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10 years after Pina Bausch's death,
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two of her earliest works are being
passed on to new ensembles.
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Under the direction of former dancers
from Pina's ensemble.
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2019 "Iphigenie auf Tauris" with the ballet
ensemble of the Semperoper Dresden, Germany
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2020 "Le Sacre du Printemps" with dancers
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from 14 African countries
at the École des Sables, Senegal
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Clé. You know what I told you before?
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I told you, look...
You do this.
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You pray.
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And pray. And pray.
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Lift your arm. Lift it.
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Lift your arm.
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Lift it.
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Lift it and go.
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And... go.
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And... go.
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Don't be afraid to go for it.
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You're too...
Look, you're too careful.
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You take care too much.
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You see what I mean?
You do this and... You take care.
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Instead of...
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Go. And...
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And...
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And...
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And...
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Don't be scared. Go on.
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And contract, contract,
contract, contract.
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Wait.
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00:02:19,840 --> 00:02:21,319
It's a difficult start.
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00:02:24,880 --> 00:02:27,599
Malou, it's 4 years ago.
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For me it's 40 years ago.
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It's here.
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There is this specific part
in the second act
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where Malou is opening everything
to the sky.
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This one here.
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You see, she looks up, completely up.
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Since Pina is not there, you try so much
to stick to information
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that you got from the dancers
that learned the role.
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00:03:44,760 --> 00:03:46,512
Or from what you remember somehow.
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It's making more rich my knowledge.
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Which I'm hungry for at the moment,
especially before going to Dresden.
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To have the maximum information
that I can have.
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00:04:02,600 --> 00:04:05,240
Be careful, because I remember here...
44
00:04:05,400 --> 00:04:08,392
I think she goes down on her knee,
but not yet.
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Does she go down with the music?
- No.
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Before?
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I love this piece so much,
I want it to continue.
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And to be as much as possible
a good tool
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to keep this piece going.
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Because it's too precious
to not be seen.
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Good morning, everyone.
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It's great that we're all already here.
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Fantastic we are here.
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We are also excited,
we are also nervous.
55
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But we want to go through,
so let's see how we go.
56
00:06:00,360 --> 00:06:03,113
Just about the timetable...
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00:06:03,280 --> 00:06:06,033
It will be always training
at 9 o'clock,
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00:06:06,200 --> 00:06:07,634
till 10 o'clock.
59
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15 minutes break.
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00:06:09,760 --> 00:06:12,479
And we start the first rehearsal,
until 1:30.
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00:06:12,640 --> 00:06:14,278
All together here in the morning.
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And in the afternoon
we are going to split,
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and we start at 3:30
till 6 o'clock. OK?
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Go over.
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This one keeps going
and this one joins it.
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00:06:26,720 --> 00:06:31,351
And you feel cuddly at the end.
Cozy and cuddly.
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And we are round.
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Round.
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Round. In here a space.
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Breathe.
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Long fingers, long hands.
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This one over. Yeah.
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And now back.
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And... go.
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And now swing, swing.
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Come up from here,
the feet go just up like this.
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00:06:59,080 --> 00:07:01,230
And now they lead...
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00:07:02,280 --> 00:07:04,794
to a third arabesque actually.
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00:07:05,280 --> 00:07:08,432
That's a comfortable Pina Bausch position.
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00:07:09,240 --> 00:07:10,435
Stand up.
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00:07:10,600 --> 00:07:12,910
This is third arabesque.
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And with Pina
there is some distance between the arms.
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We are going this way.
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Reaching far out.
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I have to see one at a time.
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Don't be frightened of me.
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OK.
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I can be very strict,
but I'm only trying to help you, yeah?
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00:07:46,600 --> 00:07:48,079
I have to, yeah?
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00:07:48,840 --> 00:07:52,071
So you also have to sing
when you're dancing.
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00:08:00,520 --> 00:08:02,033
You like it?
92
00:08:05,200 --> 00:08:06,713
Sing, sing with your bodies.
93
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For a dancer, it's one of the most
wonderful things you could ever dance.
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00:08:13,800 --> 00:08:15,871
It's unforgettable.
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00:08:16,040 --> 00:08:18,509
You shouldn't be able to think
while you're doing it.
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You just get into it.
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And this death
and this ritual and this pulse
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just takes you there.
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00:08:26,240 --> 00:08:29,995
We are all sweating.
We are all feeling the same fear.
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00:08:30,720 --> 00:08:33,951
It's my turn to go to...
with the dress.
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00:08:34,120 --> 00:08:36,509
Will it be me, the next one?
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00:08:36,680 --> 00:08:41,117
We all go as ourselves with the dress
until the last person goes.
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00:08:41,280 --> 00:08:42,429
And then you hear...
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Then all the hairs start
to stand up on your body.
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00:08:48,680 --> 00:08:50,114
And then you know that's it.
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You have no chance to escape.
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00:09:17,800 --> 00:09:21,236
Your hip is leading you
and you're just keep looking that way.
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00:09:21,400 --> 00:09:22,595
This...
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And if you keep looking
over your shoulder,
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it's making you turn.
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You don't need to think of
going for the turn.
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Once more.
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You can all come here.
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You're here.
You look at the edge of the stage.
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And you go down. Down.
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Right away your head is down to the left.
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Right away.
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You're there right away.
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And now the contraction.
Look at me, Tom!
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It's as if you were like this.
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It's very animal.
122
00:10:05,360 --> 00:10:06,873
"Sacre" is a trip.
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You prepare yourself the best.
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00:10:09,440 --> 00:10:12,353
You know, it's going so fast
that you will not do it perfect.
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00:10:12,520 --> 00:10:15,160
But Pina kept saying to us,
"But the point is not that.
126
00:10:16,160 --> 00:10:17,753
It's that you're trying."”
127
00:10:19,040 --> 00:10:21,759
She liked perfection,
there is no doubt.
128
00:10:21,920 --> 00:10:27,359
But I think she needed,
in every step we did, that you go for...
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00:10:28,240 --> 00:10:32,393
beyond the control.
130
00:10:33,400 --> 00:10:34,959
So things were kept alive.
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00:10:43,000 --> 00:10:45,150
Yes, OK. Nice.
132
00:10:45,800 --> 00:10:47,359
I want to do it again.
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This time you stay in the air.
134
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OK?
135
00:10:52,400 --> 00:10:54,277
When I say, "You try to stay there,"
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it's really your imagination
that will get you a bit higher.
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You'll see.
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00:11:01,200 --> 00:11:02,634
Once more.
139
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So the table is near the chair.
Yeah, that's going to be good.
140
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She's sitting here,
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and then here she's collapsing.
142
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I mean, it's not the table
so it's not going to move like this.
143
00:12:20,480 --> 00:12:21,914
But she's really like...
144
00:12:22,680 --> 00:12:23,829
Really here, but...
145
00:12:24,960 --> 00:12:26,314
I will show you.
146
00:12:26,480 --> 00:12:30,155
She's collapsing, but right away
she takes herself back.
147
00:12:30,320 --> 00:12:31,390
She's not...
148
00:12:31,920 --> 00:12:33,877
Even if she makes a little...
149
00:12:35,160 --> 00:12:37,197
moment on the table,
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she's not... like this.
151
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She's here and she keeps this...
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Like, she's down,
but she keeps the body up somehow.
153
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And then from here she's doing this one.
154
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Up...
155
00:12:54,240 --> 00:12:56,436
To run...
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To go in the grand plié.
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Grand plié.
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She closes herself.
159
00:13:03,160 --> 00:13:06,471
She's running until she is arriving
at these two chairs.
160
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And then she's going
in between those two invisible persons.
161
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But they are very special persons
for her here, you know...
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Maybe you can think
about the parents,
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that they are not there anymore.
164
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Anyway...
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00:13:25,480 --> 00:13:29,360
And then she collects herself back here
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to go back to the table
and right away she touches the table.
167
00:13:35,120 --> 00:13:36,315
When you're here...
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So you did this...
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We really... Yeah.
170
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You watch out, huh?
171
00:13:45,480 --> 00:13:47,551
You are here. It's really like...
172
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We need to feel you in the table.
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00:13:53,680 --> 00:13:55,830
Yes.
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Pina was saying
to her dancers not a lot.
175
00:14:03,680 --> 00:14:06,274
A few words, and then you knew.
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00:14:06,440 --> 00:14:08,636
Sometimes I'm like,
I'm talking too much.
177
00:14:08,800 --> 00:14:11,872
Then I go to my body,
because it's easier.
178
00:14:12,040 --> 00:14:16,432
It's almost easier for me
to show, to show, to show, to show.
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00:14:23,000 --> 00:14:25,389
You see her back? Straight.
180
00:14:28,560 --> 00:14:32,315
You barely understand
how she can still stand somehow.
