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She is one of the great ballerinas,
without question.
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She is the whole package -
a very classically beautiful dancer
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but with this extraordinary force
of personality.
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Natalia is one of the most
compelling dancers to watch.
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I think that's why she has such a following -
you never know what to expect.
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She is like a force of nature.
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I really love dance.
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00:02:11,879 --> 00:02:15,520
I love not just classical ballet,
I love contemporary.
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For me, it doesn't matter which style,
but I'm a classical ballerina,
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but, all the time... I'm never like calm...
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00:02:23,000 --> 00:02:26,759
I really want to try new things,
I really want to try and experiment.
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00:02:27,520 --> 00:02:28,919
I'm naturally like that.
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00:02:38,479 --> 00:02:42,800
I first saw Natalia dance in 2007
with the Bolshoi.
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00:02:50,639 --> 00:02:54,360
I mean, she had the capacity to enter...
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00:02:54,400 --> 00:02:58,360
physically and emotionally,
into the choreography she was dancing
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00:02:58,400 --> 00:03:02,840
with a sort of thoroughness
and ferocity that you don't often see.
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00:03:20,400 --> 00:03:22,080
Stretch... Stretch...
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Good.
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00:03:37,960 --> 00:03:39,960
And you stop...
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00:03:41,960 --> 00:03:46,759
I am rehearsing with Natasha Makarova.
She really is a legend for me.
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00:03:46,840 --> 00:03:51,639
I never thought I would stay with her
in her studio and listen to her.
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I speak with her every day.
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00:03:53,159 --> 00:03:58,639
It is an incredible, fantastic,
artistic moment for my life now.
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00:03:58,639 --> 00:04:02,080
I don't like... Look here...
27
00:04:02,080 --> 00:04:04,439
Whatever you do... arms... here.
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Look here when he drags you, yes?
And then...
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- Just before the lift...
- Just a little bit...
30
00:04:13,560 --> 00:04:15,759
- Just before the lift. Head down.
- Okay.
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You're bowing your head too early here.
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00:04:26,199 --> 00:04:28,120
Drag her more...
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00:04:28,160 --> 00:04:31,839
It's exciting to work with a Russian dancer
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who has quite a good schooling
35
00:04:35,920 --> 00:04:39,759
and to work on the character, on details...
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00:04:39,800 --> 00:04:43,519
very many new answers...
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00:04:43,600 --> 00:04:49,000
I think my contribution to this ballet
is to add more spirituality.
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00:04:52,680 --> 00:04:54,800
Stretch the foot before slicing.
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00:05:20,079 --> 00:05:22,160
Maybe like that is better.
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Shape the arm, open up, shape.
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00:05:50,639 --> 00:05:54,560
I've never worked with a ballerina
really, really close like that.
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She speaks about the role really deeply
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and for me every time -
"Why have I not thought about this before?"
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It's so easy but I never think
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and she gives me a lot of corrections
for the role,
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00:06:07,040 --> 00:06:09,519
for the character, for the dance.
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00:06:35,199 --> 00:06:39,319
Originally, I was learning gymnastics
for around two or three years.
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00:06:39,600 --> 00:06:43,839
I really love sport and it was like
my really, really big dream
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to win the Olympic championship.
50
00:06:45,920 --> 00:06:48,319
But I had a problem with my back
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and my parents were so nervous,
my mother was so nervous about me,
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00:06:51,680 --> 00:06:55,920
and thought "This is not the life for you,
you have a lot of injuries,
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00:06:55,920 --> 00:07:00,319
your body won't look so good if you continue
to be a gymnast",
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00:07:00,600 --> 00:07:03,319
and I stopped.
55
00:07:03,360 --> 00:07:07,240
Around one or two years I stayed with my
parents at home and cried,
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00:07:07,279 --> 00:07:10,720
like it was a really big tragedy for me.
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And after, I don't know why,
my mother and my father have an idea
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00:07:15,120 --> 00:07:18,240
"Oh, maybe she needs to be a ballet dancer!"
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It is so strange but I think the physicality
is the same as gymnastics.
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People just saw me and told my mother
"She's perfect for ballet,
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and come next month and start to be
in school, it's so easy".
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00:07:51,839 --> 00:07:54,800
I start around nine years old
in the Moscow Ballet School.
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It's like the school with close ties
to the Bolshoi Theatre,
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00:07:58,399 --> 00:08:03,920
and all the children who are learning
in the Moscow School
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00:08:03,959 --> 00:08:06,680
it's like a big, big dream of course
the Bolshoi Theatre,
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00:08:06,720 --> 00:08:08,000
Bolshoi Theatre, Bolshoi Theatre.
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00:08:47,240 --> 00:08:49,960
I think the thing about that early training
as a gymnast,
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00:08:50,000 --> 00:08:52,399
which was quite intensive, obviously,
if she was being considered
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00:08:52,440 --> 00:08:57,399
for the Olympics,
is that it made her very flexible
70
00:08:57,440 --> 00:09:01,000
and I think it might have to do with
her lightness
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00:09:01,080 --> 00:09:04,919
and her, kind of, steely strength
which is unusual in a dancer.
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00:09:04,919 --> 00:09:08,080
She's got this amazing core
that takes her into the air.
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I join the Bolshoi corps de ballets
like everybody,
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but the Bolshoi start to give me solo parts
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in the first months of my career -
like a little bit of pas de deux in Giselle,
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solo in Swan Lake, solo in Don Q.
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It's so young. I'm around 18 or 19.
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It was really, really great for me
to be in the company.
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I remember it as the best time in my life.
It is a great start for my career.
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00:10:09,000 --> 00:10:12,080
For everybody, of course, it is a dream
to be in the Bolshoi.
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I worked at the Bolshoi for seven years.
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It is a fantastic start for me.
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We had a lot of tours in America, in London,
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and I have a lot of fantastic chances
to dance with really nice partners.
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Slowly... and only now you stretch.
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She makes you involved in her personality
and in her character she projects.
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You can never be indifferent watching her.
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The public never leave a performance empty.
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Their imaginations start to work.
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So it is not just entertainment,
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it gets to a new emotional level -
she is very deep.
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You fall away and then... then you go...
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Like you are glancing over your shoulder.
You see... like that.
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Very good.
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Most incredible, of course,
is her enormous jump!
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I never saw... nobody ever saw a woman
have such a high jump
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and even Vaslav Nijinsky could envy her...
I think!
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The jump alone already makes
her dancing exciting.
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00:12:20,559 --> 00:12:21,919
Don't close your eyes.
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And now you go.
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Through him.
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Rounded arms, rounded arms...
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In the middle...
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Your hand from beneath... from beneath...
105
00:13:02,120 --> 00:13:06,360
I think for me it is important that I never
think about dance and about the role
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like just the role and moving in step.
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For me, it is together my body, my arms,
my face...
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it is like an instrument for the story.
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And every time I think not just...
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I just start to think about the story,
I start to think about what I feel...
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00:13:28,679 --> 00:13:30,639
It is a lot of internal work,
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a lot of thinking
and a lot of extra work in the studio.
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And she already...
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00:13:55,240 --> 00:13:56,559
And continue...
115
00:14:08,639 --> 00:14:11,720
It's like around seven years
I worked with the Bolshoi
116
00:14:11,759 --> 00:14:15,080
and I have a lot of contracts
with different theatres.
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I have a lot of... I don't know...
excitement about different styles,
118
00:14:20,360 --> 00:14:24,759
different choreography and I start to work
a lot with the American Ballet Theatre,
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La Scala, Munich.
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00:14:27,240 --> 00:14:29,080
I dance around in the world
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00:14:29,200 --> 00:14:33,519
and I understood at that moment
that I am not happy at the Bolshoi
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it's like I don't have what I want to have,
I sit, I think, I cry, I cry, I cry...
