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00:12It has a magic that I love.
00:25Living the music and being able to offer that to the audience, I think, is a gift.
00:32It's a gift from the art form.
00:35To me, dance means feeling.
00:40They're playing the instrument that we all have in common, the body.
00:44But they're playing it with their heart and their mind.
01:03Someone should really talk about it, that it is cruel.
01:07Like, you have to always push your limits.
01:09There are a lot of people that really want to push you.
01:13They really like you.
01:14But that can be very toxic, too.
01:17Just finding the people that can make you forget about all of the competition that could be involved in that
01:23is the best thing that you can do for yourself.
01:25I'd love to improve and get better.
01:28It's always something that will push me.
01:32There are no stories written for people that look like me.
01:36But what about new stories?
01:40The society needs this art more than ever.
01:48We are on the planet to follow our art.
01:54The terminology is all in French.
01:57And wherever in the world you are, classical ballet stays classical ballet.
02:24We are on the planet to follow our art.
02:28We are on the planet to follow our art.
02:31We are on the planet to follow our art and our art and our art.
02:38And we are on the planet to puisse m'eyes' jazz一個 anarchic vo已经.
02:43We are not on the planet too much so that we want to go on the planet.
02:55We are on the planet to this planet and how we want to have to learn how we want to
02:57grow up.
02:58And so that we are on the planet and we are on the planet.
02:59We are on the planet to a electronic dance place.
03:02It's incredible, so we're all amazed.
03:12It would be a dream to be in the opera stars.
03:18It's a passion, a job, but in the same time,
03:22it's doing what we love every day.
03:24It's beautiful.
03:29Often, we have children who realize that we need to work to go on stage.
03:34We need to work even more when we do the second or the third year.
03:40It's really, in the same time, with the stress.
03:44But in fact, we don't really think about it.
03:47We're rather happy.
03:49And frankly, we're really happy.
04:06We have a particular repertoire.
04:09The ballet, for example, is romantic.
04:12We have a class work that is really focused on the bottom of the jaw,
04:15on the coordination.
04:17We have a particular position of arms,
04:19which is much more within us.
04:21It's a work of rapidity, of virtuosity,
04:24rather feminine.
04:27We're looking for children who will have an open space
04:30enough to be confronted with the demand of the outside.
04:37We're looking for children who will have an articulation of feet
04:40that will allow them to do half-point to be able to use the pirouette technique.
04:46After that, we're looking for children who have an ability to move,
04:50who are logical in the directions.
04:55Allonge your arms, and...
05:02We're looking for women.
05:03'école de danse de l'opéra est
05:04la plus ancienne au monde. Son
05:06origine remonte à Louis XIV qui
05:09a, le
05:09premier à compris la nécessité de
05:12former des danseurs et
05:14de maintenir un style et
05:16un niveau technique. Veneres
05:24va me
05:27what we hear, and then we understand what we hear.
05:33It's really incredible to be in this school.
05:35Everyone would like to be in this school.
05:37All the dancers, it's really a beautiful place and incredible place.
05:42Everything is done so that we can learn in the best of the case.
05:49What do you think about the length of your kids?
05:59The teachers care for that we don't have too much to do,
06:03so it's good because we're not too charged.
06:09Here, we could reunite the three important entities
06:13of the life of a child at school,
06:16namely the academic school,
06:19the artistic teaching and the housing.
06:23I've never wanted to be interned because
06:25to be far from my parents, it's difficult,
06:27but at the same time, there's a good atmosphere at the internat.
06:30But I prefer to go to the streets
06:32and go home every night because it's still difficult.
06:39There are parents who are very worried
06:42of the investment they bring to their children.
06:46Even if the school is free,
06:47there are free annexes,
06:48they wait for results.
06:59So, my job is to be a good person.
07:06It's a good person,
07:07but it's been a good person,
07:10I want you to win.
07:11And I want you to win.
07:11It's a good person,
07:13I love my job.
07:15I don't see a lot of young people,
07:16I see people who are as many dreams.
07:19But it's been aware
07:20of it that way,
07:20to have a great job.
07:21It's a huge path to do with this child, and we're not sure of anything.
07:26In the artistic careers, it's worse than everything.
07:32Hello.
07:34We're at the third floor of the third floor.
07:36It's the floor of the boys.
07:38I'm going to go to my room.
07:42I'm going to enter.
07:43Hello, Oscar.
