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The Russian dancers are so......o good!

Swan Lake, Don quixote, and La Bayadère, ..., are those classical ballets, like the classical operas, in public domain already? I thought that patents and copy-rights would NOT be interminably valid. Since Marius Petipa's works were done 100 years ago, unless the western took or copied the Russia's updated and modified choreographing of classical ballets, there should be NO protection for Marius Petipa's original creation any more.

There are many video records of interviews with Ratmansky, the stage set designer, the music conductor, E. Smirnova & V. Smirnov, on my Bolt DVD. A Lot of detailed information about the ballet story, its background, ideas to choreograph and set-design, music analysis of Bolt. All video clips are with English/French subtitles.

This is never, ever likely to happen as long as Sergei Filin is director of the company. There are a couple of prevailing theories in the Russian dance press about the huge, almost unseemly push Rodkin has received recently. One is that Filin wants to prove to Tsiskaridze that Rodkin can excel without his former teacher. ... If this's true, Filin might underrate people's I.Q. Certainly, he has the power to cast dancers. But audiences could easily see Tsiskaridze's charisma influence upon Rodkin, even A. Ovcharenko. I remember, once Rodkin said in an interview that Grigorovich liked big jumpers, that's how he got Spartacus. Anna Nikulina should be good as Marie, shouldn't she? She always impresses me as a tender lady. I would be very happy to see Andrei Merkuriev as Drosselmeyer on HD screen!

Should the casting be decided by the choreographer Grigorovich? Grigorovich seems to be really quite fond of Rodkin. Guess that Rodkin would be Siegfried in next Bolshoi's HD Swan Lake, if D. Hallberg could not recover from injuries soon. Last summer I saw D. Rodkin in S.W., D.Q. and Spartacus. He is pretty good. If Bolshoi would call Tsiskaridze back to coach Rodkin as The Nutcracker-Prince, that would be something to watch.

Many thanks for the info, this program is still available today! I like the ballets, especially Lifar/Szyfer: Icare Lifar/Lalo: Suite en blanc

My nearest movie theater would show all 5 ROH and 4 Bolshoi ballets! If I drive for 1 hour, I can see Billy Elliot the Musical Live also. I like the Manon much better than ROH's other ballets so far I saw on big screens, though, I missed some for non-accessibility. It seems N. Osipova would dance Odette/Odile for ROH's Swan Lake on Mar 19 2015. If it is not for her, I am not interested in seeing their Swan Lake again.

October 8, 2014, 7 pm — 9 pm Alexei Ratmansky in Conversation with Paul Holdengräber Co-presented by the Center for Ballet and the Arts at New York University, the New York Public Library hosts Alexei Ratmansky, in conversation with Paul Holdengräber, to speak about his life’s work performing and choreographing for some of the world’s greatest ballet companies, including the American Ballet Theatre, New York City Ballet, and the Bolshoi Ballet. Video Recording: http://media.nypl.org/video/LIVE_2014-10-8_Ratmansky.mp4

In year 2011 The NB of China had a tour in Scotland for the Edinburgh International Festival. By The GuardiaThe centre-piece of the international festival's opening weekend has been the National Ballet of China, performing a sumptuous adaptation of The Peony Pavilion -- a classic Chinese tale of love lost, then mystically regained. Adaptor and director Li Liuyi, choreographer Fei Bo and producer Zhao Ruheng talk to Andrew Dickson about the piece and the company's tumultuous history, and describe their hopes for the future of dance in China.