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00:14:32,480 --> 00:14:35,950
This is how I feel
when Malou is doing this.
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00:14:36,120 --> 00:14:40,956
Again, she's doing the movement full,
but so broken somehow.
183
00:14:45,440 --> 00:14:48,910
If you see Malou,
if you see me somehow,
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00:14:49,080 --> 00:14:52,675
all those dancers have
a very different approach to the role.
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00:14:52,840 --> 00:14:58,313
Pina gave a role to people
that had nothing physically in common.
186
00:14:58,480 --> 00:15:02,155
But from what I know
about all those performers,
187
00:15:02,320 --> 00:15:07,190
they have their strong interpretation
of this part of Iphigenia.
188
00:15:07,360 --> 00:15:09,874
What is Iphigenia inside yourself.
189
00:16:35,720 --> 00:16:38,633
How you start to transmit is like...
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00:16:40,640 --> 00:16:42,631
We are just going through movements.
191
00:16:42,800 --> 00:16:45,997
Because the movements themselves
are carrying already the meaning
192
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of what is happening.
193
00:16:47,800 --> 00:16:50,997
Many people like to talk about the plot,
194
00:16:51,160 --> 00:16:54,232
about the theme, and so on.
195
00:16:54,400 --> 00:16:56,710
An explanation for every movement.
196
00:16:57,320 --> 00:16:59,994
Here we don't have an explanation
for every movement,
197
00:17:00,160 --> 00:17:02,993
or if we had it, it died with Pina.
198
00:17:03,160 --> 00:17:05,800
So we just do movements all the time.
199
00:17:06,320 --> 00:17:10,200
It's, like, actually we are teaching them
sometimes only letters.
200
00:17:10,720 --> 00:17:12,552
Little letters. Letters, letters.
201
00:17:12,720 --> 00:17:15,519
And sometimes we are teaching them
how to do the letter.
202
00:17:15,680 --> 00:17:17,830
You know? It's going like this.
203
00:17:18,000 --> 00:17:20,594
And now this is like this.
204
00:17:20,760 --> 00:17:22,319
And then you have the A.
205
00:17:22,480 --> 00:17:25,950
And then let's teach you
the next one like this.
206
00:17:26,120 --> 00:17:28,350
And now put it together.
207
00:17:28,520 --> 00:17:30,193
And that's what we are doing.
208
00:17:30,360 --> 00:17:34,149
And in that work
it's like teaching another language.
209
00:17:56,680 --> 00:17:59,877
Step, step. Down.
210
00:18:00,040 --> 00:18:03,192
Two. Look, look.
211
00:18:03,360 --> 00:18:07,433
Down. Leg. Up, down.
212
00:18:07,600 --> 00:18:10,752
Five, six, seven...
213
00:18:10,920 --> 00:18:15,153
Side, side, front, back...
214
00:18:15,320 --> 00:18:17,709
Feel each other.
215
00:18:17,880 --> 00:18:19,632
Three, four.
216
00:18:19,800 --> 00:18:23,236
Turn. Step, step.
217
00:18:23,400 --> 00:18:24,515
Arms.
218
00:18:28,680 --> 00:18:32,833
Drop, two, three, stop.
219
00:18:33,000 --> 00:18:37,517
Down, down and four.
220
00:18:37,680 --> 00:18:42,038
Up, come back, three, four.
221
00:18:42,200 --> 00:18:46,433
Down, two, three, four.
222
00:18:46,600 --> 00:18:50,798
Down. Step, step, step.
223
00:18:50,960 --> 00:18:55,193
Down, two. Look, look, turn.
224
00:18:55,360 --> 00:18:58,955
One, two... Get ready for the run.
225
00:19:00,800 --> 00:19:05,033
Turn. One, two, three.
Running.
226
00:19:07,880 --> 00:19:11,191
If there's one thing I would hate,
it would be to make a copy.
227
00:19:12,080 --> 00:19:16,074
No way. I don't want
for any piece of Pina to be a copy.
228
00:19:16,680 --> 00:19:18,000
I need to keep this alive.
229
00:19:18,160 --> 00:19:20,390
So if I copy only and I copy all,
230
00:19:21,160 --> 00:19:22,275
I think we lose.
231
00:19:22,440 --> 00:19:23,999
We lose the...
232
00:19:24,160 --> 00:19:26,959
I will say we will not lose the material.
233
00:19:28,840 --> 00:19:30,114
The work of Pina.
234
00:19:30,280 --> 00:19:33,238
Because the pieces are so well done
235
00:19:33,400 --> 00:19:36,233
it is still something
you can show in a theater.
236
00:19:36,400 --> 00:19:38,516
But we will lose the essence.
237
00:19:38,680 --> 00:19:42,435
And we will lose also the encounter.
A real encounter.
238
00:20:12,560 --> 00:20:17,396
I've watched the video several times
on my phone and my computer,
239
00:20:17,560 --> 00:20:23,829
but this is the first time I've seen it
with the group energy.
240
00:20:24,000 --> 00:20:25,957
It was different.
241
00:20:26,120 --> 00:20:30,000
I can see the movements
are much more precise and clear.
242
00:20:30,160 --> 00:20:33,710
But each of the dancers
had their own style.
243
00:20:33,880 --> 00:20:35,712
They were moving their own way.
244
00:20:35,880 --> 00:20:38,838
At the moment we're learning the moves.
245
00:20:39,000 --> 00:20:41,833
But maybe I should find
my own way to do it
246
00:20:42,000 --> 00:20:46,153
and integrate the choreography,
so I'm keeping my style.
247
00:20:49,160 --> 00:20:51,515
I'd like to know...
248
00:20:51,680 --> 00:20:53,637
Because you're from different cultures.
249
00:20:53,800 --> 00:20:58,397
I'd like to know what your mind-set is
when you're on this stage.
250
00:20:58,560 --> 00:21:01,473
Is it of the dancer or the character?
251
00:21:01,640 --> 00:21:05,520
I'd like to know what happens in you
when you're on this stage.
252
00:21:05,680 --> 00:21:08,354
I want to relate it to us,
who are Africans
253
00:21:08,520 --> 00:21:11,160
and know very much
about ritual and things,
254
00:21:11,320 --> 00:21:14,597
in order to understand better
and to find a balance.
255
00:21:14,760 --> 00:21:19,311
With our African roots and culture,
if we let ourselves go too far,
256
00:21:19,480 --> 00:21:22,518
things could happen.
Trances. Weird things...
257
00:21:22,680 --> 00:21:24,273
So I want to know...
258
00:21:24,440 --> 00:21:25,430
Right.
259
00:21:27,720 --> 00:21:33,477
If I knew on the day
that I had to dance the solo at the end,
260
00:21:33,640 --> 00:21:38,953
my whole day was like,
"Keep your energy low-flame, Jo."
261
00:21:40,120 --> 00:21:44,000
Your whole day is like,
you know you have to dance it.
262
00:21:44,160 --> 00:21:47,596
You know you have to get yourself
to that moment
263
00:21:47,760 --> 00:21:50,991
where at the end
you don't know how you can get up
264
00:21:51,160 --> 00:21:54,516
to take the applause at the end sometimes.
265
00:21:54,680 --> 00:21:57,991
I think most of us haven't been
to ballet school or anything.
266
00:21:58,160 --> 00:22:01,118
And African dance techniques
are very different
267
00:22:01,280 --> 00:22:02,554
from what we saw in the piece.
268
00:22:02,720 --> 00:22:05,599
Since you have danced the piece
and you know it very well,
269
00:22:05,760 --> 00:22:13,269
with the potential that we have,
do you really think that...
270
00:22:14,680 --> 00:22:17,354
Can we really be...
271
00:22:17,520 --> 00:22:19,591
Because we don't have
the technical abilities.
272
00:22:19,760 --> 00:22:22,195
But when you see us,
273
00:22:22,360 --> 00:22:26,240
do you expect to be satisfied?
274
00:22:26,400 --> 00:22:29,438
Or do you expect
to be reasonably confident
275
00:22:29,600 --> 00:22:31,352
in the work we're doing?
276
00:22:32,360 --> 00:22:33,759
I'm not coming from classical.
277
00:22:33,920 --> 00:22:39,120
In the company there were dancers who were
not coming from any training like this.
278
00:22:39,280 --> 00:22:40,839
So it is possible.
279
00:22:41,000 --> 00:22:42,434
OK, we are just falling...
280
00:22:43,560 --> 00:22:46,313
And by falling I'm moving.
281
00:22:46,480 --> 00:22:49,074
You guys catch this quite fast.
282
00:22:50,000 --> 00:22:52,071
Classical dancers don't catch this fast.
283
00:22:52,240 --> 00:22:55,710
They don't fall. They're controlling
all the time, everything.
284
00:22:55,880 --> 00:22:58,394
So if you teach them that,
they will do this...