07:44How are you?
07:44There's my friend Oscar.
07:45We're three in the room.
07:47We're in a box.
07:48It's all in the internat.
07:50Here we have the bed.
07:52It's the same size for everyone.
07:53Here we have a room to work and work for the evening.
07:57And then we have plenty of cards.
08:00It's free of rangement.
08:02We choose where we have our glasses, our serviettes, etc.
08:05We can also bring objects.
08:08It's free.
08:09It's cool.
08:10We can bring things that we think about at home, etc.
08:13I have a blue table that I have since I was little.
08:16So, it's just to remind me of my family.
08:22I arrived the day of my 10 years.
08:25So, it's been six years since I'm intern.
08:27Finally, I don't know the genesis of other people of my age.
08:36There are days where I have a phlegm.
08:38But, already, there's a heat.
08:40I'm going to put myself into it mentally.
08:42Between midi and 13h30.
08:44It's a very important moment of the day.
08:45To wake up and remind me of what we're going to do.
08:50The corrections, etc.
08:50All right.
08:51I'm going to be in an important state of mind for the course.
08:58When someone has a phlegm, we're with him.
09:01And then, if we all have a phlegm together,
09:04we're not all at the course together.
09:05So, this bar is very easy.
09:08So, we're even more demanding.
09:11All right.
09:13All right.
09:13All right.
09:14All right.
09:28All right.
09:30All right.
09:30All right.
09:31All right.
09:32All right.
09:32All right.
09:33All right.
09:34All right.
09:35All right.
09:36All right.
09:37All right.
09:38All right.
09:40All right.
09:40All right.
09:40Every time we're tired or we don't want to go, we're not going to get better.
09:48Control your time, Léon.
09:50Shit.
09:51Rest, rest, rest.
09:53It's going to be a millimeter.
10:10Rest, rest, rest, rest.
10:56I mean there is a difference in style between France and America the style like you really
11:02see it like through your arms essentially if it's Russian if it's more Balanchine or
11:08if it's more like Paris Opera the position are the same but statistically it's a little different
11:13approach but like classical Ballet stay classical ballet like terminology is all in French and
11:21wherever in the world you are you speak French so everybody can respond to that I did all my studies
11:28in Paris Opera School from there I went professional in Belgium and after I joined the San Francisco Ballet
11:41Pascal Ballet he saw me at a competition and he invited me to come to the school and I decided
11:46to come I think it's about going to places where you know that you're loved and appreciated as much
11:54as you love them I'm very happy with that decision dancers we obviously need to have some sort of
12:06talent to get to where we are here but it also is a lot of a it's a big brain
12:11thing
12:17we need to be able to know what mark we're on or what count we move on or how to
12:23act etiquette wise in
12:32class then several are quite hard on themselves so when something doesn't work they have tendency
12:38sometimes to get frustrated so I try to eliminate that negative energy and bring to them like some
12:44tools to ask themselves the good question about the mechanics about their placement that's why I'm talking
12:50a lot about preparation and transition steps yes yes good spotting exactly because like I explained to
12:58them it's not like when you are in the air that you can really fix something so everything is in
13:02the
13:02preparation when you are getting tired it's not to throw everything your way you know it's straight
13:07to condemn the energy and know when you have to push and let it float the rest it's like oh
13:12well so
13:13yeah it's just a moment when you push and let it float you you push let it float you push
13:18and let
13:18it float yeah one of the biggest things that dancers struggle with is kind of coming to the studio and
13:25doing the same thing every single day but I think just reminding yourself why you do it and why you
13:30love
13:30it could help you motivate yourself every single day just like as as you're getting here like one two like
13:38already down plie I love to you know improve and get better so it's always something that will push me
13:45push up up up down I want to see one down plie almost on a stretch leg plie so you
13:53control and you stay
13:54here you don't trust you don't transfer our school they want everyone to be strong like for partnering and
14:00stuff like that the fact that we lifting and you know dancing like 24 7 i feel like that keeps
14:09me in
14:09shape a lot
14:13in paris it's super classical like they have a specific you know body type that they they go for
14:19and that they they love when i was there uh like all the guys and even the girls like they
14:25were super
14:26surprised and like saying how like muscular i was and i feel like here like it's it's a very common
14:32thing
14:57stay stay stay blackout you're gonna have to hold it at least for 10 seconds
15:04so you gotta hold every muscle in your body at that point i just got hired into the company
