Zitat des Tages von David Hallberg:
Bejart is almost never performed in New York City; critically, he just gets attacked here.
I love the dancers in the Bolshoi, but all of my Moscow friends are outside the company. A friend introduced me to Vika Gazinskaya, a well-known Russian designer. I met her group. The rest is history.
Russians are very discerning about ballet. They're very opinionated about what classical ballet is.
I've always questioned the way dancers, myself included, must do the same role year in and year out. It's important for me to be able to say to myself, 'O.K., I don't want to be a prince anymore. I want to put on a leather jockstrap and pose.'
I will never stop questioning. I will never stop wanting more and discovering other things and wanting to do other things. That will always be a part of me, and it's something I've come to terms with.
When I went to Moscow, I felt I was relearning Swan Lake - which was written for the Bolshoi - and being immersed in a tradition and history I had never experienced. It took a while to adjust to living there and learning the language, but now I have lots of friends. I get the best of two completely different worlds.
The Bolshoi style is bigger and more emotional, in a way that I love. It has the freshness and intensity that is like what I've tried to achieve in my dance-acting roles.
Many dancers are content with the repertoire they're given. Others are dissatisfied but don't know why. Then there are a few like me that are curious and grab at everything. Can that curiosity thrive in the ballet world, or should it exist elsewhere? That's the eternal question.
I've been interested in art and fashion for as long as I can remember because they are so visual. I am fascinated by the idea of visual creation from the ground up, which is a challenge in ballet when the audience has seen every show of yours, every other principal that you've shared a role with, and every different production.
I'm not one who goes to a lot of fashion shows or tries to infiltrate that world, really.
Ballet needs figures that people can recognize and relate to. People don't know ballet dancers as well as they know other artists.
I walk like a duck: very straight up and down. Or like a penguin. It's a dead giveaway that I'm a dancer.
To be honest, my partner Natasha is my inspiration. She is who I reference when searching for my role. I don't emulate what she does, but her interpretation of Giselle is so fragile and sensitive and so tender. It constantly inspires me. And I feel like it's the other way around. We have a great rapport together.
There are certainly some artists in New York that I would love to work with. One is Sarah Michelson.
When stress sets in, and pressure, I focus.
Ballet is incestuous. This world is smaller than small.
