【・・・続き】
You still have stage fright before going on stage?
Ouiiiii, of course. Someone said that if there is more nervous before going on stage, it's more worthwhile to dance.
And how do you master?
I come in ... [laughs]
What is for you the invitation to the Paris Opera?
Since childhood, was considered the Paris Opera as a temple. That is to say, the Mariinsky is a temple and there [in Paris], too, is something that one is afraid to touch. It's a big responsibility. This is not a proposal but a gift.
You dreamed?
To be honest, I dreamed of dancing in Paris when I was little. It's strange, I dreamed of dancing here at the Mariinsky Theatre, and beyond. I recently reread my childhood notebooks and there is written: "I want to become a ballerina at the Mariinsky Theatre and dance and I also want to dance in Paris."
On whose initiative this invitation to Paris? How did you find out?
I learned by Yuri Valeriyevich [Fateev]. I do not know how it happened exactly, but Benjamin Millepied came to see me again after Without [Benjamin Millepied ballet at the Mariinsky repertoire, ed.] When I danced in America and he said: "I want you to come dance with us."
This will be already the fourth version of La Bayadère as you go into four-year career. You know already?
I watched the video. "Shadows" were kept in principle there. But you know what shocked me in this release? This is the scene where Nikiya comes to Gamzatti when prompted and Gamzatti slap.
And what do you think has readings of classical ballets Nureyev?
They are very difficult. Don Quixote is crazy. They exist, they are very interesting, but too hard physically.
You are going to change something in the choreography? Are you going to bring a personal touch?
Certainly I will bring something to me on the interpretation of the plan.
The tempi are right for you?
In Paris, the dancers are a little less great. Naturally, it's easier for them to move faster. I shall perhaps need to slow down somewhere. I hope that we accede to my wishes.
How will you prepare yourself with Kim? Have you contacts with the Opera?
We have not yet started to repeat ... It is also the first so unusual adage ... No contact with the Opera currently. [interview date: October 28, 2015, note].
It will take you how long to rehearse?
We are going on tour in China, then in Japan until early December, and then we will go to Paris directly from Japan.
The dance style of the Parisian ballerina style is different from St. Petersburg. You think you adapt to it?
I can not do.
But you want to learn? Is it interesting for you?
I was struck by their technique not packed, it is incredibly beautiful. I want to attend their classes and study with their teachers. Obviously, I want to learn and adopt something of the Opera. But the upper body ... [suspended sentence] I told Elvira Guenndaievna: "You saw how beautiful it is?" They have well established hips, no runaway for extensions. We look at all that.
You already know with whom you will repeat the role?
Not again.
What is most difficult for you in La Bayadère?
How to say? The first act is of course very difficult, you have to show a passionate love for Solor, and technically too ... In dance with the snake, it is also very important to show ... You know, now it is interpreted often as a sequence of gymnastics and we understand nothing: Nikiya is why she found there? What does she express her dance? I would make it all very clear, which is quite complicated too. In the variation of the snake, there are several parts and you have to show the difference between them, which is not easy either. In reality, we can not say what is the most difficult. Each act is difficult in its own way.
A favorite part?
Dance with the snake.
It is love at first sight and for life?
Yes, that's how it stayed in my memory since childhood.
Can we say that La Bayadère became the ballet of your life?
I do not know. Right now, I really love Romeo and Juliet, I love to dance ballet, and I also like enormously Giselle.
And if you had the choice to Paris to dance Giselle and La Bayadère, which would you have chosen?
Giselle.
Although it is not a Russian ballet, but a French ballet, and that, therefore, and judgments could be more severe?
Yes, judgments might be tougher, but I have more danced Giselle that La Bayadère.
What do you dream invitations yet?
Covent Garden. And I would also dance Manon at ABT.
That is to say, you want to dance Manon in the United States and not in London, and Giselle in Paris?
Yes [laughs].
In another interview, you said that at school you live as ballet. What has changed in the life of the girl Kristina Shapran? Do you now have new inspiration outside of working life?
Now, I grew up, I can be attracted to young men. It helps too.
And in school, you do not think?
No, not at all, nothing attracted me [laughs]. I loved the ballet.
Which are currently the most important people in your life?