15:09here at san francisco ballet so i'll be doing that next year i really would like to stay in this
15:16company
15:17for as long as i can at least yeah san francisco ballet is an extraordinary company
15:25it is made up of a diverse group of dancers who've come from all over the world and had training
15:31in
15:31very many different places the more types of dance dancers are used to doing the better it is and the
15:38more successful they'll be in this company everybody's good everybody's clear in their head yeah thank
15:43but that's the most important clarity clarification all right see you at 630
15:58ballet's a hard thing and going through all of that without any sort of emotional support from
16:02your parents too i think that's why we're all like so close-knit here is because we rely on each
16:08other for
16:08that sort of thing i've lived here for two years now i try to put a lot of like photos
16:20and memories
16:21of things that like may remind me of home or people that i love a lot so yeah i just
16:29kind of put like
16:29pretty things up on my wall or photos of my friends i left when i was 15 to come here
16:36i'm 17 now it was
16:39definitely a hard thing to move away from home that young but i'm happy i did
16:49i really love this city and i think i've made it kind of my own home by now
16:57our students in our upper levels they come from all over the country they've mostly come together
17:03at an older age they haven't trained together from that young age all the way through like they do in
17:12paris the world is really big it's very small but it's very big as well and when our students see
17:18other dancers from other schools and they live in europe or they live in australia or they live
17:23somewhere else it lets dancers know that ballet is bigger than here
17:36we didn't speak about the transition between three and four
17:44we're missing two
17:46das junior ballet besteht aus tänzern zwischen 18 und 20 wenn sie zwei jahre bleiben sind sie 20
17:54oder 22 und das ist ein alter wo man dann im ensemble schon sein sollte denn dann folgen sagen wir
18:0315 20
18:04jahre der professionelle laufbahn und manche sind mit 28 vielleicht so weit gekommen dass sie sich
18:15sagen dieser beruf ist zu anstrengend für mich oder mein körper macht nicht mit dagegen gibt es andere
18:21dancer deren körper ist ohne probleme und dann können sie weit über 40 tanzen
18:40the fact that i was in the junior made me change a lot as dancer even if this is just
18:48my start in my career
18:52you get to know so many people and you get to dance so many different things you get to work
18:57with different choreographers different ballet masters working in this opera house and work hard every day
19:09i was in my hometown and i learned ballet then i went to london so it was like the technique
19:15period
19:15and then when i came here it was like the artistry learning for me two years of so many stimulus
19:26and so
19:26many choreographers and it was amazing certainly it was amazing
19:31a dancer entwickelt sich so innerhalb von den zwei jahren sie kommen raus von guten schulen und man muss
19:55schauen dass sie deren technik noch weiter beherrschen aber anders tanzen mit viel mehr körper befußt sein
20:02so dass sie innerhalb von zwei jahren zum vortanzen gehen können und als reifere tänzer rausgehen
20:12okay
20:16my first season was very tough for me because i got injured and it was hurt
20:23i was worried if i hurt her or something and then the rest of the rehearsal for me was like
20:29oh my gosh i hope she's okay i hope she's okay please
20:35That responsibility is horrible because one injury in this stage of life can be like a killer.
21:06And I remember she was struggling for quite a long time in the junior. She had like a problem in
21:14her foot, I think.
21:16It was also an addition to the drama because I didn't know if I made things worse.
21:27The Junior Company also supports me.
21:30Because a dancer who is lost, it's the end of my career.
21:34And just as a guide to being there, they realize that there is still someone.
21:40Share! Sensation! Reacts!
21:59It was very hard to work on, of course, the injury, but of course, like, security on myself.
22:09I was also thinking about the second season in the Junior that you have to audition and I was very
22:14insecure about that.
22:18You have to learn as a dancer. If something goes wrong, you have to be able to keep connecting and
22:24keep feeling.
22:26And be able to communicate with the other person so the show can go on.
22:30Not the show, the connection, the feeling, because it's not about the show, it's about the feeling of things.
22:39You have the whole season to just, like, focus on yourself, dance.
22:44Finish the season with the Junior, which is very special because it's something that doesn't happen twice in the life.
22:50So I just got to enjoy. I just want to enjoy the maximum potential and keep pushing and keep working
22:59because I just love it.
23:13The Junior Ballet has a repertoire that provides a different direction of dancing.
