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00:03:13,234 --> 00:03:14,694
Julie, head over there!
4
00:03:34,255 --> 00:03:35,381
Stay in line!
5
00:03:41,512 --> 00:03:42,888
Back to your lines!
6
00:03:43,764 --> 00:03:46,267
And one, two, three!
7
00:04:05,870 --> 00:04:07,955
Come on, Carole, move on!
8
00:04:11,751 --> 00:04:12,877
Atayane!
9
00:04:17,214 --> 00:04:18,174
Not bad at all.
10
00:04:18,466 --> 00:04:21,552
Now back to the beginning
for a few details.
11
00:04:21,719 --> 00:04:23,012
But calmly.
12
00:04:23,429 --> 00:04:24,972
Relax a moment.
13
00:04:25,848 --> 00:04:27,892
Not bad for a first try.
14
00:04:32,563 --> 00:04:33,647
Great.
15
00:04:36,859 --> 00:04:38,360
All right.
16
00:04:39,653 --> 00:04:42,656
She doesn't fall, it's too quick.
17
00:04:44,325 --> 00:04:48,496
You go up beautifully, but I miss
the weight when you go down.
18
00:04:48,662 --> 00:04:50,122
See What I mean?
19
00:04:50,289 --> 00:04:53,959
The weight of the arms
when you are under him...
20
00:04:55,711 --> 00:04:57,379
Up...
21
00:04:57,797 --> 00:04:59,340
and down.
22
00:04:59,924 --> 00:05:01,008
Superb.
23
00:05:08,432 --> 00:05:10,142
You look worried, Emilie.
24
00:05:10,559 --> 00:05:13,062
You did something like...
25
00:05:14,605 --> 00:05:15,648
Once more.
26
00:05:21,570 --> 00:05:22,696
The weight...
27
00:05:23,823 --> 00:05:24,907
Breathe in...
28
00:05:32,122 --> 00:05:33,707
With soutenu.
29
00:05:36,585 --> 00:05:37,711
Relevé.
30
00:05:40,297 --> 00:05:41,465
More diagonale.
31
00:06:12,830 --> 00:06:13,873
Look there.
32
00:06:24,550 --> 00:06:25,634
Temps levé!
33
00:06:27,553 --> 00:06:28,846
Good.
34
00:06:33,601 --> 00:06:35,019
One! Pass.
35
00:06:35,936 --> 00:06:37,021
Knee.
36
00:06:55,664 --> 00:06:56,624
Like this.
37
00:06:56,790 --> 00:06:59,335
But you stop here before you go down.
38
00:06:59,501 --> 00:07:03,839
It must be While you go down.
39
00:07:04,840 --> 00:07:07,176
You do this and try to catch up.
40
00:07:09,553 --> 00:07:11,347
This is important.
41
00:07:11,513 --> 00:07:14,099
Pass,
and that is the important point.
42
00:07:16,602 --> 00:07:19,563
Don't go to the side, Laetitia.
43
00:07:19,730 --> 00:07:22,191
Right, going down! Leg in front!
44
00:07:23,484 --> 00:07:26,028
- You see what she does?
- I don't do that.
45
00:07:26,820 --> 00:07:28,572
While going down.
46
00:07:30,240 --> 00:07:32,868
When your heel is down,
leg in front.
47
00:07:36,956 --> 00:07:38,791
Yes, but not here.
48
00:07:38,958 --> 00:07:40,334
Pass like this.
49
00:07:43,170 --> 00:07:45,172
The arabesque is only a passage.
50
00:07:46,632 --> 00:07:48,634
Why do you stop on the floor?
51
00:07:49,510 --> 00:07:51,053
Why do you do that?
52
00:07:51,220 --> 00:07:54,223
She imagines an arabesque
Where there is none.
53
00:07:54,390 --> 00:07:56,600
There's almost no arabesque.
Down!
54
00:07:57,393 --> 00:07:59,436
When you do that, you go down.
55
00:07:59,603 --> 00:08:00,771
Not even...
56
00:08:03,232 --> 00:08:04,733
Laetitia, look.
57
00:08:05,484 --> 00:08:06,443
You go...
58
00:08:08,070 --> 00:08:10,489
I do this and this...
59
00:08:10,656 --> 00:08:13,367
and now, I go down from here.
60
00:08:23,669 --> 00:08:25,546
You blame me too much.
61
00:08:25,713 --> 00:08:28,841
It slowly becomes logical,
62
00:08:29,008 --> 00:08:31,760
because it becomes automatic.
63
00:08:34,638 --> 00:08:37,683
You will do it automatically.
Your body stays there!
64
00:08:38,225 --> 00:08:39,810
Right, backward.
65
00:08:40,602 --> 00:08:42,980
Do what you want with your arms!
66
00:08:49,737 --> 00:08:51,155
You liked it?
67
00:08:52,656 --> 00:08:56,952
Then this brings us to 2012 or 2011
when we'll do it again.
68
00:08:58,829 --> 00:09:03,459
It takes time, but it's part
of the life of the Opera Ballet.
69
00:09:03,625 --> 00:09:05,377
It takes a lot of time and...
70
00:09:09,381 --> 00:09:11,717
I was about to say "coaching"...
71
00:09:12,134 --> 00:09:15,054
Well, I asked Elisabeth to come.
72
00:09:16,096 --> 00:09:17,973
Patrice Bart and Clotilde Vayer
73
00:09:18,140 --> 00:09:21,977
will be most important
for the return of this ballet.
74
00:09:22,144 --> 00:09:24,646
She is a ballet master.
75
00:09:25,397 --> 00:09:27,441
She worked on many ballets.
76
00:09:28,192 --> 00:09:33,197
So it's also a transmission of
knowledge from the ballet masters.
77
00:09:33,363 --> 00:09:37,576
Patrice will be there,
and Clotilde will take a large part.
78
00:09:37,743 --> 00:09:40,662
We shall also have
Viviane Descoutures.
79
00:09:41,163 --> 00:09:45,626
I mean,
there will be a lot of dedication,
80
00:09:46,502 --> 00:09:51,548
and team work within a team
of ballet masters and their assistants,
81
00:09:51,715 --> 00:09:53,050
who will make it happen.
82
00:09:53,217 --> 00:09:55,469
This task
must bring people together.
83
00:09:55,636 --> 00:09:58,847
It's not about
having different views.
84
00:09:59,014 --> 00:10:01,266
Everybody must unite
around the work.
85
00:10:01,433 --> 00:10:05,938
I find it very important
to collaborate in order to achieve
86
00:10:06,105 --> 00:10:08,107
the best possible result.
87
00:10:08,857 --> 00:10:12,903
To me, the final result
has to be a gift to the public
88
00:10:13,070 --> 00:10:16,740
that they can feel
Without any explanation.
89
00:10:58,949 --> 00:11:01,285
Stop, thank you. Look here.
90
00:11:01,451 --> 00:11:03,787
When you're with him like this...
91
00:11:06,248 --> 00:11:08,876
Show your foot, don't do this...
92
00:11:10,377 --> 00:11:13,505
Bend the supporting leg,
show the foot and piqué.
93
00:11:13,672 --> 00:11:15,716
Careful, you are too much...
94
00:11:18,635 --> 00:11:23,015
Extend it with the hand, don't stop
or it looks like two spoons.
95
00:11:23,849 --> 00:11:24,892
What else...
96
00:11:27,728 --> 00:11:29,771
Go down a little earlier, Hervé.
97
00:11:36,445 --> 00:11:37,321
Crossed...
98
00:11:37,487 --> 00:11:38,989
Déboulé...
99
00:11:39,156 --> 00:11:41,491
Small but more crossed.
100
00:11:42,701 --> 00:11:45,913
I see that
you are looking for contrast.
101
00:11:46,079 --> 00:11:49,875
To hit the floor is nice too,
not as before, all flat...
102
00:11:51,919 --> 00:11:54,338
Your dancing
was exceptionally readable.
103
00:11:54,504 --> 00:11:57,883
My plié was particular.
But this is nice too...
104
00:11:58,050 --> 00:12:02,221
Chauviré also put her heels down,
and Noélla Pontois.
105
00:12:02,387 --> 00:12:05,140
I like that "touch-rebound"...
106
00:12:05,307 --> 00:12:06,975
I hate it...
107
00:12:07,142 --> 00:12:09,228
- ...even in Balanchine.
- I like it.
108
00:12:09,394 --> 00:12:11,939
This new way of dancing...
109
00:12:12,105 --> 00:12:15,359
Emilie Saiguen and Tallchief
were something else!
110
00:12:15,525 --> 00:12:17,778
Something of a heavy butt...
111
00:12:18,779 --> 00:12:20,197
It's the easy way out.
112
00:12:20,364 --> 00:12:24,409
The flaws of Suzanne Farrell
became qualities for the others.
113
00:12:36,129 --> 00:12:37,381
Plié, hold it.
114
00:12:43,387 --> 00:12:44,846
She never bends.
115
00:13:08,996 --> 00:13:10,038
Right!
116
00:13:11,039 --> 00:13:13,458
She should bend when she lands.
117
00:13:17,379 --> 00:13:18,797
And here too.
118
00:13:18,964 --> 00:13:19,965
Exactly!
119
00:13:26,972 --> 00:13:29,057
She's stiff, you see?
120
00:13:29,224 --> 00:13:30,851
I see What you mean.
121
00:13:40,068 --> 00:13:41,069
Good.
122
00:14:04,134 --> 00:14:05,302
All right.
123
00:14:05,844 --> 00:14:07,763
That was good, except for...
124
00:14:09,181 --> 00:14:10,390
Jeté...
125
00:14:12,225 --> 00:14:14,394
and then landing on a plié is nice.
126
00:14:14,561 --> 00:14:18,148
Lift up the leg
to be ahead of your metatarsus.
127
00:14:18,482 --> 00:14:19,941
You make a développé...
128
00:14:20,108 --> 00:14:23,862
He wants a développé in the floor
to make it attractive.
