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Julie, head over there!

Stay in line!

Back to your lines!

And one, two, three!

Come on, Carole, move on!

Atayane!

Not bad at all.

Now back to the beginning
for a few details.

But calmly.

Relax a moment.

Not bad for a first try.

Great.

All right.

She doesn't fall, it's too quick.

You go up beautifully, but I miss
the weight when you go down.

See What I mean?

The weight of the arms
when you are under him...

Up...

and down.

Superb.

You look worried, Emilie.

You did something like...

Once more.

The weight...

Breathe in...

With soutenu.

Relevé.

More diagonale.

Look there.

Temps levé!

Good.

One! Pass.

Knee.

Like this.

But you stop here before you go down.

It must be While you go down.

You do this and try to catch up.

This is important.

Pass,
and that is the important point.

Don't go to the side, Laetitia.

Right, going down! Leg in front!

- You see what she does?
- I don't do that.

While going down.

When your heel is down,
leg in front.

Yes, but not here.

Pass like this.

The arabesque is only a passage.

Why do you stop on the floor?

Why do you do that?

She imagines an arabesque
Where there is none.

There's almost no arabesque.
Down!

When you do that, you go down.

Not even...

Laetitia, look.

You go...

I do this and this...

and now, I go down from here.

You blame me too much.

It slowly becomes logical,

because it becomes automatic.

You will do it automatically.
Your body stays there!

Right, backward.

Do what you want with your arms!

You liked it?

Then this brings us to 2012 or 2011
when we'll do it again.

It takes time, but it's part
of the life of the Opera Ballet.

It takes a lot of time and...

I was about to say "coaching"...

Well, I asked Elisabeth to come.

Patrice Bart and Clotilde Vayer

will be most important
for the return of this ballet.

She is a ballet master.

She worked on many ballets.

So it's also a transmission of
knowledge from the ballet masters.

Patrice will be there,
and Clotilde will take a large part.

We shall also have
Viviane Descoutures.

I mean,
there will be a lot of dedication,

and team work within a team
of ballet masters and their assistants,

who will make it happen.

This task
must bring people together.

It's not about
having different views.

Everybody must unite
around the work.

I find it very important
to collaborate in order to achieve

the best possible result.

To me, the final result
has to be a gift to the public

that they can feel
Without any explanation.

Stop, thank you. Look here.

When you're with him like this...

Show your foot, don't do this...

Bend the supporting leg,
show the foot and piqué.

Careful, you are too much...

Extend it with the hand, don't stop
or it looks like two spoons.

What else...

Go down a little earlier, Hervé.

Crossed...

Déboulé...

Small but more crossed.

I see that
you are looking for contrast.

To hit the floor is nice too,
not as before, all flat...

Your dancing
was exceptionally readable.

My plié was particular.
But this is nice too...

Chauviré also put her heels down,
and Noélla Pontois.

I like that "touch-rebound"...

I hate it...

- ...even in Balanchine.
- I like it.

This new way of dancing...

Emilie Saiguen and Tallchief
were something else!

Something of a heavy butt...

It's the easy way out.

The flaws of Suzanne Farrell
became qualities for the others.

Plié, hold it.

She never bends.

Right!

She should bend when she lands.

And here too.

Exactly!

She's stiff, you see?

I see What you mean.

Good.

All right.

That was good, except for...

Jeté...

and then landing on a plié is nice.

Lift up the leg
to be ahead of your metatarsus.

You make a développé...

He wants a développé in the floor
to make it attractive.

You'll think you are late
but it's beautiful.

It gives the impression
of being late.

But there is a step on each note,
I know that!

There is a step on each note
but you must bind the steps together.

Understand? From the jeté...
Show me, without him.

Glissade, jeté...

Now on the floor, plié! Do it!

That's it.

One.

Two, three,

four on the side.

Hold on! Let's see that again.

Don't start before the music.
You're on your toes, I know...

Don't start before the music.

If it's relevé on "one",
it's only one step.

Stick to the counting.

Alexandra, you know Where we are?

Once more, from this step.

Mathilde!

Your arm is too high. Lower, OK?

On préparation,
and on the first diagonale.

From here, girls.
Do you follow, Caroline?

Then you form two lines.