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00:14:39,399 --> 00:14:45,799
no, stop it, I need to leave just like that...
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I need to be happy, I need to do
something different so I left quickly.
125
00:15:27,559 --> 00:15:30,399
After I left the Bolshoi,
for around three years,
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I work as, like, a freelancer.
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00:15:32,200 --> 00:15:37,200
At the same time, Kevin O'Hare invited me
to do Swan Lake with the Royal Ballet.
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I come as a guest
and stay here around two months...
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00:15:44,679 --> 00:15:49,720
After I finished, I was like
"Oh, this is a really great place to be".
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I understand that I really want to be here.
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I like the company, I like the city,
I like the atmosphere.
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She really, really delved into
the production,
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spent time with us,
was here for four or five weeks,
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which is quite unusual for a guest artist,
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00:16:29,840 --> 00:16:33,840
and so after that I said
"Let's go our for dinner"
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00:16:33,879 --> 00:16:37,279
and we are chatting
and sort of talked about the future
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00:16:37,320 --> 00:16:41,399
and funnily enough
she said, "Is that it then?"
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00:16:41,440 --> 00:16:43,919
and I said "Well, no,
it doesn't have to be it
139
00:16:44,120 --> 00:16:46,720
if you would like to join the company"
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00:16:46,799 --> 00:16:49,639
and she said
"Well, that's what I would love to do"
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and that is how the two things happened,
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and she joined the next season
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and has been here now for five seasons,
which is wonderful.
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00:17:42,240 --> 00:17:44,559
When Natalia arrived at the Royal Ballet,
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she arrived
because of her other great quality
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which is about her desire
to be dramatic on stage,
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her desire to express different roles,
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00:17:53,599 --> 00:17:55,920
and she was drawn to
the Royal Ballet repertory
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because, in terms of narrative ballet,
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it's probably got the best set
of narrative ballets in the world.
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And the first part she did was Giselle.
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And all of that intelligence about drama
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and telling a story onstage,
you immediately saw in her.
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She is the most wonderful Giselle.
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Giselle, it's me, it's like absolutely me.
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It's like what I feel in my life,
what I think about love,
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about relationships, about hope.
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Giselle is a special ballet.
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It's a story that if you have
a fragile psychology
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you can start really feeling like that.
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It's a story, I don't know,
it's like magical.
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You start really feeling as if you are
the girl in Giselle
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and I sometimes feel that too.
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I sometimes don't sleep at night
when I'm rehearsing
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and my feelings after a show are like
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"I think Albert loves me!"
and I understand that this is really mad.
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I had never seen a Giselle like Natalia's.
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It was... harrowing, chilling.
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It genuinely felt like that gothic,
terrifying work
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that had spooked audiences
in the beginning of the 19th Century.
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It was sort of ragged and ferocious and raw
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and not beautiful, but incredibly moving.
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Ah, I missed the fighting with the arms...
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How you do?
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So once I grab your hands maybe to break...
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No... you have to go here...
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and then release from my elbows.
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Here, that's it...
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You are so strong.
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I will have bruises!
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I don't know... More powerful, more me,
is to say he is mine.
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He's mine.
183
00:21:39,000 --> 00:21:42,000
Bayadère is like, for me,
the best classical performance.
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00:21:42,039 --> 00:21:44,960
There are a lot of lyrical, dramatic moments.
185
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My heart starts like...
186
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Like that, in this moment.
187
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I dance two really difficult roles -
Nikiya and Gamzatti.
188
00:21:56,519 --> 00:21:58,920
It's really hard, it's so different.
189
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One part is lyrical, the different part is
more strong character,
190
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more bitch character.
191
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So it's a shock for you.
192
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- And then turn.
- And then what?
193
00:22:14,039 --> 00:22:17,720
Yes. Okay. And it's like a little bit...
194
00:22:19,440 --> 00:22:21,079
I don't know... do-si-do.
195
00:22:21,160 --> 00:22:24,079
- So then we make a shape?
- Yes, shape, yes. Okay?
196
00:22:24,079 --> 00:22:26,279
- Yes.
- The rest is good.
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00:22:26,519 --> 00:22:31,680
Natalia, she does both -
Nikiya and Gamzatti,
198
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both roles in different performances,
of course.
199
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And both roles need passion,
200
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and she has a lot.
201
00:23:49,160 --> 00:23:52,319
It is fascinating having something like
La Bayadère in the repertoire
202
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so I really wanted to bring it back
at this point
203
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because we have the ballerinas
to perform it
204
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and I think looking at Natalia -
205
00:24:01,640 --> 00:24:03,319
well, of course she is playing both roles,
206
00:24:03,559 --> 00:24:05,720
but today in rehearsal,
she was doing Nikiya
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which is a role that she hasn't performed
as much
208
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and so it is fascinating to see her
already capturing the character
209
00:24:13,079 --> 00:24:14,960
and bringing that to life.
210
00:25:11,440 --> 00:25:16,319
She captured absolutely that sort of
"moonlit" quality of Nikiya.
211
00:25:16,400 --> 00:25:21,960
There was very eloquent beauty to her line
212
00:25:22,960 --> 00:25:27,759
but she was just more sensuous than
the run-of-the-mill Nikiyas.
213
00:25:28,400 --> 00:25:29,400
And then...
214
00:25:30,359 --> 00:25:34,119
in Gamzatti, which is, you know,
the tougher character,
215
00:25:34,200 --> 00:25:38,039
she seemed absolutely furious,
absolutely terrifying.
216
00:26:21,000 --> 00:26:23,920
We can all admire this amazing elevation.
217
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And it seems to come from nowhere.
218
00:26:26,920 --> 00:26:30,240
One minute, she'll just be on the ground,
then suddenly "Pow!", she's there,
219
00:26:30,319 --> 00:26:31,759
flying through the air,
220
00:26:31,799 --> 00:26:37,000
and then the speed of her turns,
the way she can really, really turn fast
221
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which, of course,
is exhilarating to watch.
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But, for me, what is even more important,
is the way she lives a role
223
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and the way she becomes
the part that she wanted to play.
224
00:27:08,319 --> 00:27:10,480
Some dancers deliver beautifully
225
00:27:10,559 --> 00:27:13,880
but they deliver more or less the same thing
over and over again.
226
00:27:13,920 --> 00:27:17,119
With Natalia, there is a sense of voyaging
all the time.
227
00:27:17,160 --> 00:27:21,519
It's partly there in the technique,
it's partly there in how she will dance,
228
00:27:21,759 --> 00:27:23,839
but it's partly there
in her choice of subject
229
00:27:23,880 --> 00:27:25,799
or the way she'll play a role,
230
00:27:25,839 --> 00:27:29,400
or how she'll mine a subject
to find something in it.
231
00:27:29,920 --> 00:27:32,839
But the lift after this one...
232
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- Oh, yeah, yeah, yeah, to here...
- This one... yeah.
233
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I think a different side, no?
Or it doesn't matter?
234
00:27:46,039 --> 00:27:48,480
What makes Natalia interesting
235
00:27:48,519 --> 00:27:52,400
is that she's decided to do
the contemporary work at the same time
236
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as she is at her peak
as a classical dancer.
237
00:28:04,119 --> 00:28:08,880
Flutter did allow her to show this kind of
intensity and her flexibility
238
00:28:08,920 --> 00:28:12,240
and it was beautiful to see her
with a different kind of dancer.
239
00:28:12,319 --> 00:28:14,599
Seeing her with different partners
is very interesting.
240
00:28:17,480 --> 00:28:20,039
So to see her with somebody like
Jonathan Goddard,
241
00:28:20,079 --> 00:28:23,160
in a piece that's made for both of them,
was exciting.
242
00:28:52,920 --> 00:28:55,599
Flutter is very fluid as a work,
243
00:28:56,279 --> 00:29:00,920
so I think the choreographer, Ivan,
was really interested in...