129
00:14:24,029 --> 00:14:26,823
You'll think you are late
but it's beautiful.
130
00:14:26,990 --> 00:14:29,326
It gives the impression
of being late.
131
00:14:29,493 --> 00:14:32,871
But there is a step on each note,
I know that!
132
00:14:33,330 --> 00:14:37,501
There is a step on each note
but you must bind the steps together.
133
00:14:37,667 --> 00:14:41,713
Understand? From the jeté...
Show me, without him.
134
00:14:41,880 --> 00:14:43,840
Glissade, jeté...
135
00:14:44,007 --> 00:14:46,885
Now on the floor, plié! Do it!
136
00:14:48,804 --> 00:14:49,846
That's it.
137
00:14:52,808 --> 00:14:53,850
One.
138
00:15:03,902 --> 00:15:05,904
Two, three,
139
00:15:06,071 --> 00:15:07,572
four on the side.
140
00:15:18,125 --> 00:15:20,210
Hold on! Let's see that again.
141
00:15:20,877 --> 00:15:24,840
Don't start before the music.
You're on your toes, I know...
142
00:15:25,006 --> 00:15:26,716
Don't start before the music.
143
00:15:26,883 --> 00:15:31,680
If it's relevé on "one",
it's only one step.
144
00:15:34,057 --> 00:15:36,184
Stick to the counting.
145
00:15:38,311 --> 00:15:40,647
Alexandra, you know Where we are?
146
00:15:40,814 --> 00:15:43,358
Once more, from this step.
147
00:15:44,860 --> 00:15:45,944
Mathilde!
148
00:15:48,655 --> 00:15:51,408
Your arm is too high. Lower, OK?
149
00:15:51,575 --> 00:15:54,411
On préparation,
and on the first diagonale.
150
00:15:54,578 --> 00:15:57,372
From here, girls.
Do you follow, Caroline?
151
00:15:58,039 --> 00:16:00,876
Then you form two lines.
152
00:16:11,970 --> 00:16:14,014
Together when opening the arms!
153
00:16:35,702 --> 00:16:37,078
Together!
154
00:16:39,623 --> 00:16:43,752
Control your arms,
keep the position when you get up.
155
00:16:46,630 --> 00:16:48,131
Now you unroll.
156
00:16:52,010 --> 00:16:53,720
Stretched, Caroline.
157
00:16:55,222 --> 00:16:56,264
With precision.
158
00:17:00,143 --> 00:17:03,021
Smoothly now.
Follow the girl in front of you.
159
00:17:04,439 --> 00:17:06,399
The arm goes down, Marie-Soléne.
160
00:17:06,566 --> 00:17:08,610
Together... right.
161
00:17:52,070 --> 00:17:53,280
Higher,
162
00:17:53,446 --> 00:17:55,407
left, right and pirouette.
163
00:17:57,993 --> 00:17:59,411
Hold it straight.
164
00:18:01,997 --> 00:18:03,957
Hold it straight, before you...
165
00:18:04,124 --> 00:18:05,625
Your hand is too low.
166
00:18:07,586 --> 00:18:09,713
Hold it on a higher point.
167
00:18:09,879 --> 00:18:13,883
You pan like this,
then hold it straight and...
168
00:18:18,054 --> 00:18:19,222
Right.
169
00:18:19,389 --> 00:18:21,850
It doesn't have to be so high.
170
00:18:23,476 --> 00:18:24,728
It gets on my nerves.
171
00:18:36,573 --> 00:18:37,699
Slowly.
172
00:18:41,328 --> 00:18:43,622
Legs tight, Malory.
173
00:18:46,082 --> 00:18:48,084
Arabesque stretched, Marc.
174
00:18:48,793 --> 00:18:49,836
Right.
175
00:18:53,548 --> 00:18:54,633
Pass in front.
176
00:26:14,363 --> 00:26:15,323
Not too early.
177
00:26:15,490 --> 00:26:17,533
I saw that. Or else you curl up.
178
00:26:31,214 --> 00:26:33,257
- The first time...
- What?
179
00:26:33,424 --> 00:26:35,093
When we do this...
180
00:26:35,259 --> 00:26:36,469
We separate...
181
00:27:01,160 --> 00:27:03,412
- We go down?
- We walk.
182
00:27:18,010 --> 00:27:20,012
- Not this!
- Why not?
183
00:28:03,598 --> 00:28:05,349
How to choose the dancers.
184
00:28:05,933 --> 00:28:09,729
Since we have to follow
a certain logic,
185
00:28:09,896 --> 00:28:13,316
you can't go to a class
and say: "You, and you..."
186
00:28:13,482 --> 00:28:17,695
But you can come and tell me:
"Here's the kind of dancer I like."
187
00:28:17,862 --> 00:28:21,199
And of course I'll try
to satisfy your Wishes.
188
00:28:21,866 --> 00:28:26,120
What I usually do
with guest choreographers
189
00:28:26,287 --> 00:28:30,416
is that I suggest a group of dancers.
190
00:28:31,584 --> 00:28:35,296
Then you'll tell me:
"I like this one and not that one."
191
00:28:35,463 --> 00:28:38,716
Meaning I can work with a group
before choosing...
192
00:28:38,883 --> 00:28:41,302
- Be nice to them.
- Quickly.
193
00:28:41,469 --> 00:28:45,556
Don't have them wait too long.
It wouldn't be nice to them.
194
00:28:45,723 --> 00:28:48,017
What you could do anyway
195
00:28:48,184 --> 00:28:52,188
is tell me the type of dancer
you're looking for.
196
00:28:52,355 --> 00:28:55,983
- But if you can't, you can't.
- It's not that I can't...
197
00:28:56,525 --> 00:28:57,610
No idea?
198
00:28:57,777 --> 00:29:02,281
I see someone,
I like him or not, that's it.
199
00:29:02,448 --> 00:29:05,493
It's about... I don't know.
200
00:29:05,660 --> 00:29:09,205
Would you agree...
We were talking about 15 dancers,
201
00:29:09,372 --> 00:29:13,626
but I could have some "stars"
available, if you want.
202
00:29:13,793 --> 00:29:16,504
"Available"
is not a nice word, but...
203
00:29:18,005 --> 00:29:21,050
For the time being, the general idea
204
00:29:21,217 --> 00:29:25,346
would be
to consider about 15 dancers.
205
00:29:25,513 --> 00:29:30,268
But it could be less,
according to the way you work.
206
00:29:30,434 --> 00:29:33,646
And apart from the dancers
of the corps de ballet
207
00:29:33,813 --> 00:29:37,775
you could have
some specific soloists.
208
00:29:37,942 --> 00:29:42,363
We're talking about a context
in which you bring your creativity.
209
00:29:42,530 --> 00:29:43,864
What you Wish to do.
210
00:29:44,031 --> 00:29:47,576
I don't know you,
though I like your work...
211
00:29:47,743 --> 00:29:51,872
But I don't know much
about the way you work.
212
00:29:52,039 --> 00:29:53,374
I understand, but...
213
00:29:54,166 --> 00:29:56,252
I don't know... Just ask me.
214
00:29:57,420 --> 00:29:58,838
The way I work...
215
00:30:00,298 --> 00:30:03,718
I don't have a method. It depends.
216
00:30:03,884 --> 00:30:07,263
I don't want to repeat myself.
217
00:30:07,430 --> 00:30:09,390
Each creation is different.
218
00:30:11,434 --> 00:30:13,352
Regarding the choice...
219
00:30:15,980 --> 00:30:17,815
I need to know
220
00:30:20,067 --> 00:30:22,028
which method you'd suggest.
221
00:30:22,194 --> 00:30:25,656
I need to know your rules
so that I can adapt.
222
00:30:26,407 --> 00:30:29,285
I didn't understand the difference...
223
00:30:29,452 --> 00:30:33,581
There is a corps de ballet
and I can choose among them...
224
00:30:33,748 --> 00:30:36,208
The company is very hierarchical.
225
00:30:36,375 --> 00:30:38,336
If you ask, for example,
226
00:30:39,086 --> 00:30:41,839
for Laetitia Pujol
or Aurélie Dupont,
227
00:30:42,006 --> 00:30:46,010
even if they are very generous
and accept,
228
00:30:46,177 --> 00:30:49,388
they obviously need
something really...
229
00:30:49,555 --> 00:30:53,225
Imagine you buy a race car
and drive at 6 miles an hour.
230
00:30:53,392 --> 00:30:56,020
It's not necessarily
in terms of results...
231
00:30:56,187 --> 00:30:59,774
These are persons
who bring you something more.
232
00:30:59,940 --> 00:31:02,985
Yet we have incredible dancers
in the ballet.
233
00:31:03,152 --> 00:31:04,820
Extremely good too.
234
00:31:04,987 --> 00:31:06,072
So...
235
00:31:06,989 --> 00:31:11,410
For example, another Mats Ek's ballet
is entering our repertoire.
236
00:31:11,577 --> 00:31:14,288
He met, as you could do yourself...
237
00:31:14,914 --> 00:31:19,418
He cast some dancers from the corps
in very important roles.
238
00:31:19,585 --> 00:31:21,379
I find that good too.
239
00:31:22,088 --> 00:31:23,589
Though sometimes...
240
00:31:23,756 --> 00:31:25,925
But those ballets already existed.
241
00:31:26,092 --> 00:31:29,011
I think he wanted to work
242
00:31:29,178 --> 00:31:32,139
with dancers like those
who created the roles.
243
00:31:33,307 --> 00:31:35,184
That's why it's important
244
00:31:35,893 --> 00:31:38,187
to work with a group.
245
00:31:38,354 --> 00:31:43,067
Then later, it can be broken up,
but it begins with a group of people
246
00:31:43,234 --> 00:31:45,152
who try to understand something
together.
247
00:32:44,253 --> 00:32:45,463
This movement...
248
00:32:46,505 --> 00:32:49,258
Try to give it strength.
