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32. Seeing the Big Picture in a Dance Career (and Beyond!) with Igor Burlak
121 Plays1 month ago
Igor Burlak danced professionally with Miami City Ballet, Kansas City Ballet, Atlantic Southeast Ballet and as a principal with Minnesota Ballet. Since retiring from the stage, Igor has had an extensive career working as a Company Manager, Ballet Master, Choreographer, Instructor, Realtor and Photographer.
We covered SO MUCH in this episode, from Igor’s training at the School of American Ballet to appearing in THE Center Stage. We get expert tips on taking a great dance photo, dealing with onstage snafus and transitioning into a brand new career outside of the dance world. Plus, Igor spills the secret behind the magical moving bed in NYCB’s Nutcracker. This episode truly has it all!
Key Moments:
- Early dance training at the School of American Ballet [1:40]
- Igor’s transition from student to professional [3:40]
- How Igor began teaching and choreographing [5:27]
- What he hopes to instill in his students as an instructor [7:20]
- The biggest hurdles dancers are facing today [8:23]
- Igor’s work as a dance photographer and his tips for dancers to feel more comfortable in front of the camera [9:32]
- How he transitioned into a new career as a realtor [14:43]
- Dancing as an extra in Center Stage [18:05]
- Dancing in the iconic filmed version of the NYCB Nutcracker [19:04]
- Advice for dancers dealing with a mistake on stage [20:42]
- His biggest piece of advice for dancers pursuing a career [28:30]
Connect with Igor:
WEBSITE (real estate): www.igorburlakrealestate.com
WEBSITE (photography): igorburlakphotography.com
Links and Resources:
Get your copy of The Ultimate Audition Guide
1-1 Career Mentoring: book your complimentary career call
Let’s connect!
My WEBSITE: thebrainyballerina.com
INSTAGRAM: instagram.com/thebrainyballerina
Questions/comments? Email me at caitlin@thebrainyballerina.com
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Transcript
The Pressure of Competition in Dance
00:00:00
Speaker
You're seeing a lot of competition, not healthy competition. A lot of kids get in their own ways and this is what I have to look like. This is what it has to look like. That's not true. Everybody's so different. And this is what makes us us. What makes them them.
Finding Individuality in Teaching
00:00:13
Speaker
You know, when I was teaching, I, that's one thing I had to tell them, like, there's something special about you. Make the audience fall in love with you. Like, what can you bring to the table? I always give an example of you being at an audition, right? And there's a hundred people.
00:00:27
Speaker
Why is the director going to fall in love with you? We all can do pirouettes. We all can jump high. Why are they going to fall in love with you?
Podcast Introduction and Goals
00:00:37
Speaker
I'm Caitlin, a former professional ballerina turned dance educator and career mentor. And this is the brand new ballerina podcast. I am here for the aspiring professional ballerina who wants to learn what it really takes to build a smart and sustainable career in the dance industry. I'm peeling back the curtain of professional dance world with open and honest conversations about the realities of becoming a professional dancer. Come along to gain the knowledge and inspiration you need to succeed in a dance career on your terms.
00:01:11
Speaker
Hello and welcome to the Brainy Ballerina podcast.
Igor Burlak's Dance Journey
00:01:14
Speaker
I'm your host, Caitlin Sloan, and I am joined today by Igor Burlak. Igor danced professionally with Miami City Ballet, Kansas City Ballet, Atlantic Southeast Ballet, and as a principal with Minnesota Ballet.
00:01:26
Speaker
Since retiring from the stage, he has had an extensive career working as a company manager, ballet master, choreographer, instructor, realtor, and a photographer. Igor, I am so excited to talk to you today and learn more about your journey. Let's start from the beginning. Why did you take your very first dance class?
00:01:43
Speaker
Oh boy, it wasn't my choice. It was actually my mom's choice. Actually it was ballroom dancing when I was like six years old. I did it for about until we immigrated from Russia. So it was like three years that I did it for.
00:01:57
Speaker
And then, um, we landed in New York and it was like, what is a boy to do? So my aunt actually found, um, advertising and a Russian newspaper and it said, you know, school of American Ballet is auditioning boys for their season, the winter season. And it was an audition for me at school in Oregon Ballet. I had no idea that I would have to wear tights and all that. Yeah. It got in.