Together when opening the arms!

Together!

Control your arms,
keep the position when you get up.

Now you unroll.

Stretched, Caroline.

With precision.

Smoothly now.
Follow the girl in front of you.

The arm goes down, Marie-Soléne.

Together... right.

Higher,

left, right and pirouette.

Hold it straight.

Hold it straight, before you...

Your hand is too low.

Hold it on a higher point.

You pan like this,
then hold it straight and...

Right.

It doesn't have to be so high.

It gets on my nerves.

Slowly.

Legs tight, Malory.

Arabesque stretched, Marc.

Right.

Pass in front.

Not too early.

I saw that. Or else you curl up.

- The first time...
- What?

When we do this...

We separate...

- We go down?
- We walk.

- Not this!
- Why not?

How to choose the dancers.

Since we have to follow
a certain logic,

you can't go to a class
and say: "You, and you..."

But you can come and tell me:
"Here's the kind of dancer I like."

And of course I'll try
to satisfy your Wishes.

What I usually do
with guest choreographers

is that I suggest a group of dancers.

Then you'll tell me:
"I like this one and not that one."

Meaning I can work with a group
before choosing...

- Be nice to them.
- Quickly.

Don't have them wait too long.
It wouldn't be nice to them.

What you could do anyway

is tell me the type of dancer
you're looking for.

- But if you can't, you can't.
- It's not that I can't...

No idea?

I see someone,
I like him or not, that's it.

It's about... I don't know.

Would you agree...
We were talking about 15 dancers,

but I could have some "stars"
available, if you want.

"Available"
is not a nice word, but...

For the time being, the general idea

would be
to consider about 15 dancers.

But it could be less,
according to the way you work.

And apart from the dancers
of the corps de ballet

you could have
some specific soloists.

We're talking about a context
in which you bring your creativity.

What you Wish to do.

I don't know you,
though I like your work...

But I don't know much
about the way you work.

I understand, but...

I don't know... Just ask me.

The way I work...

I don't have a method. It depends.

I don't want to repeat myself.

Each creation is different.

Regarding the choice...

I need to know

which method you'd suggest.

I need to know your rules
so that I can adapt.

I didn't understand the difference...

There is a corps de ballet
and I can choose among them...

The company is very hierarchical.

If you ask, for example,

for Laetitia Pujol
or Aurélie Dupont,

even if they are very generous
and accept,

they obviously need
something really...

Imagine you buy a race car
and drive at 6 miles an hour.

It's not necessarily
in terms of results...

These are persons
who bring you something more.

Yet we have incredible dancers
in the ballet.

Extremely good too.

So...

For example, another Mats Ek's ballet
is entering our repertoire.

He met, as you could do yourself...

He cast some dancers from the corps
in very important roles.

I find that good too.

Though sometimes...

But those ballets already existed.

I think he wanted to work

with dancers like those
who created the roles.

That's why it's important

to work with a group.

Then later, it can be broken up,
but it begins with a group of people

who try to understand something
together.

This movement...

Try to give it strength.

And up you go,
keeping your back straight.

Be sharper.

Never mind your foot.

And from here, go...

Not like this.

Do this and then close.

Second position.

Go!

This is what makes you turn.

You, Emilie, you go...

I exaggerate.

If you close your arm,
the body follows.

Like a swinging door.

Right,
and then you link it like this...

From this point.

Take it more from here.

Relax

completely.

I'll do it once more.

Hold it.

Good.

Leg high!

Leg higher, bend down.

That's it!

This is good.

Head down each time.

A bit too quick.

And the arm backward.

- And watch your head.
- Maybe you could swing the head.

Makes you feel sick, but it's nice.

- That's how it is.
- It's terrible.

Why should it make anybody sick?

This is good.

This is good.

Down and up.

- That was better.
- Amplify the "down and up".

For these turns,
start lower under the knee.

First time you tell me that!

You always say "too low"

On the contrary, it must be lower.

Before I go down?

I certainly don't ask you to go up.

You'll make more turns, and quicker.

Try once Without the music.

Doing it without the music
is interesting.

It's about speed.

And down, down!

Beautiful.

This reminds you of the children,
when everything went fine.

This is when you played with them.

And maybe this would be...