249
00:32:50,509 --> 00:32:53,554
And up you go,
keeping your back straight.
250
00:32:53,721 --> 00:32:56,098
Be sharper.
251
00:32:56,265 --> 00:32:57,725
Never mind your foot.
252
00:32:57,892 --> 00:33:00,060
And from here, go...
253
00:33:00,227 --> 00:33:01,479
Not like this.
254
00:33:01,645 --> 00:33:03,689
Do this and then close.
255
00:33:08,986 --> 00:33:10,237
Second position.
256
00:33:11,572 --> 00:33:12,531
Go!
257
00:33:13,157 --> 00:33:14,700
This is what makes you turn.
258
00:33:15,242 --> 00:33:17,203
You, Emilie, you go...
259
00:33:17,995 --> 00:33:19,038
I exaggerate.
260
00:33:21,165 --> 00:33:24,043
If you close your arm,
the body follows.
261
00:33:24,210 --> 00:33:26,003
Like a swinging door.
262
00:33:26,879 --> 00:33:30,007
Right,
and then you link it like this...
263
00:33:37,139 --> 00:33:38,265
From this point.
264
00:33:38,432 --> 00:33:40,893
Take it more from here.
265
00:34:11,340 --> 00:34:12,508
Relax
266
00:34:12,675 --> 00:34:13,425
completely.
267
00:34:13,592 --> 00:34:15,678
I'll do it once more.
268
00:34:33,070 --> 00:34:34,154
Hold it.
269
00:34:37,658 --> 00:34:38,534
Good.
270
00:34:38,701 --> 00:34:40,411
Leg high!
271
00:34:43,747 --> 00:34:45,457
Leg higher, bend down.
272
00:34:45,624 --> 00:34:46,667
That's it!
273
00:34:51,130 --> 00:34:52,256
This is good.
274
00:35:05,352 --> 00:35:07,187
Head down each time.
275
00:35:14,903 --> 00:35:17,197
A bit too quick.
276
00:35:19,199 --> 00:35:21,118
And the arm backward.
277
00:35:23,370 --> 00:35:27,291
- And watch your head.
- Maybe you could swing the head.
278
00:35:27,458 --> 00:35:30,127
Makes you feel sick, but it's nice.
279
00:35:30,294 --> 00:35:32,630
- That's how it is.
- It's terrible.
280
00:35:32,796 --> 00:35:34,882
Why should it make anybody sick?
281
00:35:54,109 --> 00:35:55,569
This is good.
282
00:36:07,831 --> 00:36:08,957
This is good.
283
00:36:18,425 --> 00:36:19,885
Down and up.
284
00:36:21,762 --> 00:36:24,890
- That was better.
- Amplify the "down and up".
285
00:36:25,057 --> 00:36:28,519
For these turns,
start lower under the knee.
286
00:36:30,396 --> 00:36:32,272
First time you tell me that!
287
00:36:32,815 --> 00:36:34,525
You always say "too low"
288
00:36:34,692 --> 00:36:37,027
On the contrary, it must be lower.
289
00:36:37,444 --> 00:36:38,987
Before I go down?
290
00:36:39,154 --> 00:36:41,156
I certainly don't ask you to go up.
291
00:36:41,323 --> 00:36:44,993
You'll make more turns, and quicker.
292
00:36:49,373 --> 00:36:51,041
Try once Without the music.
293
00:36:52,376 --> 00:36:56,046
Doing it without the music
is interesting.
294
00:36:56,213 --> 00:36:57,631
It's about speed.
295
00:36:58,340 --> 00:36:59,758
And down, down!
296
00:37:01,009 --> 00:37:02,428
Beautiful.
297
00:37:04,263 --> 00:37:08,267
This reminds you of the children,
when everything went fine.
298
00:37:08,892 --> 00:37:12,521
This is when you played with them.
299
00:37:14,481 --> 00:37:16,483
And maybe this would be...
300
00:37:22,406 --> 00:37:24,450
Destiny, tragedy,
301
00:37:24,616 --> 00:37:26,869
your life, what you have done...
302
00:37:29,830 --> 00:37:31,498
"You can't fig ht it."
303
00:37:33,417 --> 00:37:36,211
Maybe you can use these ideas.
304
00:37:39,298 --> 00:37:42,885
What counts are the ideas
you'll have on the stage.
305
00:37:43,051 --> 00:37:44,470
Then the audience...
306
00:37:46,597 --> 00:37:50,976
Don't forget about the stage.
But your general scheme is good.
307
00:37:51,185 --> 00:37:55,355
For me, everything is set.
Now it depends on your own work.
308
00:37:55,522 --> 00:37:58,275
It's your responsibility,
even if we're with you.
309
00:37:58,442 --> 00:38:01,028
It's your responsibility
to go on building it.
310
00:38:01,195 --> 00:38:02,821
- The character.
- You've got it.
311
00:38:02,988 --> 00:38:04,531
It's really great.
312
00:38:05,115 --> 00:38:09,578
When I do this in the end,
I don't know what I'll think about.
313
00:38:09,745 --> 00:38:13,165
You'll see,
some things remain unexplainable.
314
00:38:14,416 --> 00:38:18,420
I feel how heavy it is,
it goes back to everything she did.
315
00:38:18,587 --> 00:38:22,633
Cocteau had a sentence,
not so nice to the artists, but...
316
00:38:23,467 --> 00:38:26,512
"It's up to the public
to figure it out."
317
00:38:26,678 --> 00:38:30,641
Sometimes, it's unexplainable,
it's a state you can't define.
318
00:38:30,808 --> 00:38:33,227
But once you're on stage,
319
00:38:33,393 --> 00:38:36,605
with blood all over,
a devastated face, you'll see...
320
00:38:36,772 --> 00:38:40,776
And the continuity of the ballet
will help you.
321
00:38:42,778 --> 00:38:47,407
If you dance the first pas de deux
with Wilfried as you did,
322
00:38:47,574 --> 00:38:51,495
what follows builds something in us
323
00:38:51,662 --> 00:38:55,999
and in you too. The character
is layered from the beginning.
324
00:38:56,166 --> 00:38:58,126
I feel it's building up.
325
00:38:58,293 --> 00:39:00,838
The coherence is built step by step
326
00:39:01,004 --> 00:39:03,257
as the ballet develops.
327
00:39:03,590 --> 00:39:05,092
In Pa quite,
328
00:39:05,259 --> 00:39:07,845
I really have an awful lot of roles.
329
00:39:08,011 --> 00:39:09,972
Let's see how you are cast.
330
00:39:10,138 --> 00:39:12,057
And I think it's too much.
331
00:39:12,224 --> 00:39:13,725
We'll see about it.
332
00:39:13,892 --> 00:39:16,186
And regarding precisely
the pas de trois...
333
00:39:17,312 --> 00:39:20,315
I think it's not for me anymore.
334
00:39:20,983 --> 00:39:22,276
What's going on?
335
00:39:23,026 --> 00:39:26,989
You read a book you didn't like?
I know! The College Prize!
336
00:39:27,155 --> 00:39:28,824
Brodeck's Report?
337
00:39:28,991 --> 00:39:30,826
He had the students' Goncourt.
338
00:39:30,993 --> 00:39:32,578
This is off the subject.
339
00:39:33,829 --> 00:39:37,207
- Let me call...
- If we talk about literature...
340
00:39:38,959 --> 00:39:42,087
Please bring me
the casting for Paquita.
341
00:39:43,630 --> 00:39:45,841
You already arranged everything.
342
00:39:46,008 --> 00:39:49,469
Not at all! I came to see you,
I came to see God first.
343
00:39:51,054 --> 00:39:52,598
The pas de Ho's...
344
00:39:52,764 --> 00:39:54,099
You don't want to.
345
00:39:54,558 --> 00:39:57,144
Frankly,
with all that I already have...
346
00:39:58,437 --> 00:40:00,480
All I have to do...
347
00:40:00,647 --> 00:40:02,357
What do you have to do?
348
00:40:02,524 --> 00:40:07,321
Renaud called me about
rehearsing the Mats Ek in December!
349
00:40:07,487 --> 00:40:09,907
That was the last straw.
I said: "What?"
350
00:40:10,073 --> 00:40:11,408
"Why me?"
351
00:40:14,912 --> 00:40:17,247
This pas de trois in Paquita,
352
00:40:17,414 --> 00:40:19,333
honestly, Brigitte...
353
00:40:19,499 --> 00:40:22,127
- You don't want it, I got that.
- Because...
354
00:40:22,294 --> 00:40:23,962
All right, settled.
355
00:40:24,129 --> 00:40:25,631
What do we have next?
356
00:40:25,797 --> 00:40:29,009
Next... I can manage it all.
357
00:40:29,176 --> 00:40:30,886
You can manage it all.
358
00:40:31,053 --> 00:40:33,138
Something is bothering you.
359
00:40:33,680 --> 00:40:35,307
What I'm afraid of...
360
00:40:35,766 --> 00:40:38,810
is that I'm not 25 anymore.
361
00:40:39,227 --> 00:40:40,687
It doesn't show.
362
00:40:41,521 --> 00:40:43,482
Now I know that I need to...
363
00:40:43,649 --> 00:40:46,360
Needless to say,
you do a lot anyway.
364
00:40:46,526 --> 00:40:51,114
There are things that
I need to manage pragmatically.
365
00:40:51,740 --> 00:40:56,536
It's a difficult ballet,
which I have never danced.
366
00:40:56,703 --> 00:41:00,165
A difficult ballet,
with pointes and jumps.
367
00:41:00,332 --> 00:41:04,586
Pointes and jumps
are now the most difficult for me.
368
00:41:04,753 --> 00:41:06,630
I know that now,
369
00:41:06,797 --> 00:41:11,218
and I have to be more careful
about the amount of work.
