Not gonna teach him how to dance with you glee

I'M NOT GONNA TEACH YOUR BOYFRIEND - Glee

I'M NOT GONNA TEACH YOUR BOYFRIEND - Glee - LETRAS.COM

Home Pop Glee I'm Not Gonna Teach Your Boyfriend

You are the girl that I've been dreaming
Of ever since I was a little girl

One!
I'm biting my tongue
Two!
He's kissin' on you
Three!
Oh, why can't you see?
One! Two! Three! Four!

The word's on the streets and it's on the news
I'm not gonna teach him how to dance with you
He's got two left feet and he bites my moves
I'm not gonna teach him how to dance! Dance! Dance! Dance!
The second I do, I know we're gonna be through
I'm not gonna teach him how to dance with you
He don't suspect a thing. I wish he'd get a clue
I'm not gonna teach him how to Dance! Dance! Dance! Dance!
You are the girl that I've been dreaming
Of ever since I was a little girl

One!
I'm biting my tongue
Two!
He's kissin' on you
Three!
Oh, why can't you see?
One! Two! Three! Four!

One!
You're biting my tongue
Two!
I'm kissin' on you
Three!
Is he better than me?
One! Two! Three! Four!

The word's on the streets and it's on the news
I'm not gonna teach him how to dance with you
He's got two left feet and he bites my moves
I'm not gonna teach him how to dance! Dance! Dance! Dance!

Dance! Dance! Dance! Dance!

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I'M NOT GONNA TEACH YOUR BOYFRIEND HOW TO DANCE WITH YOU LYRICS Letra Glee cast Canción de Música Lyrics

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One!
I'm biting my tongue
Two!
He's kissing on you
Three!
Oh, why can't you see?
One! Two! Three! Four!

Word's on the streets and it's on the news:
I'm not gonna teach him how to dance with you
He's got two left feet and he bites my moves
I'm not gonna teach him how to dance, dance, dance, dance!
The second I do, I know we're gonna be through
I'm not gonna teach him how to dance with you
He don't suspect a thing, I wish he'd get a clue
I'm not gonna teach him how to dance, dance, dance, dance!

You are the girl that I've been dreaming of
Ever since I was a little girl
You are the girl that I've been dreaming of
Ever since, ever since

One!
I'm biting my tongue
Two!
He's kissing on you
Three!
Oh, why can't you see?
One! Two! Three! Four!

One!
You're biting my tongue
Two!
I'm kissing on you
Three!
Is he better than me?
One! Two! Three! Four!

Word's on the streets and it's on the news:
I'm not gonna teach him how to dance with you
He's got two left feet and he bites my moves
I'm not gonna teach him how to dance, dance, dance, dance!

Oh! Dodododododododo dance, dance, dance, dance
Oh! Dodododododododo dance, dance, dance, dance
Oh! Dodododododododo dance, dance, dance, dance
Oh! Dodododododododo dance, dance, dance, dance
Dance, dance, dance, dance, dance!

Glee cast

Traducciones de la canción:

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- Estilo: Pop Rock
- Álbum "Glee: The Music, Dance Party" del año (2011) .
. - Discografía y :: Biografía.

Glee: The Music, Dance Party

01 I'm A Slave 4 U lyrics

02 I Know What Boys Like lyrics

03 Blame It (On The Alcohol) lyrics

04 Tik Tok lyrics

05 I'm Not Gonna Teach Your Boyfriend How To Dance With You lyrics

06 Yeah! lyrics

La Canción 'I'm Not Gonna Teach Your Boyfriend How To Dance With You lyrics' de Glee cast ,incluida en su disco 'Glee: The Music, Dance Party' en el año 2011 .Este track 05 del álbum Glee: The Music, Dance Party es una de las mejores canciones Pop Rock ,junto a temas como "Tik Tok lyrics" , "Blame It (On The Alcohol) lyrics" , "Yeah! lyrics" , "I'm A Slave 4 U lyrics" , "I'm Not Gonna Teach Your Boyfriend How To Dance With You lyrics" , "I Know What Boys Like lyrics" , del que puedes ver sus letras de música y escuchar sus canciones .Con 5144 Visitas y 0 votos con 0,00 de puntuación.

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Traducidas en Español

Sappho, or Songs of the Rose Coast read online Olga Klyukina (Page 23)

— What? asked Epiphocles, who still could not believe the words of Didamia and looked at her almost with fear.

“And my second happiness is that I met Sappho, and she took me to her place so that I could teach girls literacy, logic, history and other subjects at her school,” Didamia smiled proudly. “Sappho ransomed me from my former mistress and gave me complete freedom. Now, Epiphocles. I am a free man on my island. And you want me to voluntarily leave these shores? nine0003

“Hmm, hmm, well, well,” said Epiphocles after a pause. “What you just said, Didamia, is truly amazing. But it is not at all necessary that others know about your secret, let it remain between us.