Destiny, tragedy,

your life, what you have done...

"You can't fig ht it."

Maybe you can use these ideas.

What counts are the ideas
you'll have on the stage.

Then the audience...

Don't forget about the stage.
But your general scheme is good.

For me, everything is set.
Now it depends on your own work.

It's your responsibility,
even if we're with you.

It's your responsibility
to go on building it.

- The character.
- You've got it.

It's really great.

When I do this in the end,
I don't know what I'll think about.

You'll see,
some things remain unexplainable.

I feel how heavy it is,
it goes back to everything she did.

Cocteau had a sentence,
not so nice to the artists, but...

"It's up to the public
to figure it out."

Sometimes, it's unexplainable,
it's a state you can't define.

But once you're on stage,

with blood all over,
a devastated face, you'll see...

And the continuity of the ballet
will help you.

If you dance the first pas de deux
with Wilfried as you did,

what follows builds something in us

and in you too. The character
is layered from the beginning.

I feel it's building up.

The coherence is built step by step

as the ballet develops.

In Pa quite,

I really have an awful lot of roles.

Let's see how you are cast.

And I think it's too much.

We'll see about it.

And regarding precisely
the pas de trois...

I think it's not for me anymore.

What's going on?

You read a book you didn't like?
I know! The College Prize!

Brodeck's Report?

He had the students' Goncourt.

This is off the subject.

- Let me call...
- If we talk about literature...

Please bring me
the casting for Paquita.

You already arranged everything.

Not at all! I came to see you,
I came to see God first.

The pas de Ho's...

You don't want to.

Frankly,
with all that I already have...

All I have to do...

What do you have to do?

Renaud called me about
rehearsing the Mats Ek in December!

That was the last straw.
I said: "What?"

"Why me?"

This pas de trois in Paquita,

honestly, Brigitte...

- You don't want it, I got that.
- Because...

All right, settled.

What do we have next?

Next... I can manage it all.

You can manage it all.

Something is bothering you.

What I'm afraid of...

is that I'm not 25 anymore.

It doesn't show.

Now I know that I need to...

Needless to say,
you do a lot anyway.

There are things that
I need to manage pragmatically.

It's a difficult ballet,
which I have never danced.

A difficult ballet,
with pointes and jumps.

Pointes and jumps
are now the most difficult for me.

I know that now,

and I have to be more careful
about the amount of work.

I play a gypsy, a Spanish solo,

a lady of the Court,

and the classical grand pas.

The girls who danced it before say

that when you arrive
at the grand pas, it's very tough.

All that I have before
makes it very tough.

But it's not all in one show.

- I hope not!
- See What I mean?

Right!

Very good.

You go: one, two, three...

And then this.

It's not easy.

From here...

Deeper with the hip.

Your hip turns, you turn your foot
and it brings the hip with it.

You can do it more calmly.

Let me see What you do.

Wait, when you do this,
your arm is already there.

Muriel, when he brings you here,
your other arm just falls.

You would prefer it later?

"My place or yours?"

It's the duet principle.

Not bad. "My place?"

- Right. That's it.
- You prefer that?

- But this little jump is not...
- Do I jump too high?

You have to lean on him.

More like this.
A little higher up anyway.

Like this.

Make it round.

Natacha, you start it right,
but then...

It's round here too.
Everything's round.

You start from here.

- Fish?
- Yes, please.

With sauce?

Vegetables.

With What?

Semolina.

Some of this?

How should I know?

Good day.

Good day, young fellow.

This one with some vegetables.

Chicken broth and vegetables.

Some beans.

And semolina.
The complete couscous.

One has to let 90 once in a while.

Four euros and 14 cents.

We sell a 4-day trip
to the "American Friends".

From the 17th to the 20th.

According to schedule,

on the 17th we have a Welcome
Opening Night Party for everybody.

On the 18th, gala evening.

On the 19th...

New York City Ballet
at Opéra Bastille.

And on the 20th, Robbins' gala here.

We have started
to add a few supplements,

because the galas are not enough.

This is where I have
a few things to say.

Where is the schedule?

Here it is: Welcome Dinner.

Then the American ambassador
invites them to a nice luncheon.

Do you have

any rehearsal?

What our patrons want...