370
00:41:12,678 --> 00:41:16,348
I play a gypsy, a Spanish solo,
371
00:41:16,515 --> 00:41:18,809
a lady of the Court,
372
00:41:18,976 --> 00:41:20,894
and the classical grand pas.
373
00:41:21,061 --> 00:41:23,897
The girls who danced it before say
374
00:41:24,064 --> 00:41:27,442
that when you arrive
at the grand pas, it's very tough.
375
00:41:27,609 --> 00:41:31,488
All that I have before
makes it very tough.
376
00:41:31,655 --> 00:41:33,323
But it's not all in one show.
377
00:41:33,490 --> 00:41:35,409
- I hope not!
- See What I mean?
378
00:41:53,301 --> 00:41:54,302
Right!
379
00:42:04,479 --> 00:42:05,480
Very good.
380
00:42:20,537 --> 00:42:23,165
You go: one, two, three...
381
00:42:23,331 --> 00:42:24,916
And then this.
382
00:42:27,836 --> 00:42:29,046
It's not easy.
383
00:42:29,504 --> 00:42:30,589
From here...
384
00:42:42,809 --> 00:42:45,937
Deeper with the hip.
385
00:42:46,438 --> 00:42:50,609
Your hip turns, you turn your foot
and it brings the hip with it.
386
00:42:58,492 --> 00:43:00,327
You can do it more calmly.
387
00:43:01,953 --> 00:43:03,872
Let me see What you do.
388
00:43:08,502 --> 00:43:13,048
Wait, when you do this,
your arm is already there.
389
00:43:25,143 --> 00:43:28,814
Muriel, when he brings you here,
your other arm just falls.
390
00:43:28,980 --> 00:43:30,857
You would prefer it later?
391
00:43:31,024 --> 00:43:32,776
"My place or yours?"
392
00:43:34,653 --> 00:43:36,238
It's the duet principle.
393
00:43:37,572 --> 00:43:39,366
Not bad. "My place?"
394
00:43:45,122 --> 00:43:47,624
- Right. That's it.
- You prefer that?
395
00:43:47,791 --> 00:43:51,128
- But this little jump is not...
- Do I jump too high?
396
00:43:51,294 --> 00:43:53,171
You have to lean on him.
397
00:44:00,095 --> 00:44:04,182
More like this.
A little higher up anyway.
398
00:44:17,654 --> 00:44:18,738
Like this.
399
00:44:20,657 --> 00:44:21,992
Make it round.
400
00:44:23,410 --> 00:44:27,205
Natacha, you start it right,
but then...
401
00:44:28,456 --> 00:44:31,251
It's round here too.
Everything's round.
402
00:44:33,920 --> 00:44:35,922
You start from here.
403
00:45:45,325 --> 00:45:46,910
- Fish?
- Yes, please.
404
00:45:48,536 --> 00:45:49,788
With sauce?
405
00:45:53,375 --> 00:45:54,584
Vegetables.
406
00:45:54,751 --> 00:45:55,877
With What?
407
00:45:56,670 --> 00:45:58,004
Semolina.
408
00:46:04,052 --> 00:46:05,470
Some of this?
409
00:46:05,845 --> 00:46:07,138
How should I know?
410
00:46:09,182 --> 00:46:10,433
Good day.
411
00:46:11,059 --> 00:46:12,477
Good day, young fellow.
412
00:46:16,147 --> 00:46:18,650
This one with some vegetables.
413
00:46:19,359 --> 00:46:21,486
Chicken broth and vegetables.
414
00:46:27,033 --> 00:46:28,201
Some beans.
415
00:46:28,743 --> 00:46:30,829
And semolina.
The complete couscous.
416
00:46:31,496 --> 00:46:34,291
One has to let 90 once in a while.
417
00:47:00,025 --> 00:47:02,360
Four euros and 14 cents.
418
00:47:30,805 --> 00:47:36,353
We sell a 4-day trip
to the "American Friends".
419
00:47:37,645 --> 00:47:40,106
From the 17th to the 20th.
420
00:47:40,273 --> 00:47:42,317
According to schedule,
421
00:47:42,484 --> 00:47:46,905
on the 17th we have a Welcome
Opening Night Party for everybody.
422
00:47:48,448 --> 00:47:51,785
On the 18th, gala evening.
423
00:47:54,079 --> 00:47:55,246
On the 19th...
424
00:47:58,666 --> 00:48:00,877
New York City Ballet
at Opéra Bastille.
425
00:48:01,044 --> 00:48:04,297
And on the 20th, Robbins' gala here.
426
00:48:04,464 --> 00:48:09,594
We have started
to add a few supplements,
427
00:48:09,761 --> 00:48:12,055
because the galas are not enough.
428
00:48:12,222 --> 00:48:14,849
This is where I have
a few things to say.
429
00:48:15,016 --> 00:48:17,268
Where is the schedule?
430
00:48:18,019 --> 00:48:19,521
Here it is: Welcome Dinner.
431
00:48:19,687 --> 00:48:24,943
Then the American ambassador
invites them to a nice luncheon.
432
00:48:25,110 --> 00:48:26,569
Do you have
433
00:48:26,736 --> 00:48:28,029
any rehearsal?
434
00:48:29,572 --> 00:48:31,783
What our patrons want...
435
00:48:31,950 --> 00:48:35,078
The Opera will grant them
a grandiose reception.
436
00:48:35,245 --> 00:48:37,539
There are various types
of reception.
437
00:48:37,705 --> 00:48:42,377
They want to go
to the American embassy,
438
00:48:42,544 --> 00:48:43,962
to a Ministry here...
439
00:48:44,504 --> 00:48:48,591
These are places
they don't easily have access to.
440
00:48:48,758 --> 00:48:52,011
These people want this kind of thing.
441
00:48:52,887 --> 00:48:55,014
We organize a Welcome Dinner
442
00:48:55,432 --> 00:48:57,350
on Wednesday,
443
00:48:58,643 --> 00:49:01,521
a buffet for our Americans.
444
00:49:01,688 --> 00:49:04,774
Let's forget about
the embassy on Thursday.
445
00:49:04,941 --> 00:49:09,654
But we thought about
what the Americans like,
446
00:49:10,155 --> 00:49:11,823
and that is some rehearsal.
447
00:49:11,990 --> 00:49:13,575
For the Benefactors.
448
00:49:13,741 --> 00:49:16,035
- The Benefactors only.
- On Wednesday.
449
00:49:16,202 --> 00:49:18,496
Right, we're talking about
Wednesday.
450
00:49:18,663 --> 00:49:20,957
Let's talk about Wednesday.
451
00:49:21,124 --> 00:49:24,961
Explain the idea,
since it's your idea.
452
00:49:25,753 --> 00:49:28,423
The group of "Big Benefactors",
453
00:49:28,590 --> 00:49:31,801
those who donate
at least 25,000 dollars,
454
00:49:34,512 --> 00:49:37,432
need something special.
455
00:49:39,601 --> 00:49:43,354
Something more
than What the rest of the group has.
456
00:49:43,646 --> 00:49:45,732
So we imagined...
457
00:49:45,899 --> 00:49:47,734
- Go ahead.
- A lunch.
458
00:49:47,901 --> 00:49:49,027
Lunch is all right.
459
00:49:49,194 --> 00:49:51,029
But before lunch...
460
00:49:52,113 --> 00:49:54,157
I knew there was more!
461
00:49:54,824 --> 00:49:58,828
Lunch is all right.
A nice lunch, why not...
462
00:49:58,995 --> 00:50:01,789
We could bring this group
463
00:50:02,499 --> 00:50:04,667
to a rehearsal upstairs.
464
00:50:04,834 --> 00:50:07,879
- Of the NY City Ballet?
- Of the Opera Ballet.
465
00:50:08,046 --> 00:50:10,089
- How many are they?
- We don't know.
466
00:50:10,256 --> 00:50:12,884
- About 20.
- That's too difficult.
467
00:50:13,760 --> 00:50:16,137
But we can really sell this.
468
00:50:17,263 --> 00:50:19,015
What is being rehearsed?
469
00:50:19,766 --> 00:50:21,392
Robbins, of course.
470
00:50:22,143 --> 00:50:24,854
What's the name of the studio?
471
00:50:25,021 --> 00:50:26,981
- "Petipa".
- Really?
472
00:50:27,148 --> 00:50:30,735
We don't have
the right space for that.
473
00:50:31,319 --> 00:50:32,946
It's too tight.
474
00:50:33,446 --> 00:50:35,323
And the piano rehearsal?
475
00:50:40,828 --> 00:50:42,705
Maybe one or two
476
00:50:42,872 --> 00:50:46,084
will ask to see the Petipa Studio...
477
00:50:46,251 --> 00:50:47,710
They'll all ask!
478
00:50:49,087 --> 00:50:51,381
If it's a guided tour... Private.
479
00:50:53,466 --> 00:50:55,301
We could pass through it!
480
00:50:55,468 --> 00:50:57,095
Olivier does that very well.
481
00:50:57,262 --> 00:51:00,890
Let's imagine
a sort of organized tour...
482
00:51:01,057 --> 00:51:03,226
Through the two companies.
483
00:51:05,061 --> 00:51:06,688
That's a good idea.
484
00:51:07,313 --> 00:51:11,234
The guided tour
would visit the studios,
485
00:51:11,401 --> 00:51:13,528
which is something
they've never seen.
486
00:51:13,695 --> 00:51:18,533
Then we stop for a few minutes
on the balcony...
487
00:51:19,450 --> 00:51:20,952
A few seconds.
488
00:51:21,119 --> 00:51:24,289
At the piano rehearsal for the gala.
489
00:51:24,455 --> 00:51:26,124
They can stay longer.
490
00:51:26,291 --> 00:51:27,959
Then they have lunch...
491
00:51:28,126 --> 00:51:29,586
The good idea
492
00:51:29,752 --> 00:51:31,754
is the guided tour.
493
00:51:32,964 --> 00:51:34,299
A stop at the studio,
494
00:51:35,717 --> 00:51:40,221
and then to the piano rehearsal
where they can stay longer.