285
00:23:00,200 --> 00:23:05,593
They will want
to pack everything with their brain.
286
00:23:05,760 --> 00:23:07,797
"I can do this. Of course.”
287
00:23:07,960 --> 00:23:10,236
No, no. Fall, fall.
288
00:23:10,400 --> 00:23:12,835
It takes time, a lot of time.
289
00:23:13,000 --> 00:23:15,355
And we are falling a lot in this piece.
290
00:23:16,440 --> 00:23:20,798
Pina's style has a lot to do
with going somewhere.
291
00:23:56,200 --> 00:23:57,838
OK? Don't be too speedy.
292
00:23:58,000 --> 00:23:59,149
Yeah, it's still...
293
00:24:00,880 --> 00:24:03,918
I shouldn't tell you,
because you will be quick.
294
00:24:04,080 --> 00:24:07,232
Quick, for sure,
and quicker than me, for sure, too.
295
00:24:08,280 --> 00:24:09,509
When you're here...
296
00:24:12,480 --> 00:24:17,156
Dominique said something.
I'm trying to remember what he said.
297
00:24:17,320 --> 00:24:18,754
He said to Orest...
298
00:24:18,920 --> 00:24:23,471
They were working on a part
where also Orest is so much in pain.
299
00:24:25,160 --> 00:24:29,438
He has this pain, and I think
it relates also to Iphigenia.
300
00:24:29,600 --> 00:24:34,231
They have this pain but they keep
their dignity all the time.
301
00:25:22,360 --> 00:25:24,476
Yes.
302
00:25:24,640 --> 00:25:25,675
Yes. But it's coming.
303
00:25:28,560 --> 00:25:33,999
For me, Pina Bausch's work is very new
for me to learn the vocabulary.
304
00:25:34,160 --> 00:25:36,231
Her works. Her movements.
305
00:25:36,400 --> 00:25:40,439
I still need a bit more time
to digest all the information.
306
00:25:40,600 --> 00:25:43,069
I feel like I'm starting learning,
307
00:25:43,240 --> 00:25:45,993
like dancing for the first time.
308
00:25:46,160 --> 00:25:48,470
Like I'm starting learning how to walk.
309
00:25:49,760 --> 00:25:51,990
Because also we're trained
in classical ballet
310
00:25:52,160 --> 00:25:53,798
to present myself,
311
00:25:53,960 --> 00:25:55,997
to be more elegant like this.
312
00:25:56,160 --> 00:25:59,915
But in Pina's work
I don't need much really.
313
00:26:00,080 --> 00:26:02,390
I really have to be myself.
314
00:26:02,840 --> 00:26:05,639
Being truthful, what it is.
315
00:26:06,720 --> 00:26:08,757
And it's not that easy, actually.
316
00:26:55,760 --> 00:26:58,036
That you have this position.
317
00:26:58,200 --> 00:27:00,589
You have the...
- I'm not out.
318
00:27:00,760 --> 00:27:04,799
You have the tendency, all of you,
to be already sort of like this.
319
00:27:04,960 --> 00:27:09,033
I try to be as much as I can like this.
320
00:27:09,200 --> 00:27:13,592
And now the first thing I know
is I just give up the...
321
00:27:13,760 --> 00:27:17,196
And let my elbow go there.
322
00:27:17,360 --> 00:27:19,874
And then I put the rest of the body.
323
00:27:20,040 --> 00:27:27,595
The first thing that should happen is
actually the giving up of Orest.
324
00:27:27,760 --> 00:27:29,478
And your reaction...
- Before I start?
325
00:27:29,640 --> 00:27:30,516
Yes.
326
00:27:30,680 --> 00:27:33,638
If you start too soon
it gets a little bit confusing.
327
00:27:33,800 --> 00:27:39,034
From this, he is the first one
in the silence to start this
328
00:27:39,200 --> 00:27:42,352
and then you put him down here.
329
00:27:42,520 --> 00:27:43,510
And...
330
00:27:44,440 --> 00:27:47,637
So you have this, here,
331
00:27:49,680 --> 00:27:52,911
there, and actually
this would be too flat.
332
00:27:53,520 --> 00:27:55,875
He should end here.
333
00:28:18,160 --> 00:28:19,912
Like that somehow.
334
00:28:27,080 --> 00:28:28,400
That's better.
335
00:28:33,160 --> 00:28:34,309
He's going to fall!
336
00:28:36,120 --> 00:28:37,269
Yeah, I can't walk away.
337
00:28:38,480 --> 00:28:42,110
I am probably
more than anything competitive.
338
00:28:42,680 --> 00:28:45,354
That's something
that's gotten me to where I am now.
339
00:28:45,520 --> 00:28:47,113
It's something that...
340
00:28:47,280 --> 00:28:50,955
When I see somebody,
especially in classical parts...
341
00:28:51,120 --> 00:28:54,875
So when I watch somebody do
Don Quixote,
342
00:28:55,560 --> 00:28:57,153
and I need to do Don Quixote,
343
00:28:57,320 --> 00:28:59,470
all I can think about
is wanting to do it better.
344
00:28:59,640 --> 00:29:02,280
And that's not necessarily
the most positive way of working.
345
00:29:02,440 --> 00:29:05,034
That's something
that's very innately who I am.
346
00:29:05,200 --> 00:29:08,033
I watch a video and,
"Oh, well, his leg was this high,
347
00:29:08,200 --> 00:29:09,634
so I'm gonna do it this high."”
348
00:29:09,800 --> 00:29:12,360
In classical ballet
we all want to be perfect.
349
00:29:12,520 --> 00:29:15,797
And being imperfect here is perfect.
350
00:29:16,640 --> 00:29:19,393
So that's very, very different.
351
00:29:19,560 --> 00:29:24,350
Usually we try so hard to erase
everything that's not perfect about us
352
00:29:24,520 --> 00:29:25,999
and to hide it.
353
00:29:26,160 --> 00:29:27,719
And here it's OK.
354
00:30:05,240 --> 00:30:06,230
Big step.
355
00:30:15,680 --> 00:30:17,239
Step, step, up.
356
00:30:29,520 --> 00:30:31,796
In the beginning
you're not letting it happen.
357
00:30:31,960 --> 00:30:34,429
You always want to be
in control of your body,
358
00:30:34,600 --> 00:30:38,036
but here it's just happening on its own.
359
00:30:38,480 --> 00:30:39,800
Yeah? Just relax.
360
00:30:40,200 --> 00:30:44,194
You will be so tired, believe me,
because this is nearly the end.
361
00:30:44,800 --> 00:30:49,192
Let go. You have so much energy,
but here just let go.
362
00:30:54,080 --> 00:30:58,916
My name is Biachi Gloria Ugwarelojo.
363
00:30:59,080 --> 00:31:00,991
I'm from Nigeria.
364
00:31:01,160 --> 00:31:04,437
I lived all my life in Lagos City.
365
00:31:05,520 --> 00:31:07,796
Yes, I did a lot of street dancing,
366
00:31:07,960 --> 00:31:11,476
and then I moved into African.
367
00:31:11,640 --> 00:31:15,474
So it's a lot of turnaround for me.
368
00:31:15,640 --> 00:31:19,793
And I think...
because I am really strong
369
00:31:19,960 --> 00:31:21,758
and they tell me all the time,
370
00:31:21,920 --> 00:31:24,036
"Gloria, you have to breathe
and make it soft.
371
00:31:24,200 --> 00:31:25,873
You have to be really soft.
372
00:31:26,040 --> 00:31:28,429
I know you're strong.
I know you feel strong.
373
00:31:28,600 --> 00:31:31,194
But sometimes you need to feel."
374
00:31:31,680 --> 00:31:34,149
And up and...
375
00:31:35,040 --> 00:31:36,758
Elbows. Down.
376
00:31:41,960 --> 00:31:45,271
I watched the video
way before the audition.
377
00:31:45,440 --> 00:31:49,195
The dancer I worked with
always mentioned Pina Bausch.
378
00:31:52,680 --> 00:31:55,718
I watched the video and was in awe.
379
00:31:55,880 --> 00:31:59,999
The mind of that woman,
imagining those moves,
380
00:32:00,160 --> 00:32:01,878
that music...
381
00:32:02,040 --> 00:32:06,159
And all the dancers are really present.
382
00:32:06,320 --> 00:32:10,154
Not just in their bodies.
You can tell they are really present.
383
00:32:10,320 --> 00:32:14,473
That always motivated me to dance.
384
00:32:14,640 --> 00:32:18,235
And perhaps someday
to be able to do something similar.
385
00:32:19,440 --> 00:32:24,150
I always thought:
Someday I will be able to dance
386
00:32:24,320 --> 00:32:26,516
without worrying about how it looks.
387
00:32:26,680 --> 00:32:29,069
Without worrying if people will like it.
