Corpo e Alma

  

- L'enfant s'amuse, saute, danse et se jette dans tout ce que le mouvement lui inspire.

- La grande danseuse, après dix ans d'efforts journaliers, exécute des pas et des figures extraordinaires par leur beauté et leur exécution parfaite.

- La vraie danseuse, après dix ans et plus d'efforts journaliers, oublie sa technique (que son corps pourtant n'oublie pas) et s'amuse, saute, danse et se jette dans tout ce que le mouvement lui inspire, tout comme l'enfant!

Maurice Béjart, Lettres à un jeune danseur, Arles, Actes Sud, 2011, p. 26.

Homework

"I'm doing a fairly classical ballet to very old-fashioned and romantic music, but there is a point to it. In a way it is a revolt from the faddism of today." (G. Balanchine and F. Mason, 101 Stories of the Great Ballets, New York, Anchor Books, 1989, p. 96)

(Isabelle Guérin, com Violette Verdy, ensaio de Dances at a Gathering, de Jerome Robbins, música de Chopin - o excerto é desta pérola)

(o cartaz, aqui)

Que duvidávida afinal a vida*

 

I don't want dancers who want to dance. I want dancers who have to dance. (Sir Balanchine)

Diana Vishneva e Manuel Legris, em Manon.

*David Mourão-Ferreira 

Em cima da mesa, dentro do coração (on the table, in the heart)

(On Serenade) To tell a story about something is simply a very human way of saying that we understand it. Making a ballet is a choreographer's way of showing how he understands a piece of music, not in words, not in narrative form (unless he has in mind a particular story), but in dancing. (G. Balanchine and F. Mason, 101 Stories of the Great Ballets, New York, Anchor Books, 1989, p.388)

Bailarina apressada

deixa a antevisão da semana em imagens, sufocos e cafés. Alongamentos para cumprir no intervalo de cada palavra - o que deve dar para ganhar mais uns milímetros, à imaginação e e ao pied à la main. Quem duvida é tolo e nem sempre o tolo é o benquisto literário. 

(origem das espécies fotográficas assim que a cronologia da formiga permitir)