“I chose you for your weaknesses” – #Pina

Aurélie Dupont is a well known French ballet dancer who performed with the Paris Opera Ballet as an Étoile. She is now the director of dance for the Paris Opera Ballet.

 

In an interview she says that in one day, as she was working under the direction of Pina Bausch, the German choreographer told her :

“Okay, you’re a very tough woman, you’re a very tough dancer, but I’m sure you’re very sensitive, and that’s why I chose you, and I want you to show me this. Because your strength, your force—I don’t care. I want to see your heart.”

Aurélie shortened it for the magazine’s interview :

“Do you know why I chose you? For your weaknesses. This is what I want to see of you”.

Oh my, this is a good seed, right?

 

The main question is :

What is the balance, in Pina’s brain, between

  1. I really want to see her weaknesses
  2. I have to say this to her, as a coach, to crack her toughness as an ambitious dancer.

 

This leads to another set of questions :

What is this state, when you’re almost at the point “to discover yourself”? What do you need, then? Another person? An accident, something which stops you until you discover your last step? A sentence you read somewhere, or hear? A friend? A surprise?

When you’re tough, hard with yourself, with the goal to be flawless, why do you always meet a point where you realize it’s a wrong way up?

Why do I always go back to this pattern, which is : when you’re stuck, your next path is maybe to find and develop ANOTHER FACET of you, which is often the contrary of you?

 

Mme Dupont was tough and very good. But Pina revealed something to her : you’re great, but now show us that you’re weak too, that you have a heart under your perfection.

 

Thanks for reading!

1398559471843959221_1204809845.jpg

Instagram : __bodylanguage__

 

 

 

Unusual Stratums & Facets

Yesterday a friend told he liked to watch Boulevard du Palais, a French crime TV series.

Unlike his smart wife, he told me, he never really understands what it’s all about with the complex story, many characters, dead bodies and interlocked investigations – which seemed to be boring to him. He said he loved it because of the detective – the actor, and the way this man was performing.

This idea itself is a perfect seed to think about what is entertainment, an audience, an actor, etc…

As usual, it’s a bunch of questions :

Artists

  • Are you aware of all the facets which could be loved in your work?
  • What if you decided to focus on an unusual one?
  • What if the “main thing” (in a crime novel : the story) was a fancy dress to reach the audience with another stick?
  • You’re, for example, staging a theater play, or rehearsing a symphony. Could you write the most complete list of elements you work on? Then imagine one person in the auditorium focussing on an unusual one? If you do that, what do you learn? What do you lose? So what?

Audience

  • If you dislike a piece of Art (music, movie, poetry, etc), did you look for the right door to enter it? Is it worth it? Any clue?
  • Do you have to find your own casual way to explore something? The bass only in music, the light only in a movie, the style in a crime novel?
  • If you can have pleasure with an element only, why wouldn’t you imagine to “read” impossible things for you, just to find YOUR way, your facet – letting got the “real thing” to gather your own shells?

Extensions

  • In your field, how could you use this idea?
  • What if, to find ideas to blog about, you read completely out of your expertise?
  • What is the eye of an expert? Can he really understand all the stratums, the levels of a work?
  • What is a masterpiece? There are many criterions, but what happens when many levels of reading are amazing?
  • If you work on a mainstream piece of work, where do you hide subtleties?
  • If you’re a photographer, you probably read a cook book or watch a movie differently, you have “your” facet-seeker ready. So… what do you miss? Is your expertise blinding you? 

 

What do we watch in classics ? In A Tramway Named Desire, are we amazed by Kazan’s work as a director? Brando’s performance? The way they used the set? The words of Tennessee Williams? The way the scriptwriter changed it? The complexity of characters’ evolutions?

All of them, more or less. Right?

Thanks for reading!

1200760370622085472_1204809845

Instagram : __bodylanguage__