244
00:29:00,960 --> 00:29:05,079
towards the end of the piece,
how our heart rates can rise together
245
00:29:05,119 --> 00:29:08,480
and how we can stay completely connected
which is what is amazing about it
246
00:29:08,519 --> 00:29:10,000
but what is hard about it too.
247
00:29:10,039 --> 00:29:15,000
It's really hard connecting together
without pause...
248
00:29:15,640 --> 00:29:20,880
so it is more about relationship,
but not with story,
249
00:29:20,920 --> 00:29:24,960
but more about physical contact...
250
00:29:27,359 --> 00:29:30,039
it is about feeling more.
251
00:29:30,039 --> 00:29:32,960
It is like water going between us.
252
00:30:16,680 --> 00:30:20,559
Do you remember, we have really nice
rehearsals we speak about every step.
253
00:30:20,640 --> 00:30:23,759
It's like, repeat everything
and the next day, we did it perfectly
254
00:30:23,960 --> 00:30:26,279
because we speak together
and understand what you want.
255
00:30:26,319 --> 00:30:29,359
For me, it's better like this or like that...
256
00:30:29,400 --> 00:30:32,559
And because they're not set steps
257
00:30:32,599 --> 00:30:35,000
like in classical ballet
or even in contemporary,
258
00:30:35,039 --> 00:30:39,400
some of it is very set, but this,
because it's moving all the time,
259
00:30:39,440 --> 00:30:42,599
I have to understand what Natasha is doing,
she has to understand what I'm doing,
260
00:30:42,680 --> 00:30:46,079
and then we have to put it together.
It's like a different language.
261
00:30:46,119 --> 00:30:48,960
My opinion is that dancing is dancing.
262
00:30:49,000 --> 00:30:51,359
Yes, dance is a fantastic language.
263
00:30:51,400 --> 00:30:53,680
There's this shape,
then there's that shape...
264
00:30:53,720 --> 00:30:58,359
- Jon, can you do balance and en pointe?
- Maybe if I worked at it.
265
00:30:58,400 --> 00:31:01,079
Yes, with a little bit of training!
266
00:31:01,160 --> 00:31:03,440
So it's just... Yeah, exactly if do that...
267
00:31:04,599 --> 00:31:09,240
Yeah, so I think if you're open to
all types of movement
268
00:31:09,279 --> 00:31:11,680
then it's interesting for you, as a dancer.
269
00:31:11,720 --> 00:31:15,079
You can learn.
It's not easy but you can do it.
270
00:31:15,079 --> 00:31:17,519
You just need to understand it,
you need a little bit of time.
271
00:32:08,599 --> 00:32:11,599
I can't just be a classical dancer,
it is so not interesting.
272
00:32:11,640 --> 00:32:14,640
The dance world is so big
273
00:32:14,640 --> 00:32:17,519
so why do I just need this half?
274
00:32:18,640 --> 00:32:23,200
I want to try, it is just so interesting.
275
00:32:23,279 --> 00:32:27,079
I like to play,
I like to be dramatic actress on stage too.
276
00:32:27,119 --> 00:32:30,200
I like to try different language for dance.
277
00:32:30,279 --> 00:32:32,200
Contemporary is such a different energy,
278
00:32:32,279 --> 00:32:34,720
such a different physicality,
and I'm learning.
279
00:33:10,359 --> 00:33:14,200
It is maybe sometimes an experiment
and a lot of people do not understand you,
280
00:33:14,279 --> 00:33:18,599
why do you need to be on the floor
and have a lot of bruises
281
00:33:19,839 --> 00:33:23,559
It is hard, your body changes
if you start to do different things.
282
00:33:24,200 --> 00:33:26,400
I don't know...
283
00:33:26,440 --> 00:33:29,839
Maybe not all of my work is nice, I agree,
284
00:33:29,880 --> 00:33:34,680
but sometimes...
I'm really happy about a project we did,
285
00:33:34,720 --> 00:33:39,920
Mother, with Arthur Pita - I think it's
great work, I'm so happy about this
286
00:33:40,160 --> 00:33:43,759
and maybe sometimes different work
doesn't work so well,
287
00:33:43,759 --> 00:33:47,720
but sometimes I understand this
is work that we did so well.
288
00:33:50,599 --> 00:33:52,480
I think you want to...
289
00:33:55,279 --> 00:33:58,680
like a little bit of a memory of holding him...
290
00:33:58,759 --> 00:34:00,519
yes, a little bit, yeah...
291
00:34:00,559 --> 00:34:03,160
just a little bit, and then we can...
292
00:34:04,720 --> 00:34:07,680
take the arm... other leg...
293
00:34:12,400 --> 00:34:14,800
Ah, yes, that's nice.
294
00:34:18,440 --> 00:34:20,840
- Waltz, yes...
- Then this is here?
295
00:34:20,920 --> 00:34:24,239
A waltz... that's nice what you did there.
296
00:34:26,960 --> 00:34:28,800
So you go round... yeah...
297
00:34:35,000 --> 00:34:36,719
So, pirouette...
298
00:34:52,639 --> 00:34:54,559
- Elbow...
- The head...
299
00:34:55,440 --> 00:34:56,920
Elbow...
300
00:34:57,280 --> 00:35:01,280
Yeah, so you want to go over the head.
301
00:35:03,000 --> 00:35:08,480
So think of your elbow
and then your head, yeah.
302
00:35:11,679 --> 00:35:12,760
Pirouette...
303
00:35:17,400 --> 00:35:21,800
I've worked with Natalia...
This is our fourth show together.
304
00:35:25,920 --> 00:35:30,320
The piece is based on Hans Christian
Andersen's The Story of a Mother,
305
00:35:30,400 --> 00:35:33,320
which is a dark fairy tale
306
00:35:33,320 --> 00:35:38,719
and it's a story of mother who is
on a journey in search of her child
307
00:35:38,760 --> 00:35:40,719
that has been taken away by death.
308
00:35:43,079 --> 00:35:45,840
And then we went into this thing...
behind the neck...
309
00:35:48,679 --> 00:35:51,360
We did a hand-swapping dance...
310
00:35:54,320 --> 00:35:55,679
Nice.
311
00:35:57,039 --> 00:35:59,679
- We go down...
- Down...
312
00:36:03,679 --> 00:36:06,000
Then we go into the tango. Strong.
313
00:36:11,400 --> 00:36:14,440
That feels better doesn't it?
No, but that was better I think.
314
00:36:16,559 --> 00:36:21,360
Dance is a beautiful language,
it's not just only classical ballet.
315
00:36:22,039 --> 00:36:27,920
I really like this performance,
its different style, different work...
316
00:36:27,920 --> 00:36:31,679
It's like dramatic theatre and live theatre,
317
00:36:31,719 --> 00:36:35,519
it's dance theatre - everything together.
318
00:36:36,000 --> 00:36:37,920
I really love working again with Arthur.
319
00:36:38,000 --> 00:36:41,360
He has given me more a feeling of
my dark side.
320
00:36:51,719 --> 00:36:55,119
It is really special just to share the work
with one other dancer
321
00:36:55,320 --> 00:36:59,119
and to do it with Natasha, because I know
that she can just completely hold the stage
322
00:36:59,360 --> 00:37:02,760
and I feel fairly confident myself,
possibly because if I go wrong
323
00:37:02,840 --> 00:37:03,960
nobody can tell...
324
00:37:04,960 --> 00:37:07,920
so I just feel complete freedom
when I'm in that sort of space
325
00:37:07,960 --> 00:37:11,599
and I can see it in her, as well,
that that playfulness...
326
00:37:12,599 --> 00:37:17,440
is definitely something that
we can really push in this show.
