注册 登录  
 加关注
   显示下一条  |  关闭
温馨提示!由于新浪微博认证机制调整,您的新浪微博帐号绑定已过期,请重新绑定!立即重新绑定新浪微博》  |  关闭

黄牧的樂府 Music/Ballet

古典音乐及芭蕾舞 Blog Music & Ballet请勿转载

 
 
 

日志

 
 

Marcelo Gomes interviewed by Julie Kent  

2016-07-08 04:06:35|  分类: 音樂和舞蹈專論 |  标签: |举报 |字号 订阅

  下载LOFTER 我的照片书  |

GomesSeminarHeader


The following interview took place on Friday June 10th, 2016 at the Metropolitan Opera House.

Julie Kent: Hello, good evening.

Marcelo Gomes: Hello everyone.

Julie: Hello it’s so wonderful to be here. Are we going to dance?

Marcelo: Yeah. We could do a few lifts.

J: I am so excited to be here, I am so excited that I almost came a month ago on May 10th because I was anticipating this and looking forward to it so much that I missed the date by a whole month.

M: And she reminded me by text message and I was leaving the house, so I had to go back home, pick up the suit, we came to the Met and then realized it was the same day next month.

J: So we are here, very, very happy to share this evening discussion with Marcelo Gomes; who has, as many of you know, played a very, very important part in my life, in ABT’s life. So I’m going to ask just a few questions that I hope you all find interesting and give Marcelo an opportunity to share some insider feelings about all sorts of things and give you an opportunity to ask questions as well. One of the things that fascinates me about you, Marcelo, is your story. We all have stories and some are simple, but some are more complex. Honestly what I find so impressive is how a dancer is actually ever produced. It’s like a little miracle, each story, each dancer, because it’s just so difficult, I mean it really, really is an incredibly difficult process and anybody who’s ever studied dance and anybody who’s ever been a parent of a child studying dance realized that the development of a dancer is an incredible process, and so I would love for you to share with us how you came from Brazil and all the points in between to arrive here.

M: So I was born in Manaus, Brazil which is on the north of Brazil and when I was 5 years old my parents decided to move to Rio De Janeiro, just because they wanted a bigger opportunity for my brother and my sister and I; and bigger schools, more of a cosmopolitan city. We moved to Rio when I was about 5 and that’s actually when I discovered dance in general. My family loves to put parties together and there’s music always in the house. My parents love dancing and throwing dinners and whatnot and I used to be in the middle of all the guests and they wouldn’t put me to bed, I would just be dancing with everybody and so I think that it wasn’t a surprise to them when I asked them if I could go to a dance class. They said yes and were very supportive. So I discovered this dance class by chance. I just walked in to these dancers dancing and the teacher welcomed me in and I think they were just rolling on the floor and stuff and jumping however you like. It was more a creative movement kind of thing, which was perfect. Then a teacher later on, Helena Lobato, called on me for one of those showings and said I think that you should think about doing ballet. I was about 6 or 7 years old and she used to teach me privately with her son. She used to take us to her house and put VHSs on of Julio Bocca dancing and Fernando Bujones and Baryshnikov and Nureyev, so that really inspired us both to get back the next day in class and try those things that those guys were doing and that was amazing. In Brazil I went to a bigger school later that took me in. I had wonderful teachers there and then I auditioned to go to a boarding school in Florida because at that moment in Brazil there was really no future if you wanted to be a ballet dancer, especially a boy. I think that I needed to explore being with other boys in class and I was the only boy in my ballet school, so I got this scholarship to go to the Harid Conservatory, which is in Florida and I spent 3 years there.

J: Did you speak English when you arrived? I mean it sounds like “I did that and I did that”, but I mean how old were you?

M: I was 13 years old.

J: He was just a kid going away from his entire family, didn’t speak English, and from a very close family, and here he is making this huge decision and that’s the thing. We act like “oh this is how it happened”, but the fact of the matter is, that’s a huge, huge commitment and decision. I mean that is all part of the story and the courage that you have now and that you draw on.

