Behind The Curtain is a unique opportunity to get exclusive insight into the inner workings of Malashock Dance performances, programs, and events through first-person accounts from those that make them happen. From performers and choreographers to directors, producers, and beyond, our varied cast of contributors will provide an entertaining insiders look at what happens "behind the scenes" at Malashock Dance.

Malashock Company dancer and Malashock/RAW2: STRIPPED performer Christine Marshall answers a few of our questions -

Dancer Profile: Christine Marshall

We sat down with Malashock Dance Company Member Christine Marshall to talk candidly about appearing in every section of Malashock/RAW2: STRIPPED and more.

How long have you been with Malashock Dance?

I began working with Malashock Dance in early 2007.

What were some of the first things you did with Malashock Dance?

My first dance concert with the company was Let’s Duet (2007), held at Qualcomm Hall. Prior to that were the On the Spot studio developments of Stay the Hand (2008), and a few non-concert projects.

What are your favorite Malashock Dance roles or pieces?

Silver and Gold (2007), a piece John Malashock choreographed on Michael Mizerany and I, remains my favorite to date. Subtle story telling, poignant music, and the elated feeling after nailing such precarious lifts are all very memorable.

You’re in every piece of Malashock/RAW2: Stripped .  Did you have to do any additional training, besides company class and rehearsal, to prepare for the roles?

Company classes and full days of rehearsals provide great training in and of themselves. After much repetition, the body becomes pretty capable of performing what is required of it. Apart from dance, I keep a daily practice of meditation and qigong. These types of exercises soften muscles, strengthen joints, and calm the mind. While it’s not specifically dance training, it is still very useful and a nice balance to my regime.

In Harem , you worked with guest artists Henry Torres and Angel Arambula of LUX BOREAL.  How was that process?

I loved working with Henry and Angel, their style, vocabulary, the movement in Harem —sequential, stemming from the floor, the gut, wherever, and moving through the body as circles or waves. They stressed organic movement, especially while partnering, where lifts emerge through sharing and leveraging one another’s weight. Nicholas Strasburg and I worked much to get accustomed to this approach to partnering. It’s more natural and easy enough for Nicholas to press or throw me above his head without sharing and leveraging, which is an ability that John (Malashock) and Michael (Mizerany) like to use to their choreographic advantage.

Henry and Angel were also extremely easy to work with as both have such gentle, straightforward personalities. Oh, and the opportunity to increase my little Spanish vocabulary (Angel instructed in Spanish) - that was icing on the cake!

In Harem, you had to perform with props (plums and watermelons).  What challenges did this present?

Ah yes, the fruit. To our luck, the plums were introduced into early rehearsals so we could get a hold (literally) on securing them between our knees, with our chin, and balancing them on our heads. There were also one or two occasions of condensation on a refrigerated watermelon that threatened our grips.

The largest fruit challenge, so I was told, was eating. In the dance, I tempt Nicholas with a plum as the other girls are eating their plum. The girls were challenged to eat them (at times unripe and sour), to the seed, within a short amount of time. The watermelon, however, was always welcomed refreshment.

At the end of Harem , all the women take a more aggressive stance against Nick’s somewhat misogynistic character.  Have you had to cope with this sort of viewpoint in real life?

Thinking about experiences with machismo or male chauvinism, I’m reminded of my life while residing in New York City. Typical NYC people keep to themselves when out and about in the city, but every now and then, some man will project his hoots, hollers, or catcalls at an unaccompanied girl. Whether recipient or witness, I always felt that sort of behavior was proclamation of (a wanted) power over her, which I found dull and aggravating.

Lastly, if you could describe Malashock/RAW2 for someone who has never seen Malashock Dance (or modern dance), what would you say?

Malashock/RAW2 presents three viewpoints on dance, just dance, no major storytelling, no elaborate costumes, no complex lighting. Dance is presented literally "raw". The movement is gritty, at times intense, but always honest.