Tip:
Highlight text to annotate it
X
For example, right now we are rehearsing for Onegin, and… well, it's too early to say anything, as we are just beginning to learn the ballet
and literally are just beginning to develop emotionally, somehow get into the essence of what is happening...
During the last rehearsal we were doing the last duet of Tatiana and Onegin - in my opinion, a very complex, emotionally rich one –
and the music and choreography inspired me so much, my emotions took over me... and I understood that before me is an enormous testing ground of sorts,
that there are different ways of doing this. I can do what I feel, or I can do what the choreographer is asking of me.
And so there are these different facets, it becomes such an interesting and cool process.
And then combine that with your partner, who is also acting, also responding with his own emotions
it is so... it is hard to compare it with any other ballet.
And when Victor (the choreographer's assistant who is working with us) looks at all of this, he says,
"Well, you know, this time you did great.”
But if I don't do it "great," he is silent or says, "No...that's not it, let's try it again."
But then when he says "Great! Good job! That's right!" - at that moment I understand that I have the ability to convince him,
that in the process of this rehearsal - at first I couldn't, at first it was not convincing -
but then in the end, once I understood him, I understood my partner, my partner understood me -
we begin to create the desired effect.