388
00:32:29,240 --> 00:32:32,232
To feel it and be able to express it.
389
00:32:32,400 --> 00:32:34,311
To tell a real story.
390
00:32:34,480 --> 00:32:37,279
And one and down.
391
00:32:37,440 --> 00:32:39,192
Duck, duck, duck.
392
00:32:39,360 --> 00:32:42,478
And one, up. Look.
393
00:32:42,640 --> 00:32:44,472
And up, better.
394
00:32:46,600 --> 00:32:50,480
In the first week
I accumulated a lot of things.
395
00:32:52,320 --> 00:32:55,756
All I did was take, take, take,
even though...
396
00:32:55,920 --> 00:32:57,797
I get angry when I miss things.
397
00:32:57,960 --> 00:33:01,112
I know it's OK,
but I can't help getting angry.
398
00:33:01,960 --> 00:33:06,397
Because, for me, I have to...
399
00:33:07,800 --> 00:33:10,997
I have to confirm something.
400
00:33:11,160 --> 00:33:13,071
They gave me this chance.
401
00:33:13,240 --> 00:33:15,117
And then I left my family
in my country.
402
00:33:15,280 --> 00:33:19,319
It's the first time I've traveled
for such a long time.
403
00:33:19,480 --> 00:33:21,949
I'm away from my son.
404
00:33:22,120 --> 00:33:24,350
That's hard.
405
00:33:24,520 --> 00:33:26,113
When I work, I think,
406
00:33:26,280 --> 00:33:29,318
"OK, you've left him,
but it can't be for nothing."
407
00:33:30,000 --> 00:33:31,718
Together, fly!
408
00:33:33,080 --> 00:33:36,232
Down. Over, one, two.
409
00:33:36,400 --> 00:33:38,789
Up. Duck, duck, duck.
410
00:33:38,960 --> 00:33:40,234
Turn.
411
00:34:14,920 --> 00:34:15,910
And down.
412
00:34:19,360 --> 00:34:20,350
And down.
413
00:34:34,680 --> 00:34:36,398
This moment, you don't drop it.
414
00:34:37,240 --> 00:34:41,199
You insist to try to keep going.
415
00:34:41,360 --> 00:34:43,476
You fall, you pull yourself together.
416
00:34:44,320 --> 00:34:47,119
If you do the jump like this,
the next one you put yourself here.
417
00:34:47,520 --> 00:34:48,715
OK?
418
00:34:48,880 --> 00:34:51,110
OK, you don't drop it.
419
00:34:51,280 --> 00:34:52,714
And don't blame yourself.
420
00:34:53,520 --> 00:34:56,672
Using it in a very nice way is like,
"The next one I'll do it.
421
00:34:56,840 --> 00:34:58,513
I want to try the next one."
422
00:35:07,120 --> 00:35:09,634
My name is Tom Jules Sarnie.
423
00:35:10,240 --> 00:35:11,833
I'm from Togo.
424
00:35:13,080 --> 00:35:14,798
My base is traditional dance.
425
00:35:14,960 --> 00:35:18,430
I've traveled to African countries
to learn traditional dances.
426
00:35:19,240 --> 00:35:21,311
I went to the villages
427
00:35:21,480 --> 00:35:24,632
and talked with people to know
where these dances come from.
428
00:35:24,800 --> 00:35:27,394
The dance of fire.
The dance of the Earth god.
429
00:35:29,640 --> 00:35:32,837
My way of doing things
in a natural way
430
00:35:33,000 --> 00:35:36,834
is to really feel them
and be able to do them well.
431
00:35:38,040 --> 00:35:41,476
I think for me
that's the best way to do things.
432
00:35:42,440 --> 00:35:46,274
When you feel what you're doing,
you can put your personality inside.
433
00:35:46,440 --> 00:35:49,796
Instead of just copying something
that comes from Jorge
434
00:35:49,960 --> 00:35:52,270
and just reproducing it quickly.
435
00:35:52,440 --> 00:35:55,990
So I told him that.
I said to him, "There's no problem.
436
00:35:56,160 --> 00:35:59,630
I understand
that we don't have much time.
437
00:35:59,800 --> 00:36:03,236
So I accept to work twice as hard.”
438
00:37:23,480 --> 00:37:25,118
You have to make up your mind now.
439
00:37:25,280 --> 00:37:27,920
Do we want to see more
of the arm or the shoulder?
440
00:37:28,080 --> 00:37:31,516
What's better for her?
- Because we can't have both.
441
00:37:31,760 --> 00:37:33,478
We won't have any straps.
442
00:37:33,640 --> 00:37:35,278
I understand.
443
00:37:37,360 --> 00:37:38,430
Wait.
444
00:37:49,080 --> 00:37:51,230
Oh my God, it's hard.
445
00:37:54,800 --> 00:37:56,791
Let's remove this.
446
00:37:58,160 --> 00:38:00,993
Did you try the movement?
For you it was OK?
447
00:38:01,160 --> 00:38:02,639
Did you try the leg also?
448
00:38:05,840 --> 00:38:08,229
I met Pina in New York.
449
00:38:08,400 --> 00:38:10,277
It was in November...
450
00:38:10,880 --> 00:38:13,190
I think 1970.
451
00:38:13,880 --> 00:38:16,793
In Paul Sanasardo's studio.
452
00:38:17,000 --> 00:38:19,833
Paul told us,
453
00:38:20,840 --> 00:38:26,153
"Kids, come. You're going to meet
the most incredible artist
454
00:38:26,320 --> 00:38:28,152
you've ever met in the world."
455
00:38:28,760 --> 00:38:30,353
I was still very young.
456
00:38:30,520 --> 00:38:31,999
And Pina entered.
457
00:38:32,160 --> 00:38:36,040
It was November
and it was very cold in New York.
458
00:38:36,560 --> 00:38:39,632
And she came to us,
to Paul's studio.
459
00:38:40,040 --> 00:38:42,554
And she said, "Hello. Hello."
460
00:38:42,840 --> 00:38:43,796
She was...
461
00:38:43,960 --> 00:38:46,600
This is the fantastic artist?
Who is this woman?
462
00:38:46,760 --> 00:38:49,229
It was a special moment for me.
463
00:38:50,120 --> 00:38:53,397
And from this point on...
464
00:38:54,000 --> 00:38:55,035
we were like sisters.
465
00:38:55,200 --> 00:38:58,079
Or best friends.
That was so great.
466
00:38:58,360 --> 00:39:00,636
Because I felt...
467
00:39:01,800 --> 00:39:03,518
Pina loves me as I am.
468
00:39:03,760 --> 00:39:06,354
Pina, she had a body...
469
00:39:08,560 --> 00:39:10,915
Her arms were fantastic.
470
00:39:12,080 --> 00:39:13,434
I couldn't move like that.
471
00:39:13,600 --> 00:39:15,750
I'm like...
472
00:39:16,760 --> 00:39:18,194
My body is like...
473
00:39:18,360 --> 00:39:20,590
like this... like a man's body.
474
00:39:31,640 --> 00:39:33,438
And then Pina told us,
475
00:39:33,880 --> 00:39:36,315
"I will be a choreographer in Wuppertal.
476
00:39:37,440 --> 00:39:39,431
And I would love...
477
00:39:39,720 --> 00:39:44,032
I would love that you come with us
to Wuppertal.”
478
00:39:44,280 --> 00:39:46,840
And then... I don't want to
say anything wrong...
479
00:39:47,240 --> 00:39:50,232
Pina wanted to stage "Iphigenia”.
480
00:39:51,280 --> 00:39:53,590
And this was for my life...
481
00:39:53,840 --> 00:39:57,629
and I have worked with a lot of
choreographers, with many people.
482
00:39:58,560 --> 00:40:00,073
And "Iphigenia" was...
483
00:40:00,640 --> 00:40:01,994
Every movement,
484
00:40:02,160 --> 00:40:04,356
every single movement was...
485
00:40:05,520 --> 00:40:06,510
real.
486
00:40:06,680 --> 00:40:07,670
It was real.
487
00:40:07,840 --> 00:40:09,592
You say something.
488
00:40:09,760 --> 00:40:11,353
Your dream.
489
00:40:12,320 --> 00:40:13,549
It was...
490
00:41:06,240 --> 00:41:08,959
I have my problem always, you know?
491
00:41:09,120 --> 00:41:10,190
The thing is...
492
00:41:11,560 --> 00:41:13,312
What I told you this morning.
493
00:41:13,480 --> 00:41:16,871
The thing is, it's boring.
I feel it's boring
494
00:41:17,040 --> 00:41:20,590
and we... you have to make it's not boring.
495
00:41:20,760 --> 00:41:22,831
So, if you stay two hours like this
496
00:41:23,000 --> 00:41:25,389
and you wait for the music to do this...