M: It’s funny you say that. So a week went by, my family, my dad and my mom stayed in Boca Raton just to make sure things were going to go smoothly before they went back to Brazil. So a week went by and you know I was going to a public school, so I wasn’t understanding anything anyone was saying, but you know, here I go. Then we were taking ballet class, which was incredible, but also an adjustment. And every dancer has chores to do and at Harid you either have to clean this or put this away and you take those chores for a week and mine for that first week that I came to America was to vacuum the cafeteria. The day my mom came to say goodbye, I had a vacuum cleaner in my hand and just tears went down her face, like “Bye, I can’t believe this is happening”, but I assured her that I was happy and that I was okay and safe.

J: And you keep a very tidy apartment.

M: I do, I try to anyway. But yeah it was an incredible three years there. There was very little communication with my family.

J: So tell us the years to give us a little time frame.

M: It was 1993 to 1996 and we didn’t have cell phones and I didn’t have a computer, so it was really difficult. You just had to write a letter and wait for a response and that was it, you know. It was tough, it was definitely tough, but I made friends and got on with my life and the school took me to a really prestigious competition called Prix de Lausanne in Switzerland where I got a scholarship to go Paris Opera Ballet School.

J: And tell us about when ABT came to Rio, our first performance together.

M: So between the states and France I went home to get rid of 3 years worth of clothes and America and change my suitcase and to make a little bit of change. My parents were going to take me to France so we were going to leave together from Brazil again and in my mind I was all set to start over again. Another country, another language, make another set of friends, go to a different boarding school, which was wild, but then ABT was in town. ABT was in Rio, which I was really happy about, I wanted to see all the shows but I didn’t want to pay for every ticket, so I offered my services as a super. So I was one of the monks, I was the lead monk in La Bayadère. I like to say that.

J: The one that introduced Nikiya to the scene.

M: Yeah he has a whole thing, he bows and then he goes back to the line. So actually I was on stage with Julie, I was the one introducing her which was really great.

J: We all remember you because you took company class as well.

M: Took company class as well and to my surprise was offered a contract with ABT, which was wild. I think I ran home and told my mom and dad “I’m going to ABT, I’m going to ABT, this is happening!” And they said “no, you’re going to France, we already have everything set up for you.” And I just didn’t understand that, you know. It’s so funny looking back at it: why did I throw such a temper tantrum that day? I was so upset. I think it’s every kid’s dream to join a company like this, especially when you’ve been working so hard and I guess I didn’t want to face what was coming my way, which was more hardship I think, going to another country.

J: And I think also it’s just again referring back to how difficult it is to produce a professional dancer, one key ingredient is advice and guidance from your parents, your teachers, your mentors, and you had that. You had your parents that understood that that was still going to be there for you in the next year and the next year and you didn’t need to take a short cut, that you had an opportunity to really learn a lot in Paris and you did and I can imagine how challenging and different [that was], but one of the benefits was that you speak a fourth language, so I mean that’s just extraordinary.

M: Yeah, I was very lucky and I had wonderful teachers in France, I mean unbelievable. And I learned a lot and felt like I did some growing up there as well. Then I called back ABT and asked to take another audition and they said they remembered me from a year ago. I was lucky.

J: I can tell you they weren’t going to forget you.

M: They could have! But then everything happened, they said we still have a place for you and in 1997 I came back in August and rejoined the company.

J: So put that in your calendars, next year’s your 20th anniversary with American Ballet Theatre.

M: That’s correct!

