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Thomas Lund: a new book


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Hi, i have an update about Thomas Lund, i have recently discoverd that he together with Ole Nørlyng

have written a book about his life. I think the book is of of course in danish but it sounds very interesting :jawdrop:

The book is called "Danseglæde og springkraft" and i have manage to find a little sample of it http://www.weekendavisen.dk/apps/pbcs.dll/...60106/-1/kultur but that´s also in danish :(

but for you who dosen´t understand it i have found a early picture of Thomas together with Bill Holmberg with Neel Resling Halpern enjoy :jawdrop:http://www.neelreslinghalpern.com/board.html

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Ostrich, sorry to disappoint you - forever. If you are content with just reading, it might not be so bad, but the pronounciation! :)

Must admit that I only get reasonably good at it after quite a few "aquavits" :blushing:

However, just consider that you get a limited understanding of two other languages thrown into the bargain as they are fairly similar, Norwegian and Swedish. Why not attending an evening course? :lightbulb:

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Ostrich, sorry to disappoint you - forever.

Oh well I'll just have to depend on the enlightened members of Ballettalk to fill me in on the interesting news. Meanwhile I'll consider getting it just for the pictures, as I'm a big Thomas Lund fan.

Last year I had the fortune to meet Tomas Lund on the stage, immediately after his performance in La Sylphide in Rome. He was with Gudrun Bojesen and both of them were very kind and amusing. Nice costumes too.

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Jane Simpson interviewed Thomas Lund in light of the publication of his book, "Dansglæde og springkraft" for the ballet.co Magazine December 2007 issue.


'You don't know how you look on stage, but if what you're doing reads clearly it means you have to try to be quite honest, because otherwise it shows. You have to be very aware of how you work with yourself - it all comes from what you feel at that moment. When I do James, for instance, I actually say the lines to myself as I'm doing the mime. Not always, but... you have to have the overall feeling at that moment, in that scene; and then one scene leads into the next, and sometimes, if for instance in Sylphide or Napoli something doesn't go how I want during the first act, then when I'm up in my dressing room in the intermission I try to work out what I felt, and what do I need to do now, to get it in a way so it still works. That way you don't always do it the same way - what I'm doing on Friday might be a little different from last night because suddenly things fall out a little differently in the first act. So I need the intermission to reflect. And this is what I think is so wonderful about the Royal Danish Ballet, that we work so strongly with the tradition of acting, and that is probably why I'm still here, that I get from our repertory the opportunity of going back to these parts and developing.'
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