00:02:19
Speaker
And yeah, started doing ballet. How old were you at that point? I was about nine, 10 years old. And I remember walking into class and like,
Transition from Ballroom to Ballet
00:02:27
Speaker
what am I doing? Like, I've never seen, you know, it was all like, you know, when you do ballroom, it's totally different, right? It was freestyle, whatever you want. Ballet, you were like, go to the bar. And you're like, what is going on?
00:02:38
Speaker
Did you like that structure or were you kind of put off by it? In the beginning, again, I was like nine, 10 years old. I didn't know any better. I did what I was told. I think the great thing is there was a lot of boys who you relate to, right? So it was like, boys running before class, boys doing pushups before class. So that got me like motivated to do stuff. But it wasn't until like, I think 13 or 14 when I really started liking ballet.
00:03:04
Speaker
What was your experience like at SAB? It was great. I started with, she's like my second mother now, Olga Kostritzky. You know, she, she, she cared for her boys. It was, it was incredible. I was at SAB for about 10.
00:03:17
Speaker
years, 11 years. So we grew up with her. We traveled together. we We had dinners together. So my experience was great. And I'm still friends with, we're best friends actually. The guy who was best man in my wedding was actually my first boys class. Yeah. It was a good time. And then what was your transition from student to professional? Like, was it pretty smooth or how did you feel
Life After Professional Dancing
00:03:38
Speaker
about that? hey It was smooth. You know, I, ever since I was little, not little, but I mean, I was like,
00:03:44
Speaker
14, 15. I always like being back in the studio and like giving advice to my fellow dancers like try it this way, try it this way. Peter Boel actually gave me a recommendation to teach and I think that was the first time somebody pushed me to teach. The transition was good but I felt like I need to be doing something else. I loved dancing but I enjoyed teaching already at that young age and I enjoyed choreographing a little bit so I mean, it was good, but I felt like I needed to be doing something else. So you never felt fully satisfied as a professional performer?
The Role of Music and Creativity in Dance
00:04:18
Speaker
I did. I did. But I felt like I always had a joke that I feel more comfortable being backstage, you know, watching, you know, my ballets or but watching my students perform and dance. Like that was just my side. Having danced for, you know, a handful of major companies, how did you decide when it was time to move on from one job to the next? From ballet companies, you mean?
00:04:40
Speaker
um multiple reasons, some were personal and some were just, I always wanted more. I never wanted to feel comfortable. In my opinion, once you feel comfortable, it's time to move on. And I always joked with, you know, with my students when I was teaching, I said, you know, once you know everything and once you're good at it, it's time to retire. You know, you shouldn't feel that way. it It should always be a push. It should always be something new and something more exciting. If not, then you have to move on. Do you have a favorite role that you danced?
00:05:07
Speaker
I think every single balance in ballet, you know, doing prints in Swan Lake was fun. I enjoyed everything. Honestly, it's hard to say one role. I loved being behind a partner. So I loved partnering. So anytime I had to do a pas de deux, that was my thing. I loved it. You were saying, you know, from a very early age, you really enjoy teaching and choreographing. So how did you transition into those roles?
00:05:29
Speaker
My first choreographic experience was at the School Market Ballet. So we had a choreographic workshop and I used my best friend and a beautiful dancer, Abigail. I created a pot for them. I don't know why I wanted to do it. I just tried.
00:05:45
Speaker
And after that, I fell in love with it. So ever since, you know, I was dancing professionally. I was creating stuff. I was writing notes and just messing around with my fellow coworkers on the side. But I did have, you know, a lot of experiences in the companies to choreograph and that I love very much.
00:06:02
Speaker
How do you find inspiration when you're choreographing? Music. For me, it was always music. Everybody hears differently, I think, or sees things differently. And that's what your opinion matters. And to me, music's both. Some people have to, and there's nothing wrong with it, some people have to like take notes and write their whole choreography. I couldn't do that because if I did, the next day I'd be like, what is this? i don't I don't get it. So for me, it was music that day, like what I felt, and it really helped.
00:06:31
Speaker
How do you find music that you like? Cause I feel like that's always a struggle for me when I'm choreographing something, I can spend hours searching for music. Sure. You know, it's silly, but to me it was like the first note that I heard, like the first however many counts I was like, Oh, this is it. My biggest ballet that I've choreographed was at Boston Ballet. And it was for next generation at the end program. This music was proposed to me just like, Hey, listen to this.