The Opera will grant them
a grandiose reception.

There are various types
of reception.

They want to go
to the American embassy,

to a Ministry here...

These are places
they don't easily have access to.

These people want this kind of thing.

We organize a Welcome Dinner

on Wednesday,

a buffet for our Americans.

Let's forget about
the embassy on Thursday.

But we thought about
what the Americans like,

and that is some rehearsal.

For the Benefactors.

- The Benefactors only.
- On Wednesday.

Right, we're talking about
Wednesday.

Let's talk about Wednesday.

Explain the idea,
since it's your idea.

The group of "Big Benefactors",

those who donate
at least 25,000 dollars,

need something special.

Something more
than What the rest of the group has.

So we imagined...

- Go ahead.
- A lunch.

Lunch is all right.

But before lunch...

I knew there was more!

Lunch is all right.
A nice lunch, why not...

We could bring this group

to a rehearsal upstairs.

- Of the NY City Ballet?
- Of the Opera Ballet.

- How many are they?
- We don't know.

- About 20.
- That's too difficult.

But we can really sell this.

What is being rehearsed?

Robbins, of course.

What's the name of the studio?

- "Petipa".
- Really?

We don't have
the right space for that.

It's too tight.

And the piano rehearsal?

Maybe one or two

will ask to see the Petipa Studio...

They'll all ask!

If it's a guided tour... Private.

We could pass through it!

Olivier does that very well.

Let's imagine
a sort of organized tour...

Through the two companies.

That's a good idea.

The guided tour
would visit the studios,

which is something
they've never seen.

Then we stop for a few minutes
on the balcony...

A few seconds.

At the piano rehearsal for the gala.

They can stay longer.

Then they have lunch...

The good idea

is the guided tour.

A stop at the studio,

and then to the piano rehearsal
where they can stay longer.

That's on September 17th,

for the "Big Benefactors".

The Benefactors...

Twenty persons?

The 25,000 dollars includes

two trip packages.

The normal trip package
costs 5,000 dollars per person.

This includes two trip packages,

and in addition, they have a box

for the gala, with 6 seats,

meaning they can invite
4 more persons.

- The 25,000 dollar Benefactors.
- I'm only talking about the 25,000.

They have two 5,000 dollar packages,

plus a box for 6 people,

so that they can invite 4 persons.

Any documentation on that?

Not yet. We just worked on it.

We plan to offer it to, let's say...

Tomorrow,
we have lunch with Lehman Brothers.

They absolutely want
to be at the gala.

We offered the Robbins programme
to Lehman Brothers,

but if they don't sponsor it all,

they could buy a package or two

to make some PR operation.

Instead of having your arm there
because they asked you to,

it has to be meaningful to you.

A person trying to contain herself.

She contains herself, and then...

Imagine that.

It reminds you of your children
then you're with him

and you start to...

Imagine it. Good.

The jump is important
only as the conclusion of your movement.

Jumping is not as important
as launching something.

You don't have to do it forcefully.

Sometimes you need to insist...

And again.

"If I got them...

"This is What I'd do."

Imagine. Feed on this too.

You can't put words on each movement.
But the evolution is clear.

The end of the week!

Thanks to all those who attended
and I hope liked,

who anyway have seen this ballet.

To me, it is above all a ballet.

I thank my star dancer,
Mr Gergiev...

for his direction

that mixes music, dance and theater.

Thanks to Aurélie Dupont, of course.

To Hervé Moreau.

To Nicolas Paul,

who had a fever.
That's why he's not here.

And of course to another dancer...

Our magnificent...

And I'm sure you'll join me
in my deepest thanks

to Sasha Waltz.

Sasha, we thank you again.

First time I've seen that!

Ready to go.

Let's go.

Much better. Complete.

I'll do it that way.

You talk to him.

Your movements say:

"You're back!
I'll look after you, heal you."

But then...

But you are still Medea.

There are strange little signs
or ambiguous gestures,

caresses that could also be blows.

That could be blows...

It's like in the X-Men stories.

These characters all have some...

They want to be in love, but they
have dangerous gifts, so they can't.

- Edward Scissorhands.
- Exactly!

I love dancing to this music.

Simple pas de bourrée.

Arabesque.

