Mr. Millepied, why did you quit as artistic director of the Paris Opera Ballet after only two years?
Life is short. And I really want to create something instead of trying to bend an institution. I would rather go back to America and build what I started and create a new artistic model with more freedom and with more flexibility. It’s not about the size or the prestige of it, but the quality of the projects.
So you’re in a hurry?
Yes, I was in a hurry. You only have one life. I’m 38, I have a certain amount of energy and I want to use that. And it’s now. It’s not in five years. I’m interested in finding out how to create a new artistic model. This ballet company — this is the jewel of France. It’s a very old institution with very strict rules and with issues. But how great if it were to reflect the society that is the French society today!
It’s perhaps still stuck in La Belle Époque…
Yes, the society it was created in is this occidental art, of white people, for white people. In 2016 I think it’s a good point to be sensitive and to be open about that. I think we need to ask, “Does it reflect our time?” There was a time where, in the Romantic era, in the 19th Century, the general culture was part of dance. There were choreographers who knew music inside and out, but dance has slowly segregated itself from the other arts. Dance should say something about who we are as people and where we’re going, like literature does.
Is that possible?
Dance can absolutely have that honor of being a really important art of our time. Look at opera! Opera directors take old stories and modernize them and create situations we can completely relate to, with technology, with modern images. We need a re-intellectualization. You see a lot of the work in companies where the composers, the visual artists, and what could be done with the art isn’t deep enough. I want to see more innovation, more risk-taking, and more new subjects to be taken on as stories in ballet. You rarely see modern subjects.
But you had the top job — didn’t you have the power to do just that?
We were trying, but I would have had to stay 20 years before it — maybe — really becomes something that is my vision. We talk about narrative ballet, but it’s really just in its traditional and conventional form. Stéphane Lissner and I were trying to bring the opera and the ballet closer together. But to change the company, you have to also change the audience.
So it is also a problem of the audience’s expectations?
I was running a public institution in France, which was financed by the government, by the French people. And it was striking to me that the audience of the company and the company itself is not elitist. It’s public money and people have to be able to recognize themselves on stage. I wish ballet-goers were going to more opera or more theater. That’s what I mean when I say re-intellectualization. Dance is the only art that can assemble other arts like that and that has this amazing potential of being understood by everyone.
What did you take away from your experience in Paris?
It did so much good to me in terms of looking at other people’s work, picking and choosing, making a season. It gathered a new vision for me for dance. It was an incredible opportunity. But the transition was hard. It was a little bit like running a company with a gun to your head, you know? You are balancing, pushing things forward and being watched at all times. It was very positive for me to leave America and have some distance and see what goes on here. I’ve seen some things that Europe has to offer and I definitely came back with the desire to make a different kind of work. I’m interested in finding out how to create a new artistic model.
Can you create that artistic model in America?
Ballet in America is obviously younger than in Europe, so in a way it hasn’t suffered from these companies expanding so much. The Paris Opera, for example, and the Mariinsky or the Bolshoi; all these companies all have two theaters. And sometimes, recently the Mariinsky was in four theaters at the same time. It just sort of becomes ballet as entertainment. We’re not factories of entertainment. It’s a really fine art. It needs special care. I think you always have to be concerned about whether the environment is right for the artist.
“Your curiosity, your coordination, your lyricism… We all learn a technique and a style but in the end, it’s about how you do it in your own way that’s interesting.”
How do you create this environment?
It’s a difficult career so it’s also how that career is lived: how much you perform, how much you rehearse during the day. I was very concerned with the health of the dancers because I was really well taken care of in my career. I had my career at the New York City Ballet and I was taken care of very, very well by the best knowledge in dance medicine in the world. So when I arrived in France and I found that there was no dance medicine — it’s the truth — it was very important for me to start setting up physiotherapy, masseuse, thinking about the rehearsal schedule. It’s very important. You make such sacrifices when you take on the career of a dancer! Essentially by the time you mature, your body starts to let go. Those points matter to me.
