1 00:03:13,234 --> 00:03:14,694 Julie, head over there! 2 00:03:34,255 --> 00:03:35,381 Stay in line! 3 00:03:41,512 --> 00:03:42,888 Back to your lines! 4 00:03:43,764 --> 00:03:46,267 And one, two, three! 5 00:04:05,870 --> 00:04:07,955 Come on, Carole, move on! 6 00:04:11,751 --> 00:04:12,877 Atayane! 7 00:04:17,214 --> 00:04:18,174 Not bad at all. 8 00:04:18,466 --> 00:04:21,552 Now back to the beginning for a few details. 9 00:04:21,719 --> 00:04:23,012 But calmly. 10 00:04:23,429 --> 00:04:24,972 Relax a moment. 11 00:04:25,848 --> 00:04:27,892 Not bad for a first try. 12 00:04:32,563 --> 00:04:33,647 Great. 13 00:04:36,859 --> 00:04:38,360 All right. 14 00:04:39,653 --> 00:04:42,656 She doesn't fall, it's too quick. 15 00:04:44,325 --> 00:04:48,496 You go up beautifully, but I miss the weight when you go down. 16 00:04:48,662 --> 00:04:50,122 See What I mean? 17 00:04:50,289 --> 00:04:53,959 The weight of the arms when you are under him... 18 00:04:55,711 --> 00:04:57,379 Up... 19 00:04:57,797 --> 00:04:59,340 and down. 20 00:04:59,924 --> 00:05:01,008 Superb. 21 00:05:08,432 --> 00:05:10,142 You look worried, Emilie. 22 00:05:10,559 --> 00:05:13,062 You did something like... 23 00:05:14,605 --> 00:05:15,648 Once more. 24 00:05:21,570 --> 00:05:22,696 The weight... 25 00:05:23,823 --> 00:05:24,907 Breathe in... 26 00:05:32,122 --> 00:05:33,707 With soutenu. 27 00:05:36,585 --> 00:05:37,711 Relevé. 28 00:05:40,297 --> 00:05:41,465 More diagonale. 29 00:06:12,830 --> 00:06:13,873 Look there. 30 00:06:24,550 --> 00:06:25,634 Temps levé! 31 00:06:27,553 --> 00:06:28,846 Good. 32 00:06:33,601 --> 00:06:35,019 One! Pass. 33 00:06:35,936 --> 00:06:37,021 Knee. 34 00:06:55,664 --> 00:06:56,624 Like this. 35 00:06:56,790 --> 00:06:59,335 But you stop here before you go down. 36 00:06:59,501 --> 00:07:03,839 It must be While you go down. 37 00:07:04,840 --> 00:07:07,176 You do this and try to catch up. 38 00:07:09,553 --> 00:07:11,347 This is important. 39 00:07:11,513 --> 00:07:14,099 Pass, and that is the important point. 40 00:07:16,602 --> 00:07:19,563 Don't go to the side, Laetitia. 41 00:07:19,730 --> 00:07:22,191 Right, going down! Leg in front! 42 00:07:23,484 --> 00:07:26,028 - You see what she does? - I don't do that. 43 00:07:26,820 --> 00:07:28,572 While going down. 44 00:07:30,240 --> 00:07:32,868 When your heel is down, leg in front. 45 00:07:36,956 --> 00:07:38,791 Yes, but not here. 46 00:07:38,958 --> 00:07:40,334 Pass like this. 47 00:07:43,170 --> 00:07:45,172 The arabesque is only a passage. 48 00:07:46,632 --> 00:07:48,634 Why do you stop on the floor? 49 00:07:49,510 --> 00:07:51,053 Why do you do that? 50 00:07:51,220 --> 00:07:54,223 She imagines an arabesque Where there is none. 51 00:07:54,390 --> 00:07:56,600 There's almost no arabesque. Down! 52 00:07:57,393 --> 00:07:59,436 When you do that, you go down. 53 00:07:59,603 --> 00:08:00,771 Not even... 54 00:08:03,232 --> 00:08:04,733 Laetitia, look. 55 00:08:05,484 --> 00:08:06,443 You go... 56 00:08:08,070 --> 00:08:10,489 I do this and this... 57 00:08:10,656 --> 00:08:13,367 and now, I go down from here. 58 00:08:23,669 --> 00:08:25,546 You blame me too much. 59 00:08:25,713 --> 00:08:28,841 It slowly becomes logical, 60 00:08:29,008 --> 00:08:31,760 because it becomes automatic. 61 00:08:34,638 --> 00:08:37,683 You will do it automatically. Your body stays there! 62 00:08:38,225 --> 00:08:39,810 Right, backward. 63 00:08:40,602 --> 00:08:42,980 Do what you want with your arms! 64 00:08:49,737 --> 00:08:51,155 You liked it? 65 00:08:52,656 --> 00:08:56,952 Then this brings us to 2012 or 2011 when we'll do it again. 66 00:08:58,829 --> 00:09:03,459 It takes time, but it's part of the life of the Opera Ballet. 67 00:09:03,625 --> 00:09:05,377 It takes a lot of time and... 68 00:09:09,381 --> 00:09:11,717 I was about to say "coaching"... 69 00:09:12,134 --> 00:09:15,054 Well, I asked Elisabeth to come. 70 00:09:16,096 --> 00:09:17,973 Patrice Bart and Clotilde Vayer 71 00:09:18,140 --> 00:09:21,977 will be most important for the return of this ballet. 72 00:09:22,144 --> 00:09:24,646 She is a ballet master. 73 00:09:25,397 --> 00:09:27,441 She worked on many ballets. 74 00:09:28,192 --> 00:09:33,197 So it's also a transmission of knowledge from the ballet masters. 75 00:09:33,363 --> 00:09:37,576 Patrice will be there, and Clotilde will take a large part. 76 00:09:37,743 --> 00:09:40,662 We shall also have Viviane Descoutures. 77 00:09:41,163 --> 00:09:45,626 I mean, there will be a lot of dedication, 78 00:09:46,502 --> 00:09:51,548 and team work within a team of ballet masters and their assistants, 79 00:09:51,715 --> 00:09:53,050 who will make it happen. 80 00:09:53,217 --> 00:09:55,469 This task must bring people together. 81 00:09:55,636 --> 00:09:58,847 It's not about having different views. 82 00:09:59,014 --> 00:10:01,266 Everybody must unite around the work. 83 00:10:01,433 --> 00:10:05,938 I find it very important to collaborate in order to achieve 84 00:10:06,105 --> 00:10:08,107 the best possible result. 85 00:10:08,857 --> 00:10:12,903 To me, the final result has to be a gift to the public 86 00:10:13,070 --> 00:10:16,740 that they can feel Without any explanation. 87 00:10:58,949 --> 00:11:01,285 Stop, thank you. Look here. 88 00:11:01,451 --> 00:11:03,787 When you're with him like this... 89 00:11:06,248 --> 00:11:08,876 Show your foot, don't do this... 90 00:11:10,377 --> 00:11:13,505 Bend the supporting leg, show the foot and piqué. 91 00:11:13,672 --> 00:11:15,716 Careful, you are too much... 92 00:11:18,635 --> 00:11:23,015 Extend it with the hand, don't stop or it looks like two spoons. 93 00:11:23,849 --> 00:11:24,892 What else... 94 00:11:27,728 --> 00:11:29,771 Go down a little earlier, Hervé. 95 00:11:36,445 --> 00:11:37,321 Crossed... 96 00:11:37,487 --> 00:11:38,989 Déboulé... 97 00:11:39,156 --> 00:11:41,491 Small but more crossed. 98 00:11:42,701 --> 00:11:45,913 I see that you are looking for contrast. 99 00:11:46,079 --> 00:11:49,875 To hit the floor is nice too, not as before, all flat... 100 00:11:51,919 --> 00:11:54,338 Your dancing was exceptionally readable. 101 00:11:54,504 --> 00:11:57,883 My plié was particular. But this is nice too... 102 00:11:58,050 --> 00:12:02,221 Chauviré also put her heels down, and Noélla Pontois. 103 00:12:02,387 --> 00:12:05,140 I like that "touch-rebound"... 104 00:12:05,307 --> 00:12:06,975 I hate it... 105 00:12:07,142 --> 00:12:09,228 - ...even in Balanchine. - I like it. 106 00:12:09,394 --> 00:12:11,939 This new way of dancing... 107 00:12:12,105 --> 00:12:15,359 Emilie Saiguen and Tallchief were something else! 108 00:12:15,525 --> 00:12:17,778 Something of a heavy butt... 109 00:12:18,779 --> 00:12:20,197 It's the easy way out. 110 00:12:20,364 --> 00:12:24,409 The flaws of Suzanne Farrell became qualities for the others. 111 00:12:36,129 --> 00:12:37,381 Plié, hold it. 112 00:12:43,387 --> 00:12:44,846 She never bends. 113 00:13:08,996 --> 00:13:10,038 Right! 114 00:13:11,039 --> 00:13:13,458 She should bend when she lands. 115 00:13:17,379 --> 00:13:18,797 And here too. 116 00:13:18,964 --> 00:13:19,965 Exactly! 117 00:13:26,972 --> 00:13:29,057 She's stiff, you see? 118 00:13:29,224 --> 00:13:30,851 I see What you mean. 119 00:13:40,068 --> 00:13:41,069 Good. 120 00:14:04,134 --> 00:14:05,302 All right. 121 00:14:05,844 --> 00:14:07,763 That was good, except for... 122 00:14:09,181 --> 00:14:10,390 Jeté... 123 00:14:12,225 --> 00:14:14,394 and then landing on a plié is nice. 124 00:14:14,561 --> 00:14:18,148 Lift up the leg to be ahead of your metatarsus. 125 00:14:18,482 --> 00:14:19,941 You make a développé... 126 00:14:20,108 --> 00:14:23,862 He wants a développé in the floor to make it attractive. 127 00:14:24,029 --> 00:14:26,823 You'll think you are late but it's beautiful. 128 00:14:26,990 --> 00:14:29,326 It gives the impression of being late. 129 00:14:29,493 --> 00:14:32,871 But there is a step on each note, I know that! 130 00:14:33,330 --> 00:14:37,501 There is a step on each note but you must bind the steps together. 