327
00:37:37,760 --> 00:37:40,559
Natasha absolutely responds to a narrative,
328
00:37:40,599 --> 00:37:44,599
I mean, you can talk her through a scene
and she'll really try the acting out.
329
00:37:45,079 --> 00:37:47,480
Part of the reason of doing
this whole piece, really,
330
00:37:47,559 --> 00:37:51,800
is to provide Natasha with a palette
331
00:37:51,840 --> 00:37:57,039
and with a scenario
which she can totally just get lost in
332
00:37:57,079 --> 00:37:59,920
because that's what she does really well
and that's what is so exciting.
333
00:38:05,639 --> 00:38:07,000
Yes, that's it!
334
00:38:07,000 --> 00:38:08,639
Yeah, and after I did...
335
00:38:15,000 --> 00:38:18,199
In that opening scene, it's almost like
she's coming out of this dream
336
00:38:18,440 --> 00:38:23,199
so the dance is more
a metaphorical expression of her feelings.
337
00:38:23,440 --> 00:38:27,840
Yeah, this is like a prologue
338
00:38:27,880 --> 00:38:31,159
so the audience understand about this story.
339
00:38:31,199 --> 00:38:36,840
It's so painful, it's so dark,
it's so dramatic...
340
00:39:01,840 --> 00:39:05,079
Emotionally, it is really not an easy
performance,
341
00:39:05,079 --> 00:39:08,639
but I feel like an actress,
342
00:39:09,719 --> 00:39:13,840
so if I am playing it not true,
I think the audience will feel this one.
343
00:39:13,880 --> 00:39:17,159
It's like really not an easy dance
and play together.
344
00:40:06,760 --> 00:40:09,239
It's dance, but it's different dance.
345
00:40:09,280 --> 00:40:13,079
It's like what I really like -
I really like play and I really like dance,
346
00:40:13,119 --> 00:40:15,960
and here I feel free,
and we are creating together.
347
00:40:16,039 --> 00:40:18,880
It's like...
348
00:40:20,000 --> 00:40:22,719
Arthur's creation and I help Arthur,
349
00:40:22,760 --> 00:40:25,599
Jonathan help Arthur,
we work together with musicians,
350
00:40:25,639 --> 00:40:30,000
it's fantastic,
it's absolutely live performance and show.
351
00:40:48,880 --> 00:40:49,920
Rock 'n' roll?
352
00:40:49,960 --> 00:40:51,840
Rock 'n' roll now!
353
00:41:07,320 --> 00:41:08,719
Nice, this is good!
354
00:41:17,199 --> 00:41:19,159
Break... break...
355
00:41:19,199 --> 00:41:20,880
And then something new?
356
00:41:20,880 --> 00:41:23,280
What if we did something
just a little more simple?
357
00:41:23,320 --> 00:41:26,760
So when you get to the arabesque...
358
00:41:27,679 --> 00:41:29,159
and you break her there...
359
00:41:29,199 --> 00:41:30,920
and she goes down...
360
00:41:30,960 --> 00:41:35,039
what happens, Natasha, if you go...
flat like that?
361
00:41:35,119 --> 00:41:39,079
Like you go down and then like this.
362
00:41:40,960 --> 00:41:43,760
- Down like that?
- Like that, sideways...
363
00:41:43,800 --> 00:41:46,760
- and then Babushka...
- Dance Russian dance.
364
00:41:46,840 --> 00:41:52,679
If you, very sweetly, just move her away...
365
00:41:53,119 --> 00:41:56,840
and she just rolls... you just roll her away...
366
00:41:57,039 --> 00:41:59,159
So you can come straight to the radio...
367
00:41:59,239 --> 00:42:01,239
so you don't have to go there and back.
368
00:42:01,320 --> 00:42:03,719
But give it like a sweet, like...
and then you...
369
00:42:05,000 --> 00:42:06,199
This is completely different.
370
00:42:06,239 --> 00:42:10,280
I have never done
a classical theatre performance like that.
371
00:42:10,360 --> 00:42:12,960
Contemporary is different,
abstract ballet is different.
372
00:42:13,000 --> 00:42:18,239
I'm so happy I have everything in my career.
I'm just 32.
373
00:42:19,039 --> 00:42:21,400
- Want to try it?
- You can see a little bit!
374
00:42:21,400 --> 00:42:22,440
Yeah, it's just hot.
375
00:42:23,960 --> 00:42:27,239
Like spoon. I'm spoon!
376
00:42:27,880 --> 00:42:29,719
- Babushka spoon!
- Babushka spoon.
377
00:42:29,800 --> 00:42:33,159
For the scene with the Babushka, we were
trying to find something that was folkloric
378
00:42:33,239 --> 00:42:36,239
so we are reinterpreting
what Hans Christian Andersen wrote.
379
00:42:36,280 --> 00:42:40,480
The witch asks her to sing a lullaby
that she wants to hear
380
00:42:40,719 --> 00:42:44,400
so obviously we didn't want
Natasha to sing a lullaby, but to dance,
381
00:42:44,480 --> 00:42:49,760
so we chose a lullaby
which we decided would come out of the radio
382
00:42:49,760 --> 00:42:53,159
and then the Babushka
would ask her to dance to it.
383
00:42:53,239 --> 00:42:56,679
And then something very simple
and magical happened
384
00:42:56,760 --> 00:43:00,960
when I just asked Natasha what were
some Russian folk dance steps
385
00:43:01,000 --> 00:43:04,320
and something just happened to her body
when it was so familiar
386
00:43:04,320 --> 00:43:06,119
that we had to just go with that.
387
00:43:18,480 --> 00:43:23,119
We started creating a Russian dance
that I learnt a lot at school.
388
00:43:23,159 --> 00:43:26,239
I know the steps
and we created together this story.
389
00:43:40,320 --> 00:43:45,360
She dance, she dance, she tired,
but this woman for me
390
00:43:45,400 --> 00:43:50,000
is like Babushka, it's like grandmother -
Russian Babushka
391
00:43:50,400 --> 00:43:53,199
but without face, it's like surreal.
392
00:44:27,039 --> 00:44:32,199
I dance, dance, dance, dance, dance,
continue, continue, I don't have any power,
393
00:44:32,199 --> 00:44:35,400
I'm on the floor, but she told me "Continue".
394
00:44:53,119 --> 00:44:58,079
Working with Natasha, dramatically,
I think she's very skilled and talented
395
00:44:58,199 --> 00:45:01,440
and she's very committed, which is exciting
396
00:45:01,519 --> 00:45:04,840
so when you're doing something,
it's already there.
397
00:45:06,039 --> 00:45:10,960
So it's nice to meet that in a space
and find that from day one.
398
00:45:11,880 --> 00:45:14,639
You know, maybe like I start to run...
399
00:45:14,880 --> 00:45:19,599
maybe he dances,
he says dance more, more, more, more,
400
00:45:19,639 --> 00:45:22,000
like fuck! No!
401
00:45:22,440 --> 00:45:24,559
- I run...
- Oh, before you leave?
402
00:45:24,559 --> 00:45:26,199
Before, yeah, I run.
403
00:45:26,239 --> 00:45:28,280
That's a good idea.
404
00:45:28,320 --> 00:45:30,559
- Yeah.
- But she's started to run.
405
00:45:30,599 --> 00:45:32,840
I see what you mean,
so you have a reason why to go.
406
00:45:32,920 --> 00:45:34,159
That's a nice idea, let's do that.
407
00:45:34,199 --> 00:45:37,599
I think if I was to conjure up
a dream choreographer for Natalia,
408
00:45:37,639 --> 00:45:39,360
it would be Arthur Pita,
409
00:45:39,440 --> 00:45:44,039
with this macabre, maverick,
wicked imagination.