The National Ballet of China participated in the New York City Center’s 11th annual Fall for Dance Festival to perform the Chinese ballet The Peony Pavilion. from Eclectic Quadruple Bill That Spans the Globe Vuyani Dance Theater and Trisha Brown at Fall for Dance By ALASTAIR MACAULAY OCT. 15, 2014 http://www.nytimes.com/2014/10/16/arts/vuyani-dance-theater-and-trisha-brown-at-fall-for-dance.html?_r=0 Photographer: Jiang Shan About this ballet: The National Ballet of China's The Peony Pavilion is a deeply romantic tale of the power of love over death that dates back to the Ming Dynasty. Directed by Li Liuyi (Beijing People’s Art Theatre) Original Music by Guo Wenjing Choreography by Fei Bo Costumes designed by Academy Award winning Emi Wada from http://www.ticketmaster.com/The-Peony-Pavilion-tickets/artist/1800925?list_view=1 THE STORY (on the same web-page of ticketmaster): In the early days of the Southern Song Dynasty, Du Liniang, the sixteen-year old daughter of the magistrate Du of Nan’an, is dozing off at the Peony Pavilion in the back garden of Du’s. She comes across in her dream a gallant young scholar Liu Mengmei with a willow twig in his hand. They deeply fall in love at first sight. She wakes up to find herself desperate in love and is pining away thereafter. Neither medicine nor a husband chosen by her parents can cure her of her lovesickness. Dying, Liniang draws a self-portrait to leave her beauty to the living world. As if destined, the portrait turns up in a marketplace only to be bought by Liu Mengmei who is on his way to the imperial tests. The roaming soul of Liniang spots Liu’s buying and rushes to get reunited with him. They swear ever-lasting love to each other. Taken to Hell by the Messengers of Death Liniang is tortured ruthlessly but not repentant. The Gods and Spirits are deeply moved by her persistence in love. The Infernal Judge makes the ruling of opening the gate of Hell to send her back to the living world. The two beloved, Du Liniang and Liu Mengmei, break the boundary of life and death and get married at last.

On the calendar at http://www.fathomevents.com/event/bolshoi-ballet-2014-15-season http://www.fathomevents.com/list-all they list all met opera, royal & bolshoi ballet programs. Does that mean ALL royal & bolshoi ballet HD broadcastings would be shown in FATHOM theaters, not just selected few?

In the evening of September 23, 2014, the National Ballet of China performed The Red Detachment of Women in Beijing's Great Hall of People to celebrate the 50th anniversary of the National Ballet's premiere of the Red ballet. More than 500 artistic professionals and amateurs participated this special show, which included 150 ballet dancers, some famous movie stars, drama actors, opera singers and students chorus from Tsinghua and other universities. Thousands of audiences, as well as the choreographer, ballet music composer, ballerinas with the NB of China as heroine Qionghua of last 50 years, also some representatives of descendants of the soldiers in the historical Red Detachment of Women from HaiNan island attended the show. After this commemorative performance the NB of China would continue their nationwide tour to complete 50 shows for 50th anniversary to dance the Red ballet in Beijing, XinJiang and JiangSu provinces. Photographer: Wang Chongwei, Shi Ren References: http://blog.sina.com.cn/s/blog_473f97a00102v310.html http://blog.sina.com.cn/s/blog_473f97a00102v2s0.html http://www.ballet.org.cn/news_detail/newsId=860.html http://www.ballet.org.cn/news_detail/newsId=857.html http://www.ballet.org.cn/news_detail/newsId=856.html

Flying Dreams - by New Choreographers In the evening of September 18 of 2014, at the TianQiao Theater, the National Ballet of China present a special dedication "Flying Dreams - A galaxy of new works". In this mixed-repertory program all works are choreographed by young artists who are encouraged to pursue artistic dreams, challenge themselves with creative passion for new essence of works. The first half of this evening's program consists of six short ballets. Canon In D Major by Czech choreographer Jiří Bubeníček. Sacrifice (祭) by Fei Bo, the recipient of the Choreography Prize at the 2005 Helsinki International Ballet Competition. Journey with Hoisting Dreams (扬梦远行) by Zhang Zhenxin, a young choreographer and dancer with the National Ballet of China. Crash, Lift the Fallen and French Twist, three works created by Chinese-American choreographer Ma Cong, who is with Tulsa Ballet in Oklahoma. The second half of the performances was Fei Bo's new ballet, an adaptation based on the famous Shakespeare literature Hamlet. This is an outstanding choreography from the 2014 creative workshop at the NB of China. "Living or dying" is a proposition of choices that puzzled many people. Such thought initiated Fei Bo's inquiring about the meaning of life. In his new ballet, Fei Bo tried to puzzle out this classic from a new perspective, and to find a new way to interpret the characters, as Fei Bo said, "What I did today is to put my drama in another drama, to read the classic work with all of you together." Photographer: Wang Chongwei References: http://blog.sina.com.cn/s/blog_473f97a00102v2eu.htmlhttp://www.ballet.org.cn/news_detail/newsId=853.html