- Everyone, both Sappho and Philistina, already know my story!

- I mean those with whom we will have to meet in Thasos or other parts. Although, of course, Didamia, I will not hide the fact that you, it turns out, are not free-born. ..

“...You have time to think,” Didamia got up from her seat, not wanting to listen to the old man anymore. I can already hear the sounds of the holiday and I don’t want to be too late. nine0003

But at the last moment, Didamia could not stand it and added, trying to keep a serious expression on her face:

— But remember, Epiphocles, I will go with you only if you also make golden sandals for me.

— But — how, slave? How... my queen? However, okay! A spoon of happiness is more than a barrel of spirit! was the last thing Didamia heard as she hurried into the clearing, from where the harmonious sounds of singing could be heard.

Epiphocles was still thinking for some time whether he should go on a night of fun, or whether it would be preferable to get a good night's sleep, weighing all the pros and cons. nine0003

Most of all, Epiphocles was inclined towards the bedchamber by the consideration that a heavy bag of gold would still prevent him from dancing and having fun together with everyone.

After all, Epiphocles carried a stick with him not at all because he was really lame - simply, leaning on it, it was still a little easier to carry his burden around with him.

But still, listening to the joyful cries of “Evoi! Evo, evo! ”, coming from the clearing and saying that dancing had already begun there, Epiphocles hid the bag under the bed, and tied a pillow to his stomach in order to maintain his former figure. nine0003

He acted in exactly the same way during the first "phaonies", not expecting, however, that feathers would suddenly fall from the pillow.

Moreover, Epiphocles well remembered how Alcaeus stared at him in the bath, and even then he thought that he had succumbed to the persuasion of the poet in vain, who, with his nightingale language, sometimes knew how to convince of the completely impossible.

But feeling an unusual lightness under the chiton—Diodora stuffed the pillows in the house exclusively with swan's down—Epiphocles felt like a free bird and almost ran towards the clearing, even forgetting about his stick. nine0003

It was not for nothing that the servants later said that Epiphocles was walking towards the clearing already drunk, waving his arms strongly and croaking as he walked, as if he was about to climb a hill and take off into the night sky.

Didamia, who started talking with Epiphocles, was a little late for the very beginning of the holiday, and, probably, that is why the spectacle that opened her eyes seemed to the woman even more unusual than the others.

Two large fires were burning along the edges of a wide clearing, where large pieces of meat were roasted on skewers.

One of the bonfires was a sacrificial one, because a grinning boar's head stuck out on a stick next to it, and next to it stood a bronze figure depicting the goddess of hunting Artemis.

A little further away one could also make out the figures of other gods, who also seemed to be silently present at the feast, surrounding the sacrificial fire.

Didamia was surprised at the invention of Alcaeus, who purposely ordered the servants to cover the statues with a special cinnabar that glows in the dark, and therefore the portable statues of the gods standing between the tree trunks shone with an even, shimmering light and seemed to be dressed up in beautiful, festive clothes on the occasion of the celebration. nine0003

All the members of the phaonies were already wearing ritual masks skillfully made by Glotis, and Didamia at first did not understand why they were needed.

After all, without difficulty, and in this form, she immediately recognized by the light of numerous torches the familiar figures of Sappho, Philistina, Glotis, and other friends.

What can we say about herself, who was almost a head taller than the other women.

But when one of the servants handed over and helped Didamia also put on a mask made of glued fabric, she immediately understood the meaning of Alcaeus's idea. nine0003

In Didamia's mask, it suddenly seemed that, despite her height and large build, she immediately became invisible to the others, managing to somehow mysteriously hide without a trace behind her small painted shield with slits for the eyes, but she was able to calmly observe the rest.

Great gods, in this form one could do anything without fear of causing condemnation of others.

Didamia remembered her conversation with Epiphocles and felt joy in her soul: she was free! nine0003

No, she wasn't even a slave in her heart anymore, and that was real happiness!

However, Didamia realized from the general excited mood that everyone else in the clearing was also burning with impatience to quickly throw out their overwhelming emotions in a dance and already did it without waiting for any competition.

Now only the moon, Selena, could see the night, free dances, since all the daytime gods probably rested peacefully, reassured that people did not forget about them even in the middle of the night and make generous sacrifices in the form of hearty boar meat, previously soaked in wine vinegar. nine0003

The smell of fried meat mixed with the smell of incense, incense, resin from torches and carried away to the starry sky.