410
00:45:44,440 --> 00:45:48,880
He shares with her that desire
to plumb the depths,
411
00:45:48,920 --> 00:45:54,599
to go as deep and as dark into the soul
and the imagination as you possibly can,
412
00:45:54,639 --> 00:45:59,440
and I think they just
spark off each other brilliantly.
413
00:45:59,480 --> 00:46:04,280
So if you go like this,
you finish here, looking in front
414
00:46:04,360 --> 00:46:07,599
and then you make her look at you...
415
00:46:07,639 --> 00:46:09,280
so you look at him...
416
00:46:09,679 --> 00:46:15,159
so you go, one, two...
417
00:46:15,239 --> 00:46:17,480
look at me... three, four...
418
00:46:17,519 --> 00:46:19,480
five, six, seven, eight.
419
00:46:21,280 --> 00:46:23,679
- So she goes...
- Like I'm telling her "This is the step".
420
00:47:09,280 --> 00:47:10,199
Perfect!
421
00:47:10,199 --> 00:47:12,400
Now we just dance again Russian dance.
422
00:47:13,679 --> 00:47:16,320
Just both of you sharper with the head.
423
00:47:18,119 --> 00:47:20,119
- On the one...
- On this one.
424
00:47:21,039 --> 00:47:22,679
Yes, okay. So she's going to go... and...
425
00:47:24,559 --> 00:47:26,719
- Like that.
- So one and three?
426
00:47:26,960 --> 00:47:29,159
Yeah. One, two, three... yes.
427
00:47:29,239 --> 00:47:30,679
- Okay.
- One and three.
428
00:47:30,719 --> 00:47:34,679
There is so much character DNA in her body
429
00:47:34,719 --> 00:47:38,079
from doing all the ballets,
from Giselle to La Bayadère
430
00:47:38,119 --> 00:47:41,960
to Sleeping Beauty,
to even the Balanchine work, you know,
431
00:47:42,039 --> 00:47:43,400
so she just has so much in there,
432
00:47:43,440 --> 00:47:49,039
so once you're attacking a scene,
she can immediately access it
433
00:47:49,119 --> 00:47:51,039
and bring it out with something
434
00:47:51,039 --> 00:47:56,440
and she can deliver what's needed
435
00:47:56,480 --> 00:47:58,599
to come out of the character,
and then she's quite free.
436
00:49:02,440 --> 00:49:05,639
Arthur Pita's explorations of dance theatre
437
00:49:05,679 --> 00:49:09,480
are giving classically trained dancers
new ways to go.
438
00:49:11,639 --> 00:49:15,400
I think, with Natalia, she's always wanted
439
00:49:15,480 --> 00:49:18,159
to find new ways of telling stories.
440
00:49:18,159 --> 00:49:20,800
It's a really strong instinct in her,
441
00:49:20,840 --> 00:49:25,119
and to work with someone like Arthur
and explore new territory,
442
00:49:25,159 --> 00:49:27,320
quite dark, dangerous territory,
443
00:49:27,639 --> 00:49:32,159
has produced terrific roles for her.
444
00:50:07,400 --> 00:50:11,280
The works he has done for her,
they're dance theatre,
445
00:50:11,360 --> 00:50:17,199
they require her to act and move in ways
she's never moved before
446
00:50:17,199 --> 00:50:21,840
I think it gives her
an extraordinary sense of freedom
447
00:50:21,880 --> 00:50:26,639
to have these works created on her
from scratch,
448
00:50:26,719 --> 00:50:31,280
so, using her body, her emotions,
as part of the raw material...
449
00:50:31,800 --> 00:50:35,480
she can not just be herself,
but go way beyond herself
450
00:50:35,559 --> 00:50:37,440
and think that's thrilling for her.
451
00:51:34,960 --> 00:51:37,679
What we are rehearsing today,
is a piece called Facada.
452
00:51:38,920 --> 00:51:41,480
It's a bride's revenge story
453
00:51:41,519 --> 00:51:46,639
and it was really a reaction, because I had
first seen Natasha doing Giselle
454
00:51:46,719 --> 00:51:51,679
and I wanted her to try and find
the reverse of that
455
00:51:51,760 --> 00:51:54,639
which was like the bride
who doesn't forgive.
456
00:52:22,639 --> 00:52:26,480
That's nice, spooning...
then you start to collapse...
457
00:52:26,519 --> 00:52:30,719
you're finally there, and then the battery
starts dying, and then you start to...
458
00:52:38,440 --> 00:52:39,679
Good timing, good.
459
00:52:45,480 --> 00:52:46,719
Still going.
460
00:52:51,840 --> 00:52:57,920
Good. You know when you go up on this lift,
and you get your legs after "Yes, I will",
461
00:52:58,000 --> 00:53:01,039
I think we could turn and then go down,
462
00:53:01,079 --> 00:53:03,480
so it's like you're going up
and then you're just going down.
463
00:53:03,519 --> 00:53:05,920
It feels like it just needs
to demonstrate it a bit.
464
00:53:15,360 --> 00:53:17,039
- Yes.
- Instead of like...
465
00:53:17,800 --> 00:53:19,599
That was good, I like that.
466
00:53:19,639 --> 00:53:21,800
Let's see if we can do it
in the wedding dress.
467
00:53:24,719 --> 00:53:27,400
Let's see if it will work
in the wedding dress.
468
00:53:29,039 --> 00:53:31,920
I like it. It's funny if she's with
the dress, like...
469
00:53:32,000 --> 00:53:33,559
Yeah, it's really ridiculous.
470
00:53:33,599 --> 00:53:35,440
- No, I want him.
- Yeah.
471
00:53:35,480 --> 00:53:38,760
So just make him ask you
"Will you marry me?"
472
00:53:38,880 --> 00:53:42,039
You go down... down on one knee...
473
00:53:44,599 --> 00:53:46,639
- "Will you marry me?"
- It's so fast!
474
00:53:49,559 --> 00:53:51,920
Yeah, but we haven't got much music
so it needs to be fast.
475
00:53:51,960 --> 00:53:53,679
You marry me?
476
00:53:54,119 --> 00:53:57,079
The dynamic of the two of them
coming together is fantastic
477
00:53:57,079 --> 00:53:58,719
just because of his mere strength,
478
00:53:58,760 --> 00:54:01,599
that he can really move Natasha
around beautifully
479
00:54:01,639 --> 00:54:03,639
but it's always about the energy
between the two
480
00:54:03,679 --> 00:54:05,880
and the fact that they feel so comfortable
and free with each other
481
00:54:05,920 --> 00:54:08,559
that they can really let the performance out
in this way.
482
00:54:08,639 --> 00:54:11,920
Sometimes when people are involved,
I often think that the dynamic isn't there
483
00:54:11,960 --> 00:54:15,519
because they're almost too comfortable,
but I don't think in this situation,
484
00:54:15,599 --> 00:54:18,159
I think there's a really strong
dynamic there.
485
00:54:18,400 --> 00:54:23,639
I think Natasha always enters a role fully,
so she's never fearful.
486
00:54:23,679 --> 00:54:28,559
She actually almost throws herself
at her partner opposite,
487
00:54:28,599 --> 00:54:30,599
no matter who that person is,
488
00:54:30,639 --> 00:54:32,159
which is always exciting.
489
00:55:28,079 --> 00:55:31,199
I would so like to be a really natural woman.
490
00:55:31,199 --> 00:55:36,039
Just sometimes you dance with
contemporary dancers, like Jonathan Goddard
491
00:55:36,079 --> 00:55:41,039
I danced with him on the Mother project,
and Sadlers Wells, Jason Kittelberger,
492
00:55:41,079 --> 00:55:43,639
we created a duet with him.
It's so natural.
493
00:55:43,679 --> 00:55:49,639
I feel like I'm just a woman,
it's like I just feel physicality, you know?
