Timoor Afshar, Principal Dancer, Vienna State Ballet (Wiener Staatsballett) and the (long-awaited) "Callirhoe Journal" - Part 1
The Mithridates Journal - Part 1
This is the first sequel to the Interview with Timoor Afshar on February 23rd, 2026.
Copyright: Ashley Taylor / Vienna State Ballet
Monday 08.09.2025
After a week of learning steps and focusing on the choreography and placement of the dance, we are starting to expand our focus into the nuances of character. Mithridates, who is a lord (check the exact ranking later), had at the beginning of Act II heard of the gorgeous Kallirhoe and invited her and her husband Dionysius to his kingdom to meet and set his eyes on her. He does and in a few steps begins to LUST for her. This is the word that the Dramaturg of the piece has used, and I think it fits very fittingly. So on the stage, we create a love triangle of a man who loves this gorgeous woman, namely Dionysius and a man who lusts after her, Mithridates. The polite manner in which Mithridates accepts the pair into his lair covers the whole scene. He is always hospitable, very oriental. But as the scene uncovers, he wants to dance with Kallirhoe and starts to steal her away in his subtle manner, always caring never to cross the line that he so clearly wants to tempt. He is just a man after all, and, not being able to take his eyes off of her, does not realise where he is going in his mind. He is, after all, very calculating and wishes to have her by his side in the end. So we can see the wheels turning. The work behind the eyes and in them seems to be playing a crucial role in how this character conveys his intentions to an ambivalent audience. I have started by judging the importance of the moments with help from the choreographer, where my decisions really have to take place in the storyline and when they are dismissive. This is just the beginning, so it is good to know where we are headed, but the journey is colourful and varied. It can take many paths to get where we want to go.
Wednesday 10.09.2025
Today was a day of understanding a very intricate mise en scene. I realise that Mithridates must, while playing with the gaze in his eyes from authoritative to mischievous and scheming, also send his message through his body postures. He loves to play between the lithe cat-like quality of low, elongated movements, but also to surprise his prey with the quick agility of the youthfulness that he possesses in bouts. He really is an eye-catcher with his physicality and character. So from the standpoint of an actor and dancer, this combines into a very wide space for play, when to pop out and when to stick to the shadows, observing the room and its goings on. At the same time, I feel he is very righteous. He cannot stand not seeing justice done where it is due. This plays into his ultimate demise.
Thursday 11.09.2025
On this very conspicuous day, I have been reminded of the fact that time is of the essence. I enjoy it very much when choreographers have a pulled idea of time, meaning that in 5 seconds, weeks, or months have gone by. John Neumeier used this idea in the second act of Die Kameliendame, where in the span of one, well, relatively long pas de deux of the main characters, 3 months had passed.
Today was a similar occurrence, when in a time of waiting 4 counts with the back to the audience, it is possible that a couple of weeks have gone by. This is great because, as a character, one is able to accelerate the arc of development in the person themselves, creating a rift of who the character was before he turned his back to the public and who he is when he turns to face them again, this time with a very different mood. These nuances are very important to maintain throughout the storyline so that it does not shock anyone into misunderstanding. It is also interesting to see the many interpretations of the character and his movement quality. The choreographer has noted that he is interested in allowing us to find our Mithridates.
Friday 12.09.2025
Not every day is a step forward in the creative process. Sometimes a step back happens because of spatial differences, like changing a studio from smaller to larger or doing certain sections in fuller length, so that stamina fails one at some point. Today was a point of stepping back to assess these differences, but all the more can be learned from these days. Perhaps more than can be found on the days when everything works well! The structure is becoming clearer, and that is a huge positive because once the text becomes clear, the steps will do themselves.
Saturday 13.09.2025
Today was a day to just brush up on steps, and this gives a dancer also an opportunity to calmly process the text that one wants to convey to the audience. I am dealing with obsession and how it can change people, lust vs. love and intentions behind both faces of attraction, till their effects. It is usually a longer journey of how a person falls into this abyss but we also have to realize that we are dealing with the time of epics like Homer’s Iliad and the Epic of Gilgamesh; two stories that, although written in completely different worlds, just like that of Kallirhoe, deal in the same ethos as did the civilisations of the ancient world. This being said, the manner in which the characters must act accordingly. They act with more irrationality, more extremism than we have learned to acquire in our “humble, rational world”.