00:06:59
Speaker
And the first note that I heard, it was like, oh my God, it was Martin New. The music was by Martin New. And it was so explosive. And I was like, yes, I'm using this. So to me, it's it's like the first couple of notes that I hear. I'm like, yes. hu As a teacher, what are the things that you really hope to instill in your students?
00:07:18
Speaker
I always felt, because of my relationship with my teachers, and especially Oliver Kostritzky, to me, it was more about trust. you know A student has to trust you in order for her to see results. You can be strict. you can be You can be whatever you want. But if the student doesn't trust you, it doesn't matter. So trust was one. Technically, musicality was you know always, it had to be musical, no matter what we did. And it was just it was more of nurturing than anything. That's very important in training, I believe.
00:07:46
Speaker
And how do you develop that trust with your students?
Trust in Teacher-Student Relationships
00:07:49
Speaker
It's very hard because everybody's so different. Some kids might have a personal problem. And for some reason, they feel comfortable in talking to me. And that trust kind of builds. Or you know I might come up to somebody and say, hey, you look like you're having a bad day. And it's not like you're doing it because you know you you want to get credit for it. You don't. You're doing it because you want to help these kids. And that's why my relationship with my students was was successful.
00:08:12
Speaker
Yeah, it's just seeing them as human beings. Exactly. Being on the other side of the table now, being a teacher, a choreographer, what do you notice are the biggest hurdles that dance dancers are facing in their careers
Social Media's Impact on Young Dancers
00:08:23
Speaker
today?
00:08:23
Speaker
You know, social media is extremely hard. You're seeing a lot of competition, not healthy competition. A lot of kids get in their own ways and this is what I have to look like. This is what it has to look like. That's not true. Everybody's so different. And this is what makes us us. What makes them them. You know, when I was teaching, I, that's one thing I have to tell them, like, there's something special about you. Make the audience fall in love with you. Like, what can you bring to the table?
00:08:49
Speaker
I always give an example of you being in the audition, right? And there's a hundred people. Why is the director going to fall in love with you? We all can do pirouettes. We all can jump high. Why are they going to fall in love with you? To me, it makes sense, you know? Hopefully it made sense for them too. I mean, I want to start dancing professionally now and seeing them on social media. I'm like, wow, these guys are amazing. They're better than I was when I was younger. Yeah.
00:09:13
Speaker
I think that all the time too. I'm like, I don't know if I would have made it in this current time. It's really intense. But like you said, we do have all something unique about us that makes you stand out beyond the tricks. Oh, for sure. And you also do dance photography, right?
00:09:27
Speaker
So I started doing it when I was still dancing professionally. As a professional dancer, when you retire, you really don't have much, right? Like a broken back and a couple of sore bones, and but you don't make that much money. So my experience, I was still dancing professionally and I needed some head shots. I went to get some head shots and the photographer said, oh, this is you know how much it costs.
00:09:48
Speaker
I looked at him and I said, I can't afford this. I can do it myself. So I was always into photography. I always liked dance photography, following Rosalie O'Connor everywhere and like watching her. Taking photos of Paul Kolnick as well, it was incredible. So I invested in my first camera. It was on my account, the 80. And I started taking pictures of my fellow dancers and, you know, I set up a studio. I don't know what I was doing, but thanks to YouTube, kind of learned. And I carried that with me. So I got more and more into it. I got more into studio lighting because we needed extra cash. So I started doing a little outings with clients to
00:10:24
Speaker
do their head shots and do family photos. And overall, it helped me because while I was still teaching, you know, I helped my students with their audition material because I know what it's supposed to look like. So it really helped out at the end. Can you give any hints for dancers to feel more comfortable in front of the camera when they're getting pictures taken? We're so used to being on stage. We're performers and that feels very natural. But sometimes doing a photo shoot is like a whole different world. So yes yeah yeah, how can we feel more comfortable with that?
00:10:51
Speaker
Be yourself. When I do headshots, right, and somebody's looking at me and like forcing a smile, I'm like, if you feel awkward, it's going to look awkward. I know it's hard and it takes a little bit. I tend to do headshots first, just before, you know, it starts sweating and the face turns red and the makeup starts running. So do headshots first, just relax. It's literally a picture.