Does anyone have a video clip that shows Misty Copeland as Odette in it? From the talks and video clips I saw, I believe she could be a technique-superior dancer， if not now，maybe, in the future. But, I would love to see those ballet performances in which the dancers are not only technically OK, but also their dancing could portray the roles well in performing emotion and style. Classical ballet performance is not simply movements of legs, arms, jumps and turns, that all of you in this forum know much better than I do. I saw short clips of Misty Copeland as firebird, I am convinced. But, for Odette, I have not seen anything. I also think that body as the ballet dancer's instrument, its lines and motion sing with different tones, just like human-voices have tones as tenor, baritone, bass, soprano, mezzo and alto. Better not let a bass sign Alfredo in La Traviata, or a mezzo/alto sing Violetta. As a matter of fact, when the A.D. of a ballet theater assign roles to dancers, she/he would always think about if a dancer fit a role in both technique and style. Each ballet has its own style and harmony. In the classical Swan Lake, a young tender lady as princess Odette is expected, I would not like to see an aggressive Odette, or even a mother-goose or duck in the center of corps of young lady swans in Act II. The race issue is very sensitive or over-sensitive in the US, I understand that very well for I am an asian. However, when I read the discussion "Why does City Ballet have so few dancers of East Asian descent?" I thought, probably just because most of asian dancers don;t fit into the NYCB's style. Yuan Yuan Tan is too special. In general, asian ballerinas have softer body lines and lighter dancing style, not like the typical Balanchine ballerinas.

After the successful premiere of La Chauve Souris the National Ballet of China honored all artists participating in the premiere with a reception as a celebration of the opening night's success. The Head and Artistic Director of the NB of China Feng Ying, the production supervisor Luigi Bonino and guest star Manuel Legris thank the artists of the troupe and foreign artists for their wonderful performances. They wish the following shows to be equally attractive and successful so that our ballet fans and general audiences enjoy a field of pleasing visual feast!. Feng Ying proposed the first toast to our Grandfather Luo who is beloved and respected in our hearts forever. She also praised the work of Roland Petit team, she said that working with Roland Petty team let us learn a lot; also, seeing the whole troupe and entire production group working tirelessly made her feel moved and proud. Feng Ying presented souvenir albums and some gifts with distinctive features to foreign experts on behalf of the NB of China. Photographer: Shi Ren References: http://blog.sina.com.cn/s/blog_473f97a00102v1v7.html

The premiere of the National Ballet of China's annual drama La Chauve Souris made huge success in the evening of September 11th, 2014. This is a highly anticipated full-house show, expected by ballet fans and general audience enthusiastically. The performance by artists of NB of China and world-famous ballet star Manuel Legris won applause from the begin to the end in two hours. Casting for the premiere opening night: Bella - Wang QiMin John - Sun RuiChen Ulrich - Manuel Legris Photographer: Wang Chongwei (王崇玮) References: http://blog.sina.com.cn/s/blog_473f97a00102v1ug.html http://www.ballet.org.cn/news_detail/newsId=843.html More photos are also available on the following webpages: http://www.ballet.org.cn/news_detail/newsId=844.html http://www.ballet.org.cn/news_detail/newsId=845.html