J: So I’ve got a few other big questions. So many people ask me, how have you managed to have such a long career? You know there’s a million reasons, a million answers, so many factors go into that, but one of them that I’d like to focus on and ask you about is how do you find that interest, the motivation, the desire, the willingness to do so much work that you and I both know goes into every single performance of a ballet like Swan Lake or Giselle or Sleeping Beauty, these ballets that you’ve danced for so many years. As your career progresses, you only set the bar higher, I mean it’s just this pursuit and that’s the beautiful thing about the dancers mentality. You just start each day with the desire and the will and the intention to build on what you’ve accomplished the day before. So how do you find that in yourself, after all these years?

M: I like to work, I enjoy the commitment, I thrive on it. I really I don’t know how to explain it. I really seize the moment. I enjoy getting so out of breath from dancing and putting my heart out that it feels like I’ve accomplished a lot; whether it’s just a solo or variation or pas de deux or a three hour ballet. I don’t know, I often think about the people who come to see me and I’m so grateful that they come to every performance and they buy a ticket, which is not cheap, and they’re here at the theatre honoring ABT and myself. But I also think of the people who are sitting in the audience for the very first time and how will I make their experience so magical. I think if I keep that in the back of my mind sometimes when I’m maybe exhausted before I go on stage I think “there must be somebody here and this is their first time, they don’t know who I am, they don’t know anything about my career, but they just want to be transported,” and that really feeds me as a dancer and makes me keep going. And the relationship between me and a partner…

J: I was waiting for that, because for me it was really the people I was dancing with [that] was one of the strongest. Because the time that you spend preparing a performance is infinitely longer and more than the two or three hours that you spend on stage together.

M: There were times I would dance for Julie and then later on in the dressing room you would be there, maybe having a drink or something and we wouldn’t really know what to say to each other because we left if all there [on the stage]. We experienced everything by the steps and by being inside the moment, whether it was Romeo and Juliet or Othello or Swan Lake. We could just smile and say that was so wonderful, thank you, no thank you. It gets into that kind of pattern, but it’s because we already experienced what we had to say through our movement, our partnership, and that’s so rewarding, so beautiful and I love it. I love experiencing that with my partners and I enjoy taking care of them. I enjoy taking care of the ballerina. I don’t think about myself anymore. I put myself completely to the side and it’s there, my focus and priority.

J: It’s so beautiful. The other thing that, well a couple of other things, so tell me about the creative process because the foundation of any ballet company is usually classical ballet because it provides a measure of standard and it’s the foundation--what everything else is built upon. But the creative process is so important to any artist’s development. And you and I have had so many ballets over the years created on us. And I want you to talk about your feelings about the creative process and how what we learned as dancers has now informed you and your own journey as a choreographer and that can segue into you telling us a little more about your choreography.

M: Yeah we’ve had the opportunities of working here with some fantastic choreographers, it’s been wonderful. I try to really focus on what is the body language of the choreographer and what they’re trying to make me translate to my own body. That’s my main focus first when I’m trying to create something. I try not to think about how I would do it. I just try to completely mirror him or her Then if the choreographer says, now breathe, now show me how you would do it, then of course I would put my 2 cents in, let’s say. I think what I’ve learned and what I’m trying to do now as a choreographer is [learning] how to speak to dancers in a productive, inspiring and positive way in the studio, so every time we meet it’s a step further in the right direction; that their efforts don’t go unseen by me, that I see exactly what they’re trying to do and maybe it’s not right and I can tell them that, but I have to tell them that I understand what you’re trying to do, but I’d rather see it this way. I think what I’ve learned is how to make that moment when you’re with the dancer in the studio creating a very protected and special one, as opposed to screaming at a dancer or being harsh on somebody. Of course I’ve had people do that to me and that’s how you grow a tougher skin, but it doesn’t necessarily produce… sometimes it can block the creativity I think.

J: Tell us when you did your first ballet, so we can get a timeline of how long you’ve actually been choreographing.

M: I started putting a little choreography together back in school. Even when I was at Harid, I did end of the year things here and there, so I’ve always been inspired to be a choreographer. My first ballet I think that I used…[he can’t remember]

J: You’re supposed to know these things!