497
00:41:26,040 --> 00:41:29,954
I think you have to feel...
I don't want to get you crazy.
498
00:41:30,120 --> 00:41:34,193
And you work a lot with Clé
so I don't want to make you crazy.
499
00:41:34,680 --> 00:41:36,717
What you did is beautiful.
It's not that.
500
00:41:36,880 --> 00:41:38,439
But now it's yours
501
00:41:38,600 --> 00:41:42,036
and you can do with it
f***ing what you want.
502
00:41:42,200 --> 00:41:44,999
So it means you go
and if you're early it's OK.
503
00:41:45,160 --> 00:41:47,595
But then take the time for this one.
504
00:41:47,760 --> 00:41:49,080
Or for this one.
505
00:41:49,240 --> 00:41:51,470
But... bring the music.
506
00:41:51,640 --> 00:41:53,039
Otherwise it becomes...
507
00:41:56,600 --> 00:41:57,590
And that's all.
508
00:42:00,520 --> 00:42:03,512
You speak with the movement.
You know what I mean?
509
00:42:03,680 --> 00:42:04,670
And...
510
00:42:06,920 --> 00:42:07,910
You speak...
511
00:42:13,040 --> 00:42:16,556
You see, I feel you go...
512
00:42:19,280 --> 00:42:20,634
I don't feel that you...
513
00:42:21,840 --> 00:42:23,638
You go, you speak...
514
00:42:44,160 --> 00:42:45,355
Use your legs.
515
00:42:45,520 --> 00:42:48,034
Where is the contraction?
516
00:42:48,200 --> 00:42:49,349
Drop your head.
517
00:42:56,560 --> 00:42:57,550
OK.
518
00:43:03,400 --> 00:43:05,710
And go. Use your legs. Come, come.
519
00:43:05,880 --> 00:43:07,951
Drop, drop. Yes.
520
00:43:08,120 --> 00:43:10,350
Finish your plié. You are not finished.
521
00:43:10,520 --> 00:43:12,796
If you're not finished, you cannot stay.
522
00:43:17,520 --> 00:43:20,592
This doesn't look good.
It doesn't look good.
523
00:43:21,600 --> 00:43:24,160
Don't make the tension in your arm.
524
00:43:25,000 --> 00:43:26,354
Make the tension here.
525
00:43:26,520 --> 00:43:30,115
So we don't see your arm.
We see that you think.
526
00:43:30,280 --> 00:43:32,157
You are thinking about,
527
00:43:32,320 --> 00:43:36,712
"I had a dream,
a very strange dream, last night."
528
00:43:36,880 --> 00:43:40,953
Think about your dream.
Think about your dream.
529
00:43:41,120 --> 00:43:44,033
Think about it. It never stops.
530
00:43:44,200 --> 00:43:45,190
And...
531
00:43:50,640 --> 00:43:51,630
Breathe.
532
00:43:51,800 --> 00:43:52,790
And...
533
00:43:55,040 --> 00:43:55,677
Kiss...
534
00:44:08,560 --> 00:44:10,790
It has nothing to do
with classic or contemporary.
535
00:44:10,960 --> 00:44:13,236
It is about,
who are you as a human being?
536
00:44:13,960 --> 00:44:15,314
As an artist?
537
00:44:15,480 --> 00:44:16,515
Who are you?
538
00:44:16,680 --> 00:44:19,877
What can you tell with your
life experience, all your technique...
539
00:44:20,160 --> 00:44:23,391
I have danced Iphigenia
for such a long time.
540
00:44:23,640 --> 00:44:25,677
I had my first child,
my second child
541
00:44:25,840 --> 00:44:27,114
and my third child.
542
00:44:27,360 --> 00:44:28,919
And I was still dancing.
543
00:44:29,080 --> 00:44:31,390
I danced Iphigenia
till I was 50 years old.
544
00:44:31,560 --> 00:44:33,153
With a completely different feeling.
545
00:44:33,320 --> 00:44:36,039
Because your whole
life experience changes.
546
00:44:36,240 --> 00:44:37,799
You can't just imitate.
547
00:44:37,960 --> 00:44:39,837
You can only be who you are.
548
00:44:40,000 --> 00:44:42,071
And that is the special thing
about Pina...
549
00:44:42,280 --> 00:44:44,351
Because she trusted me.
550
00:44:44,520 --> 00:44:46,272
My feelings. My time...
551
00:44:46,440 --> 00:44:50,035
As a mother.
My life. The suffering.
552
00:44:50,200 --> 00:44:53,079
All what we know about life.
553
00:45:14,480 --> 00:45:17,438
Heels together when you come over.
554
00:45:19,960 --> 00:45:21,758
Lift up to come over.
555
00:45:23,160 --> 00:45:27,040
Yes. Now nice arms to go over.
556
00:45:27,920 --> 00:45:30,878
Nice round back here.
Yes, very nice.
557
00:45:31,400 --> 00:45:32,754
Now touch...
558
00:45:33,600 --> 00:45:35,876
And really feel.
559
00:45:37,760 --> 00:45:39,990
And you can go further sometimes.
560
00:45:43,480 --> 00:45:47,439
You can go all the way over to there.
561
00:45:48,160 --> 00:45:49,195
And my head follows?
562
00:45:49,360 --> 00:45:51,510
You can go with your head.
563
00:45:51,680 --> 00:45:55,560
Then you can put this one here
and go with the other one.
564
00:45:56,560 --> 00:45:57,789
But you...
565
00:45:59,040 --> 00:46:01,077
Feel the earth.
566
00:46:02,440 --> 00:46:04,954
With the whole hand.
567
00:46:05,120 --> 00:46:06,758
You know? Get your hand dirty.
568
00:46:06,920 --> 00:46:09,070
Put some weight onto it.
569
00:46:09,240 --> 00:46:10,958
Come over here.
570
00:46:14,560 --> 00:46:18,394
Look, if I'm going through the sand,
my whole hand is...
571
00:46:20,040 --> 00:46:22,236
Yes, so it's the same up there.
572
00:46:24,480 --> 00:46:29,680
I am an original company dancer,
member from 1973.
573
00:46:30,720 --> 00:46:34,111
Pina and I met up
in Covent Garden in England.
574
00:46:34,280 --> 00:46:37,636
I had actually given up
the idea of being a dancer,
575
00:46:37,800 --> 00:46:40,633
because I was so tired
of being told
576
00:46:40,800 --> 00:46:45,112
I was two kilos too fat, too heavy.
577
00:46:45,280 --> 00:46:47,078
Not looking like the others.
578
00:46:49,920 --> 00:46:52,878
She asked me
to come to Wuppertal as a soloist.
579
00:46:53,040 --> 00:46:55,600
And she didn't mind all my kilos,
580
00:46:55,760 --> 00:46:59,640
because she liked the person I was.
581
00:47:04,720 --> 00:47:08,509
We were a very
strange-looking lot of people.
582
00:47:08,680 --> 00:47:10,830
Some were thin, some were fat.
583
00:47:11,000 --> 00:47:12,479
Tall, small.
584
00:47:13,800 --> 00:47:17,714
We were just people there for Pina.
585
00:47:19,200 --> 00:47:21,350
I know in "Sacre" there's a little girl.
586
00:47:21,520 --> 00:47:23,397
She runs up the back.
587
00:47:23,880 --> 00:47:25,359
She turns around
588
00:47:25,520 --> 00:47:26,840
and she just looks.
589
00:47:27,000 --> 00:47:29,230
This was one of my friends, Vivienne.
590
00:47:29,840 --> 00:47:32,195
She unfortunately died
nine years ago.
591
00:47:32,360 --> 00:47:34,476
But I know all these people,
592
00:47:35,600 --> 00:47:37,637
because it was so intimate, the work.
593
00:47:39,840 --> 00:47:42,480
I will always see Vivienne running.
594
00:47:43,680 --> 00:47:47,310
I like the original people.
595
00:47:47,480 --> 00:47:49,630
I like to keep them alive.
596
00:48:13,840 --> 00:48:15,558
Better. And...
597
00:48:18,160 --> 00:48:19,434
Fall!
598
00:48:19,600 --> 00:48:21,273
Try to suspend this.
599
00:48:21,880 --> 00:48:22,915
Breathe.
600
00:48:23,080 --> 00:48:25,196
Big jump.
601
00:48:25,360 --> 00:48:27,237
And chest.
602
00:48:27,840 --> 00:48:28,830
And...
603
00:48:29,960 --> 00:48:31,075
Big.
604
00:48:32,440 --> 00:48:35,353
Breathe. Now breathe, and...
605
00:48:43,120 --> 00:48:44,519
Plié, plié!
606
00:48:46,920 --> 00:48:48,399
Big, big!
607
00:48:50,200 --> 00:48:53,238
One. One. One. Fall.
608
00:48:53,400 --> 00:48:54,879
Down and up.