495
00:51:40,388 --> 00:51:43,433
That's on September 17th,
496
00:51:43,600 --> 00:51:45,268
for the "Big Benefactors".
497
00:51:45,893 --> 00:51:47,895
The Benefactors...
498
00:51:48,605 --> 00:51:50,106
Twenty persons?
499
00:51:51,149 --> 00:51:54,527
The 25,000 dollars includes
500
00:51:54,694 --> 00:51:56,904
two trip packages.
501
00:51:57,071 --> 00:52:02,243
The normal trip package
costs 5,000 dollars per person.
502
00:52:04,245 --> 00:52:06,581
This includes two trip packages,
503
00:52:06,748 --> 00:52:11,252
and in addition, they have a box
504
00:52:12,420 --> 00:52:14,297
for the gala, with 6 seats,
505
00:52:14,464 --> 00:52:18,301
meaning they can invite
4 more persons.
506
00:52:18,468 --> 00:52:23,348
- The 25,000 dollar Benefactors.
- I'm only talking about the 25,000.
507
00:52:24,307 --> 00:52:27,477
They have two 5,000 dollar packages,
508
00:52:27,644 --> 00:52:30,688
plus a box for 6 people,
509
00:52:30,855 --> 00:52:34,067
so that they can invite 4 persons.
510
00:52:35,234 --> 00:52:36,736
Any documentation on that?
511
00:52:36,903 --> 00:52:41,074
Not yet. We just worked on it.
512
00:52:41,240 --> 00:52:44,494
We plan to offer it to, let's say...
513
00:52:44,661 --> 00:52:47,622
Tomorrow,
we have lunch with Lehman Brothers.
514
00:52:47,789 --> 00:52:50,416
They absolutely want
to be at the gala.
515
00:52:51,876 --> 00:52:55,296
We offered the Robbins programme
to Lehman Brothers,
516
00:52:55,463 --> 00:52:59,634
but if they don't sponsor it all,
517
00:52:59,801 --> 00:53:03,179
they could buy a package or two
518
00:53:03,930 --> 00:53:06,516
to make some PR operation.
519
00:53:25,368 --> 00:53:29,539
Instead of having your arm there
because they asked you to,
520
00:53:29,706 --> 00:53:31,708
it has to be meaningful to you.
521
00:53:35,878 --> 00:53:38,673
A person trying to contain herself.
522
00:53:38,840 --> 00:53:41,926
She contains herself, and then...
523
00:53:45,638 --> 00:53:47,557
Imagine that.
524
00:53:47,724 --> 00:53:51,686
It reminds you of your children
then you're with him
525
00:53:51,853 --> 00:53:53,271
and you start to...
526
00:54:11,706 --> 00:54:13,624
Imagine it. Good.
527
00:54:16,544 --> 00:54:21,090
The jump is important
only as the conclusion of your movement.
528
00:54:21,257 --> 00:54:24,927
Jumping is not as important
as launching something.
529
00:54:30,975 --> 00:54:33,102
You don't have to do it forcefully.
530
00:54:35,146 --> 00:54:37,440
Sometimes you need to insist...
531
00:54:39,692 --> 00:54:40,777
And again.
532
00:54:43,112 --> 00:54:44,822
"If I got them...
533
00:54:46,949 --> 00:54:48,326
"This is What I'd do."
534
00:54:48,493 --> 00:54:51,245
Imagine. Feed on this too.
535
00:54:52,705 --> 00:54:56,918
You can't put words on each movement.
But the evolution is clear.
536
00:55:07,428 --> 00:55:08,971
The end of the week!
537
01:01:30,561 --> 01:01:33,856
Thanks to all those who attended
and I hope liked,
538
01:01:34,023 --> 01:01:37,443
who anyway have seen this ballet.
539
01:01:37,610 --> 01:01:39,570
To me, it is above all a ballet.
540
01:01:39,737 --> 01:01:42,781
I thank my star dancer,
Mr Gergiev...
541
01:01:43,532 --> 01:01:45,993
for his direction
542
01:01:46,160 --> 01:01:49,038
that mixes music, dance and theater.
543
01:01:49,205 --> 01:01:51,874
Thanks to Aurélie Dupont, of course.
544
01:01:57,338 --> 01:01:59,089
To Hervé Moreau.
545
01:02:03,719 --> 01:02:04,887
To Nicolas Paul,
546
01:02:05,054 --> 01:02:09,225
who had a fever.
That's why he's not here.
547
01:02:09,391 --> 01:02:13,646
And of course to another dancer...
548
01:02:14,063 --> 01:02:16,232
Our magnificent...
549
01:02:17,316 --> 01:02:22,238
And I'm sure you'll join me
in my deepest thanks
550
01:02:22,404 --> 01:02:24,573
to Sasha Waltz.
551
01:02:27,159 --> 01:02:29,411
Sasha, we thank you again.
552
01:08:28,312 --> 01:08:30,689
First time I've seen that!
553
01:09:02,179 --> 01:09:03,305
Ready to go.
554
01:09:25,327 --> 01:09:26,411
Let's go.
555
01:09:29,706 --> 01:09:31,416
Much better. Complete.
556
01:09:31,583 --> 01:09:32,876
I'll do it that way.
557
01:09:33,043 --> 01:09:34,753
You talk to him.
558
01:09:34,920 --> 01:09:37,297
Your movements say:
559
01:09:37,464 --> 01:09:41,051
"You're back!
I'll look after you, heal you."
560
01:09:41,218 --> 01:09:42,260
But then...
561
01:09:44,054 --> 01:09:46,014
But you are still Medea.
562
01:09:46,181 --> 01:09:50,227
There are strange little signs
or ambiguous gestures,
563
01:09:50,394 --> 01:09:53,313
caresses that could also be blows.
564
01:09:56,024 --> 01:09:57,859
That could be blows...
565
01:09:59,319 --> 01:10:01,530
It's like in the X-Men stories.
566
01:10:01,697 --> 01:10:04,116
These characters all have some...
567
01:10:04,658 --> 01:10:09,496
They want to be in love, but they
have dangerous gifts, so they can't.
568
01:10:09,663 --> 01:10:12,124
- Edward Scissorhands.
- Exactly!
569
01:10:16,795 --> 01:10:18,755
I love dancing to this music.
570
01:10:59,838 --> 01:11:01,381
Simple pas de bourrée.
571
01:11:02,966 --> 01:11:04,009
Arabesque.
572
01:11:19,691 --> 01:11:22,778
Pull the girls to you, boys.
573
01:11:23,278 --> 01:11:25,197
Hand on her waist, Stéphane.
574
01:11:25,363 --> 01:11:27,115
Keep the contact with her.
575
01:11:28,325 --> 01:11:29,451
Third time.
576
01:11:30,577 --> 01:11:31,870
She turns.
577
01:11:34,039 --> 01:11:35,123
She bends.
578
01:11:37,083 --> 01:11:38,418
Stay behind her,
579
01:11:38,919 --> 01:11:41,046
and disappear in the diagonale.
580
01:11:43,465 --> 01:11:45,300
It's a lot in a short time,
581
01:11:45,842 --> 01:11:47,552
but we have to move on.
582
01:11:47,719 --> 01:11:50,305
All the alphas on 50.
583
01:11:51,181 --> 01:11:53,975
- Seconds?
- 114 in 2 seconds.
584
01:11:54,142 --> 01:11:55,227
Twelve.
585
01:11:57,312 --> 01:11:58,563
In twelve seconds.
586
01:12:04,694 --> 01:12:07,489
72, 73, 74.
587
01:12:12,160 --> 01:12:13,453
502.
588
01:12:19,835 --> 01:12:21,795
200 on the 5 kilo.
589
01:12:22,295 --> 01:12:24,548
What's going on with the alpha?
590
01:12:30,470 --> 01:12:32,264
We miss an alpha.
591
01:12:34,140 --> 01:12:35,809
The 2213.
592
01:12:38,311 --> 01:12:40,063
No, not the light.
593
01:12:51,491 --> 01:12:52,993
Keep on "pause".
594
01:13:08,550 --> 01:13:09,593
Shit!
595
01:13:12,637 --> 01:13:15,640
Without the arms,
not as I said before.
596
01:13:25,150 --> 01:13:25,984
Run!
597
01:13:33,116 --> 01:13:34,117
Better.
598
01:13:40,916 --> 01:13:42,167
Cross the left leg.
599
01:13:46,463 --> 01:13:48,506
Right shoulder upfront, Laetitia.
600
01:13:55,889 --> 01:13:57,849
Rounder, more crossed.
601
01:14:20,497 --> 01:14:23,249
Not too high,
or you can't lift the knee.
602
01:14:49,609 --> 01:14:50,902
Cross the thighs.
603
01:15:02,580 --> 01:15:04,207
Left leg aside.
604
01:15:28,940 --> 01:15:30,775
Your legs are really alive,
605
01:15:30,942 --> 01:15:32,193
they're at work.
606
01:15:32,360 --> 01:15:33,820
The roundabout was great.
607
01:15:33,987 --> 01:15:36,614
You must stretch really well
608
01:15:36,781 --> 01:15:39,492
to get a better quality pirouette.
609
01:15:42,746 --> 01:15:43,788
Hold it.
610
01:15:49,836 --> 01:15:50,837
Good.
611
01:15:52,756 --> 01:15:53,798
Resist.
612
01:16:01,431 --> 01:16:03,391
Don't land too early.
613
01:16:08,313 --> 01:16:11,024
Maybe you got lost
in counting or whatever...
614
01:16:11,191 --> 01:16:14,527
But it changes everything
in the quality of the movement.
615
01:16:14,694 --> 01:16:15,528
Everything.
616
01:20:38,291 --> 01:20:39,584
Kicks!
617
01:20:40,918 --> 01:20:42,211
Petites cloches!
618
01:20:52,889 --> 01:20:57,226
Slower in the 2nd part,
so that they lift their legs more.
