Imogen Chapman
Soloist, The Australian Ballet
Hailing from the vast rugged plains of the West Australian outback, Imogen Chapman has had a curious trajectory to the bright lights of Melbourne. As a child, she was exposed to dance through a tiny rural ballet school called Eda Dance, one that lacked even a permanent studio space. An interstate move to continue her training at the Australian Ballet School soon led to an international upheaval for the whole family when Imogen was offered a full-scholarship to train at the Royal Ballet Upper School in London for three years.
To hear about Imogen’s journey from the Australian bush to Covent Garden and then to The Australian Ballet one cannot help but imagine a life full of wonder. A feel-good movie montage comes to mind, following the aspiring ballerina as she traverses international borders with wide eyes and passionate determination. And yet, the story is real. Chapman speaks humbly of her incredible achievements, earnestly appreciative of her extraordinary path and those who encouraged her along the way. “I had the most supportive parents I could ever imagine. They facilitated me to follow that dream.”
It stands to reason that Imogen’s richly adventurous life translates to formidable dancing. A self-proclaimed introvert, Imogen finds her strongest expressive potential through movement. Interestingly, her early exposure to the wide landscapes of the Australian bush have translated to a sense of comfort within the juxtapositions of ballet: the balance between unbridled freedom and technical control.
However, as for many, this finely tuned technical and artistic equilibrium was destabilised for Chapman by the volatility of 2020. The disappointment of lost opportunities, paired with the unpredictability of the performance season, wreaked havoc on her plans for the year.
One major coup that couldn’t come to fruition was a debut as the title role of Anna Karenina in Yuri Possokhovs’ ballet, a dramatic and demanding new role. While heavy lockdowns were imposed in Victoria, Chapman sought sanctity on her parent’s property in WA, enabling her to re-evaluate her goals for the impending year.
Without imminent shows to encourage artistic growth, Chapman realised her mentality around dance preparation needed to shift.
“I was getting too bogged down in the technique. I realised that without performances to prepare for, my artistry could fall behind if I didn’t push myself to concentrate on both sides of a dancer’s work. I needed to explore characters and focus on artistic expression, but not for the stage – just for myself.
While home, she stumbled across an old, much-beloved copy of , gifted to her by an old friend of the family. The timing was perfect. Appealing to Chapman’s love of