M: Ethan Stiefel put a group of dancers together from ABT. It was a summer program type of thing and I used some dancers and some students. Like Gillian and David were in it. I think that same year I created something for Sarah Lane and Blaine [Hoven]. It kind of just developed from there.

J: So that would be probably 2002?

M: Something like that.

J: I have my own ideas about what is important to you, I have my own observation of what I’ve seen in your work. I am not a choreographer, I make up dances as needed, but I feel that’s like a whole different category than a choreographer. I don’t have that mindset at all, so I’m always very curious about people who do. So, from your point of view, what is the motivating dynamic behind your decision to make a dance? Is it always the same or is it different? Is it the music, is it the individual, is it a concept, is it a visual, is it an emotion. There’s so many places that you could start and arrive at a full ballet, but I’m just curious where you start from. And if it’s all different places, that’s fine

M: For me it always starts with the music, always. If there’s a piece of music that really makes me feel something where I have to keep going, I have to listen to it over and over and over and if it still makes me feel the same way then I pretty much have to use it for a piece of choreography.

J: That’s what Stanton said too, I asked him the same thing--Stanton Welch, director of The Houston Ballet and choreographer. So how you find the music? Do you look for the music or do you play a lot of music and then something hits you? Because looking for a piece too might create a potential for anxiety.

M: People tell me about specific composers or say that I should listen to this, and then from that search I find other things. So it kind of snowballs that way. Then with the music I try to think about what it’s telling me, if it’s a solo or pas de deux or group dance, how many people are coming in and out. I tend to focus a lot of my choreography on relationships, whether they’re two people falling in love, or for now at least falling in love, or losing someone.

J: So, strong emotions?

M: Yeah strong emotions. Just what inspires me at this moment in time.

J: I’m sure that will always inspire you. Knowing you, it’s not going to be the little emotions it’s going to be the big ones.

M: Yeah I’m an easy crier.

J: You just feel everything in a big way.

M: I feel!

J: So you find this music if it comes to you or is suggested to you or in an act of search and you sense whether the formation and the emotional context at the same time is roughly that?

M: That’s kind of the program, yeah.

J: And if you want to continue from there, that’s somewhat abstract, those are ideas. How does it then turn into this dance? And what about the whole design element and the shape, it just seems again like a mystery or a minor miracle, which again I think is why we’re all drawn to it and fascinated by it. Because it’s just a really interesting fabulous multi-layered intricate process.

M: So I take the music and I go by myself in the studio, with the wonders of video tape now you can video every step you do and I can pretty much pull from any of it or none of it. Sometimes I ask two or three of my friends to come with me and I kind of create something with no roles or no actual thought behind it to see what we come up with, but I try to really honor what I know about the music already, since I’m very familiar with it. Then when you get to the studio you have the real dancers that are going to do the steps.

J: So you kind of workshop it a little bit, to put it in regular terms.

M: Yes, but even if you workshop and then you go in the studio, it’s a different thing, because those dancers are not the same that you’ve workshopped with. They might find something you’ve come up with very awkward and it needs a little bit of tweaking and that’s the interesting part to me. Because then it’s like a two way collaboration. You’re right there with the dancers, you’re creating at that second, you’re taking your steps and they’re using their imagination to transform everything and that’s really wonderful. When I created AfterEffect for ABT I had so much fun thinking about the costumes and the lighting. I had a wonderful backdrop by Fran?oise Gilot, which I was very lucky to have and that kind of sealed the whole look of the ballet. It was an incredible experience to have that, like a baby come to life. To sit in the audience, I’ve never been more nervous. I think it was a very difficult day to know that your ballet will premier, but it was an exciting experience.

J: I just remember I kept encouraging you to draw on your experience as a dancer and the trust that you have to give the people on stage. That must just be a huge aahhhhhhh. It’s not in my hands anymore.

M: Yeah when because you’re a dancer, you take care of your own actions.