Talk to Manuel Legris, The Artistic Director of Vienna State Ballet In my entire dance career, I have played lots of roles, my dancing style has also been changing. For example, at the beginning the most roles I had danced are Princes, plus some gentleman characters. Then gradually I began to play some of the negative, dark roles, such as Claude Frollo in Notre Dame de Paris choreographed by Roland Petit, very distinct personalities, in addition to a number of other villains. The only thing I had not tried was comedy role, and I was not sure whether or not I could manage this type of roles. Later, I went to work for the Vienna State Ballet at the time when the troupe was just rehearsing La Chauve Souris. So I came into knowing this ballet. But because my position is the Artistic Director of the troupe, there was no way for me to star in the ballet, until we took La Chauve Souris to Tokyo. The people in Tokyo Ballet insisted on that I must have a role in this ballet. By then, the only role I could play is Ulrich, so I officially become a La Chauve Souris dancer. Then I found out that the role of Ulrich is very suitable for me, I could instantly get inside the character. Things were just like that, we made a huge success in Japan. After that, I also danced some episodes of Ulrich in few gala shows and etc. It is really unbelievable, I actually can play such a role! Mr. Luigi Bonino is one of the original stars to play Ulrich. He is great, too special, as if he was born for this role, I think so. But after all, I'm not him, we each have different characteristics, so I have to find my own interpretation to act. Roland Petit's choreography was always very subtle. No matter who is playing, it is not so easy to control, either for me or Chinese dancers. I also do not think there is only one Ulrich in the world, he can also have a varieties of possibilities. We can not simply rely on imitation, but also need to show our own interpretation. To play this role, the most important is to melt the acting into our own blood. Therefor, for my playing, I would not consider he is completely comic, but to tell the whole story in a natural way, show his love for Bella and how he is managing to make Bella and John become reconciled. Master Roland Petit's La Chauve Souris is with a rich French style, especially the scenes in Maxim restaurant, which reveal that the gentlemen and ladies in French high society usually are fun-laughing and wallowing in pleasure, every movement of theirs is very French. But my favorite part is the story, it is suitable for ballet performance. The French often say: "This is life." La Chauve Souris is such a drama. Given such a story background and cultural background, Chinese dancers really need to spend some time to understand the roles, adapt to the roles, to find a natural way that is the best suitable for you to perform, because this ballet is really special. I am very familiar with the National Ballet of China, I know your professional standards. However, the roles in La Chauve Souris are really complicated, so taking some time to get used to is normal. I want to say, Roland Petit's dance has never been easy, the roles in Le Jeune Homme et La Mort (Young Man and Death), as well as Don Jose in Carmen, those all require the dancers' very delicate controls. Yesterday, I watched your dressing rehearsal, it is already well done. I can only say there are too many details, here and there, where it should be more exaggerated, where little bit more restrained, we still need time to adjust. I believe that through the efforts of the entire team, tomorrow's premiere and the following performances would be getting better and better. Interviewer & Writer: Zhou Chaoran Editor: Sun Yuanna Photographer: Shi Ren References: http://blog.sina.com.cn/s/blog_473f97a00102v1ri.html http://www.ballet.org.cn/news_detail/newsId=842.html

Talk to Li Ning, Repetiteur with the National Ballet of China Li Ning (Nanny): I am a repetiteur for La Chauve Souris. I will also play the role of Nanny. So, I am having a dual-identity in the premiere. As a repetiteur, in my point of view, our dancers are capable to quickly reach the requirements on dancing movements. The most difficult part is to grasp the style of this ballet. After all, there are lots of character dances in this ballet. During the rehearsals the foreign experts have been coaching us on so many details with particular emphasis on "play", as well as being active and animated. Our dancers have got a lot of progress, but still have no enough loose. This probably is due to that Chinese people are more restrained, not give loose to humor, not behave so relaxed like foreigners. However, performing La Chauve Souris and diverse works would certainly be very helpful for the future development of our dancers. I play the role of Nanny who demands very exaggerated performance, even to that kind of amusing action, which could be more attractive to Chinese audience. This ballet shows European amorous feelings in a witty and humorous style, but at the same time it reveals the truth that the most basic of family ethical standards is universal in nature. In Fact, Chinese people love to watch stories, listen to stories, and tell stories. So, this ballet would be more or less suitable for Chinese audience. Interviewer & Writer: Zhou Chaoran Editor: Sun Yuanna Photographer: Shi Ren References: http://www.ballet.org.cn/news_detail/newsId=840.html http://blog.sina.com.cn/s/blog_473f97a00102v1oo.html