131 00:14:37,667 --> 00:14:41,713 Understand? From the jeté... Show me, without him. 132 00:14:41,880 --> 00:14:43,840 Glissade, jeté... 133 00:14:44,007 --> 00:14:46,885 Now on the floor, plié! Do it! 134 00:14:48,804 --> 00:14:49,846 That's it. 135 00:14:52,808 --> 00:14:53,850 One. 136 00:15:03,902 --> 00:15:05,904 Two, three, 137 00:15:06,071 --> 00:15:07,572 four on the side. 138 00:15:18,125 --> 00:15:20,210 Hold on! Let's see that again. 139 00:15:20,877 --> 00:15:24,840 Don't start before the music. You're on your toes, I know... 140 00:15:25,006 --> 00:15:26,716 Don't start before the music. 141 00:15:26,883 --> 00:15:31,680 If it's relevé on "one", it's only one step. 142 00:15:34,057 --> 00:15:36,184 Stick to the counting. 143 00:15:38,311 --> 00:15:40,647 Alexandra, you know Where we are? 144 00:15:40,814 --> 00:15:43,358 Once more, from this step. 145 00:15:44,860 --> 00:15:45,944 Mathilde! 146 00:15:48,655 --> 00:15:51,408 Your arm is too high. Lower, OK? 147 00:15:51,575 --> 00:15:54,411 On préparation, and on the first diagonale. 148 00:15:54,578 --> 00:15:57,372 From here, girls. Do you follow, Caroline? 149 00:15:58,039 --> 00:16:00,876 Then you form two lines. 150 00:16:11,970 --> 00:16:14,014 Together when opening the arms! 151 00:16:35,702 --> 00:16:37,078 Together! 152 00:16:39,623 --> 00:16:43,752 Control your arms, keep the position when you get up. 153 00:16:46,630 --> 00:16:48,131 Now you unroll. 154 00:16:52,010 --> 00:16:53,720 Stretched, Caroline. 155 00:16:55,222 --> 00:16:56,264 With precision. 156 00:17:00,143 --> 00:17:03,021 Smoothly now. Follow the girl in front of you. 157 00:17:04,439 --> 00:17:06,399 The arm goes down, Marie-Soléne. 158 00:17:06,566 --> 00:17:08,610 Together... right. 159 00:17:52,070 --> 00:17:53,280 Higher, 160 00:17:53,446 --> 00:17:55,407 left, right and pirouette. 161 00:17:57,993 --> 00:17:59,411 Hold it straight. 162 00:18:01,997 --> 00:18:03,957 Hold it straight, before you... 163 00:18:04,124 --> 00:18:05,625 Your hand is too low. 164 00:18:07,586 --> 00:18:09,713 Hold it on a higher point. 165 00:18:09,879 --> 00:18:13,883 You pan like this, then hold it straight and... 166 00:18:18,054 --> 00:18:19,222 Right. 167 00:18:19,389 --> 00:18:21,850 It doesn't have to be so high. 168 00:18:23,476 --> 00:18:24,728 It gets on my nerves. 169 00:18:36,573 --> 00:18:37,699 Slowly. 170 00:18:41,328 --> 00:18:43,622 Legs tight, Malory. 171 00:18:46,082 --> 00:18:48,084 Arabesque stretched, Marc. 172 00:18:48,793 --> 00:18:49,836 Right. 173 00:18:53,548 --> 00:18:54,633 Pass in front. 174 00:26:14,363 --> 00:26:15,323 Not too early. 175 00:26:15,490 --> 00:26:17,533 I saw that. Or else you curl up. 176 00:26:31,214 --> 00:26:33,257 - The first time... - What? 177 00:26:33,424 --> 00:26:35,093 When we do this... 178 00:26:35,259 --> 00:26:36,469 We separate... 179 00:27:01,160 --> 00:27:03,412 - We go down? - We walk. 180 00:27:18,010 --> 00:27:20,012 - Not this! - Why not? 181 00:28:03,598 --> 00:28:05,349 How to choose the dancers. 182 00:28:05,933 --> 00:28:09,729 Since we have to follow a certain logic, 183 00:28:09,896 --> 00:28:13,316 you can't go to a class and say: "You, and you..." 184 00:28:13,482 --> 00:28:17,695 But you can come and tell me: "Here's the kind of dancer I like." 185 00:28:17,862 --> 00:28:21,199 And of course I'll try to satisfy your Wishes. 186 00:28:21,866 --> 00:28:26,120 What I usually do with guest choreographers 187 00:28:26,287 --> 00:28:30,416 is that I suggest a group of dancers. 188 00:28:31,584 --> 00:28:35,296 Then you'll tell me: "I like this one and not that one." 189 00:28:35,463 --> 00:28:38,716 Meaning I can work with a group before choosing... 190 00:28:38,883 --> 00:28:41,302 - Be nice to them. - Quickly. 191 00:28:41,469 --> 00:28:45,556 Don't have them wait too long. It wouldn't be nice to them. 192 00:28:45,723 --> 00:28:48,017 What you could do anyway 193 00:28:48,184 --> 00:28:52,188 is tell me the type of dancer you're looking for. 194 00:28:52,355 --> 00:28:55,983 - But if you can't, you can't. - It's not that I can't... 195 00:28:56,525 --> 00:28:57,610 No idea? 196 00:28:57,777 --> 00:29:02,281 I see someone, I like him or not, that's it. 197 00:29:02,448 --> 00:29:05,493 It's about... I don't know. 198 00:29:05,660 --> 00:29:09,205 Would you agree... We were talking about 15 dancers, 199 00:29:09,372 --> 00:29:13,626 but I could have some "stars" available, if you want. 200 00:29:13,793 --> 00:29:16,504 "Available" is not a nice word, but... 201 00:29:18,005 --> 00:29:21,050 For the time being, the general idea 202 00:29:21,217 --> 00:29:25,346 would be to consider about 15 dancers. 203 00:29:25,513 --> 00:29:30,268 But it could be less, according to the way you work. 204 00:29:30,434 --> 00:29:33,646 And apart from the dancers of the corps de ballet 205 00:29:33,813 --> 00:29:37,775 you could have some specific soloists. 206 00:29:37,942 --> 00:29:42,363 We're talking about a context in which you bring your creativity. 207 00:29:42,530 --> 00:29:43,864 What you Wish to do. 208 00:29:44,031 --> 00:29:47,576 I don't know you, though I like your work... 209 00:29:47,743 --> 00:29:51,872 But I don't know much about the way you work. 210 00:29:52,039 --> 00:29:53,374 I understand, but... 211 00:29:54,166 --> 00:29:56,252 I don't know... Just ask me. 212 00:29:57,420 --> 00:29:58,838 The way I work... 213 00:30:00,298 --> 00:30:03,718 I don't have a method. It depends. 214 00:30:03,884 --> 00:30:07,263 I don't want to repeat myself. 215 00:30:07,430 --> 00:30:09,390 Each creation is different. 216 00:30:11,434 --> 00:30:13,352 Regarding the choice... 217 00:30:15,980 --> 00:30:17,815 I need to know 218 00:30:20,067 --> 00:30:22,028 which method you'd suggest. 219 00:30:22,194 --> 00:30:25,656 I need to know your rules so that I can adapt. 220 00:30:26,407 --> 00:30:29,285 I didn't understand the difference... 221 00:30:29,452 --> 00:30:33,581 There is a corps de ballet and I can choose among them... 222 00:30:33,748 --> 00:30:36,208 The company is very hierarchical. 223 00:30:36,375 --> 00:30:38,336 If you ask, for example, 224 00:30:39,086 --> 00:30:41,839 for Laetitia Pujol or Aurélie Dupont, 225 00:30:42,006 --> 00:30:46,010 even if they are very generous and accept, 226 00:30:46,177 --> 00:30:49,388 they obviously need something really... 227 00:30:49,555 --> 00:30:53,225 Imagine you buy a race car and drive at 6 miles an hour. 228 00:30:53,392 --> 00:30:56,020 It's not necessarily in terms of results... 229 00:30:56,187 --> 00:30:59,774 These are persons who bring you something more. 230 00:30:59,940 --> 00:31:02,985 Yet we have incredible dancers in the ballet. 231 00:31:03,152 --> 00:31:04,820 Extremely good too. 232 00:31:04,987 --> 00:31:06,072 So... 233 00:31:06,989 --> 00:31:11,410 For example, another Mats Ek's ballet is entering our repertoire. 234 00:31:11,577 --> 00:31:14,288 He met, as you could do yourself... 235 00:31:14,914 --> 00:31:19,418 He cast some dancers from the corps in very important roles. 236 00:31:19,585 --> 00:31:21,379 I find that good too. 237 00:31:22,088 --> 00:31:23,589 Though sometimes... 238 00:31:23,756 --> 00:31:25,925 But those ballets already existed. 239 00:31:26,092 --> 00:31:29,011 I think he wanted to work 240 00:31:29,178 --> 00:31:32,139 with dancers like those who created the roles. 241 00:31:33,307 --> 00:31:35,184 That's why it's important 242 00:31:35,893 --> 00:31:38,187 to work with a group. 243 00:31:38,354 --> 00:31:43,067 Then later, it can be broken up, but it begins with a group of people 244 00:31:43,234 --> 00:31:45,152 who try to understand something together. 245 00:32:44,253 --> 00:32:45,463 This movement... 246 00:32:46,505 --> 00:32:49,258 Try to give it strength. 247 00:32:50,509 --> 00:32:53,554 And up you go, keeping your back straight. 248 00:32:53,721 --> 00:32:56,098 Be sharper. 