Interview with the Classical Dance Choreographer Anastasia Schwarzkopf
A Dance of Two Worlds: Tradition Takes the Floor in Romeo & Juliet
*From the elegance of court dancing to the rebellious energy of swing, movement plays a central role in the International School of Hamburg's production of Romeo & Juliet. Choreographer Anastasia Schwarzkopf brings the world of tradition, etiquette and social hierarchy to life through classical dance.*
In Shakespeare's Romeo & Juliet, two families are divided by an ancient feud. In the International School of Hamburg's reimagining, set in post-war Berlin, that division is expressed not only through words and costumes, but also through dance.
For choreographer Anastasia Schwarzkopf, returning for her third ISH production after A Midsummer Night's Dream and ALICE, the challenge is to introduce young performers to a rather unfamiliar world: the formal elegance of traditional European court dancing.
"My part is the classical dance, the very aristocratic part, the traditional, so to say," Anastasia explains. Her choreography represents the Capulet household, whose attachment to established conventions provides a striking contrast to the freedom and spontaneity of the swing dancing featured elsewhere in the production.
Drawing inspiration from the minuets and court dances once performed in Europe's aristocratic salons, Anastasia has revisited historical dance traditions and adapted them for a cast of teenagers.
For audiences, the differences between the two worlds will be immediately visible. Where swing celebrates individuality and improvisation, classical court dancing emphasises posture, precision, prescribed gestures and social etiquette.
The contrast is particularly fitting for a story in which young people struggle against expectations inherited from previous generations.
Standing Tall: The Language of Tradition
How do you persuade a group of teenagers to embrace the rigid posture and elaborate manners of an aristocratic dance floor?
For Anastasia, the answer begins with making the unfamiliar enjoyable.
"The introduction of classical dance in itself to the young performers, and to make them see it as something fun and cool, even, like, where they feel safe, where it's not embarrassing," she explains, describing one of her main challenges.
Unlike working with professional dancers, choreographing for a school production requires understanding what each student brings to the rehearsal room.
Rather than demanding technical perfection, Anastasia concentrates on the fundamentals: how to stand, walk, carry oneself and communicate through gesture.
"It's really just the posture of the body, how to walk," she says.
These seemingly simple details help the students embody a world in which appearances, manners and social position matter. A straight back, a measured step or a carefully controlled gesture can reveal as much about a character's place in society as a line of Shakespearean dialogue.
The Eternal Conflict Between Generations
Although the production is set in post-war Berlin, Anastasia sees the tension between tradition and rebellion as something universal.
"You have this tension always, I think, that always the younger generation has a tension with the previous generation," she observes.
From the 1920s to today's Generation Z and Generation Alpha, every generation has challenged the rules and conventions of those who came before.
Yet Anastasia offers a more nuanced perspective on the role of tradition. Young people may initially reject established structures, she suggests, but eventually come to recognise that traditions can also serve a purpose.
"Structure is just a way of organizing society or space or life in itself," she explains.
In Romeo & Juliet, the contrast between the two choreographic styles therefore becomes more than an aesthetic choice. It reflects the larger conflict between an established social order and a younger generation determined to find its own way.
Discovering the Confidence to Take Up Space
Beyond the historical setting and the demands of the production, Anastasia's work has another purpose: helping young people discover what they are capable of.
Trained in ballet, tango and modern stage dance, Anastasia has extensive experience working with young performers. This is her third collaboration with the ISH Theatre Department, and she particularly values the opportunity to work with students who may never have considered themselves dancers.
She sees potential in their experiences beyond the stage, whether through sports, music or other physical activities.
"There is so much talent, and they might not even know it," she says. "And I try to help them to figure out how they can access it and use it."
For teenagers still growing into their bodies and identities, learning to move confidently can be transformative.
"We try to adapt in society, maybe sometimes we make ourselves smaller than we actually are," Anastasia reflects. "I really like to teach how to take up space."
The rehearsal room offers a place to experiment without fear of embarrassment. Students are encouraged to exaggerate movements, make mistakes and discover how much they can communicate without speaking.
Anastasia is particularly impressed by their willingness to embrace unfamiliar challenges.
"What I appreciate about these kids is that they really want to, and they're willing to try new things," she says.
That willingness, she believes, is the beginning of growth.
As the Capulets take to the dance floor in Romeo & Juliet, audiences will see more than an exercise in historical choreography. Beneath the formal steps and carefully rehearsed gestures lies a story about expectations, identity and the courage it takes to find one's place in the world.
And for the students performing them, learning to stand tall may prove to be a lesson that lasts long after the curtain falls.
About Anastasia Schwarzkopf
Anastasia Schwarzkopf is a Hamburg-based dancer and choreographer with a background in ballet, tango, modern stage dance and movement theatre. She studied at the Fontys Dance Academy in Tilburg, the Netherlands, and has developed choreographic works for theatres and festivals in Germany and the Netherlands.
Alongside her artistic work, she is involved in dance education for young people, including Hamburg's Step by Step programme.
Romeo & Juliet marks her third production with the International School of Hamburg, following A Midsummer Night's Dream and ALICE.
Romeo & Juliet | 17–19 November 2026 | International School of Hamburg