My youngest sister. She is not a dancer, but she lynx eyes. His opinion is very important to me. She is direct. If it was bad, she will tell me openly: "It was bad." If it was good, she will say, "yes I liked, it was very good." His judgment is valuable for me. It does not flatter myself, but I can not say it was bad for free. It is impartial.
What would you have done if you had not been a ballerina?
I would have become a doctor. It scared me, but my brother is a doctor and my eldest sister too.
You are not following a family of artists?
No, no one is at home in the profession. My mother is an accountant, my father is a geologist, but he also wrote poems. He is currently preparing the release of his new book.
Is there anything stopping you from moving forward in the profession and in life?
I am very sensitive. There are times when you react coolly to what is said about you and you continue your way. But sometimes it can hurt you and you start to think about it.
Criticism hurts you?
No, in principle, I accept criticism objectively, but I do not understand people who lower themselves to send personal messages horrible on social networks. If you discuss them somewhere on the Internet, do it, but why go to personal attacks? I can not understand this. It is a terrible lack of education.
What do you appreciate in people and what makes you avoid them?
If I know that the person is evil or something like that, I can not appreciate it as an artist. When I see someone playing a generous character when he's not, I look in the style of Stanislavski and I think: "I do not believe it!" For example, Vika [Viktoria Tereshkina, ed.] Is a good person and it's also always nice to watch.
Do you have friends in the theater?
Yes, Vika. I had the chance to share the lodge with Vika Tereshkina Katia Osmolkina Lena Androssova. These are great, we became friends right away. Later, when you wanted me to "move", they did not let me go, they told me: "What are we going to do now without you?" [laughs].
Already before coming to Paris?
No, but I always wanted to go there. Paris is a city mystery to me. To be honest, I thought of my visit there otherwise. I thought it would be for a honeymoon.
You already know with whom?
No [laughs]. But now I am happy that it happens like that. I never would have imagined.
What do you want to see especially in Paris?
I want to visit the Eiffel Tower, climb up, and also mandatory after dark so that everything is lit ... and I have never tasted frogs.
You already consider yourself a star in the making?
Nooooo! Since my childhood, I feel it is better to underestimate by little.
You still have stage fright before going on stage?
Ouiiiii, of course. Someone said that if there is more nervous before going on stage, it's more worthwhile to dance.
And how do you master?
I come in ... [laughs]
What is for you the invitation to the Paris Opera?
Since childhood, was considered the Paris Opera as a temple. That is to say, the Mariinsky is a temple and there [in Paris], too, is something that one is afraid to touch. It's a big responsibility. This is not a proposal but a gift.
You dreamed?
To be honest, I dreamed of dancing in Paris when I was little. It's strange, I dreamed of dancing here at the Mariinsky Theatre, and beyond. I recently reread my childhood notebooks and there is written: "I want to become a ballerina at the Mariinsky Theatre and dance and I also want to dance in Paris."
On whose initiative this invitation to Paris? How did you find out?
I learned by Yuri Valeriyevich [Fateev]. I do not know how it happened exactly, but Benjamin Millepied came to see me again after Without [Benjamin Millepied ballet at the Mariinsky repertoire, ed.] When I danced in America and he said: "I want you to come dance with us."
This will be already the fourth version of La Bayadère as you go into four-year career. You know already?
I watched the video. "Shadows" were kept in principle there. But you know what shocked me in this release? This is the scene where Nikiya comes to Gamzatti when prompted and Gamzatti slap.
And what do you think has readings of classical ballets Nureyev?
They are very difficult. Don Quixote is crazy. They exist, they are very interesting, but too hard physically.
You are going to change something in the choreography? Are you going to bring a personal touch?
Certainly I will bring something to me on the interpretation of the plan.
The tempi are right for you?
In Paris, the dancers are a little less great. Naturally, it's easier for them to move faster. I shall perhaps need to slow down somewhere. I hope that we accede to my wishes.
How will you prepare yourself with Kim? Have you contacts with the Opera?
We have not yet started to repeat ... It is also the first so unusual adage ... No contact with the Opera currently. [interview date: October 28, 2015, note].
It will take you how long to rehearse?
We are going on tour in China, then in Japan until early December, and then we will go to Paris directly from Japan.