249 00:32:56,265 --> 00:32:57,725 Never mind your foot. 250 00:32:57,892 --> 00:33:00,060 And from here, go... 251 00:33:00,227 --> 00:33:01,479 Not like this. 252 00:33:01,645 --> 00:33:03,689 Do this and then close. 253 00:33:08,986 --> 00:33:10,237 Second position. 254 00:33:11,572 --> 00:33:12,531 Go! 255 00:33:13,157 --> 00:33:14,700 This is what makes you turn. 256 00:33:15,242 --> 00:33:17,203 You, Emilie, you go... 257 00:33:17,995 --> 00:33:19,038 I exaggerate. 258 00:33:21,165 --> 00:33:24,043 If you close your arm, the body follows. 259 00:33:24,210 --> 00:33:26,003 Like a swinging door. 260 00:33:26,879 --> 00:33:30,007 Right, and then you link it like this... 261 00:33:37,139 --> 00:33:38,265 From this point. 262 00:33:38,432 --> 00:33:40,893 Take it more from here. 263 00:34:11,340 --> 00:34:12,508 Relax 264 00:34:12,675 --> 00:34:13,425 completely. 265 00:34:13,592 --> 00:34:15,678 I'll do it once more. 266 00:34:33,070 --> 00:34:34,154 Hold it. 267 00:34:37,658 --> 00:34:38,534 Good. 268 00:34:38,701 --> 00:34:40,411 Leg high! 269 00:34:43,747 --> 00:34:45,457 Leg higher, bend down. 270 00:34:45,624 --> 00:34:46,667 That's it! 271 00:34:51,130 --> 00:34:52,256 This is good. 272 00:35:05,352 --> 00:35:07,187 Head down each time. 273 00:35:14,903 --> 00:35:17,197 A bit too quick. 274 00:35:19,199 --> 00:35:21,118 And the arm backward. 275 00:35:23,370 --> 00:35:27,291 - And watch your head. - Maybe you could swing the head. 276 00:35:27,458 --> 00:35:30,127 Makes you feel sick, but it's nice. 277 00:35:30,294 --> 00:35:32,630 - That's how it is. - It's terrible. 278 00:35:32,796 --> 00:35:34,882 Why should it make anybody sick? 279 00:35:54,109 --> 00:35:55,569 This is good. 280 00:36:07,831 --> 00:36:08,957 This is good. 281 00:36:18,425 --> 00:36:19,885 Down and up. 282 00:36:21,762 --> 00:36:24,890 - That was better. - Amplify the "down and up". 283 00:36:25,057 --> 00:36:28,519 For these turns, start lower under the knee. 284 00:36:30,396 --> 00:36:32,272 First time you tell me that! 285 00:36:32,815 --> 00:36:34,525 You always say "too low" 286 00:36:34,692 --> 00:36:37,027 On the contrary, it must be lower. 287 00:36:37,444 --> 00:36:38,987 Before I go down? 288 00:36:39,154 --> 00:36:41,156 I certainly don't ask you to go up. 289 00:36:41,323 --> 00:36:44,993 You'll make more turns, and quicker. 290 00:36:49,373 --> 00:36:51,041 Try once Without the music. 291 00:36:52,376 --> 00:36:56,046 Doing it without the music is interesting. 292 00:36:56,213 --> 00:36:57,631 It's about speed. 293 00:36:58,340 --> 00:36:59,758 And down, down! 294 00:37:01,009 --> 00:37:02,428 Beautiful. 295 00:37:04,263 --> 00:37:08,267 This reminds you of the children, when everything went fine. 296 00:37:08,892 --> 00:37:12,521 This is when you played with them. 297 00:37:14,481 --> 00:37:16,483 And maybe this would be... 298 00:37:22,406 --> 00:37:24,450 Destiny, tragedy, 299 00:37:24,616 --> 00:37:26,869 your life, what you have done... 300 00:37:29,830 --> 00:37:31,498 "You can't fig ht it." 301 00:37:33,417 --> 00:37:36,211 Maybe you can use these ideas. 302 00:37:39,298 --> 00:37:42,885 What counts are the ideas you'll have on the stage. 303 00:37:43,051 --> 00:37:44,470 Then the audience... 304 00:37:46,597 --> 00:37:50,976 Don't forget about the stage. But your general scheme is good. 305 00:37:51,185 --> 00:37:55,355 For me, everything is set. Now it depends on your own work. 306 00:37:55,522 --> 00:37:58,275 It's your responsibility, even if we're with you. 307 00:37:58,442 --> 00:38:01,028 It's your responsibility to go on building it. 308 00:38:01,195 --> 00:38:02,821 - The character. - You've got it. 309 00:38:02,988 --> 00:38:04,531 It's really great. 310 00:38:05,115 --> 00:38:09,578 When I do this in the end, I don't know what I'll think about. 311 00:38:09,745 --> 00:38:13,165 You'll see, some things remain unexplainable. 312 00:38:14,416 --> 00:38:18,420 I feel how heavy it is, it goes back to everything she did. 313 00:38:18,587 --> 00:38:22,633 Cocteau had a sentence, not so nice to the artists, but... 314 00:38:23,467 --> 00:38:26,512 "It's up to the public to figure it out." 315 00:38:26,678 --> 00:38:30,641 Sometimes, it's unexplainable, it's a state you can't define. 316 00:38:30,808 --> 00:38:33,227 But once you're on stage, 317 00:38:33,393 --> 00:38:36,605 with blood all over, a devastated face, you'll see... 318 00:38:36,772 --> 00:38:40,776 And the continuity of the ballet will help you. 319 00:38:42,778 --> 00:38:47,407 If you dance the first pas de deux with Wilfried as you did, 320 00:38:47,574 --> 00:38:51,495 what follows builds something in us 321 00:38:51,662 --> 00:38:55,999 and in you too. The character is layered from the beginning. 322 00:38:56,166 --> 00:38:58,126 I feel it's building up. 323 00:38:58,293 --> 00:39:00,838 The coherence is built step by step 324 00:39:01,004 --> 00:39:03,257 as the ballet develops. 325 00:39:03,590 --> 00:39:05,092 In Pa quite, 326 00:39:05,259 --> 00:39:07,845 I really have an awful lot of roles. 327 00:39:08,011 --> 00:39:09,972 Let's see how you are cast. 328 00:39:10,138 --> 00:39:12,057 And I think it's too much. 329 00:39:12,224 --> 00:39:13,725 We'll see about it. 330 00:39:13,892 --> 00:39:16,186 And regarding precisely the pas de trois... 331 00:39:17,312 --> 00:39:20,315 I think it's not for me anymore. 332 00:39:20,983 --> 00:39:22,276 What's going on? 333 00:39:23,026 --> 00:39:26,989 You read a book you didn't like? I know! The College Prize! 334 00:39:27,155 --> 00:39:28,824 Brodeck's Report? 335 00:39:28,991 --> 00:39:30,826 He had the students' Goncourt. 336 00:39:30,993 --> 00:39:32,578 This is off the subject. 337 00:39:33,829 --> 00:39:37,207 - Let me call... - If we talk about literature... 338 00:39:38,959 --> 00:39:42,087 Please bring me the casting for Paquita. 339 00:39:43,630 --> 00:39:45,841 You already arranged everything. 340 00:39:46,008 --> 00:39:49,469 Not at all! I came to see you, I came to see God first. 341 00:39:51,054 --> 00:39:52,598 The pas de Ho's... 342 00:39:52,764 --> 00:39:54,099 You don't want to. 343 00:39:54,558 --> 00:39:57,144 Frankly, with all that I already have... 344 00:39:58,437 --> 00:40:00,480 All I have to do... 345 00:40:00,647 --> 00:40:02,357 What do you have to do? 346 00:40:02,524 --> 00:40:07,321 Renaud called me about rehearsing the Mats Ek in December! 347 00:40:07,487 --> 00:40:09,907 That was the last straw. I said: "What?" 348 00:40:10,073 --> 00:40:11,408 "Why me?" 349 00:40:14,912 --> 00:40:17,247 This pas de trois in Paquita, 350 00:40:17,414 --> 00:40:19,333 honestly, Brigitte... 351 00:40:19,499 --> 00:40:22,127 - You don't want it, I got that. - Because... 352 00:40:22,294 --> 00:40:23,962 All right, settled. 353 00:40:24,129 --> 00:40:25,631 What do we have next? 354 00:40:25,797 --> 00:40:29,009 Next... I can manage it all. 355 00:40:29,176 --> 00:40:30,886 You can manage it all. 356 00:40:31,053 --> 00:40:33,138 Something is bothering you. 357 00:40:33,680 --> 00:40:35,307 What I'm afraid of... 358 00:40:35,766 --> 00:40:38,810 is that I'm not 25 anymore. 359 00:40:39,227 --> 00:40:40,687 It doesn't show. 360 00:40:41,521 --> 00:40:43,482 Now I know that I need to... 361 00:40:43,649 --> 00:40:46,360 Needless to say, you do a lot anyway. 362 00:40:46,526 --> 00:40:51,114 There are things that I need to manage pragmatically. 363 00:40:51,740 --> 00:40:56,536 It's a difficult ballet, which I have never danced. 364 00:40:56,703 --> 00:41:00,165 A difficult ballet, with pointes and jumps. 365 00:41:00,332 --> 00:41:04,586 Pointes and jumps are now the most difficult for me. 366 00:41:04,753 --> 00:41:06,630 I know that now, 367 00:41:06,797 --> 00:41:11,218 and I have to be more careful about the amount of work. 368 00:41:12,678 --> 00:41:16,348 I play a gypsy, a Spanish solo, 369 00:41:16,515 --> 00:41:18,809 a lady of the Court, 370 00:41:18,976 --> 00:41:20,894 and the classical grand pas. 371 00:41:21,061 --> 00:41:23,897 The girls who danced it before say 372 00:41:24,064 --> 00:41:27,442 that when you arrive at the grand pas, it's very tough. 