609
00:48:55,040 --> 00:48:56,474
You have to put your arm up.
610
00:48:59,760 --> 00:49:01,319
And go, slowly come.
611
00:49:03,280 --> 00:49:06,318
Come down, down. Arm down.
612
00:49:10,760 --> 00:49:12,592
Fall. And...
613
00:49:30,440 --> 00:49:32,431
You're a big woman.
614
00:49:32,600 --> 00:49:35,160
Don't be afraid to be big. It's beautiful.
615
00:49:35,320 --> 00:49:37,391
You are beautiful.
616
00:49:37,560 --> 00:49:39,790
Don't make yourself small.
You are beautiful.
617
00:49:39,960 --> 00:49:43,510
So if you start to go like this
and to do...
618
00:49:43,680 --> 00:49:45,990
You did like this.
You are too far from the chair.
619
00:49:46,160 --> 00:49:47,753
I'm really close.
620
00:49:47,920 --> 00:49:49,479
Really get close.
621
00:49:49,640 --> 00:49:52,792
And when you go out of the chair...
622
00:49:53,480 --> 00:49:55,039
Go!
623
00:49:55,200 --> 00:49:56,918
Like who you are.
624
00:50:02,480 --> 00:50:06,474
I always heard, you're not going to make
it to the company, because I'm too tall.
625
00:50:06,640 --> 00:50:08,199
I'll be too tall for the group.
626
00:50:08,360 --> 00:50:12,479
I'll be too tall to find a partner,
a male partner.
627
00:50:13,640 --> 00:50:16,996
It was always hard
and sometimes I wanted to quit also.
628
00:50:19,520 --> 00:50:21,397
But I'm very happy here.
629
00:50:21,560 --> 00:50:25,269
They really appreciate how I am
and they ask me to dance even taller.
630
00:50:25,440 --> 00:50:26,635
Even Clémentine...
631
00:50:26,800 --> 00:50:29,599
Even in the audition
I still remember she was telling me,
632
00:50:29,760 --> 00:50:32,673
don't even lose one millimeter
of what I have.
633
00:50:36,760 --> 00:50:40,116
It's very easy for me
to read Sang in this sense,
634
00:50:40,280 --> 00:50:42,476
because I experienced that.
635
00:50:42,640 --> 00:50:46,235
I know how you try to make yourself small.
636
00:50:49,680 --> 00:50:53,071
I was in this ballet world,
which was very tough on me,
637
00:50:53,240 --> 00:50:56,437
because I didn't have really
the technique for it.
638
00:50:56,600 --> 00:50:58,750
And also I didn't have the physique.
639
00:50:58,920 --> 00:51:00,479
I was too tall. I was too large.
640
00:51:00,640 --> 00:51:02,916
I was... I was a woman, you know...
641
00:51:03,720 --> 00:51:07,918
And it was not a nice moment.
642
00:51:08,080 --> 00:51:10,117
It was very hard somehow,
643
00:51:10,280 --> 00:51:13,033
because people told me
I would never be a dancer.
644
00:51:13,680 --> 00:51:17,514
So when you are 15, you don't understand
why they tell you this.
645
00:51:17,680 --> 00:51:18,750
And for...
646
00:51:18,920 --> 00:51:23,630
I have to say, when I arrived in Germany,
I was first in the dance school.
647
00:51:23,800 --> 00:51:27,873
In the school, I watched so many
performances from Pinas Tanztheater.
648
00:51:28,040 --> 00:51:31,078
And there I saw huge ladies dancing.
649
00:51:31,240 --> 00:51:35,632
And I said to myself,
"Ah, it's possible. You can explode."
650
00:51:35,800 --> 00:51:38,314
And also at that time
Malou was my teacher.
651
00:51:38,480 --> 00:51:41,074
And one day she came to me
very strongly.
652
00:51:41,240 --> 00:51:42,674
She said,
653
00:51:43,440 --> 00:51:45,590
"Why are you not dancing big?"
654
00:51:45,760 --> 00:51:46,909
You know, like...
655
00:51:48,080 --> 00:51:50,879
And I said to her,
"Yeah, I don't know."
656
00:51:51,040 --> 00:51:55,193
She said,
"You need to stop that and just do it.
657
00:51:55,360 --> 00:51:57,078
Your body's like this, use it."
658
00:56:07,720 --> 00:56:10,678
When I was little, I liked to dance.
659
00:56:10,840 --> 00:56:12,911
I moved, I had to dance.
660
00:56:13,080 --> 00:56:17,870
And when I was eight,
I wanted to do gymnastics.
661
00:56:18,040 --> 00:56:22,477
I started to learn the movements for
flexibility, rotations and other things.
662
00:56:22,640 --> 00:56:25,598
Later I wanted to dance.
663
00:56:26,480 --> 00:56:29,552
When I turned 15,
664
00:56:30,560 --> 00:56:33,871
my mother started to be scared,
because I was doing things...
665
00:56:35,080 --> 00:56:38,311
I was bending myself,
around my head, my neck.
666
00:56:38,480 --> 00:56:41,199
I was bending, doing things.
667
00:56:41,360 --> 00:56:43,954
My mother was scared
I wouldn't be able to have a child.
668
00:56:44,120 --> 00:56:46,919
So I couldn't do it anymore.
669
00:56:47,080 --> 00:56:49,196
She made me stop dancing completely.
670
00:56:54,440 --> 00:56:59,674
It has to be said
that in Africa female dancers
671
00:56:59,840 --> 00:57:05,438
are treated as -
please excuse the term - prostitutes.
672
00:57:07,520 --> 00:57:12,833
People say right away, "You sleep
with the choreographer to get something.
673
00:57:13,000 --> 00:57:15,640
You give yourself.
You can't get married."
674
00:57:15,800 --> 00:57:19,555
There are a lot of
ulterior motives around it.
675
00:57:19,720 --> 00:57:23,031
So my mother
never accepted that I dance.
676
00:58:03,560 --> 00:58:06,632
Everybody can be very individual here.
677
00:58:06,800 --> 00:58:07,949
Try and feel it.
678
00:58:08,120 --> 00:58:11,476
It's all about
being honest with your feelings.
679
00:58:11,640 --> 00:58:15,270
There's one moment where you stand and...
680
00:58:17,400 --> 00:58:19,914
You... No, you don't want to.
681
00:58:20,080 --> 00:58:23,516
You start to breathe
and then that's why you start to run.
682
00:58:23,680 --> 00:58:29,517
Underneath the movement is this breath
and a yearning to go on and live.
683
00:58:29,680 --> 00:58:31,876
One of you is going to die.
684
00:58:32,800 --> 00:58:34,632
And it can be anyone of you.
685
00:58:34,800 --> 00:58:37,679
You don't know yet
who's going to be chosen.
686
00:58:37,840 --> 00:58:39,877
So you are all victims.
687
00:59:30,760 --> 00:59:34,833
My understanding
about this piece, it's...
688
00:59:36,200 --> 00:59:40,080
It's all about a feminine world.
689
00:59:42,240 --> 00:59:45,915
It's giving and wanting to be taken.
690
00:59:46,080 --> 00:59:47,514
It's...
691
00:59:47,680 --> 00:59:49,830
I think it's something so personal.
692
00:59:50,000 --> 00:59:53,709
From where I come from
to where I am now.
693
00:59:53,880 --> 00:59:56,394
People not believing in me.
694
00:59:56,560 --> 01:00:00,599
You don't find so many females
coming out to work like this.
695
01:00:00,760 --> 01:00:06,392
So I feel strong for every girl
who is here today.
696
01:00:06,560 --> 01:00:08,517
There are too many things.
You need to marry.
697
01:00:08,680 --> 01:00:12,150
You need to start a family.
You need to work.
698
01:00:12,320 --> 01:00:15,073
You need to take care
of people behind you.
699
01:00:15,240 --> 01:00:18,392
And you choose to dance. And...
700
01:00:18,560 --> 01:00:20,073
And not just dance.
701
01:00:20,680 --> 01:00:23,433
You choose to... to be yourself,
702
01:00:23,600 --> 01:00:27,389
to express yourself,
to talk about you with this thing.
703
01:00:27,560 --> 01:00:29,949
And then when you are 25,
your family is so worried.
704
01:00:30,120 --> 01:00:31,758
They want you to get married.
705
01:00:31,920 --> 01:00:36,153
So should it be marriage
and no career anymore?
706
01:01:39,520 --> 01:01:40,555
That's the idea.
707
01:02:09,520 --> 01:02:11,238
So into that kind of mood...
708
01:02:49,280 --> 01:02:53,592
My whole journey through dance
started, for a man, very young.
709
01:02:53,760 --> 01:02:56,559
I was three
when I found that I loved dance.
710
01:02:56,720 --> 01:02:58,518
That was pretty much all I wanted to do.