00:11:12
Speaker
And everything is digital. You can have as many as you like. You can take as many as you like. But be yourself, you have to relax. And sometimes it takes good like 10, 15 minutes, just depending on a photographer, to relax you, to feel comfortable with you. Because it's really not normal that something is pointing at you and like the lights are blinking, right? So the body kind of reacts. So you do have to like mentally prepare to relax and be yourself. And then what about when you get into your dance shots?
00:11:38
Speaker
It's so funny. When I do, you know, my sessions, at whatever time, like 30 minute slot or 60 minute slot, people usually tend to get into it like the last five minutes when we're supposed to end. Yeah. Never fails. It really does. They do an amazing work towards the end just because, you know, they're used to it. They're warm. And so be ready, be mentally and physically ready to do the shots.
00:12:02
Speaker
Do you prefer to do like pose and shot or do you think it's better to do more like an improv situation? It depends on the subject. Some people need a little bit more direction than others. It's like headshots, right? So it's like models, for example. You don't tell a model how to pose. You tell them the idea of what you want, and they're the ones responsible to pose. The same with headshots. You can pose somebody, but then it won't be natural, right? The same thing with dance shots. Sometimes people come with that list. They're like, oh, this looks really good. This looks really good. But your body is not going to look like this body. Right. You know, it's the lighting, it's the makeup, it's the costume that they're wearing. So it's not necessarily a bad thing. It's just, you know, I'm going to look alike. So that's one thing you have to understand. You have to do something that looks good on you. So knowing your strengths, knowing how you can play to that. Yeah. Right. And a photographer has to be knowledgeable. I've heard so many stories of people coming to me and they're like, oh my God, this is like a class you're giving. Yeah, because it's like a doctor, right? Like you go to school to be a physician, internal medicine, surgery, like you're not going for one thing. It's specific. So photography is the same thing. You're not going to do pets if you are a dance photographer. Does that make sense? Like your dance photography.
00:13:14
Speaker
So unless you're specialized and you have to know where you're going. Definitely. Does the mere thought of a audition season make your palms start to sweat? Do you feel completely overwhelmed with getting everything together on top of your regular dancing schedule? I've been there and I totally get it. As dancers, we spend hundreds of hours honing our technique and artistry. But when it comes to figuring out how to put together a resume or what to expect in a professional audition, we're often left to figure it out ourselves.
00:13:44
Speaker
That's why I put together the Ultimate Audition Guide. This is your one-stop shop for everything you need to tackle professional company auditions with
Resources for Aspiring Dancers
00:13:52
Speaker
ease. No more spending hours Googling and trying to piece together a somewhat coherent audition package. With this guide, you'll be ready to conquer audition season like a true professional.
00:14:03
Speaker
We're talking resumes, head shots, dance photos, dance reels, plus info on how to find auditions, what to wear, what to expect, how to budget, mindset tips, you name it, it is in this guide. You are ready for this moment. Head to the show notes, grab your copy of the Ultimate Audition Guide and empower yourself with the knowledge to approach audition season like a true professional.
00:14:27
Speaker
And then you also are a realtor. Yeah. So I like to stay
Career Shift: From Dance to Real Estate
00:14:32
Speaker
busy. COVID did a lot, changed a lot of people's lives. And for me, it was, it's realizing that I kind of like being with my family more, you know, with teaching as much as I love my students and my coworkers and the place where I worked, family is more important. You know, my day started early and then I finished late. I don't have time to eat dinner with my family or put my kids to bed or take vacations when I want to.
00:14:55
Speaker
So I always loved real estate, too. So I was like, well, my wife was the one that was like, hey, why don't we get our real estate license? since We have so much time. Let's do something with it. And I did. And it was honestly the best decision I've ever made.
00:15:12
Speaker
I felt that way too, coming out of dancing professionally. And then I went straight into teaching full time. And then exactly like you're saying COVID, I have two small children now and I've like completely retaliated against the idea of having full time work where I don't have any flexibility. Because like you said, like when you're dancing professionally, or even when you're teaching, you don't really get PTO.
00:15:33
Speaker
or your choice of when to take vacation, right? It's like you have these weeks off and that's when you do it. And now especially having small kids, I'm like, I want that flexibility. As you said, I want to be home for dinner for bedtime. I teach one night a week because that still fills that part for me, but I still get that balance, but I totally, I get that for sure. Yeah. I mean, don't get me wrong. I love it when they're gone during the day to school. It's nice and polite, but again, it's nice to sit down and have a yelling dinner where everybody goes crazy.