494
00:55:49,679 --> 00:55:52,119
Not like ballet prince or ballet girl
495
00:55:52,199 --> 00:55:55,039
just a man touching you,
it's so incredible.
496
00:55:56,079 --> 00:55:59,480
But, of course, we have in classical ballet
fantastic duets
497
00:55:59,559 --> 00:56:03,599
like in Swan Lake, like Giselle,
498
00:56:03,639 --> 00:56:06,920
like, it's so special moment too,
but it's different,
499
00:56:07,039 --> 00:56:10,199
you never feel like a real woman.
500
00:56:11,239 --> 00:56:14,119
If I'm Juliet, I'm Juliet - not Natasha.
501
00:56:21,239 --> 00:56:23,559
No, you push my arms open in a way
502
00:56:24,039 --> 00:56:25,800
so there's that, yeah.
503
00:56:35,559 --> 00:56:38,519
And then you want to push away from me.
That's it.
504
00:56:59,719 --> 00:57:05,719
It's a new work, Jason's creation for us.
- We create.
505
00:57:05,760 --> 00:57:07,639
Okay, just...
506
00:57:11,159 --> 00:57:14,960
Jason's creation and I just help.
It's not easy.
507
00:57:16,000 --> 00:57:18,840
- It's not first time for you, no?
- No.
508
00:57:18,840 --> 00:57:20,920
But for me, it's the first time.
509
00:57:22,800 --> 00:57:27,679
I have a lot of freedom and ideas.
510
00:57:27,719 --> 00:57:32,800
It's, of course, about relationship,
about man and woman, about a couple.
511
00:57:36,000 --> 00:57:37,320
But you...
512
00:57:55,320 --> 00:57:58,400
But when you did the lift,
you start turning.
513
00:57:58,679 --> 00:58:03,239
It's not pain. It's really not pain.
514
00:58:03,320 --> 00:58:06,880
No. Just come at my chest with your head,
not your shoulder...
515
00:58:07,760 --> 00:58:09,880
you know... yeah...
516
00:58:11,159 --> 00:58:14,360
So in the beginning,
we are in our own world.
517
00:58:14,599 --> 00:58:18,400
The other is there, but we are not paying
absolute attention to them
518
00:58:18,639 --> 00:58:23,199
and then sometimes you do find that link
where you can flow together in life.
519
00:58:23,239 --> 00:58:25,840
But it doesn't always happen.
520
00:58:25,880 --> 00:58:28,000
And creating is the same way.
521
00:58:28,039 --> 00:58:32,079
Some days it's so easy
and we're like "Ah, the ideas are flowing!"
522
00:58:32,079 --> 00:58:35,840
and then some days it's like
"I want this! I want that!"
523
00:58:35,880 --> 00:58:37,440
It's a bit tough, yeah.
524
00:58:37,639 --> 00:58:42,920
Yes, it's hard,
a relationship when you work together,
525
00:58:42,960 --> 00:58:46,199
like, it's not easy - man and woman,
526
00:58:46,239 --> 00:58:49,119
- with different characteristics.
- Different sensitivities.
527
00:58:49,920 --> 00:58:51,320
After the lift...
528
00:58:53,239 --> 00:58:55,360
I take you and we just...
529
00:58:58,800 --> 00:59:00,000
Round...
530
00:59:03,400 --> 00:59:05,320
Not like that...
531
00:59:06,880 --> 00:59:08,920
- Then, continue.
- I know.
532
00:59:09,199 --> 00:59:10,119
You know?
533
00:59:10,239 --> 00:59:12,360
It's trying to find that language together.
534
00:59:12,400 --> 00:59:17,039
You know how people always say
a couple ends up acting like one another
535
00:59:17,079 --> 00:59:20,400
it's because if you don't,
you can't operate together,
536
00:59:20,480 --> 00:59:22,760
you cant find that togetherness language.
537
00:59:22,800 --> 00:59:25,280
We... I don't know...
538
00:59:25,360 --> 00:59:27,119
We are still looking for our ending.
539
00:59:27,199 --> 00:59:33,039
At the moment, we are thinking to end
where you find a language together, or...
540
00:59:33,960 --> 00:59:36,039
you actually...
- Yeah we don't know.
541
00:59:36,079 --> 00:59:39,079
Like, maybe we have separation,
maybe we have happy end,
542
00:59:39,079 --> 00:59:42,960
maybe we have question, I don't know.
543
00:59:43,000 --> 00:59:44,960
- Question, yeah.
- I don't know.
544
01:01:01,559 --> 01:01:05,519
When we always danced together before,
when we did another piece,
545
01:01:05,559 --> 01:01:09,320
we could always move together
without speaking so much.
546
01:01:10,360 --> 01:01:15,440
We found a groove without communication.
547
01:01:15,519 --> 01:01:18,119
- Jason didn't speak!
- And I'm a quiet person,
548
01:01:18,159 --> 01:01:21,119
so we just found
a physical language together,
549
01:01:21,199 --> 01:01:25,199
and then, with this, it's been a bit...
550
01:01:25,239 --> 01:01:27,519
- communicating more.
- We start communication more.
551
01:01:29,559 --> 01:01:31,320
Sometimes maybe better.
552
01:01:31,360 --> 01:01:34,880
I think it's so easy for us,
that we are in a relationship
553
01:01:34,920 --> 01:01:40,280
to find a sensitivity with one another -
that comes quite easy.
554
01:01:41,000 --> 01:01:45,559
Yeah, sometimes when we are creating,
we dance and we are feeling everything -
555
01:01:45,599 --> 01:01:50,639
movement, body - if we stay together
we understand how we need to move,
556
01:01:50,880 --> 01:01:54,039
feeling together,
we have the right mood.
557
01:01:54,360 --> 01:01:55,559
- Yeah?
- Yeah.
558
01:01:56,119 --> 01:01:58,639
And then you come around...
Yeah, exactly.
559
01:02:03,119 --> 01:02:05,039
I fold you in this way...
560
01:02:13,079 --> 01:02:18,039
Sometimes if a partner has a horrible mood,
like me, I'm a really moody person...
561
01:02:18,079 --> 01:02:24,159
if I have a horrible mood, it is not possible
to work that day with anybody...
562
01:02:25,280 --> 01:02:27,239
You feel that, quickly.
563
01:02:27,920 --> 01:02:30,400
No, I stay calm.
I try to stay calm
564
01:02:30,480 --> 01:02:34,079
because if I go back against...
but I don't know,
565
01:02:34,119 --> 01:02:39,079
that's the thing in the piece too -
how do you stay calm when there's conflict?
566
01:02:39,519 --> 01:02:40,880
- One more.
- Just the one?
567
01:02:40,960 --> 01:02:43,280
No, no... two.
568
01:02:55,400 --> 01:02:58,119
- Yeah... Okay.
- Yeah... let's go over it again.
569
01:02:59,000 --> 01:03:03,960
Sticking up for yourself in a relationship...
or do you hurt the other person?
570
01:03:04,000 --> 01:03:06,480
No, he's just not the best for her... maybe...
571
01:03:06,519 --> 01:03:09,920
maybe she want better, I don't know...
572
01:03:11,679 --> 01:03:13,960
Yeah, it's normal.
573
01:04:08,679 --> 01:04:12,480
We'll go home and talk about it first,
until we feel...
574
01:04:12,519 --> 01:04:15,239
The thing is, neither one of us feels...
575
01:04:15,760 --> 01:04:20,360
Like, sometimes one doesn't want to take
the work home and the other one does,
576
01:04:20,400 --> 01:04:25,599
but for us, we can go and watch the video
for two more hours.
577
01:04:25,599 --> 01:04:31,800
I think it's like a dancer who really loves
to be professional. It's so important.
578
01:05:32,639 --> 01:05:34,840
I don't remember what's next!
579
01:05:36,440 --> 01:05:40,719
It's very precarious for dancers
to be in love with
580
01:05:40,800 --> 01:05:42,840
the people they are partnering.