711
01:02:58,680 --> 01:03:02,116
I would put the cassette tape in
and dance around the house,
712
01:03:02,280 --> 01:03:04,954
in my mom's bedroom,
or my parents' bedroom.
713
01:03:05,120 --> 01:03:07,680
I was teased a lot
as a kid growing up in America.
714
01:03:07,840 --> 01:03:09,239
And dancing in America,
715
01:03:10,040 --> 01:03:11,075
you're teased a lot.
716
01:03:11,240 --> 01:03:14,756
It was probably the biggest part
of my childhood, being teased.
717
01:03:15,160 --> 01:03:16,639
It was an everyday thing.
718
01:03:16,800 --> 01:03:21,237
And I had to learn how to defend myself
in many different ways.
719
01:03:22,600 --> 01:03:26,673
I think I probably would have stopped
if I hadn't had the support of my father.
720
01:03:26,840 --> 01:03:29,514
Because having that man saying...
721
01:03:29,680 --> 01:03:32,433
When all the other men around me
were saying,
722
01:03:32,600 --> 01:03:35,797
"You're gay, you're this, you're that,
because you're a dancer,"
723
01:03:35,960 --> 01:03:38,076
and getting teased for it,
724
01:03:38,240 --> 01:03:40,880
having my father,
and the man in my life,
725
01:03:41,800 --> 01:03:45,350
confirm that it's OK to do
what I wanted to do, no matter what,
726
01:03:45,520 --> 01:03:47,909
was really, really, important for me.
727
01:04:13,240 --> 01:04:17,029
When I saw the video for the first time,
728
01:04:17,200 --> 01:04:19,316
I asked myself several questions.
729
01:04:20,360 --> 01:04:24,354
For me, Westerners don't know
the meaning of sacrifice.
730
01:04:25,320 --> 01:04:27,357
I was born because of a sacrifice.
731
01:04:27,520 --> 01:04:31,229
Where I come from,
we know the value of sacrifice.
732
01:04:31,400 --> 01:04:34,153
Sacrifice is in our lives every day.
733
01:04:39,360 --> 01:04:42,034
After seeing the piece I was wondering,
734
01:04:42,200 --> 01:04:47,229
"Wow. I don't know
what Pina told these dancers
735
01:04:47,400 --> 01:04:50,279
to sacrifice themselves
to such an extent."
736
01:04:50,440 --> 01:04:51,999
It's very strong.
737
01:04:53,080 --> 01:04:57,711
In every part, you can feel
that they want to go to the extreme.
738
01:04:59,680 --> 01:05:04,800
I said to myself, "Maybe Pina
had to make a sacrifice.”
739
01:05:04,960 --> 01:05:10,638
Because you have to make a sacrifice
at a certain point for the dance.
740
01:06:20,320 --> 01:06:21,799
We need to do this all the time.
741
01:06:21,960 --> 01:06:24,395
No, all the time you don't want to do it.
742
01:06:27,800 --> 01:06:29,757
Of course, we need now to do it
743
01:06:29,920 --> 01:06:34,630
and we will do it tomorrow hopefully
with the men maybe.
744
01:06:34,800 --> 01:06:38,077
We do sections, but every day
we would like to have the girls
745
01:06:38,240 --> 01:06:40,470
so that we can be further than the men,
746
01:06:40,640 --> 01:06:42,677
because the men are slow.
747
01:06:44,360 --> 01:06:46,397
It's better without the men.
748
01:06:51,080 --> 01:06:52,639
There are a lot of corrections.
749
01:06:52,800 --> 01:06:58,079
As soon as we get into a formation,
it's like you have no idea
750
01:06:58,240 --> 01:07:02,791
that you have to be aware of the people
beside you, in front of you,
751
01:07:02,960 --> 01:07:06,032
that you always have to be in this whole.
752
01:07:06,600 --> 01:07:09,558
So that's why we have
to concentrate this week,
753
01:07:09,720 --> 01:07:12,917
always where our feet are
and where we stand.
754
01:07:13,080 --> 01:07:14,559
Even Luciény.
755
01:07:15,120 --> 01:07:16,997
When you're running... Where is she?
756
01:07:17,160 --> 01:07:19,595
Every time you run,
I don't need to see you.
757
01:07:19,760 --> 01:07:23,276
I know Luciény's running because I hear...
758
01:07:27,200 --> 01:07:30,318
You know, I have to be quite strict now,
759
01:07:30,480 --> 01:07:32,391
because I want us to get there.
760
01:07:33,200 --> 01:07:36,033
I'm not really a strict person
but I have to be.
761
01:07:36,200 --> 01:07:41,639
I can be funny, but I can be
the worst person you will want to know.
762
01:08:24,680 --> 01:08:26,159
Thank you very much.
763
01:08:26,720 --> 01:08:28,074
First of all, concerning the balance...
764
01:08:29,000 --> 01:08:31,833
Since the singers are way up there...
765
01:08:32,000 --> 01:08:33,877
In the first part at the "Stubenmusik"...
766
01:08:34,120 --> 01:08:37,238
at "La Tempesta", bar 29...
767
01:08:37,400 --> 01:08:39,835
Of course we are too loud.
768
01:08:40,000 --> 01:08:43,277
We never really come back to piano.
769
01:08:43,440 --> 01:08:45,750
And what we had yesterday...
770
01:08:45,920 --> 01:08:47,433
We do too much...
771
01:08:48,960 --> 01:08:51,349
We don't need that.
It has to jump somehow.
772
01:09:30,640 --> 01:09:34,349
For me to be ready for the performance,
I need to dance next to the hole.
773
01:09:35,320 --> 01:09:36,754
Because I feel when I get on stage,
774
01:09:36,920 --> 01:09:40,993
all I think about
during the third act is the hole.
775
01:09:41,160 --> 01:09:44,357
Even in moments where there's no way
that I could fall in the hole,
776
01:09:44,520 --> 01:09:47,717
I'm scared of falling in the hole.
And especially with lights,
777
01:09:48,360 --> 01:09:52,638
when you turn and you look up
and then you come down,
778
01:09:52,800 --> 01:09:55,155
because of the lights, you're blind.
779
01:09:55,320 --> 01:09:57,596
You don't know where the hole is really.
780
01:10:03,800 --> 01:10:07,953
This is actually a very big thing
for me to get over at the moment.
781
01:11:53,520 --> 01:11:55,511
There were the singers
and people watching.
782
01:11:55,680 --> 01:11:57,432
It was the end of the day also.
783
01:11:57,600 --> 01:12:00,718
I couldn't flow at all,
just stuck with my brain.
784
01:12:00,880 --> 01:12:03,235
I was missing some parts.
785
01:12:03,400 --> 01:12:05,232
I didn't stand up with the music.
786
01:12:05,400 --> 01:12:08,438
At some point I was thinking
I have to stop,
787
01:12:08,600 --> 01:12:11,274
because I wasn't flowing
with the piece.
788
01:12:12,880 --> 01:12:15,269
When I don't flow,
if I think about all the things,
789
01:12:15,440 --> 01:12:17,795
then I don't live in the moment.
790
01:12:21,840 --> 01:12:25,151
Instead of working to my position,
they are out.
791
01:12:25,640 --> 01:12:27,438
They are out. We do all of this...
792
01:12:28,120 --> 01:12:29,394
We do all of this.
793
01:12:30,520 --> 01:12:33,831
And then I come up, walk to your position,
so they are outside.
794
01:12:34,720 --> 01:12:36,677
I think we need some quiet.
- Yes.
795
01:12:36,840 --> 01:12:39,070
I think we need some quiet!
796
01:12:39,240 --> 01:12:41,436
Everyone!
797
01:12:41,600 --> 01:12:42,829
We're going to start.
798
01:12:43,000 --> 01:12:48,996
All you have on the legs - kneepads,
bandages, only things you are using.
799
01:12:49,160 --> 01:12:51,117
If you need to use it,
you can use it.
800
01:12:51,280 --> 01:12:53,191
But don't let them just hang.
801
01:12:54,280 --> 01:12:58,114
Everybody just be quiet on the side
802
01:12:58,280 --> 01:13:01,352
and we'll have some quiet in the room
before we start.
803
01:13:02,080 --> 01:13:04,674
It's our first run-through.
It's a big day.
804
01:14:21,120 --> 01:14:23,555
I thought I hadn't felt the piece.
805
01:14:23,720 --> 01:14:27,554
I followed the movements and the music,
listened to the tempo.
806
01:14:27,720 --> 01:14:31,953
But we still haven't reached
the heart of the piece, its essence.
807
01:14:32,120 --> 01:14:35,590
That relationship
between man and woman.
808
01:14:35,760 --> 01:14:38,070
The sacrifice, the ritual.
809
01:14:47,960 --> 01:14:50,474
I'm still learning
how to do the moves.