373 00:41:27,609 --> 00:41:31,488 All that I have before makes it very tough. 374 00:41:31,655 --> 00:41:33,323 But it's not all in one show. 375 00:41:33,490 --> 00:41:35,409 - I hope not! - See What I mean? 376 00:41:53,301 --> 00:41:54,302 Right! 377 00:42:04,479 --> 00:42:05,480 Very good. 378 00:42:20,537 --> 00:42:23,165 You go: one, two, three... 379 00:42:23,331 --> 00:42:24,916 And then this. 380 00:42:27,836 --> 00:42:29,046 It's not easy. 381 00:42:29,504 --> 00:42:30,589 From here... 382 00:42:42,809 --> 00:42:45,937 Deeper with the hip. 383 00:42:46,438 --> 00:42:50,609 Your hip turns, you turn your foot and it brings the hip with it. 384 00:42:58,492 --> 00:43:00,327 You can do it more calmly. 385 00:43:01,953 --> 00:43:03,872 Let me see What you do. 386 00:43:08,502 --> 00:43:13,048 Wait, when you do this, your arm is already there. 387 00:43:25,143 --> 00:43:28,814 Muriel, when he brings you here, your other arm just falls. 388 00:43:28,980 --> 00:43:30,857 You would prefer it later? 389 00:43:31,024 --> 00:43:32,776 "My place or yours?" 390 00:43:34,653 --> 00:43:36,238 It's the duet principle. 391 00:43:37,572 --> 00:43:39,366 Not bad. "My place?" 392 00:43:45,122 --> 00:43:47,624 - Right. That's it. - You prefer that? 393 00:43:47,791 --> 00:43:51,128 - But this little jump is not... - Do I jump too high? 394 00:43:51,294 --> 00:43:53,171 You have to lean on him. 395 00:44:00,095 --> 00:44:04,182 More like this. A little higher up anyway. 396 00:44:17,654 --> 00:44:18,738 Like this. 397 00:44:20,657 --> 00:44:21,992 Make it round. 398 00:44:23,410 --> 00:44:27,205 Natacha, you start it right, but then... 399 00:44:28,456 --> 00:44:31,251 It's round here too. Everything's round. 400 00:44:33,920 --> 00:44:35,922 You start from here. 401 00:45:45,325 --> 00:45:46,910 - Fish? - Yes, please. 402 00:45:48,536 --> 00:45:49,788 With sauce? 403 00:45:53,375 --> 00:45:54,584 Vegetables. 404 00:45:54,751 --> 00:45:55,877 With What? 405 00:45:56,670 --> 00:45:58,004 Semolina. 406 00:46:04,052 --> 00:46:05,470 Some of this? 407 00:46:05,845 --> 00:46:07,138 How should I know? 408 00:46:09,182 --> 00:46:10,433 Good day. 409 00:46:11,059 --> 00:46:12,477 Good day, young fellow. 410 00:46:16,147 --> 00:46:18,650 This one with some vegetables. 411 00:46:19,359 --> 00:46:21,486 Chicken broth and vegetables. 412 00:46:27,033 --> 00:46:28,201 Some beans. 413 00:46:28,743 --> 00:46:30,829 And semolina. The complete couscous. 414 00:46:31,496 --> 00:46:34,291 One has to let 90 once in a while. 415 00:47:00,025 --> 00:47:02,360 Four euros and 14 cents. 416 00:47:30,805 --> 00:47:36,353 We sell a 4-day trip to the "American Friends". 417 00:47:37,645 --> 00:47:40,106 From the 17th to the 20th. 418 00:47:40,273 --> 00:47:42,317 According to schedule, 419 00:47:42,484 --> 00:47:46,905 on the 17th we have a Welcome Opening Night Party for everybody. 420 00:47:48,448 --> 00:47:51,785 On the 18th, gala evening. 421 00:47:54,079 --> 00:47:55,246 On the 19th... 422 00:47:58,666 --> 00:48:00,877 New York City Ballet at Opéra Bastille. 423 00:48:01,044 --> 00:48:04,297 And on the 20th, Robbins' gala here. 424 00:48:04,464 --> 00:48:09,594 We have started to add a few supplements, 425 00:48:09,761 --> 00:48:12,055 because the galas are not enough. 426 00:48:12,222 --> 00:48:14,849 This is where I have a few things to say. 427 00:48:15,016 --> 00:48:17,268 Where is the schedule? 428 00:48:18,019 --> 00:48:19,521 Here it is: Welcome Dinner. 429 00:48:19,687 --> 00:48:24,943 Then the American ambassador invites them to a nice luncheon. 430 00:48:25,110 --> 00:48:26,569 Do you have 431 00:48:26,736 --> 00:48:28,029 any rehearsal? 432 00:48:29,572 --> 00:48:31,783 What our patrons want... 433 00:48:31,950 --> 00:48:35,078 The Opera will grant them a grandiose reception. 434 00:48:35,245 --> 00:48:37,539 There are various types of reception. 435 00:48:37,705 --> 00:48:42,377 They want to go to the American embassy, 436 00:48:42,544 --> 00:48:43,962 to a Ministry here... 437 00:48:44,504 --> 00:48:48,591 These are places they don't easily have access to. 438 00:48:48,758 --> 00:48:52,011 These people want this kind of thing. 439 00:48:52,887 --> 00:48:55,014 We organize a Welcome Dinner 440 00:48:55,432 --> 00:48:57,350 on Wednesday, 441 00:48:58,643 --> 00:49:01,521 a buffet for our Americans. 442 00:49:01,688 --> 00:49:04,774 Let's forget about the embassy on Thursday. 443 00:49:04,941 --> 00:49:09,654 But we thought about what the Americans like, 444 00:49:10,155 --> 00:49:11,823 and that is some rehearsal. 445 00:49:11,990 --> 00:49:13,575 For the Benefactors. 446 00:49:13,741 --> 00:49:16,035 - The Benefactors only. - On Wednesday. 447 00:49:16,202 --> 00:49:18,496 Right, we're talking about Wednesday. 448 00:49:18,663 --> 00:49:20,957 Let's talk about Wednesday. 449 00:49:21,124 --> 00:49:24,961 Explain the idea, since it's your idea. 450 00:49:25,753 --> 00:49:28,423 The group of "Big Benefactors", 451 00:49:28,590 --> 00:49:31,801 those who donate at least 25,000 dollars, 452 00:49:34,512 --> 00:49:37,432 need something special. 453 00:49:39,601 --> 00:49:43,354 Something more than What the rest of the group has. 454 00:49:43,646 --> 00:49:45,732 So we imagined... 455 00:49:45,899 --> 00:49:47,734 - Go ahead. - A lunch. 456 00:49:47,901 --> 00:49:49,027 Lunch is all right. 457 00:49:49,194 --> 00:49:51,029 But before lunch... 458 00:49:52,113 --> 00:49:54,157 I knew there was more! 459 00:49:54,824 --> 00:49:58,828 Lunch is all right. A nice lunch, why not... 460 00:49:58,995 --> 00:50:01,789 We could bring this group 461 00:50:02,499 --> 00:50:04,667 to a rehearsal upstairs. 462 00:50:04,834 --> 00:50:07,879 - Of the NY City Ballet? - Of the Opera Ballet. 463 00:50:08,046 --> 00:50:10,089 - How many are they? - We don't know. 464 00:50:10,256 --> 00:50:12,884 - About 20. - That's too difficult. 465 00:50:13,760 --> 00:50:16,137 But we can really sell this. 466 00:50:17,263 --> 00:50:19,015 What is being rehearsed? 467 00:50:19,766 --> 00:50:21,392 Robbins, of course. 468 00:50:22,143 --> 00:50:24,854 What's the name of the studio? 469 00:50:25,021 --> 00:50:26,981 - "Petipa". - Really? 470 00:50:27,148 --> 00:50:30,735 We don't have the right space for that. 471 00:50:31,319 --> 00:50:32,946 It's too tight. 472 00:50:33,446 --> 00:50:35,323 And the piano rehearsal? 473 00:50:40,828 --> 00:50:42,705 Maybe one or two 474 00:50:42,872 --> 00:50:46,084 will ask to see the Petipa Studio... 475 00:50:46,251 --> 00:50:47,710 They'll all ask! 476 00:50:49,087 --> 00:50:51,381 If it's a guided tour... Private. 477 00:50:53,466 --> 00:50:55,301 We could pass through it! 478 00:50:55,468 --> 00:50:57,095 Olivier does that very well. 479 00:50:57,262 --> 00:51:00,890 Let's imagine a sort of organized tour... 480 00:51:01,057 --> 00:51:03,226 Through the two companies. 481 00:51:05,061 --> 00:51:06,688 That's a good idea. 482 00:51:07,313 --> 00:51:11,234 The guided tour would visit the studios, 483 00:51:11,401 --> 00:51:13,528 which is something they've never seen. 484 00:51:13,695 --> 00:51:18,533 Then we stop for a few minutes on the balcony... 485 00:51:19,450 --> 00:51:20,952 A few seconds. 486 00:51:21,119 --> 00:51:24,289 At the piano rehearsal for the gala. 487 00:51:24,455 --> 00:51:26,124 They can stay longer. 488 00:51:26,291 --> 00:51:27,959 Then they have lunch... 489 00:51:28,126 --> 00:51:29,586 The good idea 490 00:51:29,752 --> 00:51:31,754 is the guided tour. 491 00:51:32,964 --> 00:51:34,299 A stop at the studio, 492 00:51:35,717 --> 00:51:40,221 and then to the piano rehearsal where they can stay longer. 493 00:51:40,388 --> 00:51:43,433 That's on September 17th, 494 00:51:43,600 --> 00:51:45,268 for the "Big Benefactors". 495 00:51:45,893 --> 00:51:47,895 The Benefactors... 496 00:51:48,605 --> 00:51:50,106 Twenty persons? 