You remember well and the answer is Maria Yudina
at 10 am, a little after i fell asleep, someone knocks at my door with incredible grace. i think ‘birds’ in my head. my flatmate appears with the breakfast he made for me in his hands. he surely looked like an angel, quiet and tired, gently curled hair. we exchange smiles. i feel loved again
anyone wants to be invited to karagarga?
yo me asomé a tu ventana por ver lo que estabas haciendo
y vì que estabas llorando..
Maya Plisetskaya about hands
You’re asking about hands… In fact the whole body is involved into dancing: both your feet, legs and torso, head and neck. In short – everything, including the arms and hands, of course. “The fingers are the eyes of the body”, – Stanislavsky once said as if he meant ballet. As if he was a ballet master! While your legs and feet should follow strictly the classical positions, your arms and hands are free to express anything: emotionality, character, epoch or mood. I’ll show it to you now. The hands like these can transform the classical pas of “The Little Humpbacked Horse” into a Russian dance. Here my hands and arms doing this, while my legs and feet are performing the classical routine. In “Laurencia” I hold imaginary castanets in my hands. Such movements would be absolutely inappropriate in “Swan Lake” – it’s all about Spain! And this is India here! And here is Persia! In the past the arms were always folded into a sweet wreath like this – in any ballet, even in “Swan Lake”. But why?! In “Swan Lake” the arms are the wings - large wings, restless, fluttering – whichever you want, but your wings, not the wings borrowed from another ballerina. The eminent ballet teacher Vaganova used to say: “Better worse, but yours!” – and that’s my point too. The arms and hands always present an image. In “The Dying Swan”, for example, while your feet doing the pas de bourree, your arms and hands represent the Swan grappling with death, his swan song. In other words, while your legs and feets play the accompaniment, your arms and hands sing the tune. It is highly important not to dance to music, but to dance the music! It appears that ballet schools removed some essential criteria from their preliminary exams. What do they require nowadays? A huge step length (they are just about to tear apart!) and splendid legs: completely straightened knee, enormously high instep like this. That’s right, but how about musicality? Of course, a good physique is necessary, but you don’t need to be of exceptional ability to dance. If a child is artistic, this should tip the scale. He should be accepted even if his legs don’t stretch enough and his instep isn’t extremely high. If they examined my feet, they would turn me down, as I have fairly low instep. These are only slight details, but together those details make a great deal. It’s true!
I went back to my african neighbourhood, the sight of the river somehow makes me feel like home, an old man points at the seagulls that are having a bath in it and smiles and laughs and I feel like one of those seagulls, trying to wash away all the pains and anxieties while people smile to me and laughs with me. whenever I got that bad feeling stuck in my bones in my flesh I remember myself I not only am the seagulls, but also the river, and I am flowing towards a new self that is, I evolve, every day and every night, into something unpredictable and unexpected.