810
01:14:50,640 --> 01:14:52,517
I'm still not able
to make every move.
811
01:14:52,680 --> 01:14:56,071
And at the same time
you have to be a human being.
812
01:14:56,240 --> 01:14:58,709
A human being that is "Luciény".
813
01:14:58,880 --> 01:15:02,316
Doing the moves and really...
814
01:15:03,520 --> 01:15:05,989
feeling the piece as a ritual.
815
01:15:06,760 --> 01:15:08,910
Thank you for the run-through.
816
01:15:09,080 --> 01:15:15,110
But what for me is missing is the piece,
the feeling of the piece.
817
01:15:15,280 --> 01:15:16,793
The ritual.
818
01:15:16,960 --> 01:15:21,272
How we are walking in two groups,
how everybody is being individual.
819
01:15:21,440 --> 01:15:24,910
If somebody is just walking there
with no feeling,
820
01:15:25,520 --> 01:15:28,672
but just wants to show himself,
821
01:15:28,840 --> 01:15:32,799
it's a great pity for the rest.
822
01:15:32,960 --> 01:15:35,031
I know it's hard
to do it two times in a row,
823
01:15:35,200 --> 01:15:39,512
but I think it would be nice now
to do the whole thing again.
824
01:19:34,280 --> 01:19:35,395
Sang?
825
01:19:41,520 --> 01:19:42,715
Sang?
826
01:19:52,760 --> 01:19:53,955
Sang?
827
01:19:54,480 --> 01:19:58,553
There are two space things.
828
01:20:07,320 --> 01:20:10,438
This one. When you are here,
the position you take is good.
829
01:20:10,600 --> 01:20:14,639
Remember that with this one
you need to pull more,
830
01:20:14,800 --> 01:20:19,476
because for this you were
too much again to the center.
831
01:20:19,640 --> 01:20:22,393
The other day also
there is something you lost.
832
01:20:22,560 --> 01:20:26,599
You had it very nicely, both of you,
and something...
833
01:20:26,760 --> 01:20:30,196
Which moment?
- The first running together,
834
01:20:30,360 --> 01:20:32,158
when you push him the first time.
835
01:20:32,320 --> 01:20:35,358
And he stops and just this...
836
01:20:35,520 --> 01:20:39,434
I think you want to make something
too much extra out of it.
837
01:28:40,120 --> 01:28:44,159
Much better today.
That's the way we have to go on.
838
01:28:44,280 --> 01:28:46,715
That was great.
839
01:29:40,680 --> 01:29:45,311
Now we have to make an announcement
which is not very happy.
840
01:29:46,800 --> 01:29:52,352
We have to make an announcement
which is not very pleasing.
841
01:29:53,280 --> 01:29:57,672
The performance in Dakar
has been canceled.
842
01:29:58,080 --> 01:30:01,994
The performance in Dakar
has been canceled,
843
01:30:02,560 --> 01:30:07,430
because, as you might have followed,
of the virus.
844
01:30:07,600 --> 01:30:12,959
It's the President of Senegal
who announced that until 5th of April
845
01:30:13,120 --> 01:30:16,272
there will be no performance in Dakar.
846
01:30:16,880 --> 01:30:19,599
We're sorry to make this announcement
847
01:30:19,760 --> 01:30:24,197
after a day that I think
was very pleasing for all of us.
848
01:30:25,040 --> 01:30:30,513
It's a pity that we have to make this
announcement after a beautiful day,
849
01:30:30,680 --> 01:30:34,560
after a lot of joy
and happiness and satisfaction.
850
01:30:36,800 --> 01:30:41,237
He forgot to tell you guys
that actually also Germany is canceled.
851
01:30:41,920 --> 01:30:43,672
Germany is canceled too.
852
01:30:44,840 --> 01:30:47,912
At the moment we don't know
about Paris and London.
853
01:30:48,080 --> 01:30:52,119
But all of Europe is now canceled.
854
01:30:52,280 --> 01:30:56,114
Everything. It's not just shows,
but everything is closed.
855
01:30:56,280 --> 01:30:58,271
We are in danger of not getting home.
856
01:30:58,440 --> 01:31:01,717
We are in danger of not getting back home.
857
01:31:02,360 --> 01:31:05,352
So it's not only Dakar.
858
01:31:12,920 --> 01:31:17,278
I would like to say that
in the Wolof language there is a saying,
859
01:31:19,840 --> 01:31:24,391
It means, "When you have sweated
860
01:31:24,560 --> 01:31:26,790
and the sweat goes into the earth,
861
01:31:26,960 --> 01:31:28,633
it doesn't get lost."
862
01:31:28,800 --> 01:31:34,318
So everything you've done now
will not be lost.
863
01:31:34,960 --> 01:31:38,032
We don't know.
Sometimes there are things that happen.
864
01:31:38,680 --> 01:31:43,834
It's very difficult,
but it may be for something even better.
865
01:31:44,000 --> 01:31:46,560
And I assure you that this will continue.
866
01:31:47,040 --> 01:31:48,439
You must believe in that.
867
01:31:49,400 --> 01:31:52,119
If I hadn't believed,
868
01:31:52,840 --> 01:31:55,116
the École des Sables wouldn't be here.
869
01:31:56,520 --> 01:31:58,636
Helmut and I believed in it.
870
01:31:58,800 --> 01:32:01,474
If it didn't work, we said,
"It's going to work."
871
01:32:01,640 --> 01:32:02,710
So you must believe us.
872
01:32:02,880 --> 01:32:05,759
You must believe all these people
who have made this.
873
01:32:05,920 --> 01:32:08,594
If you don't believe, it won't work.
874
01:32:08,760 --> 01:32:11,354
But it will work. You have to believe it.
875
01:32:11,920 --> 01:32:13,274
It will work.
876
01:32:48,400 --> 01:32:51,153
I will take all these dancers,
877
01:32:52,920 --> 01:32:56,117
in my heart, back with me,
878
01:32:56,280 --> 01:33:00,956
because every time you work with somebody
it's very close, it's very intense.
879
01:33:05,080 --> 01:33:09,313
My son was meant to come to Dakar
to watch the premiere.
880
01:33:09,480 --> 01:33:11,835
But he can't do that anymore.
881
01:33:12,000 --> 01:33:19,191
My son has seen me
once or twice dancing on stage.
882
01:33:19,360 --> 01:33:22,751
But I've never really done a piece.
883
01:33:22,920 --> 01:33:29,075
So, for me, this is my first piece
and I would have liked him to see it.
884
01:33:33,080 --> 01:33:37,313
You just think, I know that we are strong.
We are so strong.
885
01:33:38,400 --> 01:33:43,474
And this is the only way
we can express ourselves, so...
886
01:33:45,880 --> 01:33:47,314
It's sad.
887
01:34:25,720 --> 01:34:28,997
I would love to be on stage with you.
888
01:34:29,560 --> 01:34:32,837
You are beautiful.
You're so beautiful.
889
01:35:33,720 --> 01:35:36,997
Attention, we are starting.
890
01:35:45,920 --> 01:35:50,198
Please be silent on the sides.
Silence everyone.
891
01:36:34,000 --> 01:36:35,434
Ready, Sang.
892
01:40:00,080 --> 01:40:03,436
We have something
to show the world, which is...
893
01:40:04,800 --> 01:40:09,636
what I know and what I believe in,
because I believe in the works.
894
01:40:09,800 --> 01:40:11,552
I believe in what I have given.
895
01:40:11,720 --> 01:40:15,554
I believe in what every other person
around me has given.
896
01:40:15,720 --> 01:40:17,757
We need to show the world.
It's beautiful.
897
01:40:17,920 --> 01:40:22,073
Different countries.
Nigeria, Ghana, Madagascar,
898
01:40:22,240 --> 01:40:23,310
Kenya,
899
01:40:24,960 --> 01:40:26,871
Togo, Benin,
900
01:40:28,560 --> 01:40:31,518
Mali, Burkina Faso,
901
01:40:33,080 --> 01:40:34,275
South Africa.
902
01:40:34,600 --> 01:40:37,797
It's so interesting.
All of these countries in one space.
903
01:40:37,960 --> 01:40:40,349
It can't just end like this.
904
01:40:45,480 --> 01:40:47,676
We live and we learn.
905
01:40:48,080 --> 01:40:49,912
And we dance.
906
01:40:50,280 --> 01:40:51,634
And we move.
907
01:40:51,720 --> 01:40:56,237
And we move people by doing
what we are doing.
908
01:41:19,440 --> 01:41:20,953
OK. Let's go.
909
01:41:22,120 --> 01:41:23,554
Enjoy yourselves.
910
01:41:24,120 --> 01:41:25,519
Make the most of it.
911
01:41:25,680 --> 01:41:28,069
Take a pleasure, guys, OK?
65022
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