497 00:51:51,149 --> 00:51:54,527 The 25,000 dollars includes 498 00:51:54,694 --> 00:51:56,904 two trip packages. 499 00:51:57,071 --> 00:52:02,243 The normal trip package costs 5,000 dollars per person. 500 00:52:04,245 --> 00:52:06,581 This includes two trip packages, 501 00:52:06,748 --> 00:52:11,252 and in addition, they have a box 502 00:52:12,420 --> 00:52:14,297 for the gala, with 6 seats, 503 00:52:14,464 --> 00:52:18,301 meaning they can invite 4 more persons. 504 00:52:18,468 --> 00:52:23,348 - The 25,000 dollar Benefactors. - I'm only talking about the 25,000. 505 00:52:24,307 --> 00:52:27,477 They have two 5,000 dollar packages, 506 00:52:27,644 --> 00:52:30,688 plus a box for 6 people, 507 00:52:30,855 --> 00:52:34,067 so that they can invite 4 persons. 508 00:52:35,234 --> 00:52:36,736 Any documentation on that? 509 00:52:36,903 --> 00:52:41,074 Not yet. We just worked on it. 510 00:52:41,240 --> 00:52:44,494 We plan to offer it to, let's say... 511 00:52:44,661 --> 00:52:47,622 Tomorrow, we have lunch with Lehman Brothers. 512 00:52:47,789 --> 00:52:50,416 They absolutely want to be at the gala. 513 00:52:51,876 --> 00:52:55,296 We offered the Robbins programme to Lehman Brothers, 514 00:52:55,463 --> 00:52:59,634 but if they don't sponsor it all, 515 00:52:59,801 --> 00:53:03,179 they could buy a package or two 516 00:53:03,930 --> 00:53:06,516 to make some PR operation. 517 00:53:25,368 --> 00:53:29,539 Instead of having your arm there because they asked you to, 518 00:53:29,706 --> 00:53:31,708 it has to be meaningful to you. 519 00:53:35,878 --> 00:53:38,673 A person trying to contain herself. 520 00:53:38,840 --> 00:53:41,926 She contains herself, and then... 521 00:53:45,638 --> 00:53:47,557 Imagine that. 522 00:53:47,724 --> 00:53:51,686 It reminds you of your children then you're with him 523 00:53:51,853 --> 00:53:53,271 and you start to... 524 00:54:11,706 --> 00:54:13,624 Imagine it. Good. 525 00:54:16,544 --> 00:54:21,090 The jump is important only as the conclusion of your movement. 526 00:54:21,257 --> 00:54:24,927 Jumping is not as important as launching something. 527 00:54:30,975 --> 00:54:33,102 You don't have to do it forcefully. 528 00:54:35,146 --> 00:54:37,440 Sometimes you need to insist... 529 00:54:39,692 --> 00:54:40,777 And again. 530 00:54:43,112 --> 00:54:44,822 "If I got them... 531 00:54:46,949 --> 00:54:48,326 "This is What I'd do." 532 00:54:48,493 --> 00:54:51,245 Imagine. Feed on this too. 533 00:54:52,705 --> 00:54:56,918 You can't put words on each movement. But the evolution is clear. 534 00:55:07,428 --> 00:55:08,971 The end of the week! 535 01:01:30,561 --> 01:01:33,856 Thanks to all those who attended and I hope liked, 536 01:01:34,023 --> 01:01:37,443 who anyway have seen this ballet. 537 01:01:37,610 --> 01:01:39,570 To me, it is above all a ballet. 538 01:01:39,737 --> 01:01:42,781 I thank my star dancer, Mr Gergiev... 539 01:01:43,532 --> 01:01:45,993 for his direction 540 01:01:46,160 --> 01:01:49,038 that mixes music, dance and theater. 541 01:01:49,205 --> 01:01:51,874 Thanks to Aurélie Dupont, of course. 542 01:01:57,338 --> 01:01:59,089 To Hervé Moreau. 543 01:02:03,719 --> 01:02:04,887 To Nicolas Paul, 544 01:02:05,054 --> 01:02:09,225 who had a fever. That's why he's not here. 545 01:02:09,391 --> 01:02:13,646 And of course to another dancer... 546 01:02:14,063 --> 01:02:16,232 Our magnificent... 547 01:02:17,316 --> 01:02:22,238 And I'm sure you'll join me in my deepest thanks 548 01:02:22,404 --> 01:02:24,573 to Sasha Waltz. 549 01:02:27,159 --> 01:02:29,411 Sasha, we thank you again. 550 01:08:28,312 --> 01:08:30,689 First time I've seen that! 551 01:09:02,179 --> 01:09:03,305 Ready to go. 552 01:09:25,327 --> 01:09:26,411 Let's go. 553 01:09:29,706 --> 01:09:31,416 Much better. Complete. 554 01:09:31,583 --> 01:09:32,876 I'll do it that way. 555 01:09:33,043 --> 01:09:34,753 You talk to him. 556 01:09:34,920 --> 01:09:37,297 Your movements say: 557 01:09:37,464 --> 01:09:41,051 "You're back! I'll look after you, heal you." 558 01:09:41,218 --> 01:09:42,260 But then... 559 01:09:44,054 --> 01:09:46,014 But you are still Medea. 560 01:09:46,181 --> 01:09:50,227 There are strange little signs or ambiguous gestures, 561 01:09:50,394 --> 01:09:53,313 caresses that could also be blows. 562 01:09:56,024 --> 01:09:57,859 That could be blows... 563 01:09:59,319 --> 01:10:01,530 It's like in the X-Men stories. 564 01:10:01,697 --> 01:10:04,116 These characters all have some... 565 01:10:04,658 --> 01:10:09,496 They want to be in love, but they have dangerous gifts, so they can't. 566 01:10:09,663 --> 01:10:12,124 - Edward Scissorhands. - Exactly! 567 01:10:16,795 --> 01:10:18,755 I love dancing to this music. 568 01:10:59,838 --> 01:11:01,381 Simple pas de bourrée. 569 01:11:02,966 --> 01:11:04,009 Arabesque. 570 01:11:19,691 --> 01:11:22,778 Pull the girls to you, boys. 571 01:11:23,278 --> 01:11:25,197 Hand on her waist, Stéphane. 572 01:11:25,363 --> 01:11:27,115 Keep the contact with her. 573 01:11:28,325 --> 01:11:29,451 Third time. 574 01:11:30,577 --> 01:11:31,870 She turns. 575 01:11:34,039 --> 01:11:35,123 She bends. 576 01:11:37,083 --> 01:11:38,418 Stay behind her, 577 01:11:38,919 --> 01:11:41,046 and disappear in the diagonale. 578 01:11:43,465 --> 01:11:45,300 It's a lot in a short time, 579 01:11:45,842 --> 01:11:47,552 but we have to move on. 580 01:11:47,719 --> 01:11:50,305 All the alphas on 50. 581 01:11:51,181 --> 01:11:53,975 - Seconds? - 114 in 2 seconds. 582 01:11:54,142 --> 01:11:55,227 Twelve. 583 01:11:57,312 --> 01:11:58,563 In twelve seconds. 584 01:12:04,694 --> 01:12:07,489 72, 73, 74. 585 01:12:12,160 --> 01:12:13,453 502. 586 01:12:19,835 --> 01:12:21,795 200 on the 5 kilo. 587 01:12:22,295 --> 01:12:24,548 What's going on with the alpha? 588 01:12:30,470 --> 01:12:32,264 We miss an alpha. 589 01:12:34,140 --> 01:12:35,809 The 2213. 590 01:12:38,311 --> 01:12:40,063 No, not the light. 591 01:12:51,491 --> 01:12:52,993 Keep on "pause". 592 01:13:08,550 --> 01:13:09,593 Shit! 593 01:13:12,637 --> 01:13:15,640 Without the arms, not as I said before. 594 01:13:25,150 --> 01:13:25,984 Run! 595 01:13:33,116 --> 01:13:34,117 Better. 596 01:13:40,916 --> 01:13:42,167 Cross the left leg. 597 01:13:46,463 --> 01:13:48,506 Right shoulder upfront, Laetitia. 598 01:13:55,889 --> 01:13:57,849 Rounder, more crossed. 599 01:14:20,497 --> 01:14:23,249 Not too high, or you can't lift the knee. 600 01:14:49,609 --> 01:14:50,902 Cross the thighs. 601 01:15:02,580 --> 01:15:04,207 Left leg aside. 602 01:15:28,940 --> 01:15:30,775 Your legs are really alive, 603 01:15:30,942 --> 01:15:32,193 they're at work. 604 01:15:32,360 --> 01:15:33,820 The roundabout was great. 605 01:15:33,987 --> 01:15:36,614 You must stretch really well 606 01:15:36,781 --> 01:15:39,492 to get a better quality pirouette. 607 01:15:42,746 --> 01:15:43,788 Hold it. 608 01:15:49,836 --> 01:15:50,837 Good. 609 01:15:52,756 --> 01:15:53,798 Resist. 610 01:16:01,431 --> 01:16:03,391 Don't land too early. 611 01:16:08,313 --> 01:16:11,024 Maybe you got lost in counting or whatever... 612 01:16:11,191 --> 01:16:14,527 But it changes everything in the quality of the movement. 613 01:16:14,694 --> 01:16:15,528 Everything. 614 01:20:38,291 --> 01:20:39,584 Kicks! 615 01:20:40,918 --> 01:20:42,211 Petites cloches! 616 01:20:52,889 --> 01:20:57,226 Slower in the 2nd part, so that they lift their legs more. 617 01:20:57,935 --> 01:20:59,437 Here we go. 618 01:21:00,355 --> 01:21:02,398 With the little toes! 619 01:22:20,017 --> 01:22:22,186 Hold on a second, Simonet. 620 01:22:25,064 --> 01:22:26,357 Good, Cora. 621 01:22:28,609 --> 01:22:32,864 I would expect you to jump more. 622 01:22:36,868 --> 01:22:38,494 Stretch it more. 623 01:22:40,246 --> 01:22:42,081 It's good, but... 624 01:22:42,248 --> 01:22:44,876 Finish it like this. 625 01:22:46,752 --> 01:22:48,838 That's good. Don't lean backward. 626 01:22:49,297 --> 01:22:53,843 If you hold it here, one thinks you do it for yourself. 