The dance style of the Parisian ballerina style is different from St. Petersburg. You think you adapt to it?
I can not do.
But you want to learn? Is it interesting for you?
I was struck by their technique not packed, it is incredibly beautiful. I want to attend their classes and study with their teachers. Obviously, I want to learn and adopt something of the Opera. But the upper body ... [suspended sentence] I told Elvira Guenndaievna: "You saw how beautiful it is?" They have well established hips, no runaway for extensions. We look at all that.
You already know with whom you will repeat the role?
Not again.
What is most difficult for you in La Bayadère?
How to say? The first act is of course very difficult, you have to show a passionate love for Solor, and technically too ... In dance with the snake, it is also very important to show ... You know, now it is interpreted often as a sequence of gymnastics and we understand nothing: Nikiya is why she found there? What does she express her dance? I would make it all very clear, which is quite complicated too. In the variation of the snake, there are several parts and you have to show the difference between them, which is not easy either. In reality, we can not say what is the most difficult. Each act is difficult in its own way.
A favorite part?
Dance with the snake.
It is love at first sight and for life?
Yes, that's how it stayed in my memory since childhood.
Can we say that La Bayadère became the ballet of your life?
I do not know. Right now, I really love Romeo and Juliet, I love to dance ballet, and I also like enormously Giselle.
And if you had the choice to Paris to dance Giselle and La Bayadère, which would you have chosen?
Giselle.
Although it is not a Russian ballet, but a French ballet, and that, therefore, and judgments could be more severe?
Yes, judgments might be tougher, but I have more danced Giselle that La Bayadère.
What do you dream invitations yet?
Covent Garden. And I would also dance Manon at ABT.
That is to say, you want to dance Manon in the United States and not in London, and Giselle in Paris?
Yes [laughs].
In another interview, you said that at school you live as ballet. What has changed in the life of the girl Kristina Shapran? Do you now have new inspiration outside of working life?
Now, I grew up, I can be attracted to young men. It helps too.
And in school, you do not think?
No, not at all, nothing attracted me [laughs]. I loved the ballet.
Which are currently the most important people in your life?
My youngest sister. She is not a dancer, but she lynx eyes. His opinion is very important to me. She is direct. If it was bad, she will tell me openly: "It was bad." If it was good, she will say, "yes I liked, it was very good." His judgment is valuable for me. It does not flatter myself, but I can not say it was bad for free. It is impartial.
What would you have done if you had not been a ballerina?
I would have become a doctor. It scared me, but my brother is a doctor and my eldest sister too.
You are not following a family of artists?
No, no one is at home in the profession. My mother is an accountant, my father is a geologist, but he also wrote poems. He is currently preparing the release of his new book.
Is there anything stopping you from moving forward in the profession and in life?
I am very sensitive. There are times when you react coolly to what is said about you and you continue your way. But sometimes it can hurt you and you start to think about it.
Criticism hurts you?
No, in principle, I accept criticism objectively, but I do not understand people who lower themselves to send personal messages horrible on social networks. If you discuss them somewhere on the Internet, do it, but why go to personal attacks? I can not understand this. It is a terrible lack of education.
What do you appreciate in people and what makes you avoid them?
If I know that the person is evil or something like that, I can not appreciate it as an artist. When I see someone playing a generous character when he's not, I look in the style of Stanislavski and I think: "I do not believe it!" For example, Vika [Viktoria Tereshkina, ed.] Is a good person and it's also always nice to watch.
Do you have friends in the theater?
Yes, Vika. I had the chance to share the lodge with Vika Tereshkina Katia Osmolkina Lena Androssova. These are great, we became friends right away. Later, when you wanted me to "move", they did not let me go, they told me: "What are we going to do now without you?" [laughs].
Already before coming to Paris?
No, but I always wanted to go there. Paris is a city mystery to me. To be honest, I thought of my visit there otherwise. I thought it would be for a honeymoon.
You already know with whom?
No [laughs]. But now I am happy that it happens like that. I never would have imagined.
What do you want to see especially in Paris?
I want to visit the Eiffel Tower, climb up, and also mandatory after dark so that everything is lit ... and I have never tasted frogs.
You already consider yourself a star in the making?
Nooooo! Since my childhood, I feel it is better to underestimate by little.