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INTERNET-BRIDGE (Questions to Maria Alexandrova)
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sophia



Inscrit le: 03 Jan 2004
Messages: 18632

MessagePosté le: Dim Oct 02, 2005 9:40 pm    Sujet du message: Répondre en citant

Questions posées par Roma (New Brunswick, NJ, USA) et réponses de M.A.:

Citation:
1) Dancers often say that in order to develop fully as artists they must have new works created specifically for them. Do you feel that your dancing benefits more from discovering older masterpieces or from working with choreographers on new ballets? Why is it so important for a dancer to have ballets made on them?

I learn on classical ballet. But when creating a new ballet you cannot follow a stereotype, because what is being created is not in existence yet. From the psychological point of view it is easier. The audience has no associations nor prejudice either. If it is important for a dancer that there is a ballet made specifically on them, then it is a possible influence of his ambitions.

2) Could you talk a little bit about the difference between the technique required to dance Balanchine’s and Petipa’s ballets?

There is no difference in technique. Balanchine made his ballet on the basis of classical movements. The specific features of Balanchine include quicker tempo, often changed musical accents, specific combinations.

3) Do you feel that it is possible to combine the theatrical flamboyance which is the Bolshoi’s trademark with a very clean technique, or does one necessarily exclude the other?

One does not exclude the other. Moreover, the clean technique (or literacy) – is the basis which makes dancing easier. It allows to pay more attention to dramatic development of an image. And this is to goal to aim at. It would be great if they began dancing with theatrical flamboyance and we – in a more accurate way.

4) You were a wonderful Sylphide in the Bolshoi’s production of that ballet. Could you talk a little bit about creating that character. What do you think sets Bournonville apart from Petipa and his heirs, and how does the technique required to dance his ballets differ from your training?

Sylphide has a nice personality, the only thing left was to reproduce it. The attention was mainly paid to the style of this ballet. I have not danced any other ballets of Bournonville, therefore I cannot assess the differences in full. To accumulate knowledge in advance, prior the specific production – a ballerina simply do not have time for this.

5) Do you think the Bolshoi needs to dance works which were created in the West in the last 80 or so years - Balanchine, Ashton, Tudor, etc, or should it concentrate more on works made specifically for the company?

I think that it should. Our repertoire contains both Balanchine and Ashton. But it would be good if the management took into account talents and strengths of our stars, soloists and corps-de-ballet, when selecting new ballets for the company.


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sophia



Inscrit le: 03 Jan 2004
Messages: 18632

MessagePosté le: Dim Oct 02, 2005 9:46 pm    Sujet du message: Répondre en citant

Questions posées par Toubib (Moscou) et réponses de M.A.:

Citation:
1) What do you think about the fact that you are being constantly compared with Sandra Bullock?

I know quite well that I am Masha Alexandrova.

2) Dans vos rôles, vous allez souvent à contre-courant et vous rencontrez la résistance d'un certain public. Comment vous préparez-vous psychologiquement pour les rôles difficiles?

To dance is difficult anyway. I do not prepare myself psychologically for the roles – no psychological training. I go to the class and work.


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sophia



Inscrit le: 03 Jan 2004
Messages: 18632

MessagePosté le: Dim Oct 02, 2005 10:14 pm    Sujet du message: Répondre en citant

Questions posées par Andries (Moscou) et réponses de M.A.:

Citation:
1. What is your opinion on the tendency of the world ballet repertoire – more modern ballet and less classical ballet – is it good or not?

If in the West the modern ballet dominates, then it means it is demanded by the society. Then for them it is good. And for us – classical ballet is more in demand. And this is also good – for us.

2. Watching a performance of a dancer of a high level (a star), what do you feel:
a) I could do better
b) Yes, everything is danced clean, almost ideal, but so what?
c) Nothing
d) None of the above

I watch the dancers of high level with great interest.

3. What is a 32 fouette for you?
a. Just a trick, and not a very difficult one
b. This is just 32 relevés and coordination
c. A very difficult trick
d. None of the above

This is a culmination of a scene or the ballet. After the fouette you know for sure that it will soon end.

4. What will happen to you after the ballet career is over? Coaching, choreography, will you change your profession or you do not know yet? Thank you, good luck.

I do not know yet. I will write in 15 years.


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sophia



Inscrit le: 03 Jan 2004
Messages: 18632

MessagePosté le: Dim Oct 02, 2005 10:20 pm    Sujet du message: Répondre en citant

Questions posées par Anna (Moscou) et réponses de M.A.:

Citation:
1. Maria, yesterday you said that you are quite indifferent towards modern choreography. Does this statement relate to all choreographers or only to the ones listed in the question? And what about Neumeier, Bejart, Duato etc.? Maybe there is someone in whose productions you would like to participate?

Let any of them come and make a production – and I will dance.

2. You mentioned that you have not had rehearsals of Don Quixotte with Matvienko. But the performance is scheduled for October 20, the Bolshoï Theatre site already lists all the performers and many spectators have already purchased tickets. Shall we worry or is it common – to start rehearsals late? You and your partners need to get used to another stage…

No panicking, ladies and gentlemen. You have learned the information that normally you do not know. Who came when, who rehearses with who and for how long. And the stage of the Kremlin Palace we will see only on the day of performance. I will remember the bravery of the spectators undertaking risks for the sake of beloved dancers and will share this information with Denis. We will try not to disappoint you.


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sophia



Inscrit le: 03 Jan 2004
Messages: 18632

MessagePosté le: Dim Oct 02, 2005 10:28 pm    Sujet du message: Répondre en citant

Le "chat" est à présent terminé. Laissons à Maria le mot de la fin:

Citation:
It seems that the questions have come to an end. I even feel sorry about it.

I would like to thank the interpreter – Natalia Samikova. Without her I would not be heard abroad.

I thank you all for your questions and attention. See you at the theatre.
Yours sincerely,
Masha Alexandrova



Quant à moi Sophia, je remercie Masha pour sa gentillesse et pour tout le temps qu'elle a consacré à répondre aux nombreuses et intéressantes questions qui lui ont été posées. Vraiment bravo à elle pour tout ce qu'elle nous donne.
Et évidemment, un grand merci à Mikhail qui a eu l'idée d'organiser ce "chat" avec Maria Alexandrova et d'y associer Dansomanie.

Very Happy Very Happy


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