23:22and they have a protected room where you have time to focus on details,
23:31because the idea is not over the morning.
23:40Because they live here in the living room,
23:44they learn to come forward and become a collective.
23:49I'm glad to say hi.
23:52Can I come in?
23:53Yeah, this is my room.
23:55Slowly starting to move in, so it's a work in progress.
24:00I take my shoes off because I'm from an Asian family.
24:03I'm very lucky to have a balcony.
24:06We've got a good side.
24:07Yeah, because you can see the studios.
24:10Yeah, and the sun always coming in.
24:13I've still got one more suitcase filled with clothes,
24:16but I'm procrastinating that a little bit.
24:18These are some photos I've collected from all over.
24:20And this is my tea section.
24:24I drink a lot of tea.
24:25My grandma gave me her film camera from the 1950s.
24:32This section is very fluffy, I think, because I love fluff.
24:37It's very nice, because I like to do a bit of photography.
24:39It's so fluffy.
24:40It's so fluffy.
24:41I moved here from New Zealand, but I was living in Amsterdam.
24:44That's where I did my training.
24:46I'm half Japanese, half Indian, and I'm from Australia.
24:51And I just graduated from the Berlin State Ballet School.
24:55It is very far from home, but I have this sort of attachment to Europe.
25:01I don't know, I love it here, and I love the ballet world here,
25:05and the culture of the people and everything.
25:07Everyone's, you know, working, but really positive and nice.
25:15Achi is a pupil of the Ballet Academy here in Munich, but there were other wishes for Achi to work
25:24somewhere else.
25:25And then she went to Canada.
25:29Yeah, National Ballet of Canada.
25:31And now Alonzo King.
25:33Yeah, Lines Ballet.
25:33Lines Ballet, yeah, yeah.
25:34San Francisco.
25:35You know how they start the classes with Mr. King?
25:40Show us.
25:42We're just rubbing our heads together to feel the heat.
25:47And then when you stop and you start opening, you feel like that tingling feeling and that connection.
25:51And it just kind of, like, stays with you throughout the dance.
25:55So you know how that's always connected, like, wherever your arms are.
26:00And, like, yeah, you're sensitive to it rather than just having a stand.
26:03I love it, yeah.
26:05That's one and two and two and three.
26:10I was in the National Ballet of Canada, yeah, in the Corps du Ballet.
26:14Also, man lernt sehr bewusst zu sein, um sich rumzuschauen und genau so zu tanzen.
26:19Sogar das Gesicht und die Hände so zu halten wie die Person vor dir.
26:23Es ist halt nicht viel gefragt so von wegen, was passt mir oder wie lange möchte ich mich strecken
26:30oder wie groß ist eigentlich mein Schritt.
26:33Es ist halt, wenn die alle vorne vor dir klein in die vierte gehen, musst du auch klein in die
26:39vierte gehen.
26:42Also, manchmal gab es Rollen, die sind so perfekt für mich, die sind für große, lange,
26:46aber da muss man wieder danach ganz lange warten und dann kommt vielleicht wieder was.
26:50Ich habe mir gedacht, es wäre so schön, wenn es irgendwie jemanden gibt, der einfach was für mich choreografiert,
26:56wo man dann wirklich alles benutzt, was ich irgendwie so zu geben habe.
27:01Ich glaube, das hat so angefangen, dass Alonso irgendwie gemerkt hat,
27:05die großen, langen Leute haben weniger Chancen, in eine Company aufgenommen zu werden.
27:10Und dann hat er gemeint, ich liebe das, ich kreiere eine Company, wo die hinkommen können.
27:15Und das ist schon was Besonderes.
27:22Sobald man hier in den Saal reinläuft, sind wir an einer neuen Welt.
27:26Und in meinem Auge ist die Welt einfach schon so einen Schritt weiter,
27:30wo wir einfach daran denken, was ist wichtig, was wollen wir sagen, was wollen wir ausdrücken.
27:46If you define yourself by your race, your age, the religion you happen to grow up in, the geographic location
27:57where you were born, what is that saying about you?
28:00I mean, very small, although incredibly interesting, because points of view in cultures are fascinating.
28:10But one of the ways that the world works is no one culture has all the answers.
28:19No one.
28:19And that's why we need each other.
28:22And that's why we need each other.
28:23And that's why we have to listen and to observe even things that we think aren't important.