The sounds of a tympanum, a tambourine made of tightly stretched bull skin, as well as sonorous metal cymbals, which sometimes even somewhat drowned out the words of the hymn dedicated to Hekate, were also carried away.

I praise the roadside Hekate of empty crossroads.
Existing in the sea, on land and in the sky, in a saffron dress.
I glorify the one with the grave that rages with the souls of the dead ... [Translated by O. Smyka] -

Didamia, along with everyone else, picked up the words of a gloomy hymn praising Hekate, the goddess of darkness, night visions and sorcery, not caring too much about the correctness of the motive.

Among ordinary, illiterate people, Hekate was considered the sister of Artemis and also, in a sense, a hunter at night in the forests and cemeteries for careless travelers.

It was believed that Hekate usually appeared accompanied by a pack of dogs, and therefore Diodora or Bithynia, having heard barking in the middle of the night, did not hurry to immediately open the door to a night passerby. nine0003

But Didamia herself still adhered to the opinion of the great Hesiod, who, in his famous description of God called “Theogony” (Didemia dreamed of learning it by heart someday!) called Hekate not at all a terrible fiend of the forests, but the patroness of night hunting and a good goddess who helps people in everyday, not only daytime, but also night labors.

... Nurse of youths, nymph-leader,
Mountain dweller of heights, celibate - I beg.
Listening to prayer, look at our pure sacraments
With affection to the one who is always welcome in soul! [Translated by O. Smyka] -

Didamia continued to sing, feeling that her heart was even more filled with a special, inexplicable feeling that could be expressed precisely in dance.

And Didamia did not wait any longer, but, without interrupting her song, she also went out to the center of the meadow, where many of her friends were already dancing.

— Our business is to drink and be merry! the excited Alkey shouted loudly. “Let Ananka-necessity arrange everything else for us!” She is still the strongest! nine0003

Probably, Alcaeus's words were a special signal, after which special servants began to lower the bucket, wanting to scoop up water from the stream that flowed below, and then began to pour water into goblets and distribute it to all participants.

“Why do I need cold water? Didamia was surprised. “Maybe Alcaeus wants us to cool off a little and start a competition for a laurel wreath?”

But when the goblet was in Didamia's hand and she took a sip from it as she walked, she immediately felt the taste of sweet and very strong wine on her lips, which immediately made her even hotter and more cheerful. nine0003

The joyful exclamations of those who had already tasted the treat immediately swept across the glade.

It turns out that Alcaeus, who adored all sorts of surprises and pleasant practical jokes, planted his slave down by the stream, hiding under an embankment, so that he would pour a large crater full of excellent wine, and the servants habitually pulled it upwards, as if it were water.

In fact, Didamia belonged to that breed of reasonable and correct women who enjoyed work more than entertainment and hardly entered into real ecstasy. nine0003

But if it suddenly happened, then there was something indescribable!

At some point, Didamia completely lost all idea of the time and even of where and why she is and on what occasion the nightly orgy takes place.

At times she danced around the fire, but suddenly she found herself reclining on the grass and chewing appetizing pieces of meat that silent servants held in front of her.

Ili looked with surprise at a handful of peeled nuts in her hands, which Alcaeus ordered to distribute to all participants of the "faonies" for quick reinforcement of forces. nine0003

“Eh! Ie! Pean! Pean! May joy be with us!” - a cry was heard from all sides in different voices, calling on Apollo, who was also called Pean - an assistant in joy and trouble.

But usually these exclamations meant that Apollo should send a song to people, and Didamia immediately recognized among other voices the high, strong voice of Philistine, which seemed really capable of reaching the sky.

Stars grow dim near the beautiful moon,
A radiant face is covered with a veil,
So that she alone shines on the whole earth
With full glory ... [Translated by V. Ivanov] -

Didamia recognized the song of Sappho, which was especially appropriate on the full moon, and closed her eyes with satisfaction, enjoying the beautiful singing of her friend, but then she could not stand it again and began to dance .

Sometimes it seemed to Didamia that dawn had come, but then she saw that the bonfires simply flared up so strongly that it became as bright as day in the clearing.

Sometimes she even began to imagine that the statues of the gods also began to dance, run from place to place and hide among the trees - but most likely this was due to the constant flickering of torches in front of her eyes. nine0003

And then Didamia ran into the darkness to look for them, afraid that they would get angry for something and leave the festive meadow.

For some reason, as never before, she wanted to teach everyone again, only this time how to drink wine, or how to dance correctly, and even if Didamia saw one of her friends exhausted, she again dragged them into a circle and showed that there was no need to interrupt the fun.