Talk to Feng Ying, The Head & Artistic Director of the National Ballet of China First of all I would like to talk about why we have chosen this ballet. We've danced Roland Petit's ballets for many times. Carmen, Le Jeune Homme et La Mort (Youth and Death), L'Arlésienne, those are in three different styles already. The NB of China has the responsibility and obligation to show ballet arts in different styles, different times, to introduce valued works from choreography masters to the audience, and to the world. We are not only a classical ballet troupe to dance the classical ballets, but also Chinese ballets and modern ballets, to show a great variety of ballets. This time we have selected La Chauve Souris, that is a decision based on the classical repertoire we have performed previously. Speaking for our dancers, this ballet has lots of challenges in aspects of artistic performance and ballet techniques. Johann Strauss's operetta Die Fledermaus itself is dramatics. To us, this is a new breakthrough, a new attempt. We must first have strong ballet skills as the support. The more important is the capability of dancers' performing, whether or not our dancers can grasp the special style of this ballet. One of the purposes for us to introduce La Chauve Souris is to let the dancers get all-round development, become true ballet artists, continue to enrich the mind, body and soul. We believe that La Chauve Souris would especially benefit our National Ballet. It is worth to mention that Wang Qimin would be back on stage to take part in this premiere, after having a knee injury for a year. In addition, Zhu Yan, Zhang Jian and all our prima ballerinas and principle dancers would show up in premiere of La Chauve Souris. In the rehearsals I have noticed that the dancers are very vigorous and active with extremely passionate mood, so the rehearsing is in full swing. They have such strong desire to learn, so much intrinsic motivation to enrich themselves, which is very good. Our orchestra will accompany with an excellent and strong lineup for the premiere. It is also very special that some opera singers will be invited to join our performances. The stage design is very innovative. When we choose a new ballet program, we not only consider for dancers, but also its comprehensive artistry values. Master Roland Petit has shown great creativity and power in his different kinds of productions, that can benefit us for lifetime and give us creative inspiration in the future. The La Chauve Souris premiere in China will be carried out from September 11th to the 14th, at Tianqiao Theater. Here I want to tell our ballet fans that for the premiere on September 11th we are inviting the former ballet star with Paris Opera Ballet, now the Artistic Director of Vienna State Ballet, Manuel Legris to dance the role of Ulrich. We believe that our fans are looking forward to this super ballet-star, so I am disclosing the casting arrangement to you in advance. (1) Besides the Teatro alla Scala Ballet in Milan, Vienna State Ballet, Tokyo Ballet, no other ballet company has produced ballet La Chauve Souris. Because the international master choreographer has wanted to recognize and prove that a troupe is capable to handle such a challenge, before being selected to interpret of his work. So, it can be counted as an assessment of international recognition of the NB of China. I also want to share our great sense of pride with all of you. Interviewer & Writer: Zhou Chaoran Editor: Sun Yuanna Photographer: Shi Ren References: http://www.ballet.org.cn/news_detail/newsId=840.html http://blog.sina.com.cn/s/blog_473f97a00102v1oo.html NOTE (1) Very often, the National Ballet of China would not publish the casting information in advance. In general, the casting list would be shown up on a huge LCD board inside the theater on the wall about 20 minutes before the show starts. Once the curtains are lifted up, the lights are turned off, the LCD off, the info of casting is gone. Every time when I go to a ballet performance by the NB of China and ask for casting info in the lobby, I am always told: "Look at the wall!"