28:31And so when dancers are able to separate the idea of their body from their self, there becomes a huge,
28:41bigger understanding.
28:42What are they doing?
28:44They're playing the instrument that we all have in common, the body, but they're playing it with their heart and
28:50their mind.
28:52They're not imitating.
28:53They're not trying to be a knockoff or a copy, but they want to be their true selves.
28:59That's what you see on stage.
29:01You're dancing your consciousness.
29:22seit ich jetzt mit Lines bin, stehe ich größer und ich- ich liebe es, mich groß zuumi2
29:27Also, um so größer, umso besser!
29:29or the longer, the better.
29:32Never to keep it back.
29:34I think, before that was the stop and now it's this.
29:38And then it's this.
29:39It's just a lot more.
30:00We're going to try to dance, I'm going to say, in the same voice.
30:05We're going to try to dance in the same way, but in the same way.
30:11What I see with pleasure,
30:14for example, the spectacles of the Lac des Signes,
30:16at the Opéra Bastille, are absolutely full.
30:22So, this production, at 40 years old,
30:24she doesn't age.
30:25She's old.
30:28The new generations
30:30are with passion and passion.
30:35So, yes, the society evolves,
30:39but we see that at the Opéra de Paris,
30:41there's still need to be reconforted
30:44and comforted in history,
30:46but in advance.
31:01It's a bit of a handicap.
31:04It's that, when they enter the Opéra,
31:06as we form them to be dancers at the Opéra de Paris,
31:10they dream of the Opéra de Paris.
31:11And very often,
31:12they have a lot of pain
31:13to be in another company.
31:14There are many people around Vianni.
31:21After, during their school course,
31:24we are going to identify them
31:25who would be saying
31:26perhaps they would be successful in mind.
31:30We are going to drive them
31:31to the end of the course,
31:32to the diplomas
31:33and then maybe to the other clubs
31:40It happens to be a period of doubt, a period of sadness,
31:47a period of revolt.
31:49But it is necessary to recognize that all children
31:52who are trained in the dance school
31:54will not be engaged in the opera corps.
32:28When I was 11 years old, I saw my first ballet, full ballet on a video.
32:33It was Swan Lake with Makarova.
32:34And I remember calling my mother and telling her,
32:37do you see the swans, the two lines of swans that are there
32:41while the adagio is happening?
32:43And I told my mom, I want to be the last one of the line.
32:58And I thought that the first in the line,
33:00you have to be very good to be the first in the line.
33:02But I thought, maybe the last one, I think I could work for that.
33:07And I said, you know, I want to be her
33:09because her work is to go on stage.
33:11And that was the only thing I wanted.
33:13Now, this is it.
33:43And there are a lot of things that are maybe tough in the profession because you have to
33:48mature very fast, very early, and you have to be very good at making good decisions and
33:55maintaining a good healthy mind and body.
34:13Let's go. And through the toe.
34:21Foot, foot, foot, foot, glissade, glissade, glissade, oh stop, stop, stop, stop, stop, stop, stop, stop, stop, stop.
34:28Don't do too much. Make it comfortable first. I don't want you to hurt your knees, your foot, your feet,
34:34sorry, plural.
34:35Yes, sorry I'm Frenchy, like you realize.
34:38I was, I think, like the dance, a little nervous because it was the first day with 13 new members.
34:45It was the beginning of the game and some people wanted to prove that they were good or to show
34:49that their feet were a little higher.
34:51And then I said, no, no, no, I'm calm, lower, but really placed.
34:56And one stays, strong stomach, don't pull back. On your legs.
35:00I went to Paris and Russia. After I finished my high school, I was really overwhelmed and tired.
35:08By this entire ballet world, like always so strict and limiting and very competitive, really competitive.
35:24There are a lot of people that really want to push you. They really like you.
35:30But that can be very toxic too. When it becomes possessive, when it becomes abusive.
35:38Machtmissbrauch, Diskriminierung. Also, ich habe das auch erlebt. Ja, das war, das war nicht schön, muss man sagen.
35:44I'm, yeah, I don't want to start being too emotional now, but it leads to really unpleasant places and situations
35:56with yourself.
35:58I mean, I was never abused, but I've seen, I've seen it happen.
36:04I was under so much pressure and, you know, going to sleep, noting all the corrections for the next day.
36:13Every day, new corrections, a new page. Like, trying to remember, trying to go through it.