Pull the girls to you, boys.

Hand on her waist, Stéphane.

Keep the contact with her.

Third time.

She turns.

She bends.

Stay behind her,

and disappear in the diagonale.

It's a lot in a short time,

but we have to move on.

All the alphas on 50.

- Seconds?
- 114 in 2 seconds.

Twelve.

In twelve seconds.

72, 73, 74.

502.

200 on the 5 kilo.

What's going on with the alpha?

We miss an alpha.

The 2213.

No, not the light.

Keep on "pause".

Shit!

Without the arms,
not as I said before.

Run!

Better.

Cross the left leg.

Right shoulder upfront, Laetitia.

Rounder, more crossed.

Not too high,
or you can't lift the knee.

Cross the thighs.

Left leg aside.

Your legs are really alive,

they're at work.

The roundabout was great.

You must stretch really well

to get a better quality pirouette.

Hold it.

Good.

Resist.

Don't land too early.

Maybe you got lost
in counting or whatever...

But it changes everything
in the quality of the movement.

Everything.

Kicks!

Petites cloches!

Slower in the 2nd part,
so that they lift their legs more.

Here we go.

With the little toes!

Hold on a second, Simonet.

Good, Cora.

I would expect you to jump more.

Stretch it more.

It's good, but...

Finish it like this.

That's good. Don't lean backward.

If you hold it here,
one thinks you do it for yourself.

But like this, you do it also
for those who are watching you.

Without the arm being too loose,

but keeping the position
just as it should be

is less interesting than going
beyond the correct position.

Even with the arm closed.

It's about rhythm.

Cora, use the couronnes more.

Sometimes, I find you...

It's not a flaw,

but you could be
more generous in the couronnes.

Your arms are in place
but only your legs are at work.

You can also use your elbows.

Same when you start your turns.

Try to use this...

Open. Exactly!

Once more,
and then it's your turn, Simonet.

Go with the music, breathe.

Back straight.

Attack.

Not bad, Simonet. Tough work.

Our company
belongs to the 21st century,

but for me, as artistic director,

it has to offer
the classics of the repertoire.

We need
a rather broad range of ballets.

I don't want to mutilate you
and stop you

from working
with modern choreographers,

living artists, whether famous

or not famous.

We also contribute to their career.

And in a way, everybody's happy.

But I've felt...

"unsettled", as the jargon goes.

I felt that
once the dancers attended the class,

they found it worthwhile.

This is more valuable than any talk.

- Honestly, the atmosphere is...
- Quite good.

But you know how it is
with groups of artists,

when someone says:
"We worry about the youngsters."

The young ones
were happy to work with Sasha.

They learned a lot...

But since I hear all this,
I have to repeat once again:

our programming
is planned over 3 years.

For various reasons:
first, the rights.

Our repertoire
is cleared for 3 or 5 years.

We must exploit
the subtle negotiations of Olivier

and therefore
go on dancing these ballets.

Some ballets are renewed.

The risky ones
have to be given another try.

We have regular courses
of contemporary dance,

but I see
very few young people attending.

I see very few people attending.

I'd like to know
if these courses are appropriate

or if they're not and need a change.
This would interest me.

It's not about "informing"
but about knowing how it feels.

How can you be afraid
to approach a language

deeply different
from the classical one

if you never learned
contemporary dance?

Once you understand the work,
the center of gravity,

what a twist or a curve means...

then you know how to warm up

your body.

Regarding the choreographers...

Can we dance anything? Yes and no.

There are things that I love
that I'll never

ask you to do.

If I sum it up...

In brief, I'm told

that the young fear
to approach new techniques.

But they don't go to the classes
where they could learn them!

When you discuss together,
as our company should,

please remind them, as I do myself,

that they have access
to solutions and knowledge

through the classes.
Once a week, right?

It's good to remind them.

Carole, in the middle!

Pass in front!

That's better.
Pointes in the jumps, girls!

Ninon, your pointes!

Step back, Ninon!

Hold it, they're not in line.

You're scattered all over.

- Is she in the middle?
- She must be on the line.

When you see your friend...

you come out.

And don't land so flat, girls.

I noticed that when you come out,
you all fall flat.

Tighter!

That was better.

Look, Christine is happy!