619
01:20:57,935 --> 01:20:59,437
Here we go.
620
01:21:00,355 --> 01:21:02,398
With the little toes!
621
01:22:20,017 --> 01:22:22,186
Hold on a second, Simonet.
622
01:22:25,064 --> 01:22:26,357
Good, Cora.
623
01:22:28,609 --> 01:22:32,864
I would expect you to jump more.
624
01:22:36,868 --> 01:22:38,494
Stretch it more.
625
01:22:40,246 --> 01:22:42,081
It's good, but...
626
01:22:42,248 --> 01:22:44,876
Finish it like this.
627
01:22:46,752 --> 01:22:48,838
That's good. Don't lean backward.
628
01:22:49,297 --> 01:22:53,843
If you hold it here,
one thinks you do it for yourself.
629
01:22:54,010 --> 01:22:58,264
But like this, you do it also
for those who are watching you.
630
01:22:59,098 --> 01:23:01,142
Without the arm being too loose,
631
01:23:02,185 --> 01:23:05,146
but keeping the position
just as it should be
632
01:23:05,313 --> 01:23:08,941
is less interesting than going
beyond the correct position.
633
01:23:09,108 --> 01:23:11,068
Even with the arm closed.
634
01:23:12,320 --> 01:23:13,821
It's about rhythm.
635
01:23:26,584 --> 01:23:29,378
Cora, use the couronnes more.
636
01:23:29,545 --> 01:23:31,130
Sometimes, I find you...
637
01:23:31,297 --> 01:23:33,132
It's not a flaw,
638
01:23:33,299 --> 01:23:36,260
but you could be
more generous in the couronnes.
639
01:23:38,471 --> 01:23:42,517
Your arms are in place
but only your legs are at work.
640
01:23:42,683 --> 01:23:44,602
You can also use your elbows.
641
01:23:45,770 --> 01:23:48,231
Same when you start your turns.
642
01:23:48,397 --> 01:23:50,066
Try to use this...
643
01:23:53,027 --> 01:23:54,779
Open. Exactly!
644
01:23:58,032 --> 01:24:01,410
Once more,
and then it's your turn, Simonet.
645
01:24:11,379 --> 01:24:13,339
Go with the music, breathe.
646
01:24:29,981 --> 01:24:31,232
Back straight.
647
01:24:40,616 --> 01:24:41,701
Attack.
648
01:25:20,656 --> 01:25:23,034
Not bad, Simonet. Tough work.
649
01:33:42,032 --> 01:33:44,576
Our company
belongs to the 21st century,
650
01:33:44,743 --> 01:33:47,955
but for me, as artistic director,
651
01:33:48,122 --> 01:33:51,125
it has to offer
the classics of the repertoire.
652
01:33:51,708 --> 01:33:55,587
We need
a rather broad range of ballets.
653
01:33:55,754 --> 01:33:58,048
I don't want to mutilate you
and stop you
654
01:33:58,215 --> 01:34:00,634
from working
with modern choreographers,
655
01:34:01,260 --> 01:34:04,221
living artists, whether famous
656
01:34:04,388 --> 01:34:05,764
or not famous.
657
01:34:07,808 --> 01:34:10,144
We also contribute to their career.
658
01:34:10,310 --> 01:34:12,563
And in a way, everybody's happy.
659
01:34:13,105 --> 01:34:14,481
But I've felt...
660
01:34:17,025 --> 01:34:20,654
"unsettled", as the jargon goes.
661
01:34:20,821 --> 01:34:24,908
I felt that
once the dancers attended the class,
662
01:34:25,075 --> 01:34:26,869
they found it worthwhile.
663
01:34:27,035 --> 01:34:29,621
This is more valuable than any talk.
664
01:34:29,788 --> 01:34:33,417
- Honestly, the atmosphere is...
- Quite good.
665
01:34:34,001 --> 01:34:38,213
But you know how it is
with groups of artists,
666
01:34:38,380 --> 01:34:41,884
when someone says:
"We worry about the youngsters."
667
01:34:42,551 --> 01:34:45,721
The young ones
were happy to work with Sasha.
668
01:34:45,888 --> 01:34:47,931
They learned a lot...
669
01:34:48,098 --> 01:34:52,603
But since I hear all this,
I have to repeat once again:
670
01:34:52,769 --> 01:34:55,189
our programming
is planned over 3 years.
671
01:34:56,732 --> 01:34:59,902
For various reasons:
first, the rights.
672
01:35:00,068 --> 01:35:02,779
Our repertoire
is cleared for 3 or 5 years.
673
01:35:02,946 --> 01:35:08,243
We must exploit
the subtle negotiations of Olivier
674
01:35:08,994 --> 01:35:12,289
and therefore
go on dancing these ballets.
675
01:35:12,456 --> 01:35:14,541
Some ballets are renewed.
676
01:35:14,708 --> 01:35:17,419
The risky ones
have to be given another try.
677
01:35:17,586 --> 01:35:21,757
We have regular courses
of contemporary dance,
678
01:35:21,924 --> 01:35:24,801
but I see
very few young people attending.
679
01:35:24,968 --> 01:35:27,387
I see very few people attending.
680
01:35:27,554 --> 01:35:30,891
I'd like to know
if these courses are appropriate
681
01:35:31,058 --> 01:35:35,854
or if they're not and need a change.
This would interest me.
682
01:35:36,021 --> 01:35:39,816
It's not about "informing"
but about knowing how it feels.
683
01:35:40,108 --> 01:35:43,028
How can you be afraid
to approach a language
684
01:35:43,195 --> 01:35:45,781
deeply different
from the classical one
685
01:35:45,948 --> 01:35:48,700
if you never learned
contemporary dance?
686
01:35:48,867 --> 01:35:52,496
Once you understand the work,
the center of gravity,
687
01:35:52,663 --> 01:35:54,539
what a twist or a curve means...
688
01:35:55,374 --> 01:35:57,668
then you know how to warm up
689
01:35:57,918 --> 01:35:59,544
your body.
690
01:36:00,796 --> 01:36:03,548
Regarding the choreographers...
691
01:36:03,715 --> 01:36:06,176
Can we dance anything? Yes and no.
692
01:36:06,885 --> 01:36:09,638
There are things that I love
that I'll never
693
01:36:10,305 --> 01:36:11,682
ask you to do.
694
01:36:12,349 --> 01:36:13,558
If I sum it up...
695
01:36:14,893 --> 01:36:16,645
In brief, I'm told
696
01:36:16,812 --> 01:36:20,065
that the young fear
to approach new techniques.
697
01:36:20,232 --> 01:36:24,903
But they don't go to the classes
where they could learn them!
698
01:36:25,070 --> 01:36:28,782
When you discuss together,
as our company should,
699
01:36:28,949 --> 01:36:31,535
please remind them, as I do myself,
700
01:36:31,702 --> 01:36:34,871
that they have access
to solutions and knowledge
701
01:36:35,038 --> 01:36:37,749
through the classes.
Once a week, right?
702
01:36:39,835 --> 01:36:41,545
It's good to remind them.
703
01:38:34,032 --> 01:38:35,450
Carole, in the middle!
704
01:38:38,078 --> 01:38:39,538
Pass in front!
705
01:38:53,593 --> 01:38:56,471
That's better.
Pointes in the jumps, girls!
706
01:38:56,638 --> 01:38:58,306
Ninon, your pointes!
707
01:38:59,099 --> 01:39:00,517
Step back, Ninon!
708
01:39:02,269 --> 01:39:04,312
Hold it, they're not in line.
709
01:39:05,689 --> 01:39:07,065
You're scattered all over.
710
01:39:10,402 --> 01:39:13,280
- Is she in the middle?
- She must be on the line.
711
01:39:13,447 --> 01:39:16,032
When you see your friend...
712
01:39:16,992 --> 01:39:18,118
you come out.
713
01:39:18,285 --> 01:39:20,912
And don't land so flat, girls.
714
01:39:25,125 --> 01:39:28,753
I noticed that when you come out,
you all fall flat.
715
01:39:31,923 --> 01:39:32,966
Tighter!
716
01:39:45,937 --> 01:39:47,105
That was better.
717
01:39:47,898 --> 01:39:49,858
Look, Christine is happy!
718
01:39:50,567 --> 01:39:51,568
Line!
719
01:39:56,615 --> 01:39:57,616
Down!
720
01:40:03,163 --> 01:40:04,289
Not too high!
721
01:40:13,381 --> 01:40:15,091
Your back, Aurélia.
722
01:40:15,842 --> 01:40:18,887
Don't turn your back
during your entrelacé.
723
01:40:19,387 --> 01:40:21,056
Arms late, Christine!
724
01:40:22,557 --> 01:40:26,061
People don't understand
the specifics of this troupe
725
01:40:26,228 --> 01:40:28,730
which relies on a school...
726
01:40:28,897 --> 01:40:32,317
a troupe that wants to reach
the highest level.
727
01:40:32,484 --> 01:40:36,279
I showed a picture of Gillot
in McGregor's ballet,
728
01:40:36,446 --> 01:40:38,990
where she is making these splits.
729
01:40:39,157 --> 01:40:42,994
Try to do that when you reach 45...
730
01:40:43,495 --> 01:40:45,997
There can be exceptions, but...
731
01:40:47,791 --> 01:40:50,710
This brings us back
to the definition of the dancer
732
01:40:50,877 --> 01:40:53,505
by Maurice Béjart:
"Half nun, half boxer".
733
01:40:53,672 --> 01:40:57,842
Capable of great dedication,
endowed with physical strength,
734
01:40:59,010 --> 01:41:00,470
and energy...
735
01:41:00,637 --> 01:41:03,014
They are both...
736
01:41:03,181 --> 01:41:07,143
A dancer is both
the racehorse and its jockey,
737
01:41:07,310 --> 01:41:10,272
the race car and its driver.
738
01:41:12,274 --> 01:41:14,568
There is a lot more, but...