00:16:02
Speaker
They go to bed. It's hard. like the The whole profession, i mean i did teach I stopped teaching, but I did teach last year. It was once a week. You have to be committed. right I loved what I did, but real estate doesn't sleep. you know I'm on call 24-7. It's never convenient, but it's flexible. though I can always reschedule things or whatnot with classes you can. My commitment right now is to real estate.
00:16:29
Speaker
Do you feel like anything from your background as a dancer has helped you in the field of real estate? Oh my God, yeah. It sure did. Just being organized and having patience is very important because you are dealing with clients, right? So just being educated, you know, you have your own markets where you're at. And some of my markets are people who love classical music or love dance.
00:16:53
Speaker
It's something I can talk to them about. It creates trust that goes back to the trust. Everything from discipline to musicality to to everything. I just see things differently, right? Like as you choreograph, you see things from the top. That's all I see with the real estate, if that makes any sense.
00:17:10
Speaker
Can you elaborate on that a little bit? Same things from the top. You see things in detail. but You see how the conversation is going. You know where to pivot. You know how to take your clients. it's not the same as It is the same as teaching, actually, because you are teaching. You're educating your clients and in regards to real estate. And I think that's the part where I love the education part. So I'm carrying that on. It's just not physical. It's more of like me talking, talking, talking.
00:17:34
Speaker
But there's a lot of details that go into it, right? It's not just like, hey, let's go look at a house and buy a house. Especially now there's so many new rules. So that's what I mean from looking at the top. It's just little details here and there. Seeing the big picture. That's right. And then being able to yeah hone in on those things. Right. I'm super curious because I saw in your biography that you were in center stage.
00:17:56
Speaker
as a kid of the 90s. I have to know more about that. Sure. So I was still in New York and I went to LaGuardia High School for performing arts as I was going to Swinmarken Valley and I get a call or a letter I don't remember.
00:18:11
Speaker
and They wanted me to audition for the main Russian guy in the movie. I think his name was like Sergei, so I don't remember. So long ago, the audition never happened because they found Sergei. So they needed, I guess, more funding. I don't know what the issue was. So we were extras and it was myself and my friends from SAV were, it was a couple of days of shooting and it was the most incredible time we've had. Just being on the set, it was a bait, all the VT studios on Broadway. It was just fun.
00:18:41
Speaker
It was so cool to see how everything is done. So I was in a scene for literally maybe I was in two scenes, but I'll say like 35 to 40 seconds. And that took the entire day to shoot. Wow. Yeah. Were you doing the same combinations over and over? Yeah, it was the same combination. We were at the bar during round the show and then we were in the back of the room just watching people go. Yeah, it was that was a good time. If we are watching the movie, where will we see you? What part?
00:19:08
Speaker
So I'm in the first scene. It was, I believe the Chicago edition. Okay. See my big fro and there's a teacher that walks by me and I'm doing around the genre and then in the back, it's a white shot where we we're watching the dancers. That's really cool. It was a good time.
00:19:23
Speaker
And then you were also in The Nutcracker. Is that the one with my colleague Hulkkin? Hulkkin, Hulkkin, yep. OK. And what did you do in that? So as kids at SAV, we got to perform with New York City Ballet. And it was so cool to have that experience just to, you know, you're you're watching your idols. You're watching the people that teach your class. You're watching them on stage, like right there and then. So I was a teenage party scene. And then there's a scene, I'm not supposed to say this, but there's a scene where the bed moves by itself.
00:19:53
Speaker
I was under the bed. I was moving the bed. And that's but that's the secret. Yeah, the secret is out. Sorry for the spoiler. I like spoiler alert. Yeah, that was the hardest part because you're like blind. You can't really see anything. You're supposed to see like marks on the floor. Yeah. so on But somebody almost fell into the pit. Like yeah it was scary. Now they have a walkie talkie from what I understand. So they can say like you're going toward the pit. Right. Right.
00:20:20
Speaker
It's scary. I do feel like prop stuff can be the most daunting to deal with. Yes, and also costume stuff as well. I was in Kansas City Ballet, and we were doing a Leggro brilliant. We had these like little typhoons all around. It was the beginning where we had to lift our partners.
00:20:38
Speaker
And one of the guys next to me, I was like laughing the entire time. One of the guys pin got stuck in a girl's costume. So they were like pinned one next to each other. Oh my gosh. They didn't get out. Like they couldn't push each other. So props and costumes always.