Line!

Down!

Not too high!

Your back, Aurélia.

Don't turn your back
during your entrelacé.

Arms late, Christine!

People don't understand
the specifics of this troupe

which relies on a school...

a troupe that wants to reach
the highest level.

I showed a picture of Gillot
in McGregor's ballet,

where she is making these splits.

Try to do that when you reach 45...

There can be exceptions, but...

This brings us back
to the definition of the dancer

by Maurice Béjart:
"Half nun, half boxer".

Capable of great dedication,
endowed with physical strength,

and energy...

They are both...

A dancer is both
the racehorse and its jockey,

the race car and its driver.

There is a lot more, but...

Nobody talks about it,
and this creates a lot of confusion.

It's the same with singers.
At a certain age, it's over.

We stop at 40.

Some dancers in the company
don't reach 40.

- Singers start their career at 25.
- I don't mean the careers,

but the gap between 40
and the legal retirement age of 65.

Marie-Agnés?

Can you go back to the second...

Ready, Marie-Agnés?

She's incredible!

He didn't change place?

He went back to his first place.

Wrong direction!

At the top of the diagonale, Julien!

Too tight! You have no room!

That's the right place.

Again?

See these arms! Let's tell them.

Too limp, Julien.

Audric's turns are limp too.

Shit, Alister! You do it each time!

Wrong place again, Alister?

Shit!

It's always the same, get it right!
We stop here every time!

The diagonale must start
down there at the bottom.

Higher on the diagonale.

Julien, when you pass
between the ranks, be precise.

Benjamin, sometimes
you don't know where you are...

I know it's not easy,
but you have to start doing it!

Why these long underpants?

That's not enough!

I agree.

Not too low?

Let her try.

Too low.

But she did her 3 turns.

Look at this beauty.

Splendid.

Indecently easy.

Beautiful work.

And he is musical too.

They all do the first step
on half pointes. Look!

All of them.

Good!

Wait. Is it a joke, Lucie?

It's falling to pieces...

She fell?

No, itfell.

Again. Last time.

Let her cut it and end of the story.

Hold it!

Right arm not too high, Sofia.

It's crescendo, so you can go for it.
With your backs.

Arms stretched.

Far.

Down.

The emphasis is lower, right.

These two are incredible...

You just have to plug them in.
They've done it so many times.

You should "travel" a bit more
when you first cross, Muriel.

Stop, once more.
Muriel, do you see, you and Fanny?

You're in front,
you have to cross wider.

First point:

the reform of the retirement systems
for public institutions

which are
the "Special retirement systems".

It involves the Opera, but not only:

Comédie Frangaise, Gaz de France,
National Railways, etc.

I think that the reform as such
is not negotiable.

It will happen anyway.

You may think differently,
but that's what I feel.

But dancers have
special characteristics...

Others have too,
but we'll leave them apart.

We have differences from the others
that we definitely can assert.

Your representatives

showed you the document

from the Ministry of Employment.

Among the items open to negotiation,

the first one is about professions.

Therefore I cannot tell you today

what your future
retirement status will be.

But I can tell you 2 things.

First: last time
Brigitte and I took care

of the retirement system
for our Paris Opera Ballet dancers,

we managed quite well
and we obtained a status

that appeared to us
as the best we could get.

First point.
Second: we are now discussing

with the Ministry of Employment
about the dancers' status.

It is different
from the other Opera workers' status.

I'm talking about you.

These two facts make me think

that we could find

an acceptable solution

in the framework of the reform,
which will happen anyway,

let's be clear.

One last thing
before I answer your questions.

You also have to know

that in the present reform,
whatever may happen,

the pension rights are available
from a certain age on.

For the dancers, it's 40.
No change.

Nothing to negotiate, it's settled.

This is one of the few things
I can assure you.

The availability of the rights

starts at 40
for all the dancers of the Ballet.

I would like to tell you today
that I'm like you: I don't know.

But I know
what the management Wishes

and that we are doing
everything possible to maintain

the best possible status.

My not knowing
doesn't mean it will go wrong.

There's another thing, and I speak,
as they say, "under your guidance".

The question of the status
is important to each dancer

but we also have to consider,
as many of you do,

the defense of this troupe

and the quality of this troupe.