739
01:41:15,485 --> 01:41:19,573
Nobody talks about it,
and this creates a lot of confusion.
740
01:41:19,739 --> 01:41:24,327
It's the same with singers.
At a certain age, it's over.
741
01:41:25,203 --> 01:41:26,997
We stop at 40.
742
01:41:27,163 --> 01:41:29,499
Some dancers in the company
don't reach 40.
743
01:41:29,666 --> 01:41:33,545
- Singers start their career at 25.
- I don't mean the careers,
744
01:41:33,712 --> 01:41:38,300
but the gap between 40
and the legal retirement age of 65.
745
01:41:45,473 --> 01:41:46,683
Marie-Agnés?
746
01:41:49,019 --> 01:41:51,438
Can you go back to the second...
747
01:41:53,523 --> 01:41:54,941
Ready, Marie-Agnés?
748
01:42:24,554 --> 01:42:26,097
She's incredible!
749
01:42:47,994 --> 01:42:49,746
He didn't change place?
750
01:42:51,956 --> 01:42:53,792
He went back to his first place.
751
01:42:57,045 --> 01:42:58,797
Wrong direction!
752
01:43:04,177 --> 01:43:06,429
At the top of the diagonale, Julien!
753
01:43:06,596 --> 01:43:09,015
Too tight! You have no room!
754
01:43:11,351 --> 01:43:13,103
That's the right place.
755
01:43:13,353 --> 01:43:14,437
Again?
756
01:43:14,604 --> 01:43:16,523
See these arms! Let's tell them.
757
01:43:16,690 --> 01:43:18,108
Too limp, Julien.
758
01:43:20,485 --> 01:43:23,113
Audric's turns are limp too.
759
01:43:23,279 --> 01:43:27,534
Shit, Alister! You do it each time!
760
01:43:29,577 --> 01:43:31,913
Wrong place again, Alister?
761
01:43:32,080 --> 01:43:33,164
Shit!
762
01:43:34,207 --> 01:43:38,628
It's always the same, get it right!
We stop here every time!
763
01:43:38,795 --> 01:43:42,382
The diagonale must start
down there at the bottom.
764
01:43:44,008 --> 01:43:45,719
Higher on the diagonale.
765
01:43:47,095 --> 01:43:50,140
Julien, when you pass
between the ranks, be precise.
766
01:43:50,765 --> 01:43:54,352
Benjamin, sometimes
you don't know where you are...
767
01:43:55,186 --> 01:43:59,482
I know it's not easy,
but you have to start doing it!
768
01:44:05,613 --> 01:44:07,657
Why these long underpants?
769
01:44:24,007 --> 01:44:25,842
That's not enough!
770
01:44:27,302 --> 01:44:28,386
I agree.
771
01:44:32,557 --> 01:44:34,058
Not too low?
772
01:44:34,434 --> 01:44:36,144
Let her try.
773
01:44:41,399 --> 01:44:42,609
Too low.
774
01:44:44,027 --> 01:44:45,612
But she did her 3 turns.
775
01:44:47,113 --> 01:44:48,406
Look at this beauty.
776
01:44:55,663 --> 01:44:56,581
Splendid.
777
01:44:56,748 --> 01:44:58,541
Indecently easy.
778
01:44:59,125 --> 01:45:00,502
Beautiful work.
779
01:45:04,714 --> 01:45:06,466
And he is musical too.
780
01:45:08,551 --> 01:45:12,347
They all do the first step
on half pointes. Look!
781
01:45:12,514 --> 01:45:13,598
All of them.
782
01:45:20,730 --> 01:45:21,564
Good!
783
01:45:29,239 --> 01:45:31,407
Wait. Is it a joke, Lucie?
784
01:45:35,620 --> 01:45:37,205
It's falling to pieces...
785
01:45:40,041 --> 01:45:41,167
She fell?
786
01:45:41,543 --> 01:45:42,794
No, itfell.
787
01:45:43,211 --> 01:45:44,295
Again. Last time.
788
01:45:44,462 --> 01:45:47,215
Let her cut it and end of the story.
789
01:45:57,100 --> 01:45:58,268
Hold it!
790
01:46:24,127 --> 01:46:26,212
Right arm not too high, Sofia.
791
01:46:27,547 --> 01:46:30,925
It's crescendo, so you can go for it.
With your backs.
792
01:46:40,852 --> 01:46:42,020
Arms stretched.
793
01:46:43,396 --> 01:46:44,439
Far.
794
01:46:56,075 --> 01:46:57,410
Down.
795
01:46:57,577 --> 01:46:59,662
The emphasis is lower, right.
796
01:47:27,273 --> 01:47:29,108
These two are incredible...
797
01:47:30,234 --> 01:47:33,488
You just have to plug them in.
They've done it so many times.
798
01:47:46,250 --> 01:47:49,754
You should "travel" a bit more
when you first cross, Muriel.
799
01:47:51,798 --> 01:47:55,385
Stop, once more.
Muriel, do you see, you and Fanny?
800
01:47:55,551 --> 01:47:58,179
You're in front,
you have to cross wider.
801
01:48:00,640 --> 01:48:01,808
First point:
802
01:48:01,975 --> 01:48:06,187
the reform of the retirement systems
for public institutions
803
01:48:06,354 --> 01:48:11,067
which are
the "Special retirement systems".
804
01:48:11,234 --> 01:48:13,152
It involves the Opera, but not only:
805
01:48:13,319 --> 01:48:17,865
Comédie Frangaise, Gaz de France,
National Railways, etc.
806
01:48:18,032 --> 01:48:21,411
I think that the reform as such
is not negotiable.
807
01:48:21,577 --> 01:48:23,329
It will happen anyway.
808
01:48:23,496 --> 01:48:27,417
You may think differently,
but that's what I feel.
809
01:48:27,583 --> 01:48:32,714
But dancers have
special characteristics...
810
01:48:32,880 --> 01:48:36,384
Others have too,
but we'll leave them apart.
811
01:48:36,551 --> 01:48:41,764
We have differences from the others
that we definitely can assert.
812
01:48:41,931 --> 01:48:45,435
Your representatives
813
01:48:45,601 --> 01:48:48,146
showed you the document
814
01:48:48,312 --> 01:48:51,774
from the Ministry of Employment.
815
01:48:51,941 --> 01:48:55,319
Among the items open to negotiation,
816
01:48:55,486 --> 01:48:59,532
the first one is about professions.
817
01:49:00,199 --> 01:49:03,453
Therefore I cannot tell you today
818
01:49:04,037 --> 01:49:09,208
what your future
retirement status will be.
819
01:49:09,375 --> 01:49:11,169
But I can tell you 2 things.
820
01:49:11,335 --> 01:49:16,758
First: last time
Brigitte and I took care
821
01:49:17,467 --> 01:49:22,221
of the retirement system
for our Paris Opera Ballet dancers,
822
01:49:22,388 --> 01:49:26,559
we managed quite well
and we obtained a status
823
01:49:26,726 --> 01:49:30,480
that appeared to us
as the best we could get.
824
01:49:30,646 --> 01:49:34,484
First point.
Second: we are now discussing
825
01:49:34,650 --> 01:49:39,113
with the Ministry of Employment
about the dancers' status.
826
01:49:39,280 --> 01:49:43,951
It is different
from the other Opera workers' status.
827
01:49:44,118 --> 01:49:46,079
I'm talking about you.
828
01:49:46,245 --> 01:49:48,664
These two facts make me think
829
01:49:48,831 --> 01:49:51,084
that we could find
830
01:49:51,250 --> 01:49:54,962
an acceptable solution
831
01:49:55,129 --> 01:49:58,841
in the framework of the reform,
which will happen anyway,
832
01:49:59,008 --> 01:50:00,551
let's be clear.
833
01:50:02,678 --> 01:50:06,099
One last thing
before I answer your questions.
834
01:50:08,434 --> 01:50:10,061
You also have to know
835
01:50:10,311 --> 01:50:13,773
that in the present reform,
whatever may happen,
836
01:50:14,482 --> 01:50:19,612
the pension rights are available
from a certain age on.
837
01:50:19,862 --> 01:50:22,073
For the dancers, it's 40.
No change.
838
01:50:22,657 --> 01:50:25,910
Nothing to negotiate, it's settled.
839
01:50:26,911 --> 01:50:30,581
This is one of the few things
I can assure you.
840
01:50:30,748 --> 01:50:33,167
The availability of the rights
841
01:50:33,626 --> 01:50:37,839
starts at 40
for all the dancers of the Ballet.
842
01:50:38,881 --> 01:50:43,177
I would like to tell you today
that I'm like you: I don't know.
843
01:50:44,011 --> 01:50:47,890
But I know
what the management Wishes
844
01:50:48,057 --> 01:50:52,436
and that we are doing
everything possible to maintain
845
01:50:52,603 --> 01:50:54,147
the best possible status.
846
01:50:54,313 --> 01:50:58,025
My not knowing
doesn't mean it will go wrong.
847
01:50:58,192 --> 01:51:03,239
There's another thing, and I speak,
as they say, "under your guidance".
848
01:51:03,406 --> 01:51:07,535
The question of the status
is important to each dancer
849
01:51:07,702 --> 01:51:12,081
but we also have to consider,
as many of you do,
850
01:51:12,248 --> 01:51:14,250
the defense of this troupe
851
01:51:14,417 --> 01:51:16,502
and the quality of this troupe.
852
01:51:16,669 --> 01:51:20,298
The personal status
is of course very important,
853
01:51:20,464 --> 01:51:25,553
and nobody will accept to discuss
conditions that are not those we wish.
854
01:51:25,720 --> 01:51:29,140
But I have another concern that...
855
01:51:30,474 --> 01:51:32,518
that I find very important.
856
01:51:32,685 --> 01:51:36,522
It's the consciousness
formed in our school,
857
01:51:36,689 --> 01:51:40,026
and even if you come
from other schools...
