think in any kind of profession if you really want to get to the top, that should be your mentality.

To push through a class when you’re sick doesn’t make much sense but when you can do it, give it all or stay at home.

Even now before a performance I always do my own class, like a barre. I need it, maybe my body doesn’t but my brain does.

And there are other dancers that would just take a hot shower and run-on stage and perform beautifully.

“The routine of a ballet dancer”

Run us through your routine before the show…

I go through the choreography before, then I do my makeup and then I try to be backstage as soon as possible because I don’t like being outside in the real world and then coming to stage and go on stage immediately. I need like half an hour backstage with the lights, with the technicians to get into the mood.

I usually do a short warm-up, maybe like 20 minutes in the wings and then I go.

Bullying on stage…

Time to time we hear about disturbing happenings, especially in the ballet world,

 what is a positive relationship with food and body issues?

Um yeah, it’s a tricky topic. I mean thank God nowadays they have lots of people that are experts on that field of nutrition. They help especially girls to improve those issues.

I think you must give your body what it needs. You know, the more you train, the more you must give back to your body but it depends on the quality of the food.

I grew up not really eating lots of junk food or like lots of sugar, that was never at home, so that’s why I never got attached to it but I still eat what I want.

I mean when they’re young, like especially younger kids I think it would be great to have a helping hand for that.

Do you also have medical experts in the academy?

There was no one actually, I just finished my masters as a dance teacher at the Palucca School and they really have lots of people there, like sports medicine and that’s what you need.

You know because dancers are like athletes, so they need the same help to get through it.

You already mentioned one but what were the three most influential persons in your life?

I would say first my parents, they never really pushed me to do ballet, they were trying to hold me back actually because I really wanted it immediately, like all of it.

But they were really supportive of me and I think you need family or like a background that supports you, because if you don’t have it, it’s super hard, because also like not only physically but also mentally it’s very demanding.

And then my first ballet teacher in Munich, Frau Hoege.

I remember her and I wanted to be like her because she has the right mix of discipline and friendliness and she was so accurate and just beautiful to watch.

So, I always have this picture in my head and whenever I feel down or unmotivated, I see her and I’m like, okay let’s do it. Let’s go!

With all the different dance styles and techniques out there, what made the decision for you to choose ballet in Germany over let’s say show dancing for Katy Perry?

I mean, it started because every little girl does ballet but then, after a year I already knew I just want to do that, nothing else.

I guess, I always liked this kind of classical style, the pure style, you know like the lines, classical music.

I was only listening to classical music as a kid, nothing else. Don’t ask me why but I think that was just like a good match for me and the discipline in it. Kind of calmness and discipline.

I liked that as a kid.

Imagine you get the chance to direct your own show,

money is not an issue, what would the show be about?

It would be a drama. I love drama. Not in my life but on stage.

I have to say, it would be hard for me to make up a whole show because I don’t really consider myself a very creative person in that sense, but as like an overall picture, it would be a Drama-Love story.

Did you ever experience missing passion?

Like, when you have a dark day, or you said “what the hell am I doing here actually?”

It was a longer time for me because I was with the Stuttgart Ballet for like five and a half years and then at some point, I just lost that passion. I was standing on stage and even the applause just didn’t give me anything anymore, and that was the point where I needed a break.

I was 24 and somehow, I was just done for some reason. Then I went back to Munich and I worked in a shoe boutique for like half a year. I just had to have a break and to do something completely different and actually, it helped me a lot because I’m usually a very shy person but then I had to sell something that I never did before and through that experience actually, I wanted to start with dancing again because I felt more confident and then I became a freelancer and I got all kinds of guesting jobs and I started to enjoy dancing again.

So, I guess I needed that kind of break and step in between.

I’m glad I found the passion again, but I also learned then because I’m a really, let’s say extreme person. For me it’s just black or white and that makes you lose the passion sometimes. So now I discovered my grey zones and it’s a good life for me.

“Advice for dancers”

Okay, so the advice maybe for any other professionals out there would be; take a step back, reevaluate the situation and get to know your grey zones?

Yes, because also like during your dance education usually you get told there’s only ballet. There are no other activities, no boyfriend, nothing. It doesn’t work with ballet.