36:18I was going, brushing my teeth, but actually doing it for the bra. Like, it was crazy, crazy, the way
36:23we were living.
36:26You know, at my age, I know a lot of generations of dancers, and many of them, they have finished
36:31very traumatized by experiences that they have with directors, with ballet masters and companies.
36:38Es werden einfach Sachen verlangt, die anatomisch eigentlich nicht möglich sind.
36:42Aber sie werden verlangt, weil die, die uns das damals beigebracht haben, haben es nicht anders gelernt.
36:47I was 18. There was a teacher that was extremely demanding, was extremely possessive, and he was choking me.
36:55You know, he was trying to make me believe that without him, I could not dance anywhere, because he was
37:01scared of losing me.
37:02He was on top of me the whole time. He could not let me breathe.
37:06Like, all the food disorders and, like, problems with your head, and you don't know why you can't sleep at
37:15night and stuff.
37:16It scared me so much to not be happy doing what I always wanted to do.
37:20You get to the point that you really don't like yourself looking in the mirror.
37:45I didn't really understand why I should continue doing something that makes me hate myself, really.
37:52And so that helped me say, that's it. This is not normal. I'm leaving.
37:56And from one word to another, from one person to another, I found out about this company, and they gave
38:02me hope.
38:03Okay, let's go. Last group. And...
38:10That's the thing with this company. It allows you to learn and experience and be more at ease with yourself.
38:19And since we're only 16 dancers, it's just really easy for yourself to open up and to actually evolve.
38:36Two demis, you're going to go forward all the way around.
38:41I did have weight issues as a dancer. And then I also had one serious injury.
38:49And, um, I worked through it. I didn't, I didn't stop.
38:55So I can attest to the students that they need to take care of things.
39:00So I do feel like I have a lot of personal experience that I can bring into the conversation when
39:04I'm working with students.
39:06All right. Right foot, fifth front.
39:09Prepare seven eight. We take accent out.
39:12Pedagogically, we're all looking for the same thing.
39:14We're all looking to make sure that we have healthy dancers.
39:17The students nowadays are critical thinkers.
39:21So we have to approach class in a way that it makes sense to them.
39:24We need to make sure that they are not just being told what to do.
39:29But they really need to understand why in order for it to be relevant in their lives.
39:34Thirty years ago, you go in the, in the, in the classroom, whether it was a ballet class or an
39:39academic class,
39:40and the teacher was in charge.
39:42And you didn't question, you didn't even ask questions unless you were invited to.
39:47You took what the teacher said, and that was that.
39:51And kids nowadays challenge everything.
39:54And that's why I feel like if teachers can explain to the students and make it relevant to them,
39:59I still can retain my authoritative status without being mean about it.
40:10Thank you very much.
40:13Thank you. Thank you.
40:15Thank you very much.
41:20Und diese Junior-Kompanie hat ja eben die Qualität, dass sie zum Beispiel solistisch arbeiten schon,
41:26dass sie kreieren mit Choreografen, mit Jungen oder auch mit Erfahrenen.
41:31Das heißt, sie tun Dinge, die sie als junger Gruppentänzer in einem großen Ensemble nie machen würden.
41:36Die würden zum Beispiel kein Palais-Due tanzen.
41:46Ganz, ganz wichtig ist, dass diese jungen Leute mit Kunst zusammengebracht werden, mit Künstlern,
41:52die ihnen andere Wege aufzeigen, wie man lernt, wie man überhaupt an Dinge herangeht,
41:57wie man über die Welt reflektiert, diese Routine zu durchbrechen und die jungen Leute zu motivieren,
42:04wirklich auch ihre künstlerische Biografie selber in die Hand zu nehmen.
42:14Und bei den Inhalten ist es tatsächlich so, solange wir so eine Vorstellung haben, was klassisches Ballett ist,
42:20und wenn wir Klassik sagen, meinen wir ja immer das 19. Jahrhundert und immer Pötipa im Grunde genommen
42:24und vielleicht noch ein bisschen Ivanov und sonst gab es da im Grunde nichts,
42:28dann müssen wir uns auch vorstellen können, dass wir das, was wir schön finden,
42:32unsere ganzen Ideale von langbeinig und filigran, davon müsste man weggehen und sagen,
42:37nein, dann können wir uns eben auch ein Dornröschen von Pötipa vorstellen,
42:42wo das Cours de Ballet eben sehr heterogen ist.