Talk to Zhang Yi, Deputy Head & Music Director with National Ballet of China Zhang Yi (Conductor): The music of ballet La Chauve Souris is based on Die Fledermaus, a famous operetta by "The Waltz King", Johann Strauss II. Strauss's music is not only popular with the European and Western audiences, but also very familiar to Chinese people. But the operetta music is not specifically composed for dancing. In accordance with Roland Petit's requirements, Mr. Douglas Gamley adapted the core motive of Die Fledermaus, combined with Johann Strauss II's other works, as well as different types of dance music from Johann Strauss I and Josef Strauss, such as Galop, Mazurka, Czardas, Polka, Waltz, and etc., then cleverly blended all together to provide a good foundation for this ballet. The ballet synopsis (script) is based on the operetta script. However, the ballet drama has a great leap forward regarding the story, stage effects, how much it touches upon the real life. After all, operetta Die Fledermaus was born in the 19th century, while Roland Petit's ballet was created in the 20th century. A different era, era is in progress. In my opinion, the music of La Chauve Souris perfectly meets the dance choreography, and also agrees with the stage design. Especially in the middle of the act I, there is a scene that John to "grow" bat's wings, fly out the window. At that moment the colorful music gives a sense of the vast sky, which perfectly blends with everything such as flying with wires, sky, stars, and etc. on stage. When you see the overall effect at the moment of windows opening, you will feel that every thing is appearing vividly and incisively, all are combined seamlessly. We are very confident for interpretation of this work. La Chauve Souris is the most important ballet of our theater this year. All crews in the troupe, including the symphony orchestra, treat this ballet very seriously. Because we attach great importance to this ballet, the orchestra gave two very weighty concerts at the National Theater this summer. Thus, when we come back to play Strauss's music, it helps to reduce the great burden. Just like, after carrying 200 pounds of stuff, we would feel easier to carry 100 pounds. Moreover, the vast majority of programs in those two concerts at the National Theater are German and Austrian traditional music, while Johann Strauss is precisely "the Waltz King" in Austria, so every musician in our orchestra is with high proficiency now. Finally, I would like to talk about some highlights in ballet La Chauve Souris to our audience: First of all, when I saw the video of "bat" for the first time, I already liked it very much. Some of the stage design is really beyond imagination, breaking our previous perception to common ballet in general. Secondly, this kind of comedy ballet is still relatively rare in China, but the comic opera (Operetta) had very important standing in European theaters in the old days. Performing such an European humor drama is considerably difficult to our dancers. We invited Mr. Bonino, who was one of the original performers, to supervise us. He personally takes the responsibility as the executive producer, which is a huge help for our actors. Finally, Johann Strauss' music is suitable for all ages. Either music professionals or ordinary people, whether or not he/she is very knowledgeable about music, music lovers, even those friends who hardly listen to music, every one can enjoy Strauss' music. In short, on stage there is the show of a humorous comedy ballet, it is performed by the finest ballet dancers of China, the story is also close to today's reality that a playful man likes to go out to have fun, and finally returns home through the efforts of the hostess. So, no matter from what point of view, all audiences from all social circles would be attracted by the charm of ballet La Chauve Souris. Interviewer & Writer：Zhou Chaoran Editor: Sun Yuanna Photographer: Shi Ren References: http://www.ballet.org.cn/news_detail/newsId=838.html http://blog.sina.com.cn/s/blog_473f97a00102v1ks.html

Talk to Zheng Yu, Soloist with National Ballet of China Zheng Yu (Ulrich): I would play Ulrich in ballet La Chauve Souris. He is one of the major roles through the whole ballet. This ballet is full of French romantic sentiment. As the dramatic story goes on, there are a few scenes in which Ulrich adores the heroine Bella very much, he kisses her hand, shows his charm of their intimacy. However, when Bella asks him for help, he would make suggestions for Bella, and help her dressing up to get back John. The dancing sequences in this ballet are in typical Petit's Style. At the beginning it was very hard for me to learn some of these movements. I have to do a number of steps that I have never encountered before. As you know, the 6th position in ballet is rarely achieved in other ballets, but very often in La Chauve Souris. There are such steps, beginning with a strict 6th position, then moving to the 5th, then moving back to the 6th position again, which is particularly difficult. However, when I saw the executive producer Mr. Bonino doing these, I found that he is very flexible, and his facial expressions are marvelously rich, unusually exaggerated, a bit like Charlie Chaplin. That is indeed so wonderful! I hope we could be ready to dance more freely and smoothly, our performance could be more proficient, before the La Chauve Souris premiere on September 11th, so as to make the audience deeply impressed. Interviewer & Writer：Zhou Chaoran Editor: Sun Yuanna Photographer: Shi Ren References: http://blog.sina.com.cn/s/blog_473f97a00102v1hd.html http://www.ballet.org.cn/news_detail/newsId=836.html

Talk to Sun Ruichen, Soloist with National Ballet of China Sun Ruichen (John): In our new ballet La Chauve Souris I will play John, Bella's husband. This time our rehearsal is not the same as before, nevertheless more focused on dramatic performances. We are not just doing an ordinary ballet show, but a ballet with a kind of European style of humor. Although there are some challenges, but overall it is not bad, we can learn a lot. Every dancing sequence designed for my role is very interesting. Although the plot is simple, but the mood and mentation of a character in different scenes are not the same, so it will be particularly pleasing to play. Through our joint efforts the rehearsal is going very well now. The major sequences have been worked on for a long time. Recently we have started rehearsing with corps dancing together, following the story's development, going slowly and smoothly. I think the La Chauve Souris is worth for everyone to go to the theater to watch. This kind of ballet, its modality of art are so rare in China, almost none. So this ballet is very unique, the audience will see a different styles of performances. Interviewer & Writer：Zhou Chaoran Editor: Sun Yuanna Photographer: Shi Ren References: http://www.ballet.org.cn/news_detail/newsId=835.html http://blog.sina.com.cn/s/blog_473f97a00102v1hc.html