The personal status
is of course very important,

and nobody will accept to discuss
conditions that are not those we wish.

But I have another concern that...

that I find very important.

It's the consciousness
formed in our school,

and even if you come
from other schools...

Anyway, the strength of our teaching,

meaning this generational renewal
makes the company

season after season,
for a long time,

as successful as it is,
with an audience of 300000,

a reputation
of being the best in the world.

We're modest,
we know that others are excellent.

But we're among the best.
All this is not a coincidence.

What counts in this meeting

is that the dancers become more
aware of their individual situation

but also of what it means
to belong to the Paris Opera Ballet.

If one day, and I speak here
as artistic director,

not as a manager
who deals with the administration...

If one day
the Ballet loses its quality,

it will be over, we'll have
no basis to assert our claims.

No, there's nothing to applaud!

Repeat it loud and clear
because it's your strength.

Complete programme of the show!

Concierge speaking.

Everybody understood.
It was quite beautiful.

It may sound strange,
but the coffin was on the stage

surrounded with beautiful objects
that belonged to Maurice.

There were books,
and even a kitchen stool,

less beautiful but very amusing.

There was an armchair,
a copy of Moliére's armchair

for Le Malade imaginaire.

And a beautiful statue of Buddha

that belonged to Maurice's father.

What else...

The costume of a clown
he wore in a ballet.

And I don't know what else...

But it was beautiful.

It was not about criticizing,
it was about a feeling of harmony.

It always feels strange,

nothing connects, everyone feels...

That's What he wanted it to be.

The cremation
was this morning at 9 a.m.,

but I had to leave
because of the strike,

in order to be with the dancers,
to understand What's going on.

So I came back early,
and that's it.

- Don't stretch the arms.
- In the arabesque?

No, in your temps levé
in diagonale.

Back stretched.

For your assemblés en diagonale,
the front leg is on the side.

You twist your body too much.

You stay like this.

Maybe a little slower
than the usual tempo.

Better, José.

Your landing is better
if you're higher.

Or else it's forced, see?
Not natural.

The first one is right,
because it's linked with this.

But the second one...

I could try both.

- And you push on the ground.
- There's a link with the next one.

I like what you do with your heel.

This?

So you need one second to do it.

Let's see if your turns
finish on first position.

It's good too.

Even better.

Because it gives a reason
to push on the ground.

When the right arm
comes back forward,

the other arm slips down on it.

It's also your arms
that make the movement.

The legs help, of course.

I have to rethink that.

Do it once more
to check with the music,

and then we'll go back
to the beginning.

Wrong.

Philippe,
please come up immediately

to the Lifar Studio,
for Benjamin Pech.

I talked with Laure Muret
who has a lot of roles.

I'm trying to readjust the plans,
not necessarily with you.

You are not the only one.

I wanted to thank you
for the little part you cast me in.

I think it's already something,
an opportunity.

You're right.
Life is beautiful?

I'm fine, I mean...

It's here that I wish
to fulfill my potential.

It's quite possible,
and you have so many qualities.

But you have to go on working.
Not for the sake of working.

You have to turn everything
to your advantage.

You can learn a lot
by observing the others.

When one is too self-critical,
it's not good.

And criticizing the others
can be bad.

But you can watch and grab
interesting things from any artist.

I enjoyed
the Casse-Noisette rehearsal.

You liked it?

I loved Laetitia Pujol.

Did you?

She has so much control...

I hope that some day
I could dance like her.

She has her personal intelligence,

but also a beautiful technique.

You have to be yourself.
You're on the right track.

- Don't be afraid.
- I have to improve myself.

But I feel...

that I've gone over a hurdle.

Since the entrance exam.

I do want to go on.

And don't be afraid.

"Don't, don't..."
"To do" is the most important.

You'll be fine.
Then I'll try to readjust.

I didn't have time to think of it.
I don't often go to the classes.

But when I saw you, I thought:
"She seems all right."

Without taking myself for a psychic.

I'm glad we talked.

I'll leave you to...

It's been good seeing you.

I did want to see you.

Great. You lost weight?

I'm careful about What I eat.

I think it's also the work...

It's also my impression.

Great.

- Have a good day.
- Thanks, you too.