What makes a great dancer?
Your curiosity, your coordination, your lyricism… We all learn a technique and a style but in the end, it’s about how you do it in your own way that’s interesting. How you are yourself through it, you know? It’s a great exercise of psychology to give people the capacity to feel, to emotionally reach a point where they are themselves and they’re confident on stage.
You talk about “individuality,” but doesn’t a good dance production only come from there being a collective?
Yes, but it’s only gorgeous if everybody in that moment of unison is being themselves and dancing as if they were on their own. It’s not a matter of perfection — it’s not The Rockettes. The ballet has to be in unison, but the energy comes at you not because of its perfect aesthetic or architectural vision, but because of the emotion. Think of Petipa in La Bayadère, it’s the breath of all these women who represent death. Sure, they have to be together, but they also have to live it and be it all at once. It’s emotional. That’s what’s beautiful about it.
Source: The Talk
Top 10 Quotes On Leo Messi To Read Today
Lionel Messi will stand out forever as one of the best footballers the world has ever observed.
The Argentina hotshot has scored over twofold the measure of objectives of any other person to have shown up for Barcelona ever. He is entirely a marvel.
Rather than laud about Messi’s brightness ourselves, we’ve gathered a portion of the best tributes to the forward from a portion of the greatest figures in the diversion. There’s gleaming recognition from Roy Keane in there…
“For me to watch Messi is a pleasure – it’s like having an orgasm – it’s an incredible pleasure.”
“I think he reached and surpassed the level of Maradona. He does incredible things, at a speed that is insane.”
“I have seen the player who will inherit my place in Argentine football and his name is Messi. Messi is a genius.”
“Messi does not need his right foot. He only uses the left and he’s still the best in the world. Imagine if he also used his right foot, then we would have serious problems.”
“Once they said they can only stop me with a pistol. Today you need a machine gun to stop Messi.”
“Although he may not be human, it’s good that Messi still thinks he is.”
“The other day I saw one of his games. He was running with the ball at a hundred per cent full speed, I don’t know how many touches he took, maybe five or six, but the ball was glued to his foot. It’s practically impossible.”
“I was a big fan of Maradona growing up and of the current crop Ronaldo is good, but Messi is the best I’ve ever seen. I don’t dish out praise lightly, but Messi deserves it. I look for weaknesses in his game and I can’t find them.”
“Don’t write about him, don’t try to describe him, just watch him.”
The Best 5 Oprah Winfrey Interviews
Oprah Winfrey is a household name, the one the world won’t soon overlook. Once the wealthiest dark lady on the planet, her profession has been going for longer than generally relational unions. Regardless of whether she’s ingraining confused feelings of trepidation into the hearts of oppressive moms, meeting disturbed pop stars or losing the heaviness of a little youngster (and after that picking up it appropriate back) it appears like everything the lady does stand out as genuinely newsworthy.
Here are 5 of her most crucial scenes and interviews — on the off chance that you’ve possessed a TV in the past two decades, you’ll perceive no less than a couple.
The Tom Cruise Interview
As though the world required reminding that Tom Cruise was a psycho, in 2005 he allowed us the new chance to see the insane person in its particular territory. Voyage, manically infatuated with Katie Homes, skipped around the set in what might end up a standout amongst the most public presentations of big-name incited craziness ever to elegance arrange TV. One might say that he never experienced the experience down.
The Whitney Houston Interview
For reasons that make no sense, numerous were amazed when Whitney Houston admitted to substantial medication use with her ex, Bobby Brown, in a 2009 meeting with Winfrey. The visit with Houston, a standout amongst the most beautified and loved performers of present-day times, was a standout amongst the most foreseen encounters of the decade. The medication utilises — for the most part, weed bound with first-rate cocaine — is all anybody appears to recall from the discourse.