00:20:53
Speaker
I know you never know what's going to happen. I remember doing Alice in Wonderland one time, my skirt came unhooked and it was near the end of one of the pause. So I knew it was happening. I could feel like slowly sliding down. And I, the last thing I did was shut it off stage. And as I shut it, it was just like going down, down, down the whole time. And I made it off stage, but it was just one of those where you're like, just please,
Embracing Unpredictability in Theater
00:21:15
Speaker
please don't fall. No, no, no. The customer function is not fun at all.
00:21:20
Speaker
What's your advice for dancers dealing with that stuff? Don't take it too serious. Like now we're laughing at it. Yeah. Yeah. So you can have a bad day, but don't take yourself too seriously because somebody's having a worse day. You know, the the whole thing is it's a learning experience. I get the old ad, but oh, well, you know, you move on. It happens. It happens. Have you ever had any big like falls on stage or any crazy mistakes?
00:21:45
Speaker
No, so my favorite teacher and the best partner in the whole world, Jock Soto, for partnering, he was God to me. You know, everything he did, the way he did it, we were like just staring at him. like His classes were extremely hard, but so knowledgeable. I made sure that when I was by myself, I was, you you know, whatever happens, happens.
00:22:03
Speaker
When I'm with a girl, I have to make sure that nothing would happen to her. And that was just like his mythology. But I've never fallen on stage, believe it or not. I've twisted my ankle once in the city. I was doing the Chinese dance, did a split jump and landed on my ankle. It hurt. I was out for quite a bit. Yeah. I've never fallen. I don't remember. I remember one time doing Cinderella. I was one of the stepsisters and we had this group turning section that was really challenging. Like.
00:22:32
Speaker
doubles from fifth changing spots with like eight of us at the same time. And so of course you got on stage and everything's like so much harder all of a sudden. And we're doing this turn section and I had been struggling with it in rehearsal and onstage on stage one of the shows I was like, I'm not going to make it. And I just like leaned into the character and just like had a big fall, made a big fit about it. Cause I was a step sister, you know, that was my bratty character and my Valley master Ken Brazo, he was like,
00:22:57
Speaker
That was hysterical. And I want you to do that every show that was so much better. It was so funny. And I remember even like after the show, I've been so upset. And to your point about not taking it too seriously, I was like to my husband.
00:23:07
Speaker
Oh my gosh, I fell so bad. That was awful. And he was like, I don't even know what you're talking about. Right? Like you always have these mistakes that you feel like we're such a big deal. And then the audience like they don't know. I have no idea. The only people would know is your bosses, right? Yep. You do your best. Lean into it and just make it work. Exactly. Exactly. It's live theater. Yeah. Never take yourself seriously. It's not worth it.
00:23:33
Speaker
I feel like that was really hard for me as a younger dancer and something I really leaned into as I got older. I don't know, did you always feel like you had that sense of being able to have fun with it? As a child, I never took things seriously, like too personal, I would say, professionally wise. Now there's help. You know, there's there's no shame of getting help. My former dancers are like personal trainers and personal psychiatrists. And there's so much up source for poor dancers or just humans period now. The people are actually talking about it. We didn't have it back in the day. Like people didn't talk about this stuff. And I think it's amazing. Yeah, there was a lot of shame surrounding that.
00:24:10
Speaker
No, just by even being injured or something like it's not your fault. Yeah. How many times did I try to dance through an injury? Cause I felt like I wasn't allowed to be injured. Yeah, exactly. I was out with a back surgery, my back surgery. And I think that's when I was like, okay, I'm done. And I felt guilty in a way. I was like, Oh my God, I'm letting everybody down. But listen, I was just your body talking to you.
00:24:34
Speaker
I always felt that way too. Like I have to do this. They're counting on me, no but it's set up, you know, your company is set up so that there are understudies. These things happen. Like if you're an elite athlete, injuries happen. So we internalize that sense of like, we have to.
00:24:48
Speaker
keep going because I have to make sure I don't let people down, but no one else feels that way. I never had an injured colleague and thought, oh, I can't believe they can't dance. They're letting me down. I never would think that. Oh yeah. But I think it's the perfectionism that where we're trained with, right? Like we have to do it. There's no such thing as being perfect. You want to achieve the highest of the high, but there's, there's only so much you can do. And again, if you think you reached perfect, then try to like get another profession.