42:45Und das müssen die Ballettdirektoren und Direktorinnen dann wollen, das müssen die auch durchsetzen.
42:51When it comes to diversity in general, we need to keep creating new stories.
42:56There's so much room for everything and everybody, you know.
43:01Sometimes people are just afraid of exploring and giving those the possibility of actually shining.
43:37There's so much room for everything, you know.
43:54It can be anything you actually are able to visualize and see if you really believe in it.
44:00So I have never thought of myself as a black dancer.
44:05I see myself beyond a dancer, an artist, because I can still dance without movement.
44:12I know at this very point in my career, I can do that.
44:15So I consider myself an artist, not a dancer.
44:22My message is do not see yourself as a color.
44:25See yourself as the person you are.
44:30And it's not something that I actually thought of, even when I was in Cuba, because Cuba is so diverse.
44:38But at the same time, in the Ballet world, we are just a few.
44:47I can't believe in my education.
44:48This is the euro-centric view we have.
44:50And also, this racism is always a force.
44:53Immer.
44:54And we are always above.
44:55The Weiss are always above.
44:57That's so.
44:58It means that we can't talk about it without the experts to the people who are concerned about it.
45:07Of course there is now a generation that is self-conscious,
45:12but under the choreographers are very few women
45:18and even more people from other nations with a different color.
45:31In ballet, we're actually talking about storytelling.
45:35There are no stories written for people that look like us.
45:38And that is an issue because there's so much history.
45:43And it's beautiful to keep the classicism.
45:45Giselle, La Valle Verre, Swell Lake, and the other girl that lost her shoe.
45:51The same story over and over and over again.
45:54But what about new stories?
45:57What about actual new stories?
46:28PIANO PLAYS
46:40PIANO PLAYS
46:46PIANO PLAYS
46:46PIANO PLAYS
46:48PIANO PLAYS
46:50PIANO PLAYS
46:51PIANO PLAYS
46:54PIANO PLAYS
47:17The quality, the breathing, everything.
47:21It's great.
47:26I cry every time.
47:28It's so beautiful.
47:29For me, I was like, oh.
47:32It's like, you know, when you have children,
47:34and you know that they're going to go away in some ways,
47:37you know, it's part of the journey.
47:39And if you are prepared, but you are a special group.
47:41Yeah.
47:48It's something that in real life you don't have.
47:51These emotions that you can feel when you play a role,
47:55or this energy that you feel on stage.
47:59As far as I can keep doing it,
48:01that will be my reason to continue dancing.
48:03If I'm not in pain, and if I still enjoy every second
48:06that I spend on stage, I'll keep going.
48:12Then, that'll take part of your life.
48:26I love it.
48:28I love it.
48:29I love it.
48:36I love it.
48:40So, if I just put the thrill of life,
49:06When I see classical dance, I always wonder,
49:10but there are only very few dancers who really look around me
49:15because they also found this depth in the classes and dance.
49:19So not only do the movements, but go so deeply into the role
49:23that you are in a different world.
49:37It's a physical manifestation of your emotions,
49:40and being able to offer that to the audience, I think, is a gift.
49:46It's a gift from the art form.
49:57You go on stage and you give all the energy you have in you,
50:02and you can't really tell if it's positive or negative.
50:06You just give it all out. You're like a light bulb.
50:09And when you go off stage after the adrenaline and everything,
50:13you realize, well, that was like a spark.
50:16I was there for the people, and they took it all in,
50:21and now I am, like, uncovered.
50:24I don't have any more layers, you know?
50:25It's like when you're blowing a dandelion
50:28and all the petals go out, it's just like that.
50:33But for a moment, you were great.
50:52The fulfillment is during the dance, but when the dance is finished,
50:57and you realize that the applause is nothing other than thank and love,
51:04for what they have received from you.
51:07And if you realize that, to respect that,
51:11it's nothing Eitles.
51:12I'll beware myself now and you have to clap.
51:15No, not at all.
51:18It's actually Glück.
51:22No, not at all.
51:22No, not at all.
51:43It's like a loss of fire, and you're like a Tyler essas thing to add to you.
51:43it is not perfect for me.
51:44You are able to't bring hope up in that equation.
51:45It's your heart.
51:45Well, maybe the story comes through it strongly,
51:49it's time where you notice that the busca and that grab blood.
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