J: Yeah you can’t come out there and conduct it. You have to say, okay I’ve given you all I know and now it’s in your hands. You have to have this trust where you know they’re going to invest everything you’ve invested in them and bring it to life.

M: You know we’re here behind this curtain and I’m standing with my back to the curtain and the dancers are practicing your own steps and that’s really wild to see you know. They’re really trying really hard to make themselves comfortable on stage and you see somebody having trouble with something and you want to go help, but you don’t want to make them nervous.

J: Well you know how that feels, I mean how many times have you given it all for that performance? And now it’s time to open questions to the audience. Please let us know if you have a question.

Audience member #1: Mr. Gomes do you ever regret not having a few years with the Paris Opera Ballet Company?

M: No regrets no. I wonder sometimes, had I stayed, what would have happened. I mean, I think I would have worked hard, the same way, and hopefully that would have paid off over there. But I remember before I got my contract for ABT, I was trying to stay there, but there were no contracts left because at that point in 1997 there were giving the contracts only to French dancers. But now I think it’s more open and they’re more international, which is great.

Audience member #2: I’m enjoying this very much. I wanted to ask you did you ever find partnering a challenge and other than Julie Kent who was your favorite partner and how is it performing in Russia?

M: So I started partnering at a very early age. I used to take the summer courses with Laura Alonso, Alicia Alonso’s daughter and then the Cubans they just asked me to come to partnering class, they said: “come to partnering class! We know you’re too small and you can’t lift and you can’t do anything, but its fine. You can try some pirouettes and promenades and whatnot.” So I had that from a very early age and I remember later on when I finally built my strength to lift somebody or do a shoulder sit. I said “I did a shoulder sit! I can’t believe it!” It was a very exciting day. So my love for partnering just built on that because I felt like when I was younger I couldn’t do anything and when I finally could I was so excited about it I couldn’t wait for more. Then when I joined ABT, I saw some of the best partners, some smooth operators. I mean I was the little boy on the side looking at the Julie and Rob Hill, Julio and Alessandra pushing their limits. You thought they were going to fall on the floor but they caught them and I said, I want to be that guy. And performing in Russia is great! It’s wonderful! They have a very deep ballet tradition and a very demanding audience as well. They know every step, they know every count, every ballet and so you have to be on the peak of your game to perform there and to show something. But I’ve had some lovely performances in Russia, in Saint Petersburg and Moscow and everywhere else. I’m looking forward to going back again.

J: I might just want to say though, and you would probably agree, there’s probably not a dancer on this planet that doesn’t want to dance in this city and this opera house.

M: I agree!

Audience member #3: This is kind of redundant with all these partnering questions and speaking of Russians, I just had to ask you about your partnering with Diana Vishneva. Because I’ve always enjoyed seeing the two of you together and I just felt like there was some sort of special bond. Especially the love stories always come across wonderful, so maybe you could comment on that.

M: Yeah. Diane and I started partnering, I was replacing someone for Romeo, and that was the first time we started partnering together and we felt this incredible chemistry and this incredible attraction on stage. Not that I can’t be like that with my other partners, but I really could be myself and she felt really free and then we just built on that. We built on bigger ballets like Onegin, which you know is a very dramatic story, and Lady of the Camellias. And, as I’m sure Julie would agree, (Julie did those roles with Roberto), that you can’t help but really getting to know someone when you’re doing that much intimacy that you’re sharing with each other. And so I think that we really kind of found that with each other.

J: It’s a beautiful, beautiful thing to watch--an exchange of love and trust and respect through dance and I think it’s at the foundation of any really outstanding and moving partnership and that’s what really resonates and moves us or you the observer; because if you have that foundation, really, the sky is the limit. You can take your motions, you can take your body, you can take everything together and it’s really thrilling for the individuals, which then translates to the audience.