858
01:51:40,193 --> 01:51:42,778
Anyway, the strength of our teaching,
859
01:51:42,945 --> 01:51:47,241
meaning this generational renewal
makes the company
860
01:51:47,408 --> 01:51:49,911
season after season,
for a long time,
861
01:51:50,077 --> 01:51:53,372
as successful as it is,
with an audience of 300000,
862
01:51:53,539 --> 01:51:56,417
a reputation
of being the best in the world.
863
01:51:56,584 --> 01:51:59,921
We're modest,
we know that others are excellent.
864
01:52:00,087 --> 01:52:03,466
But we're among the best.
All this is not a coincidence.
865
01:52:03,633 --> 01:52:05,760
What counts in this meeting
866
01:52:05,927 --> 01:52:11,557
is that the dancers become more
aware of their individual situation
867
01:52:11,724 --> 01:52:16,604
but also of what it means
to belong to the Paris Opera Ballet.
868
01:52:16,771 --> 01:52:20,900
If one day, and I speak here
as artistic director,
869
01:52:21,067 --> 01:52:24,487
not as a manager
who deals with the administration...
870
01:52:24,654 --> 01:52:27,615
If one day
the Ballet loses its quality,
871
01:52:27,782 --> 01:52:32,578
it will be over, we'll have
no basis to assert our claims.
872
01:52:35,164 --> 01:52:37,583
No, there's nothing to applaud!
873
01:52:40,002 --> 01:52:43,881
Repeat it loud and clear
because it's your strength.
874
02:05:42,492 --> 02:05:45,662
Complete programme of the show!
875
02:11:28,046 --> 02:11:29,798
Concierge speaking.
876
02:11:33,343 --> 02:11:37,180
Everybody understood.
It was quite beautiful.
877
02:11:38,098 --> 02:11:42,811
It may sound strange,
but the coffin was on the stage
878
02:11:42,977 --> 02:11:46,648
surrounded with beautiful objects
that belonged to Maurice.
879
02:11:46,815 --> 02:11:49,317
There were books,
and even a kitchen stool,
880
02:11:49,484 --> 02:11:51,611
less beautiful but very amusing.
881
02:11:51,778 --> 02:11:55,824
There was an armchair,
a copy of Moliére's armchair
882
02:11:55,990 --> 02:11:58,118
for Le Malade imaginaire.
883
02:11:58,284 --> 02:12:01,329
And a beautiful statue of Buddha
884
02:12:01,496 --> 02:12:04,624
that belonged to Maurice's father.
885
02:12:04,791 --> 02:12:06,376
What else...
886
02:12:06,543 --> 02:12:10,046
The costume of a clown
he wore in a ballet.
887
02:12:10,213 --> 02:12:11,923
And I don't know what else...
888
02:12:12,090 --> 02:12:13,633
But it was beautiful.
889
02:12:16,553 --> 02:12:21,349
It was not about criticizing,
it was about a feeling of harmony.
890
02:12:21,516 --> 02:12:23,518
It always feels strange,
891
02:12:24,519 --> 02:12:26,980
nothing connects, everyone feels...
892
02:12:28,898 --> 02:12:31,067
That's What he wanted it to be.
893
02:12:31,234 --> 02:12:35,113
The cremation
was this morning at 9 a.m.,
894
02:12:35,280 --> 02:12:39,325
but I had to leave
because of the strike,
895
02:12:39,492 --> 02:12:43,413
in order to be with the dancers,
to understand What's going on.
896
02:12:43,580 --> 02:12:47,083
So I came back early,
and that's it.
897
02:12:57,135 --> 02:13:00,096
- Don't stretch the arms.
- In the arabesque?
898
02:13:00,263 --> 02:13:03,266
No, in your temps levé
in diagonale.
899
02:13:03,892 --> 02:13:05,185
Back stretched.
900
02:13:09,731 --> 02:13:14,360
For your assemblés en diagonale,
the front leg is on the side.
901
02:13:14,527 --> 02:13:16,571
You twist your body too much.
902
02:13:17,947 --> 02:13:19,491
You stay like this.
903
02:13:56,319 --> 02:14:00,198
Maybe a little slower
than the usual tempo.
904
02:14:18,633 --> 02:14:19,801
Better, José.
905
02:14:19,968 --> 02:14:23,179
Your landing is better
if you're higher.
906
02:14:23,638 --> 02:14:26,891
Or else it's forced, see?
Not natural.
907
02:14:27,058 --> 02:14:31,521
The first one is right,
because it's linked with this.
908
02:14:31,688 --> 02:14:33,022
But the second one...
909
02:14:38,111 --> 02:14:39,070
I could try both.
910
02:14:39,237 --> 02:14:43,199
- And you push on the ground.
- There's a link with the next one.
911
02:14:46,452 --> 02:14:49,080
I like what you do with your heel.
912
02:14:49,247 --> 02:14:50,206
This?
913
02:14:50,915 --> 02:14:53,042
So you need one second to do it.
914
02:14:58,881 --> 02:15:01,509
Let's see if your turns
finish on first position.
915
02:15:08,641 --> 02:15:09,684
It's good too.
916
02:15:10,101 --> 02:15:11,144
Even better.
917
02:15:11,519 --> 02:15:16,232
Because it gives a reason
to push on the ground.
918
02:23:39,068 --> 02:23:43,781
When the right arm
comes back forward,
919
02:23:43,948 --> 02:23:45,866
the other arm slips down on it.
920
02:23:58,212 --> 02:24:01,423
It's also your arms
that make the movement.
921
02:24:01,590 --> 02:24:04,343
The legs help, of course.
922
02:24:17,189 --> 02:24:19,066
I have to rethink that.
923
02:24:20,985 --> 02:24:23,654
Do it once more
to check with the music,
924
02:24:23,821 --> 02:24:26,532
and then we'll go back
to the beginning.
925
02:24:50,472 --> 02:24:51,682
Wrong.
926
02:26:01,085 --> 02:26:03,963
Philippe,
please come up immediately
927
02:26:04,129 --> 02:26:07,091
to the Lifar Studio,
for Benjamin Pech.
928
02:26:07,967 --> 02:26:11,428
I talked with Laure Muret
who has a lot of roles.
929
02:26:11,595 --> 02:26:15,557
I'm trying to readjust the plans,
not necessarily with you.
930
02:26:15,724 --> 02:26:18,143
You are not the only one.
931
02:26:18,310 --> 02:26:22,523
I wanted to thank you
for the little part you cast me in.
932
02:26:22,690 --> 02:26:25,317
I think it's already something,
an opportunity.
933
02:26:25,484 --> 02:26:27,319
You're right.
Life is beautiful?
934
02:26:27,486 --> 02:26:29,613
I'm fine, I mean...
935
02:26:29,780 --> 02:26:32,908
It's here that I wish
to fulfill my potential.
936
02:26:33,075 --> 02:26:36,704
It's quite possible,
and you have so many qualities.
937
02:26:37,788 --> 02:26:41,500
But you have to go on working.
Not for the sake of working.
938
02:26:42,459 --> 02:26:45,212
You have to turn everything
to your advantage.
939
02:26:47,756 --> 02:26:50,968
You can learn a lot
by observing the others.
940
02:26:51,135 --> 02:26:55,139
When one is too self-critical,
it's not good.
941
02:26:55,306 --> 02:26:58,225
And criticizing the others
can be bad.
942
02:26:58,392 --> 02:27:03,272
But you can watch and grab
interesting things from any artist.
943
02:27:03,439 --> 02:27:06,233
I enjoyed
the Casse-Noisette rehearsal.
944
02:27:06,400 --> 02:27:07,609
You liked it?
945
02:27:07,776 --> 02:27:09,778
I loved Laetitia Pujol.
946
02:27:09,945 --> 02:27:11,280
Did you?
947
02:27:12,698 --> 02:27:14,199
She has so much control...
948
02:27:14,366 --> 02:27:18,203
I hope that some day
I could dance like her.
949
02:27:19,496 --> 02:27:22,541
She has her personal intelligence,
950
02:27:22,708 --> 02:27:24,668
but also a beautiful technique.
951
02:27:24,835 --> 02:27:29,298
You have to be yourself.
You're on the right track.
952
02:27:29,465 --> 02:27:32,301
- Don't be afraid.
- I have to improve myself.
953
02:27:32,468 --> 02:27:33,927
But I feel...
954
02:27:34,845 --> 02:27:37,056
that I've gone over a hurdle.
955
02:27:38,098 --> 02:27:41,894
Since the entrance exam.
956
02:27:42,353 --> 02:27:43,937
I do want to go on.
957
02:27:44,104 --> 02:27:45,522
And don't be afraid.
958
02:27:48,025 --> 02:27:51,236
"Don't, don't..."
"To do" is the most important.
959
02:27:52,404 --> 02:27:55,157
You'll be fine.
Then I'll try to readjust.
960
02:27:55,324 --> 02:28:00,162
I didn't have time to think of it.
I don't often go to the classes.
961
02:28:00,329 --> 02:28:04,833
But when I saw you, I thought:
"She seems all right."
962
02:28:05,000 --> 02:28:07,795
Without taking myself for a psychic.
963
02:28:09,046 --> 02:28:10,964
I'm glad we talked.
964
02:28:11,131 --> 02:28:12,508
I'll leave you to...
965
02:28:12,674 --> 02:28:15,010
It's been good seeing you.
966
02:28:15,177 --> 02:28:17,054
I did want to see you.
967
02:28:17,221 --> 02:28:18,847
Great. You lost weight?
968
02:28:20,224 --> 02:28:23,060
I'm careful about What I eat.
969
02:28:23,227 --> 02:28:25,020
I think it's also the work...
970
02:28:25,187 --> 02:28:26,772
It's also my impression.
971
02:28:29,400 --> 02:28:30,401
Great.
972
02:28:31,443 --> 02:28:33,946
- Have a good day.
- Thanks, you too.
65422
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