Monday 15.09.2025
Observing the pas de deuxs of two other characters, Kallirhoe and Chaereas, and hearing what the choreographer has had to say about their meetings and relationship, is sinking in. This is important to my character because when I have encounters with the two of them in the story, I can use this information to enhance my own reaction to the two of them. Mithridates has done his research and listened to the stories about the two lovers and, through those, has devised his plans for how to break them. In the end, it fails but that does not show in his belief, and that is most important.
Tuesday 16.09.2025
Need to become more Oriental! More persuasive in my body language as if I own the world. I guess I should acquire an accent and buy a samovar that continues to pour out tea all the time for my guests. Setting is very important; I need to start thinking bigger, for example, with my role in the society we are in and who I am to the other characters, not only what they are to me. I need to also glide around like I am on a floating carpet. That is a good picture to paint. Right now, there is still much information to be processed, but slowly it is getting into the mind and body.
Wednesday 17.09.2025
All about timings and mise en scenes. Everyone should be able to speak clearly and purposefully. These are where the story really plays out and are as important as the dancing itself. Speak with intention.
Thursday 18.09. 2025
As I had a solo rehearsal with Ratmansky, we focused on the solos and did much more cleaning up the steps with the meaning therein. I like it when a choreographer asks, “What are you saying there? What is your text?” because it really does make you think about it, and if it does not fit the storyline at that moment, then we take the time to revise it and better it. It was a very important rehearsal because I have not really had the time till now to work that closely with him for an hour without any other distractions. Just two people in dialogue, exchanging ideas. That is where the art is born, in this dialogue, and I love working like this! It is really about understanding the meaning of what we portray on stage, and a rehearsal like this can clear that up and be a huge help in the betterment of the role.
Friday 19.09.2025
Today was just a day of combining two parts of a solo with the girls of my harem that I interact with at a certain point of the solo. It was mostly to figure out timings and spacings. Good to have days to rest the head.
Saturday 20.09.2025
Last day with Ratmansky before a two-week break. We focused on the important scene of Babylon, where the whole course of the story changes. The character is starting to be seen through the steps, but I feel like I am always going back to square 1 and then pushing for another path because the rehearsals are quite sporadic and there is so much material to go over that each day is allotted to a different part of the ballet.
Tuesday 23.09.2025
We continued today to enhance the fluidity of the choreography in the body, but also to work on the tension of the character inside so that what we portray on the stage feels spontaneous and real. Are the dialogues cohesive? Do the gestures make sense? These are important questions to ask when cleaning up the steps as well.
Wednesday 24.09.2025
Today was not the most exciting of days. After such a productive day yesterday, mostly talking and working with other casts today. We will have a run-through of the 2nd Act on Friday.
Friday 26.09.2025
Slow run-through today. Positive outcome. I feel like I can grasp my character and hold on to him throughout the maze. It is like riding a very energetic horse. Even you surprise yourself sometimes. But in general, the character is coming more and more into my body and being. I am excited to see where the next 3 weeks till premiere will take me. I hope to keep surprising myself in good ways!
Monday 29.09.2025
It was the first time going through the whole second act as one straight pull, and the consequences of each action start to take shape and tangibility as they come to fruition. It is an important step to see where the ballet comes from and goes so that we, as actors, can plan our arc through time, so that changes in character happen realistically and humanely. Nothing should feel put on, and timing is a huge part of that.
Tuesday 30.09.2025
Not a very eventful day, but corrections are a big part of how the audience will perceive the dancer. The pair of eyes in the front of the room can be a great help in fixing stances, postures, gazes – in short, all the nuances that make a character believable. That is the work that is happening now. I am trying to get to the core of the character in me.
To be continued on March 9th, 2026.