Audience member #4: Thank you both for all the years of pleasure you’ve both given us, really. Marcelo, I love your von Rothbart in the third act of Swan Lake. I would love to know how you created this character. I wonder if it was little by little-- you just added stuff on--I mean you’re all over the place being cunning with the queen and pushing dancers to dance with the prince.

M: I recall the day Kevin took me into studio 5 at ABT at 890 in our headquarters and he said I’m thinking of this solo for von Rothbart and ballroom for von Rothbart, and it’s a long solo and you dance and partner many, all, of the princesses and it’s going to be hard, so let’s start. First of all that music is unbelievable and I couldn’t believe I was getting to dance to it you know. He started creating it and I don’t know what it was, but the steps just kind of flew off of him and onto me. That was the first rehearsal. Then we started doing it with other guys and we all kind of pitched in as well. It was not until we did the recording for PBS of Swan Lake with Gillian and Angel that I actually learned something about von Rothbart that was very interesting. I was performing him as if I was dancing at a theatre, but we were also recording with cameras everywhere. So Kevin and I had this conversation about the minimal reactions that he would have: if it was the raise of an eyebrow, or a look, or a different gesture to the queen, or telling the ladies to go away. And the subtlety of it became part of how I perform it now and how I developed it, which actually helped me do it. I was doing him much bigger before and it seemed like when I focused on being a little bit more minimal, it was perhaps creepier. It reached out and it focused the eyes of the audience a little bit more on what he will do next. Does that make any sense? The other thing is that when I talk to the other guys who are doing von Rothbart, I try to tell them he’s always 3 steps ahead of everyone else, so he knows exactly how this is going to go, how it’s going to end. He has to come into this ballroom already thinking that he won. I keep that in the back of my mind.

Audience member #5: Hi. You two are my favorite dancers, I’m 13 years old and I just wanted to know if you guys have any advice on how to be a better ballet dancer and grow stronger?

J: Well thank you that’s very, very sweet. First I think you should take great pride in that you are investing your time in trying to become a better dancer. I think that is a really beautiful thing. And as I say to the students that I’m working with, you really could be spending your time doing anything or nothing. There are so many options there’s so much to do in this world, you could be sitting in a chair with a phone, but you’re not. Everyday you’re actively trying to improve and build and learn and pursue and those are incredible skills that you will be so happy that you have later on in life, regardless of whether your path takes you on to a professional stage or off into the world in another destination. Never underestimate the value of what it is, the larger picture and the skills that you are developing as a classical student of a classical art, whether it’s music or visual art, but yours is dance. I think we could do a whole seminar on that. But listen to your teachers, follow your parents, allow your parents to help guide you and mentor you. Develop the ability to focus on detail and specificity and the very fine tuned sophistication of classical movement of classical ballet and also try to have a bigger picture of your life so that you don’t live everything in a very small focus, but you’re able to see your progress, you’re able to see what else you’re doing in your life. You’re a young person with a whole academic life. You have a lot of responsibility and pressure on you in many ways, so you have to be able to have a larger focus and appreciate what you’re accomplishing in all areas of your life. So that’s just sort of a mental approach rather than use your plié and turn out. I know Marcelo and I wish you the very best.

M: The new Director of Washington Ballet ladies and gentleman, I’m so proud. I think it’s everything Julie said, I think for me what helped me a lot is that I was in a really great school. I had really good guidance, wonderful teachers, I worked really hard, I love it. I wasn’t afraid to fail and then get back in there. I kept my sense of humor. So what Julie was saying, don’t live just in the little ballet world. It’s okay to take out the bun and have fun and keep being however old you are. Because I think that sometimes there’s so much responsibility of trying to be a professional dancer that at such an early age you have to mature so soon that I think you forget to be a teenager. So good luck to you.

Audience Member #6: Hi Marcelo, two questions, what was the length of time it took you to perfect Lady of the Camellias and at some point in your lifetime have you thought about what you might do when you’re unable to dance anymore?