581
01:05:44,079 --> 01:05:47,199
On the one hand, you've got all that trust,
582
01:05:47,280 --> 01:05:50,119
you've got all that available passion, spark,
in between you
583
01:05:50,159 --> 01:05:52,400
which, I think, does allow you
584
01:05:52,480 --> 01:05:57,440
to push further, perhaps,
than other couples on stage
585
01:05:57,480 --> 01:05:59,880
in the relationships you're exploring
586
01:06:00,119 --> 01:06:02,360
and even in the way
you're partnering each other.
587
01:06:09,800 --> 01:06:12,480
It's an amazing thing to watch,
588
01:06:12,519 --> 01:06:16,400
and she has certainly been in love
and partnered by
589
01:06:16,440 --> 01:06:18,480
some extraordinary male dancers.
590
01:06:45,679 --> 01:06:47,320
What's interesting with Natalia
591
01:06:47,360 --> 01:06:50,880
is how different partners bring out
different qualities in her.
592
01:06:50,880 --> 01:06:55,559
So, in the contemporary work,
Jonathan Goddard and Jason Kittelberger,
593
01:06:55,639 --> 01:06:58,320
they bring out this fluidity,
this expressiveness,
594
01:06:58,320 --> 01:07:00,719
kind of quite a strong emotion, I think.
595
01:07:00,719 --> 01:07:04,239
They just seem to hear the music
in the same way
596
01:07:04,320 --> 01:07:07,960
and their expressive movement
across the stage is wonderful.
597
01:07:51,920 --> 01:07:56,199
Maybe I had everything for classical ballet
so early, so young.
598
01:07:56,239 --> 01:07:59,280
I started dancing a lot at 18 or 19
599
01:07:59,320 --> 01:08:03,599
and everybody knows me so early.
600
01:08:03,679 --> 01:08:06,679
I did a lot of shows,
I work with a lot of choreographers,
601
01:08:06,719 --> 01:08:10,599
I danced for a lot of companies.
It's like I did everything so quickly,
602
01:08:10,639 --> 01:08:13,960
that, of course, I start to find it
a little bit boring and it's not interesting.
603
01:08:14,000 --> 01:08:17,960
I have new ideas, I want new ideas,
I want new experience...
604
01:08:19,960 --> 01:08:24,800
Every time I think about what I did new,
what I want to do.
605
01:08:24,840 --> 01:08:27,399
It's like I can't just be without ideas.
606
01:08:28,840 --> 01:08:30,920
It's not possible,
and I start to be depressed.
607
01:08:31,439 --> 01:08:34,800
But, it's like, I have really nice
physicality, body, now.
608
01:08:34,840 --> 01:08:37,520
I think 32 is the best time for dance.
609
01:09:31,800 --> 01:09:36,000
I'm so excited to see what happens
with this new ballet
610
01:09:36,039 --> 01:09:37,840
by Sidi Larbi Cherkaoui...
611
01:09:38,640 --> 01:09:44,079
whose style is so fluid, so boneless,
so zen, in a way,
612
01:09:44,319 --> 01:09:49,760
it's almost the polar opposite of
force-of-nature Natalia.
613
01:09:49,840 --> 01:09:52,359
But she has danced
some of his choreography before,
614
01:09:52,359 --> 01:09:53,840
and very beautifully.
615
01:09:55,840 --> 01:09:59,640
It's very good for ballet companies
to have dancers like Natalia
616
01:09:59,720 --> 01:10:04,600
because they not only attract
new choreographers to work with them
617
01:10:04,640 --> 01:10:08,039
but they also bring audiences
to see that new work.
618
01:10:08,760 --> 01:10:12,079
Yes, and then... there we go, this is it!
619
01:10:13,960 --> 01:10:16,840
You know, sometimes I don't feel
this is simple.
620
01:10:16,920 --> 01:10:19,600
I'm still like that... she did it or not?
621
01:10:19,640 --> 01:10:22,439
Yeah, okay, I will try and see...
622
01:10:22,520 --> 01:10:25,039
Yeah, I think it's on your left side,
but it's hard
623
01:10:25,079 --> 01:10:28,960
because this side is where it's happening.
624
01:10:30,159 --> 01:10:32,680
So if you feel your left side...
625
01:10:33,840 --> 01:10:34,760
There...
626
01:10:35,680 --> 01:10:37,439
Here... wait, wait, wait...
627
01:10:37,439 --> 01:10:41,439
Then she has another one...
and this is the one...
628
01:10:42,039 --> 01:10:44,640
- I will pull that up.
- Yeah, a little bit up
629
01:10:44,680 --> 01:10:46,119
because you need it anyway.
630
01:10:46,399 --> 01:10:49,479
Then don't stay on it,
so that you have space.
631
01:10:50,720 --> 01:10:53,760
Working with Natalia is great
because she explores so many facets.
632
01:10:53,840 --> 01:10:56,399
She's worked with so many other
choreographers also,
633
01:10:56,439 --> 01:10:59,840
so she is able to give me a space
634
01:10:59,920 --> 01:11:02,520
and go "Oh, yeah, with you
I'm going to do it this way"
635
01:11:02,560 --> 01:11:04,199
and that's really exciting.
636
01:11:04,439 --> 01:11:06,079
I really like, you know, for dancer,
637
01:11:06,119 --> 01:11:09,840
it's like fantastic time to be in creation,
in the studio,
638
01:11:09,920 --> 01:11:12,520
live, with the choreographer.
639
01:11:12,600 --> 01:11:16,640
It's not like... I take MacMillan version
of Romeo and Juliet,
640
01:11:16,680 --> 01:11:20,000
lots of people have danced this ballet,
it's the same as classical ballet.
641
01:11:20,039 --> 01:11:23,800
For me, the best thing that I love, is
to work with a choreographer in the studio.
642
01:11:23,840 --> 01:11:27,800
It's creating together the role
and body language and story,
643
01:11:27,880 --> 01:11:29,720
and you feel that this is really special.
644
01:11:30,600 --> 01:11:35,680
Like, when you are going over here,
then it's really here for the hair...
645
01:11:37,039 --> 01:11:41,600
and then you have something
where you stopped her here, I think?
646
01:11:42,600 --> 01:11:45,479
And then we have the hit...
647
01:11:45,560 --> 01:11:49,000
- Where are you... Did we do the knee?
- Hit... on the knee, I was doing the knee.
648
01:11:49,039 --> 01:11:50,840
So it's like the knee there...
649
01:11:51,760 --> 01:11:53,479
and then you have this look.
650
01:11:53,560 --> 01:11:58,119
I'm just happy when I can work with someone
who's really coming in tune and is so gifted,
651
01:11:58,159 --> 01:12:03,119
and so intelligent also,
to approach the things I'm throwing at her
652
01:12:03,159 --> 01:12:06,159
because every day, we're like
"Oh, maybe we'll add this moment"
653
01:12:06,159 --> 01:12:09,680
and it's incredible how Natalia just goes
"Okay" and then she adds it,
654
01:12:09,720 --> 01:12:14,000
and then she adds it,
and there's, like, 20 things added on
655
01:12:14,039 --> 01:12:18,039
every day, so like, the choreography
is constantly shifting
656
01:12:18,079 --> 01:12:21,560
and getting more and more
fine-tuned and nuanced
657
01:12:21,640 --> 01:12:25,720
and also the musicality -
we are really working quite like...
658
01:12:25,760 --> 01:12:28,880
"This is the moment for this,
and this is the ideal moment for that"
659
01:12:28,880 --> 01:12:31,920
and so it's exciting to see it being born
660
01:12:32,000 --> 01:12:36,119
and it's still being born
every single second.
661
01:12:36,119 --> 01:12:39,079
So, let her have one hand, and now you go...