00:25:16
Speaker
Yeah. Do you feel like your teachers at SAB, did they instill those lessons in you? I can't say enough of how much they have helped with everything. So when I retired, when I had my back surgery, I flew to Russia to work with my favorite dancer. He danced in New York City Ballet, Royal Ballet, all over the world. His name is Igor Zelensky and he needed, it you know, his right hand man. I was like, yeah, I'm going to take the opportunity. So I flew to Siberia.
00:25:45
Speaker
He was a director of one of the largest theaters there. It's the third largest in Russia. And I worked with him. Olga Kostritzky also went there. So here we are, you know, my former teacher, and here we are talking as colleagues and working on projects together and just doing stuff together. It was a very cool experience, like seeing what she taught me, putting it to work there and then.
00:26:12
Speaker
And I know you said she was like a second mom to you. What are the most important things you learned from her? Patience. That you have to love something. If you want to do something, you have to love it, right? Otherwise it's a waste of time. You're wasting time. There's so many, you know, she had so many analogies and most did not make sense when we were a little, but when you're older, you're like, oh, okay. She's an incredible person, an incredible teacher. She demands a lot. She's a really, really strong, hard-headed, but she had a soft side to her that you saw
00:26:42
Speaker
in class, but outside more. she was She was everything that I believe that we are, who graduated from her class. We are today. Do you still talk to your colleagues from school? Oh, yeah. Oh, yeah. We talk at least one so once a week. We're in a group of cats. We love hanging out together.
00:27:01
Speaker
when when we get a chance. We're so busy. Everybody's all over the place. you know and Not everybody's involved in dance. We have people who have professional careers and they went on being into computers. He's IT t ah t director. The other one's still dancing professionally and the other one is on Broadway. It's such a mixture, but we all stay in touch and just being in close together, it's's it's special. Yeah, those relationships carry through.
00:27:26
Speaker
Yeah, we joke around them like, you know, did you realize what 30 years ago or 20 years ago, we would have kids and there people like 9pm and like exhausted. So yeah, it slow sleep just like that.
00:27:38
Speaker
I know our mutual friend, Carrie, who we connected through, she and her kids were actually at my house last week. She was visiting a family. Did you mention that? Yeah. yeah wisconsin Yeah. So, you know, she got to bring her kids and play with my kids and the same thing. We were just like, can you believe that we are now, have our own families, you know, looking back at all the antics we got up to. It's just funny to think. Yeah. But really cool. And time flies. Like, yeah we don't feel like we're not going to reveal our age.
00:28:06
Speaker
We're like, do you believe we're this low? And we're like, no, no, we're not. I know. Before we wrap up, I would love to just hear what advice would you give to an aspiring dancer who's pursuing a professional
Authenticity in Dance and Life
00:28:19
Speaker
career? There's a lot of advice, but one is just to be true to yourself. You're not doing it for anybody else. You're doing it for yourself, right? Can you go to bed at night saying you did a good job or just being true to yourself? That's about it. yeah I think that's just such a strong And hard thing to do sometimes. Figure out how to know yourself because I think that I feel like I used to hear that, but I was like, who am I? I don't even know what I really want. It can be hard. Because you try to please, you try to please everybody else. Right. But you have to be true to yourself. You have to be nice.
00:28:52
Speaker
but definitely true to what you stand for. Yeah. For anyone who wants to get in touch with you, you're in the Boston area, correct? I am. So if there's anyone who needs dance photos or a realtor, how can we reach out to you? So for dance photos, it's egorburlachphotography.com or egorburlachphotography at gmail.com. And for real estate, we'd love to have you as a client. That's egor.burlach at gibsonsir.com.
00:29:19
Speaker
Perfect. I'll put that into the show notes for anyone who is in the Boston area who would like to reach out. But thank you so much for this and for all these stories you shared about your training and your career. It's just really cool to hear. Thank you so much for having me. This was fun.
00:29:37
Speaker
Thank you for tuning into the Brainy Ballerina podcast. If you found this episode insightful, entertaining, or maybe a bit of both, I would so appreciate you taking a moment to leave a rating and hit subscribe. By subscribing, you'll never miss an episode. And you'll join our community of dancers passionate about building a smart and sustainable career in the dance industry.
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00:29:59
Speaker
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00:30:02
Speaker
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