M: Lady of the Camellias is actually a very detailed process. John Meyer is very specific about what he wants. He has this incredible huge book with everything written down on it and he refers to it quite often and it’s really beautiful to see because it’s so inspiring to see a choreographer who believes in his own work. That he’s able to translate the motion exactly to the dancers, so that took a bit for us to actually to go inside there with him. It took us a little bit of time. Some of the lifts are really tricky, lots of material, lots of dresses, hair down. We were yanking out the hair, so that took a little bit of practice for sure. It’s also a very lengthy story so you have to create a journey for them.

J: We started learning that ballet in January and we performed it in May or June, so it took roughly five months to learn the piece and then we had it in the repertoire for two seasons, so it was sort of in our working process for two years.

M: I think I would like to stay in the arts or if it’s not choreographing I would love to keep making ballets and working with dancers. I do very much enjoy that. I do love coaching, I like teaching class, I’ve taught company class a few times now; and perhaps someday to direct a company. I would like to do lots of things. If none of that works out, I say that I’m going to go to cooking school and become a chef.

Audience Member #7: First of all I want to say, I’m one of your biggest fans, I’m sure we all are. What you bring to partnering, we see that. It’s just too lovely. There is a parallel between your career and mine. We both started at age 5 and I am still in advanced beginner class and you are one of the stars of the universe, so clearly you bring more to the table. And here’s my question: I also studied in Lausanne and in Paris and in New York and you talk frequently about where you studied. I wondered if you could compare some places where you studied.

M: I’ll tell you this, when I started in Brazil I think I started dance because I just loved it. It was in my genes so it was my destiny, it was the path.

J: It’s like breathing for you. Breathing, eating, dancing.

M: It chose me really; I was very much a performer and not very focused on my technique when I was younger. I talk a lot about schools because I feel like those were the places that really said ok we need to focus on your port de bras, or your feet or your turn out. Every school gave me something different you know. I had French teachers sort of throughout my life, but I also had Russian teachers and a Cuban teacher, so I had a lot of different kinds of backgrounds. That was really a wonderful thing for me to experience, for any dancer really. I remember going to Paris Opera and I always liked turning, but not to jump and they really saw that and they focused on how I got my hips up in the air, which the Russian school is really known for, which I didn’t have. So I think I picked up things from each and every place and kind of decided maybe at a later point what is best. I also learned so much here at ABT because of the different styles of the male dancers and the female dancers, but mostly a lot of the male dancers. And there’s that kind of weird question that people ask: oh isn’t that competition? And I’ve never felt that way. I’ve never felt like there was a bad competition it was all very healthy the way that we learn from each other. Sometimes I close my eyes and wish that I could turn like Daniil Simkin or jump like I don’t know who, but we all have something to offer, we all come from different backgrounds and it’s a wonderful thing to celebrate I think.

J: Thank you very much.

M: Thank you Julie, I appreciate it, thanks you guys.

[The two bow slightly and on the way offstage, Marcelo picks up Julie and partners her off.]

To read Marcelo's dancer bio, click here!

 

 


rjvishnevagomes2ro
Diana Vishneva and Marcelo Gomes in Romeo and Juliet. Photo: Rosalie O'Connor.

  评论这张
 
阅读(30)| 评论(0)
推荐 转载

历史上的今天

在LOFTER的更多文章

评论

<#--最新日志,群博日志--> <#--推荐日志--> <#--引用记录--> <#--博主推荐--> <#--随机阅读--> <#--首页推荐--> <#--历史上的今天--> <#--被推荐日志--> <#--上一篇,下一篇--> <#-- 热度 --> <#-- 网易新闻广告 --> <#--右边模块结构--> <#--评论模块结构--> <#--引用模块结构--> <#--博主发起的投票-->
 
 
 
 
 
 
 
 
 
 
 
 
 
 

页脚

网易公司版权所有 ©1997-2017