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Katharine Kanter
Inscrit le: 19 Jan 2004
Messages: 1476
Localisation: Paris
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 Posté le: Sam Juil 09, 2005 1:47 pm Sujet du message: Did you say "multi-purpose" Ulyana ? |
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It is always a weight off one's mind when someone in the trade puts their foot down. Firmly. So few do these days.
Fresh troops have galloped into view, in the person of Ulyana Lopatkina, whom, I must admit, I have never seen dance.
However, the woman is a legend in Russia, and I imagine there must be some very good reason for it.
And so here is the lady herself, in today's Telegraph interview with Ismene Brown (excerpts):
'Lopatkina is a law to herself.
"I was given the choice by the management to take Manon or not, and I looked at the character and the book and decided that it was alien to me (...) the story has a lot of food for thought, but I just didn't feel any light in my soul. (...) I don't think I'll change my mind."
To William Forsythe's razor-edged modern ballet, she also says no -
"there is no heart" and it is "too radical on the body".
She danced it in Russia, made her decision, and the Kirov's Forsythe programme in London will go on without her.
She also censors her classical roles because of her firm ideas of what a ballerina role should look like. She believes she can suit a "big" princess, like Raymonda, but not a "petite" one, as she has always imagined Aurora in The Sleeping Beauty - she prefers the secondary role of the Lilac Fairy.
“I know it's often suggested that artists must be diverse and show all facets of their talent, but to me better than diversity is to think what is closest to your heart, what you really can do. I am lucky that I have this choice."
When did she get that choice? She doesn't know. It happened. But inside the Russian ballet establishment, there seems to be some consensus that she is too special to be buffeted about by normal orders. '
end of quotations.
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sophia
Inscrit le: 03 Jan 2004
Messages: 22163
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| Posté le: Sam Juil 09, 2005 3:51 pm Sujet du message: |
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| Sur le site de Natalia Dudinskaya (il faut regarder la partie russe, il y a beaucoup plus de choses) qui a été le professeur d'Ulyana Lopatkina, une page est consacrée à celle-ci avec des photos.
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haydn
Site Admin
Inscrit le: 28 Déc 2003
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Azulynn
Inscrit le: 13 Nov 2004
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sophia
Inscrit le: 03 Jan 2004
Messages: 22163
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| Posté le: Jeu Juil 21, 2005 8:47 am Sujet du message: |
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Une interview de Ulyana Lopatkina par Natacha Dissanayake sur le site anglais ballet.co.uk qui fera certainement plaisir à Katharine Kanter... 
| Citation: |
| It seems to me that there have to be some limits. The teacher’s and the ballerina’s taste is very important here. Six o’clock is appropriate only at certain special moments, if it helps to express something and – what is most important – if it doesn’t ruin the line. When a ballerina does it, she shouldn’t cross the line of the arm with her leg. All diagonals must be kept intact. There must be harmony in the lines of arms and legs. Beauty is paramount. One mustn’t mix sport with ballet. |
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| It is immensely interesting to work on Balanchine’s, Robbins’s and Forsythe’s ballets. I enjoy dancing them. However, the interest disappears after a while because their ideas are not based on human feelings, on the human soul. The concept of their ballets is plasticity and pattern, and this is less understandable and less accessible for the wider audience. The Russian public, for example, compares contemporary choreography with sport and says: "Why should we watch gymnastics? This is more like artistic gymnastics. Classical full-length ballets are more interesting. They have a plot, a love story and picturesque scenery. It’s theatre, after all.” |
Interview complète
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