627 01:22:54,010 --> 01:22:58,264 But like this, you do it also for those who are watching you. 628 01:22:59,098 --> 01:23:01,142 Without the arm being too loose, 629 01:23:02,185 --> 01:23:05,146 but keeping the position just as it should be 630 01:23:05,313 --> 01:23:08,941 is less interesting than going beyond the correct position. 631 01:23:09,108 --> 01:23:11,068 Even with the arm closed. 632 01:23:12,320 --> 01:23:13,821 It's about rhythm. 633 01:23:26,584 --> 01:23:29,378 Cora, use the couronnes more. 634 01:23:29,545 --> 01:23:31,130 Sometimes, I find you... 635 01:23:31,297 --> 01:23:33,132 It's not a flaw, 636 01:23:33,299 --> 01:23:36,260 but you could be more generous in the couronnes. 637 01:23:38,471 --> 01:23:42,517 Your arms are in place but only your legs are at work. 638 01:23:42,683 --> 01:23:44,602 You can also use your elbows. 639 01:23:45,770 --> 01:23:48,231 Same when you start your turns. 640 01:23:48,397 --> 01:23:50,066 Try to use this... 641 01:23:53,027 --> 01:23:54,779 Open. Exactly! 642 01:23:58,032 --> 01:24:01,410 Once more, and then it's your turn, Simonet. 643 01:24:11,379 --> 01:24:13,339 Go with the music, breathe. 644 01:24:29,981 --> 01:24:31,232 Back straight. 645 01:24:40,616 --> 01:24:41,701 Attack. 646 01:25:20,656 --> 01:25:23,034 Not bad, Simonet. Tough work. 647 01:33:42,032 --> 01:33:44,576 Our company belongs to the 21st century, 648 01:33:44,743 --> 01:33:47,955 but for me, as artistic director, 649 01:33:48,122 --> 01:33:51,125 it has to offer the classics of the repertoire. 650 01:33:51,708 --> 01:33:55,587 We need a rather broad range of ballets. 651 01:33:55,754 --> 01:33:58,048 I don't want to mutilate you and stop you 652 01:33:58,215 --> 01:34:00,634 from working with modern choreographers, 653 01:34:01,260 --> 01:34:04,221 living artists, whether famous 654 01:34:04,388 --> 01:34:05,764 or not famous. 655 01:34:07,808 --> 01:34:10,144 We also contribute to their career. 656 01:34:10,310 --> 01:34:12,563 And in a way, everybody's happy. 657 01:34:13,105 --> 01:34:14,481 But I've felt... 658 01:34:17,025 --> 01:34:20,654 "unsettled", as the jargon goes. 659 01:34:20,821 --> 01:34:24,908 I felt that once the dancers attended the class, 660 01:34:25,075 --> 01:34:26,869 they found it worthwhile. 661 01:34:27,035 --> 01:34:29,621 This is more valuable than any talk. 662 01:34:29,788 --> 01:34:33,417 - Honestly, the atmosphere is... - Quite good. 663 01:34:34,001 --> 01:34:38,213 But you know how it is with groups of artists, 664 01:34:38,380 --> 01:34:41,884 when someone says: "We worry about the youngsters." 665 01:34:42,551 --> 01:34:45,721 The young ones were happy to work with Sasha. 666 01:34:45,888 --> 01:34:47,931 They learned a lot... 667 01:34:48,098 --> 01:34:52,603 But since I hear all this, I have to repeat once again: 668 01:34:52,769 --> 01:34:55,189 our programming is planned over 3 years. 669 01:34:56,732 --> 01:34:59,902 For various reasons: first, the rights. 670 01:35:00,068 --> 01:35:02,779 Our repertoire is cleared for 3 or 5 years. 671 01:35:02,946 --> 01:35:08,243 We must exploit the subtle negotiations of Olivier 672 01:35:08,994 --> 01:35:12,289 and therefore go on dancing these ballets. 673 01:35:12,456 --> 01:35:14,541 Some ballets are renewed. 674 01:35:14,708 --> 01:35:17,419 The risky ones have to be given another try. 675 01:35:17,586 --> 01:35:21,757 We have regular courses of contemporary dance, 676 01:35:21,924 --> 01:35:24,801 but I see very few young people attending. 677 01:35:24,968 --> 01:35:27,387 I see very few people attending. 678 01:35:27,554 --> 01:35:30,891 I'd like to know if these courses are appropriate 679 01:35:31,058 --> 01:35:35,854 or if they're not and need a change. This would interest me. 680 01:35:36,021 --> 01:35:39,816 It's not about "informing" but about knowing how it feels. 681 01:35:40,108 --> 01:35:43,028 How can you be afraid to approach a language 682 01:35:43,195 --> 01:35:45,781 deeply different from the classical one 683 01:35:45,948 --> 01:35:48,700 if you never learned contemporary dance? 684 01:35:48,867 --> 01:35:52,496 Once you understand the work, the center of gravity, 685 01:35:52,663 --> 01:35:54,539 what a twist or a curve means... 686 01:35:55,374 --> 01:35:57,668 then you know how to warm up 687 01:35:57,918 --> 01:35:59,544 your body. 688 01:36:00,796 --> 01:36:03,548 Regarding the choreographers... 689 01:36:03,715 --> 01:36:06,176 Can we dance anything? Yes and no. 690 01:36:06,885 --> 01:36:09,638 There are things that I love that I'll never 691 01:36:10,305 --> 01:36:11,682 ask you to do. 692 01:36:12,349 --> 01:36:13,558 If I sum it up... 693 01:36:14,893 --> 01:36:16,645 In brief, I'm told 694 01:36:16,812 --> 01:36:20,065 that the young fear to approach new techniques. 695 01:36:20,232 --> 01:36:24,903 But they don't go to the classes where they could learn them! 696 01:36:25,070 --> 01:36:28,782 When you discuss together, as our company should, 697 01:36:28,949 --> 01:36:31,535 please remind them, as I do myself, 698 01:36:31,702 --> 01:36:34,871 that they have access to solutions and knowledge 699 01:36:35,038 --> 01:36:37,749 through the classes. Once a week, right? 700 01:36:39,835 --> 01:36:41,545 It's good to remind them. 701 01:38:34,032 --> 01:38:35,450 Carole, in the middle! 702 01:38:38,078 --> 01:38:39,538 Pass in front! 703 01:38:53,593 --> 01:38:56,471 That's better. Pointes in the jumps, girls! 704 01:38:56,638 --> 01:38:58,306 Ninon, your pointes! 705 01:38:59,099 --> 01:39:00,517 Step back, Ninon! 706 01:39:02,269 --> 01:39:04,312 Hold it, they're not in line. 707 01:39:05,689 --> 01:39:07,065 You're scattered all over. 708 01:39:10,402 --> 01:39:13,280 - Is she in the middle? - She must be on the line. 709 01:39:13,447 --> 01:39:16,032 When you see your friend... 710 01:39:16,992 --> 01:39:18,118 you come out. 711 01:39:18,285 --> 01:39:20,912 And don't land so flat, girls. 712 01:39:25,125 --> 01:39:28,753 I noticed that when you come out, you all fall flat. 713 01:39:31,923 --> 01:39:32,966 Tighter! 714 01:39:45,937 --> 01:39:47,105 That was better. 715 01:39:47,898 --> 01:39:49,858 Look, Christine is happy! 716 01:39:50,567 --> 01:39:51,568 Line! 717 01:39:56,615 --> 01:39:57,616 Down! 718 01:40:03,163 --> 01:40:04,289 Not too high! 719 01:40:13,381 --> 01:40:15,091 Your back, Aurélia. 720 01:40:15,842 --> 01:40:18,887 Don't turn your back during your entrelacé. 721 01:40:19,387 --> 01:40:21,056 Arms late, Christine! 722 01:40:22,557 --> 01:40:26,061 People don't understand the specifics of this troupe 723 01:40:26,228 --> 01:40:28,730 which relies on a school... 724 01:40:28,897 --> 01:40:32,317 a troupe that wants to reach the highest level. 725 01:40:32,484 --> 01:40:36,279 I showed a picture of Gillot in McGregor's ballet, 726 01:40:36,446 --> 01:40:38,990 where she is making these splits. 727 01:40:39,157 --> 01:40:42,994 Try to do that when you reach 45... 728 01:40:43,495 --> 01:40:45,997 There can be exceptions, but... 729 01:40:47,791 --> 01:40:50,710 This brings us back to the definition of the dancer 730 01:40:50,877 --> 01:40:53,505 by Maurice Béjart: "Half nun, half boxer". 731 01:40:53,672 --> 01:40:57,842 Capable of great dedication, endowed with physical strength, 732 01:40:59,010 --> 01:41:00,470 and energy... 733 01:41:00,637 --> 01:41:03,014 They are both... 734 01:41:03,181 --> 01:41:07,143 A dancer is both the racehorse and its jockey, 735 01:41:07,310 --> 01:41:10,272 the race car and its driver. 736 01:41:12,274 --> 01:41:14,568 There is a lot more, but... 737 01:41:15,485 --> 01:41:19,573 Nobody talks about it, and this creates a lot of confusion. 738 01:41:19,739 --> 01:41:24,327 It's the same with singers. At a certain age, it's over. 739 01:41:25,203 --> 01:41:26,997 We stop at 40. 740 01:41:27,163 --> 01:41:29,499 Some dancers in the company don't reach 40. 