Talk to Ma Xiaodong, Principle Dancer with National Ballet of China Ma Xiaodong (John): I think this is the most interesting thing in ballet performing that I am playing a role whose age is very different from my own age. In La Chauve Souris John is a middle-aged father who has many, many children. I have neither this kind of life experience, nor the knowledge gained from others. However, now I have to try to understand John, I need to keep on trying, making any attempt boldly to figure out some mental activity of a married man between 35-40 years old. Such effort would be great help to my future. I really like to portray more characters with different mental states and psychological patterns. It was a little bit difficult for me at the beginning, because the gap is really big. However, I will try to reach the director's demands. I think I still can do more research and make more effort to get further into the character through, to express the inner emotion, the characteristics of John, to show his psychological changes. Actually, in La Chauve Souris all roles changes a lot, there are big contrasts from the beginning to the end. I hope that the audience would have fun to see the comparison, see the actors' interpreting of different personalities. This is a very unusual ballet, I hope you enjoy it with appreciation, insights and means of enlightening. As long as you can see something you like and draw your inspiration from this ballet, that means we achieve our goals to do the show. Interviewer & Writer：Zhou Chaoran Editor: Sun Yuanna Photographer: Shi Ren References: http://www.ballet.org.cn/news_detail/newsId=832.html http://blog.sina.com.cn/s/blog_473f97a00102v1c1.html

Talk to Wang Qimin, Prima Ballerina with National Ballet of China Wang Qimin (Bella): In La Chauve Souris I will play the heroine Bella. This ballet is referred as an European humorous drama. It does not specially emphasize on technical skills, but the performance style is very particular. We previously had little experience in performing such ballet. It is difficult for Chinese people to convey exceptionally exaggerated humor, and hard to show that kind of aesthetic taste properly. At the beginning of the ballet heroine Bella is an ordinary housewife. But, after she fails to find her husband, she hurries up to call a friend for help, and then, she is "turned" into a radiant beauty. This ballet is so much different from previous ballets we have danced. Those are kind of more stylized, there are always Pas de Deux, male variations, female variations and so on. Now I have a knee injury, it is still slowly recovering. Since this ballet is not too demanding technically, therefor I was able to attend the rehearsals. Now I also have different attitudes from before, that is, I quite enjoy the rehearsal of every day and relish the moments on the stage, because now I can only take part in selected ballets. So, when I am able to achieve whatever goals and carry out demands of the ballet, I still want to stand on the stage. I am very familiar with our rehearsing supervisor Mr. Bonino. We met in 2005 when we were rehearsing Carmen. In 2006 and 2007, the French choreographer Master Roland Petit took Li Jun and me to join his international touring company, Mr. Bonino was in the tour with us together. We are all good friends, that makes the rehearsals going very well. The most important thing is that Mr. Bonino has particularly enlighten us with inspiration on performance. He can demonstrate whatever he is instructing us to do. His instructions are always very clear, which is good learning process for us. Maybe, our audience got used to watching classical ballets, btw, every one is familiar with Swan Lake and other classical ballets. I hope the audience could change mindset and come to see La Chauve Souris, to accept foreign sense of humor. At the same time, it is no doubt that we will try our best to express the sense of humor very well. Interviewer & Writer：Zhou Chaoran Editor: Sun Yuanna Photographer: Shi Ren References: http://blog.sina.com.cn/s/blog_473f97a00102v14o.html http://www.ballet.org.cn/news_detail/newsId=830.html

I have been think about this often. But, I have not solution and answer. Just thinking and watching, to see if I can get inspiration and perception. The "right body" for ballet indeed represent kind of beauty. Ballet performance asks for dancers not only to complete the body movements as choreographer has required, which is just the first step. The more important is to portray the characters in ballet drama. Just like singing opera requires good voices, beautiful voices; dancing ballet asks for "right body", beautiful bodies. The "right bodies" can play as princes and princesses beautifully. But, the "wrong bodies" might score a great success in the characters in modern ballets.