662
01:12:42,600 --> 01:12:44,600
And now... yes...
663
01:12:47,880 --> 01:12:49,880
But it's lovely when you have this...
664
01:12:49,920 --> 01:12:53,880
as if you are trying to get some freedom,
but it's impossible.
665
01:12:53,960 --> 01:12:54,880
Yeah...
666
01:12:58,760 --> 01:13:00,039
Nice...
667
01:13:05,720 --> 01:13:08,119
What would be helpful,
if you do just the beginning,
668
01:13:08,119 --> 01:13:12,560
because it does help,
and then you let it go into her hands
669
01:13:12,560 --> 01:13:15,199
once she has it,
because then she can control the back,
670
01:13:15,239 --> 01:13:17,520
but the beginning does help,
671
01:13:17,600 --> 01:13:22,600
because I feel there is a lot of
soul searching there,
672
01:13:22,640 --> 01:13:24,520
like, how is this going to wrap?
673
01:13:24,600 --> 01:13:29,600
And I think, Natalia, if you have it,
you can give it that extra bit of...
674
01:13:29,640 --> 01:13:31,760
how to make it fall well.
675
01:13:31,800 --> 01:13:34,159
Maybe go again from the pulling...
676
01:13:40,840 --> 01:13:41,840
Yes...
677
01:13:44,920 --> 01:13:48,560
We try it step by step,
like feeling the character
678
01:13:48,600 --> 01:13:52,680
and every rehearsal,
I'm feeling more and more and more.
679
01:13:52,760 --> 01:13:55,000
It's not like you like that
or like that...
680
01:13:55,039 --> 01:13:58,640
Yeah, it's so hard
because it's a mythological character
681
01:13:58,640 --> 01:14:01,560
so there are so many interpretations possible
682
01:14:01,600 --> 01:14:05,279
so I think every day we are discussing
"Maybe today she is like this".
683
01:14:05,279 --> 01:14:08,840
Yeah, it's like her body language helps,
yes, of course.
684
01:14:08,880 --> 01:14:10,880
Like, the creation is always like
685
01:14:10,880 --> 01:14:13,359
a finding of something
that wasn't there before.
686
01:14:13,640 --> 01:14:15,560
Even though the character exists,
687
01:14:15,640 --> 01:14:18,960
there are multiple ways
of bringing her to life.
688
01:14:31,159 --> 01:14:34,119
- It's a Greek legend, yes?
- It's a Greek legend.
689
01:14:34,199 --> 01:14:38,159
And the character of Medusa is actually
one of the priestesses for Athena,
690
01:14:38,199 --> 01:14:41,880
so her role is to stay a virgin...
691
01:14:43,760 --> 01:14:45,279
she is so beautiful...
692
01:14:45,319 --> 01:14:51,079
and so Poseidon really wants her
and so even forces himself upon her
693
01:14:51,119 --> 01:14:53,359
which suddenly makes her
not a virgin anymore,
694
01:14:53,359 --> 01:14:55,760
so when Athena has seen that,
695
01:14:55,840 --> 01:14:59,920
she cannot punish Poseidon
because Poseidon is a god
696
01:15:00,000 --> 01:15:03,399
so the only person she can punish
is Medusa herself,
697
01:15:03,600 --> 01:15:07,000
and she's going to transform Medusa
into the monster that we all know.
698
01:15:07,800 --> 01:15:10,840
Once she's gone,
your hands can touch the mask
699
01:15:10,880 --> 01:15:14,640
so that you feel
"What is this face? What does it do?"
700
01:15:14,680 --> 01:15:16,680
"What power do I have?"
701
01:15:16,680 --> 01:15:18,039
And wait until she's gone.
702
01:15:18,079 --> 01:15:19,159
And... now!
703
01:15:20,239 --> 01:15:21,119
Yeah.
704
01:15:26,399 --> 01:15:32,199
Yeah, it's nice... and I like when it's almost
like you're trying to touch your face,
705
01:15:32,239 --> 01:15:35,039
so it's like "What happened to my face?"
706
01:15:35,079 --> 01:15:37,119
It's more the face than the snakes, actually.
707
01:15:37,239 --> 01:15:40,159
Yeah, like this,
but also when you are here...
708
01:15:40,239 --> 01:15:44,880
and here, here... that's when it feels fragile
and strong at the same time.
709
01:15:46,279 --> 01:15:50,079
Yeah... yes, it's like you almost want to
pull it off
710
01:15:50,119 --> 01:15:53,720
but you can't change your face anymore.
711
01:15:53,720 --> 01:15:55,399
I think we've been discussing a lot
712
01:15:55,439 --> 01:15:59,399
about how to re-read the character
in the 21st Century.
713
01:15:59,399 --> 01:16:00,800
Sometimes she's fragile,
714
01:16:00,880 --> 01:16:03,760
sometimes she actually knows
what's happening to her,
715
01:16:03,800 --> 01:16:07,319
sometimes she accepts the curse
as an empowerment.
716
01:16:07,359 --> 01:16:11,079
You know, the thing is to become a monster,
it's also quite empowering.
717
01:16:11,960 --> 01:16:15,960
It's my favourite scene right now
is when she is Medusa,
718
01:16:16,039 --> 01:16:18,439
how she is able to control all the men
around her.
719
01:16:18,439 --> 01:16:20,439
- It's uncanny.
- It's a nice feeling.
720
01:16:20,479 --> 01:16:23,239
It's a fantastic feeling
to control everybody.
721
01:16:57,800 --> 01:17:02,319
I'm so happy to be in the studio,
yes, it's like a great time.
722
01:17:02,319 --> 01:17:05,239
In performance, you know,
we have the human factor,
723
01:17:05,319 --> 01:17:08,159
sometimes we're nervous,
sometimes it's lights, sometimes it's music,
724
01:17:08,159 --> 01:17:11,880
sometimes the floor,
sometimes you don't have the right feeling,
725
01:17:11,960 --> 01:17:16,159
It's not every time that, for the premiere,
we do the best.
726
01:17:16,239 --> 01:17:20,159
Sometimes it's really the human factor
that's working
727
01:17:20,199 --> 01:17:24,880
But in the studio, it's without nerves,
and you can enjoy, it's fantastic.
728
01:17:56,439 --> 01:17:59,479
It'll be very interesting to see her
working with Sidi Larbi
729
01:17:59,520 --> 01:18:01,560
because he's even more flexible than she is.
730
01:18:01,800 --> 01:18:06,399
They both have extraordinary muscles
that stretch and stretch and stretch.
731
01:18:06,439 --> 01:18:09,199
I think the fact that he is working with her
732
01:18:09,279 --> 01:18:11,960
at the Royal Opera House
for the Royal Ballet
733
01:18:12,039 --> 01:18:15,000
is a new step, and it does break boundaries
734
01:18:15,079 --> 01:18:17,600
to do a piece for a big ballet company
like Covent Garden
735
01:18:17,800 --> 01:18:21,000
where you are a contemporary choreographer
coming in
736
01:18:21,079 --> 01:18:23,239
and I think her role has been...
737
01:18:23,319 --> 01:18:26,560
She is one of the dancers who has created
a bridge between these two worlds.
738
01:18:26,640 --> 01:18:32,199
The whole world of dance
is getting more fluid and more interesting,
739
01:18:32,239 --> 01:18:35,079
It's sort of opening up in many, many ways
740
01:18:35,079 --> 01:18:38,520
and I think that she will be regarded as one
of the dancers
741
01:18:38,560 --> 01:18:41,880
that helped build a bridge
between ballet and contemporary dance.
742
01:19:24,479 --> 01:19:29,279
I try. It's like I understand
not everything is great, but I try.
743
01:19:30,399 --> 01:19:34,680
I try, try, try. I just love art and dance.
It's my life.
61069
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