741 01:41:29,666 --> 01:41:33,545 - Singers start their career at 25. - I don't mean the careers, 742 01:41:33,712 --> 01:41:38,300 but the gap between 40 and the legal retirement age of 65. 743 01:41:45,473 --> 01:41:46,683 Marie-Agnés? 744 01:41:49,019 --> 01:41:51,438 Can you go back to the second... 745 01:41:53,523 --> 01:41:54,941 Ready, Marie-Agnés? 746 01:42:24,554 --> 01:42:26,097 She's incredible! 747 01:42:47,994 --> 01:42:49,746 He didn't change place? 748 01:42:51,956 --> 01:42:53,792 He went back to his first place. 749 01:42:57,045 --> 01:42:58,797 Wrong direction! 750 01:43:04,177 --> 01:43:06,429 At the top of the diagonale, Julien! 751 01:43:06,596 --> 01:43:09,015 Too tight! You have no room! 752 01:43:11,351 --> 01:43:13,103 That's the right place. 753 01:43:13,353 --> 01:43:14,437 Again? 754 01:43:14,604 --> 01:43:16,523 See these arms! Let's tell them. 755 01:43:16,690 --> 01:43:18,108 Too limp, Julien. 756 01:43:20,485 --> 01:43:23,113 Audric's turns are limp too. 757 01:43:23,279 --> 01:43:27,534 Shit, Alister! You do it each time! 758 01:43:29,577 --> 01:43:31,913 Wrong place again, Alister? 759 01:43:32,080 --> 01:43:33,164 Shit! 760 01:43:34,207 --> 01:43:38,628 It's always the same, get it right! We stop here every time! 761 01:43:38,795 --> 01:43:42,382 The diagonale must start down there at the bottom. 762 01:43:44,008 --> 01:43:45,719 Higher on the diagonale. 763 01:43:47,095 --> 01:43:50,140 Julien, when you pass between the ranks, be precise. 764 01:43:50,765 --> 01:43:54,352 Benjamin, sometimes you don't know where you are... 765 01:43:55,186 --> 01:43:59,482 I know it's not easy, but you have to start doing it! 766 01:44:05,613 --> 01:44:07,657 Why these long underpants? 767 01:44:24,007 --> 01:44:25,842 That's not enough! 768 01:44:27,302 --> 01:44:28,386 I agree. 769 01:44:32,557 --> 01:44:34,058 Not too low? 770 01:44:34,434 --> 01:44:36,144 Let her try. 771 01:44:41,399 --> 01:44:42,609 Too low. 772 01:44:44,027 --> 01:44:45,612 But she did her 3 turns. 773 01:44:47,113 --> 01:44:48,406 Look at this beauty. 774 01:44:55,663 --> 01:44:56,581 Splendid. 775 01:44:56,748 --> 01:44:58,541 Indecently easy. 776 01:44:59,125 --> 01:45:00,502 Beautiful work. 777 01:45:04,714 --> 01:45:06,466 And he is musical too. 778 01:45:08,551 --> 01:45:12,347 They all do the first step on half pointes. Look! 779 01:45:12,514 --> 01:45:13,598 All of them. 780 01:45:20,730 --> 01:45:21,564 Good! 781 01:45:29,239 --> 01:45:31,407 Wait. Is it a joke, Lucie? 782 01:45:35,620 --> 01:45:37,205 It's falling to pieces... 783 01:45:40,041 --> 01:45:41,167 She fell? 784 01:45:41,543 --> 01:45:42,794 No, itfell. 785 01:45:43,211 --> 01:45:44,295 Again. Last time. 786 01:45:44,462 --> 01:45:47,215 Let her cut it and end of the story. 787 01:45:57,100 --> 01:45:58,268 Hold it! 788 01:46:24,127 --> 01:46:26,212 Right arm not too high, Sofia. 789 01:46:27,547 --> 01:46:30,925 It's crescendo, so you can go for it. With your backs. 790 01:46:40,852 --> 01:46:42,020 Arms stretched. 791 01:46:43,396 --> 01:46:44,439 Far. 792 01:46:56,075 --> 01:46:57,410 Down. 793 01:46:57,577 --> 01:46:59,662 The emphasis is lower, right. 794 01:47:27,273 --> 01:47:29,108 These two are incredible... 795 01:47:30,234 --> 01:47:33,488 You just have to plug them in. They've done it so many times. 796 01:47:46,250 --> 01:47:49,754 You should "travel" a bit more when you first cross, Muriel. 797 01:47:51,798 --> 01:47:55,385 Stop, once more. Muriel, do you see, you and Fanny? 798 01:47:55,551 --> 01:47:58,179 You're in front, you have to cross wider. 799 01:48:00,640 --> 01:48:01,808 First point: 800 01:48:01,975 --> 01:48:06,187 the reform of the retirement systems for public institutions 801 01:48:06,354 --> 01:48:11,067 which are the "Special retirement systems". 802 01:48:11,234 --> 01:48:13,152 It involves the Opera, but not only: 803 01:48:13,319 --> 01:48:17,865 Comédie Frangaise, Gaz de France, National Railways, etc. 804 01:48:18,032 --> 01:48:21,411 I think that the reform as such is not negotiable. 805 01:48:21,577 --> 01:48:23,329 It will happen anyway. 806 01:48:23,496 --> 01:48:27,417 You may think differently, but that's what I feel. 807 01:48:27,583 --> 01:48:32,714 But dancers have special characteristics... 808 01:48:32,880 --> 01:48:36,384 Others have too, but we'll leave them apart. 809 01:48:36,551 --> 01:48:41,764 We have differences from the others that we definitely can assert. 810 01:48:41,931 --> 01:48:45,435 Your representatives 811 01:48:45,601 --> 01:48:48,146 showed you the document 812 01:48:48,312 --> 01:48:51,774 from the Ministry of Employment. 813 01:48:51,941 --> 01:48:55,319 Among the items open to negotiation, 814 01:48:55,486 --> 01:48:59,532 the first one is about professions. 815 01:49:00,199 --> 01:49:03,453 Therefore I cannot tell you today 816 01:49:04,037 --> 01:49:09,208 what your future retirement status will be. 817 01:49:09,375 --> 01:49:11,169 But I can tell you 2 things. 818 01:49:11,335 --> 01:49:16,758 First: last time Brigitte and I took care 819 01:49:17,467 --> 01:49:22,221 of the retirement system for our Paris Opera Ballet dancers, 820 01:49:22,388 --> 01:49:26,559 we managed quite well and we obtained a status 821 01:49:26,726 --> 01:49:30,480 that appeared to us as the best we could get. 822 01:49:30,646 --> 01:49:34,484 First point. Second: we are now discussing 823 01:49:34,650 --> 01:49:39,113 with the Ministry of Employment about the dancers' status. 824 01:49:39,280 --> 01:49:43,951 It is different from the other Opera workers' status. 825 01:49:44,118 --> 01:49:46,079 I'm talking about you. 826 01:49:46,245 --> 01:49:48,664 These two facts make me think 827 01:49:48,831 --> 01:49:51,084 that we could find 828 01:49:51,250 --> 01:49:54,962 an acceptable solution 829 01:49:55,129 --> 01:49:58,841 in the framework of the reform, which will happen anyway, 830 01:49:59,008 --> 01:50:00,551 let's be clear. 831 01:50:02,678 --> 01:50:06,099 One last thing before I answer your questions. 832 01:50:08,434 --> 01:50:10,061 You also have to know 833 01:50:10,311 --> 01:50:13,773 that in the present reform, whatever may happen, 834 01:50:14,482 --> 01:50:19,612 the pension rights are available from a certain age on. 835 01:50:19,862 --> 01:50:22,073 For the dancers, it's 40. No change. 836 01:50:22,657 --> 01:50:25,910 Nothing to negotiate, it's settled. 837 01:50:26,911 --> 01:50:30,581 This is one of the few things I can assure you. 838 01:50:30,748 --> 01:50:33,167 The availability of the rights 839 01:50:33,626 --> 01:50:37,839 starts at 40 for all the dancers of the Ballet. 840 01:50:38,881 --> 01:50:43,177 I would like to tell you today that I'm like you: I don't know. 841 01:50:44,011 --> 01:50:47,890 But I know what the management Wishes 842 01:50:48,057 --> 01:50:52,436 and that we are doing everything possible to maintain 843 01:50:52,603 --> 01:50:54,147 the best possible status. 844 01:50:54,313 --> 01:50:58,025 My not knowing doesn't mean it will go wrong. 845 01:50:58,192 --> 01:51:03,239 There's another thing, and I speak, as they say, "under your guidance". 846 01:51:03,406 --> 01:51:07,535 The question of the status is important to each dancer 847 01:51:07,702 --> 01:51:12,081 but we also have to consider, as many of you do, 848 01:51:12,248 --> 01:51:14,250 the defense of this troupe 849 01:51:14,417 --> 01:51:16,502 and the quality of this troupe. 850 01:51:16,669 --> 01:51:20,298 The personal status is of course very important, 851 01:51:20,464 --> 01:51:25,553 and nobody will accept to discuss conditions that are not those we wish. 852 01:51:25,720 --> 01:51:29,140 But I have another concern that... 853 01:51:30,474 --> 01:51:32,518 that I find very important. 854 01:51:32,685 --> 01:51:36,522 It's the consciousness formed in our school, 855 01:51:36,689 --> 01:51:40,026 and even if you come from other schools... 