The James Frey Interview
Author James Frey had his name dragged through the soil as extortion amid one of Oprah’s most discussed debates. His A Million Little Pieces, which had been displayed as an official journal, was found to have been a creation. Winfrey didn’t take too benevolently to this news, notably, since she’d picked the novel for a portion of the pervasive “Oprah’s Book Club.” The two, in the end, made decently, however it most likely doesn’t feel great when Oprah is frantic at you. It’s presumably something like influencing your grandmother to cry.
The Barack and Michelle Obama Interview
This scene was the first run through Winfrey had met a sitting President and First Lady, and it was an immensely foreseen portion. It was a weird occurrence that Obama had recently declared Osama canister Laden’s demise to the country just before the scene publicised, and not one that went unnoticed. The couple appeared to be cheerful over the span of the meeting, specifying how pleased they were the point at which their little girl met the Pope. Obama got his offer of feedback for requiring some severe energy from driving the country to show up on a television show, yet it regardless turned into an immortal bit of American history.
The Rihanna Interview
Rihanna’s meeting with Oprah on her Oprah Winfrey Network did not only talk with a pop star — is transformed into an open exchange about abusive behaviour at home in the wake of Rihanna’s manhandle on account of her ex, Chris Brown. Winfrey went to the vocalist’s house on the island of Barbados to have an expanded visit. Some startling disclosures, similar to the way that she was still enamoured with the man who’d beaten her silly, were come to. It was a disputable minute for Rihanna, yet a shelter for Oprah—it was one of her most astounding appraised interviews ever.
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Top 5 Crazy Celebrity Interviews
As this point in our way of life’s history, the big name meet has turned out to be ubiquitous to the point that it’s hard to astonish us any longer. They ask pretty much similar inquiries, which result in the same, unsurprising answers. It resembles painting by numbers. Be that as it may, occasionally, we get a break from the dreariness, and everything goes to pieces. That is the point at which we liven up in our seats and truly begin focusing.
Truly, the big name meet doesn’t generally go as arranged. Now and then individuals get furious, or an awful instance of the snickers, or they say something that sounded a considerable measure more interesting in their mind then it did leaving their mouth.
Here are only 5 of our most loved insane celebrity interviews.
The Michael Caine Impression
Sir Michael Caine examined his chance in Korea, the Stanislavsky school of acting and crying on a sign in this great 2007 meeting with British anchor person Sir Michael Parkinson. The subject he got most worked up about, notwithstanding, was each one of those loathsome Michael Caine impressions.
Steve Carrell scares Ellen DeGeneres
The glow between good companions Steve Carrell and Ellen DeGeneres is evident in this clasp from 2010, in spite of the last’s edgy want for exact retribution. The reason? A prior meeting, where Steve got her great and legitimate
Russell Brand seizes Morning Joe
It’s difficult to pinpoint precisely what turned out badly and when in this 2013 meeting with the undoubtedly un-messianic Russell Brand, however, it’s enticing to state it was comfortable begin. Russell surely looks awkward at the proposal that moderator Mika Brzezinski doesn’t know his identity, and it goes downhill from that point, with Russell, in the end, blaming his hosts on their absence of behaviour. Trust ol’ Russ to make it bright, however.
Mila Kunis is a freakin’ sport
In March 2013, British radio moderator Chris Stark was given ten minutes’ notice that he’d be talking with Mila Kunis about her new film Oz the Great and Powerful. The outcome was a line of scrutinising that scarcely referenced the film, and rather rotated around Chris’ neighbourhood bar, football club, a specific British chicken eatery, and drinking diversions with his companions. He welcomed Mila to every one of the four, getting “enormous chap focuses” when she said she’d do her best to go to. Mila, on her part, said it was the “best meeting of the day.
Bruce Willis versus Stephen Colbert
Bruce Willis is a broadly thorny character with regards to interviews, for example when this 2013 junket meets turned out badly for Magic FM radio host Jamie Edwards. So this disaster with Stephen Colbert looked amazingly conceivable when Bruce showed up on The Late Show in 2015 — until, that is, it didn’t.
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