And that’s just not true you know; I think especially dancers they’re very responsible on that level, so I think they can kind of see what’s possible and what’s not. Of course, you shouldn’t party for a week and then go to class, but you can still enjoy your life and be a very good dancer.

“Ballet mums”

Did you ever experience this over-enthusiastic mother, maybe that kind, that push their kids a little bit too much?

I mean that’s not healthy and usually those girls they stopped dancing, quite early actually. Because I think the more you get controlled, the more somebody would say, “I’m out.”

I remember in Munich they were giving their kids corrections through the window, which is the teacher’s job not the mum’s job but, yeah.

Tell us about your biggest mistake professionally.

There must be something?

Yeah, there was one thing, when I really learned you always must be ready. I was second cast for one of my best friends, who danced ‘Don Quixote’ on stage, and she fainted during the first act.

I was upstairs doing my makeup, didn’t have my costume ready, and then I hear through the speakers- Chantal Fink please come to the stage. I was like “*£&^$% !!!”

So, I had to get my costume and didn’t find it, it was gone. They just put me in something else, which was way too big and no hair, half lipstick and that’s the way they sent me on stage. And that was my lesson.

I mean no one really saw it because you have the fan, so I just tried to cover my face the whole time, but I felt really embarrassed on stage and that’s why I was like, okay you better be ready every single time.

What do you think is the most underrated job in the entertainment industry?

I think stage technicians are the most underrated.

I remember starting in the theater, you just go on stage and everything is ready for you and you just dance and then you leave without really looking around who’s there.

We usually do not thank them enough. We just go home after the show, to our bathtub and that’s it.

I think it’s important to be aware of who else is there in the theater. The same goes with the people from the costume or like the makeup department.

You know it’s true, I mean this was also one of the key initial thoughts of creating Velvet Legends and this entertainment community here to raise awareness. Because I also experienced it a lot of times that the people don’t really know what each other is doing.

For example, I also used to work as a stage technician at the Semper Opera in Dresden, and there the dancers they are basically just numbers. Because when we are building the stage and there’s like a trapdoor or whatever scenic action, in the plan is just written ‘Dancer number 1’ will enter through trapdoor.

So, yeah, that was a little sad. I mean for us everything needs to work and everything needs to be on spot because we are basically dealing with your life, but I was always looking around trying to spot ‘Dancer number 1’.

It felt always too distant, so yeah that’s why I hope we can educate people and especially the entertainment industry.

“The future of entertainment”

Talking about the industry, how do you feel about the entertainment industry when you think about the future?

Well, I think this entertainment culture is constantly changing. I mean we also saw it now through corona with all the live streams, that is something that will stay, I guess. But it also creates more distance…again.

 I would love this whole entertainment industry to become more personal. Get to know the people around yourself and make more connections, and not only stay in your own bubble.

I had a project in November 2021 with two great filmmakers and they filmed us on Orleansplatz in Munich. There was a musician, a DJ, a painter, and there we also connected ourselves and we spoke about how we feel about this whole industry and how it’s going to be after corona.

So I think that’s the main thing; to make connections, even more now than ever.

In general, it was sad that the whole industry came to a full stop, but I think it also grounded a lot of people to not take things for granted, that includes me and my profession as well.

I thought, who’s not going to have a party or make a concert, or I have a stage to build? I really believed I have the most secure job. And then everything was gone, and that after 21 years.

“Ballerina advice”

If you could talk to your younger self, which advice would you give yourself?

To not take everything too serious, not only in ballet dance but generally in life.

And to stay calm. It really does help you. We are living in a world where everything is super-fast and speeding up constantly, so I think to stay calm and still create your routines is very important because you must have discipline for this profession.

I say to myself sometimes, I don’t feel like it today. I don’t feel like doing the class, just skip it today.

No, do it! Maybe even write down your routine, that helps me.

I do this schedule more or less, not too strict so I still have like a few hours of free time, yeah that’s important for me.

If you had the chance to put anything on a billboard what would that be?

That’s a very good question, it would be like a black and white photography.

I’m a huge fan of Peter Lindberg, so it would be like one of those 90’s supermodel shots, one of those like Claudia Schiffer or Evangelista.

I am glad you came in and gave us a little insight.

I hope you guys liked it as well thank you very much!

Chantal Julie Fink