856 01:51:40,193 --> 01:51:42,778 Anyway, the strength of our teaching, 857 01:51:42,945 --> 01:51:47,241 meaning this generational renewal makes the company 858 01:51:47,408 --> 01:51:49,911 season after season, for a long time, 859 01:51:50,077 --> 01:51:53,372 as successful as it is, with an audience of 300000, 860 01:51:53,539 --> 01:51:56,417 a reputation of being the best in the world. 861 01:51:56,584 --> 01:51:59,921 We're modest, we know that others are excellent. 862 01:52:00,087 --> 01:52:03,466 But we're among the best. All this is not a coincidence. 863 01:52:03,633 --> 01:52:05,760 What counts in this meeting 864 01:52:05,927 --> 01:52:11,557 is that the dancers become more aware of their individual situation 865 01:52:11,724 --> 01:52:16,604 but also of what it means to belong to the Paris Opera Ballet. 866 01:52:16,771 --> 01:52:20,900 If one day, and I speak here as artistic director, 867 01:52:21,067 --> 01:52:24,487 not as a manager who deals with the administration... 868 01:52:24,654 --> 01:52:27,615 If one day the Ballet loses its quality, 869 01:52:27,782 --> 01:52:32,578 it will be over, we'll have no basis to assert our claims. 870 01:52:35,164 --> 01:52:37,583 No, there's nothing to applaud! 871 01:52:40,002 --> 01:52:43,881 Repeat it loud and clear because it's your strength. 872 02:05:42,492 --> 02:05:45,662 Complete programme of the show! 873 02:11:28,046 --> 02:11:29,798 Concierge speaking. 874 02:11:33,343 --> 02:11:37,180 Everybody understood. It was quite beautiful. 875 02:11:38,098 --> 02:11:42,811 It may sound strange, but the coffin was on the stage 876 02:11:42,977 --> 02:11:46,648 surrounded with beautiful objects that belonged to Maurice. 877 02:11:46,815 --> 02:11:49,317 There were books, and even a kitchen stool, 878 02:11:49,484 --> 02:11:51,611 less beautiful but very amusing. 879 02:11:51,778 --> 02:11:55,824 There was an armchair, a copy of Moliére's armchair 880 02:11:55,990 --> 02:11:58,118 for Le Malade imaginaire. 881 02:11:58,284 --> 02:12:01,329 And a beautiful statue of Buddha 882 02:12:01,496 --> 02:12:04,624 that belonged to Maurice's father. 883 02:12:04,791 --> 02:12:06,376 What else... 884 02:12:06,543 --> 02:12:10,046 The costume of a clown he wore in a ballet. 885 02:12:10,213 --> 02:12:11,923 And I don't know what else... 886 02:12:12,090 --> 02:12:13,633 But it was beautiful. 887 02:12:16,553 --> 02:12:21,349 It was not about criticizing, it was about a feeling of harmony. 888 02:12:21,516 --> 02:12:23,518 It always feels strange, 889 02:12:24,519 --> 02:12:26,980 nothing connects, everyone feels... 890 02:12:28,898 --> 02:12:31,067 That's What he wanted it to be. 891 02:12:31,234 --> 02:12:35,113 The cremation was this morning at 9 a.m., 892 02:12:35,280 --> 02:12:39,325 but I had to leave because of the strike, 893 02:12:39,492 --> 02:12:43,413 in order to be with the dancers, to understand What's going on. 894 02:12:43,580 --> 02:12:47,083 So I came back early, and that's it. 895 02:12:57,135 --> 02:13:00,096 - Don't stretch the arms. - In the arabesque? 896 02:13:00,263 --> 02:13:03,266 No, in your temps levé in diagonale. 897 02:13:03,892 --> 02:13:05,185 Back stretched. 898 02:13:09,731 --> 02:13:14,360 For your assemblés en diagonale, the front leg is on the side. 899 02:13:14,527 --> 02:13:16,571 You twist your body too much. 900 02:13:17,947 --> 02:13:19,491 You stay like this. 901 02:13:56,319 --> 02:14:00,198 Maybe a little slower than the usual tempo. 902 02:14:18,633 --> 02:14:19,801 Better, José. 903 02:14:19,968 --> 02:14:23,179 Your landing is better if you're higher. 904 02:14:23,638 --> 02:14:26,891 Or else it's forced, see? Not natural. 905 02:14:27,058 --> 02:14:31,521 The first one is right, because it's linked with this. 906 02:14:31,688 --> 02:14:33,022 But the second one... 907 02:14:38,111 --> 02:14:39,070 I could try both. 908 02:14:39,237 --> 02:14:43,199 - And you push on the ground. - There's a link with the next one. 909 02:14:46,452 --> 02:14:49,080 I like what you do with your heel. 910 02:14:49,247 --> 02:14:50,206 This? 911 02:14:50,915 --> 02:14:53,042 So you need one second to do it. 912 02:14:58,881 --> 02:15:01,509 Let's see if your turns finish on first position. 913 02:15:08,641 --> 02:15:09,684 It's good too. 914 02:15:10,101 --> 02:15:11,144 Even better. 915 02:15:11,519 --> 02:15:16,232 Because it gives a reason to push on the ground. 916 02:23:39,068 --> 02:23:43,781 When the right arm comes back forward, 917 02:23:43,948 --> 02:23:45,866 the other arm slips down on it. 918 02:23:58,212 --> 02:24:01,423 It's also your arms that make the movement. 919 02:24:01,590 --> 02:24:04,343 The legs help, of course. 920 02:24:17,189 --> 02:24:19,066 I have to rethink that. 921 02:24:20,985 --> 02:24:23,654 Do it once more to check with the music, 922 02:24:23,821 --> 02:24:26,532 and then we'll go back to the beginning. 923 02:24:50,472 --> 02:24:51,682 Wrong. 924 02:26:01,085 --> 02:26:03,963 Philippe, please come up immediately 925 02:26:04,129 --> 02:26:07,091 to the Lifar Studio, for Benjamin Pech. 926 02:26:07,967 --> 02:26:11,428 I talked with Laure Muret who has a lot of roles. 927 02:26:11,595 --> 02:26:15,557 I'm trying to readjust the plans, not necessarily with you. 928 02:26:15,724 --> 02:26:18,143 You are not the only one. 929 02:26:18,310 --> 02:26:22,523 I wanted to thank you for the little part you cast me in. 930 02:26:22,690 --> 02:26:25,317 I think it's already something, an opportunity. 931 02:26:25,484 --> 02:26:27,319 You're right. Life is beautiful? 932 02:26:27,486 --> 02:26:29,613 I'm fine, I mean... 933 02:26:29,780 --> 02:26:32,908 It's here that I wish to fulfill my potential. 934 02:26:33,075 --> 02:26:36,704 It's quite possible, and you have so many qualities. 935 02:26:37,788 --> 02:26:41,500 But you have to go on working. Not for the sake of working. 936 02:26:42,459 --> 02:26:45,212 You have to turn everything to your advantage. 937 02:26:47,756 --> 02:26:50,968 You can learn a lot by observing the others. 938 02:26:51,135 --> 02:26:55,139 When one is too self-critical, it's not good. 939 02:26:55,306 --> 02:26:58,225 And criticizing the others can be bad. 940 02:26:58,392 --> 02:27:03,272 But you can watch and grab interesting things from any artist. 941 02:27:03,439 --> 02:27:06,233 I enjoyed the Casse-Noisette rehearsal. 942 02:27:06,400 --> 02:27:07,609 You liked it? 943 02:27:07,776 --> 02:27:09,778 I loved Laetitia Pujol. 944 02:27:09,945 --> 02:27:11,280 Did you? 945 02:27:12,698 --> 02:27:14,199 She has so much control... 946 02:27:14,366 --> 02:27:18,203 I hope that some day I could dance like her. 947 02:27:19,496 --> 02:27:22,541 She has her personal intelligence, 948 02:27:22,708 --> 02:27:24,668 but also a beautiful technique. 949 02:27:24,835 --> 02:27:29,298 You have to be yourself. You're on the right track. 950 02:27:29,465 --> 02:27:32,301 - Don't be afraid. - I have to improve myself. 951 02:27:32,468 --> 02:27:33,927 But I feel... 952 02:27:34,845 --> 02:27:37,056 that I've gone over a hurdle. 953 02:27:38,098 --> 02:27:41,894 Since the entrance exam. 954 02:27:42,353 --> 02:27:43,937 I do want to go on. 955 02:27:44,104 --> 02:27:45,522 And don't be afraid. 956 02:27:48,025 --> 02:27:51,236 "Don't, don't..." "To do" is the most important. 957 02:27:52,404 --> 02:27:55,157 You'll be fine. Then I'll try to readjust. 958 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. 959 02:28:00,329 --> 02:28:04,833 But when I saw you, I thought: "She seems all right." 960 02:28:05,000 --> 02:28:07,795 Without taking myself for a psychic. 961 02:28:09,046 --> 02:28:10,964 I'm glad we talked. 962 02:28:11,131 --> 02:28:12,508 I'll leave you to... 963 02:28:12,674 --> 02:28:15,010 It's been good seeing you. 964 02:28:15,177 --> 02:28:17,054 I did want to see you. 965 02:28:17,221 --> 02:28:18,847 Great. You lost weight? 966 02:28:20,224 --> 02:28:23,060 I'm careful about What I eat. 967 02:28:23,227 --> 02:28:25,020 I think it's also the work... 968 02:28:25,187 --> 02:28:26,772 It's also my impression. 969 02:28:29,400 --> 02:28:30,401 Great. 970 02:28:31,443 --> 02:28:33,946 - Have a good day. - Thanks, you too.