At some point, Didamia saw very close Alcaeus brightly lit by a torch. nine0003

The poet was sitting on the grass near the fire and with all his strength he was pounding on a tambourine, now raising it above his head, now pressing it to his chest, and then it seemed that the loud sounds that were resounding throughout the forest originated from somewhere in the bowels of his body.

Alcaeus's hair was completely disheveled and was now tied with a wide bandage - a traditional attribute of carousing. Moreover, now Alkey was completely naked, and only an elegant cape covered his shoulders, and all other parts of the body were deliberately open for public viewing, and such a garment now seemed to Didamia beautiful and almost the only one appropriate for such a night. nine0003

— Only the moon sees us, kind Selena, but she still knows how to look through clothes! So it's best to take it off like me! - exclaimed Alcaeus, sipping wine from a long hunting horn, and Didamia immediately followed his advice and, throwing off her clothes, which really interfered with the dance, began to perform a new, crazy fantasy of a liberated body near the fire to the sounds of tympans.

Most likely, Alcaeus came up with some special program for the "faonii", but he did not take into account that the action would so quickly acquire an independent, spontaneous, but well-adjusted rhythm in its own way. nine0003

Some of the women, tired, would step aside to drink wine and immediately get a piece of steaming meat on a spit, or some other food that could quickly replenish their strength, while others, on the contrary, having already caught their breath, again went out into the a circle in the middle of the clearing and began in the glow of the fire a new, but as if one and the same endless dance.

Out of the corner of her eye, Didamia noticed Leonid, on his shoulders, like Hercules, a lion skin was thrown over, however, linked in front in such a way that the hero did not at all seem naked - the navigator constantly tried to stay closer to Philistine. nine0003

Didamia danced together with Sappho, then next to Philistina, who were in short, translucent robes, then clasped her hands with Glotis and naked, thin as a wax candle, her friend Gongila.

- Hecate! Make way, Hekate herself is coming towards us! - suddenly shouted, blocking the sounds of drums, Alkey. — Get out!

And Didamia saw with astonishment how Phaon appeared in the center of the clearing, dressed in a black tunic with a silver border, and on him was a wig made of long black hair. nine0003

Phaona was not wearing a mask, but her face was so skillfully made up that it was difficult to distinguish it from the face of a woman who was eerily beautiful.

The already black eyebrows and eyelashes of the young man were dyed with sulphurous antimony and seemed blacker than the night, red lipstick shone on his lips, as if the midnight goddess had already licked blood somewhere.

Like a real Hekate, Phaon was accompanied by three hunting, spotted dogs, who, at the sight of a crowded and strange spectacle, immediately began to bark loudly, tearing from their leashes like crazy, and almost dragged poor Phaon into a blazing fire. nine0003

However, the four-legged companions of the goddess of the night were quickly intercepted by the servants, and it became audible how the dogs, with a rumbling, began to torment large pieces of meat near the fire and gnaw bones.

— Oh, our beautiful Hekate! someone shouted at the sight of Phaon, and tambourines sounded even more desperately in the clearing, and even more naked female bodies appeared.

— Look how full the moon is in the sky! someone said, and Didamia also looked up, albeit with difficulty raising her heavy, booming head. She's looking right here at us! nine0003

The full disk of the moon hung silently over the dark tops of the trees, which seemed to perch silently just above the festive, rumbling glade, as if aiming a huge, unblinking eye at people.

“Hekate” was brought a full goblet of wine, after which Phaon also began, like a madman, circling between the fires, uttering ringing cries and clapping his hands.

Phaon, it turns out, knew how to dance very well and had amazing natural grace, so that soon a circle of women dancing on the spot formed around the young man, wanting to enjoy a pleasant spectacle. nine0003

— Oh no, this is not Hekate, this is Endymion, beloved of the moon, our Selena. Come on, don't hide, Phaon! Alkey continued to command loudly, conducting in the air at once two carved hunting goblets filled with wine. Prove that you are still a man! Why do you need clothes?

And Phaon, without any hesitation, also threw off his clothes during the dance, appearing before women in the beautiful nakedness of youth.

- And who is Selena here? Who will perform such a dance by which Endymion can immediately recognize his beloved? cried Alkey, continuing to realize his unbridled fantasies. - No, no, dance, do not stop, he will find Selena himself ...

Didamia, who had already begun to lose her strength, saw that many dancing women went into real ecstasy after the words of Alcaeus and spun around the clearing with renewed vigor.

- Selena! See-e-ee... on... - loudly resounded through the dark forest, from which all the animals must have fled in fear tonight.

Didamia closed her eyes in exhaustion and leaned her back against the trunk of a mighty beech, which turned out to be warm from the close fire, as if it were a human body.

Rare stars were visible through the branches of a tree in a black, but already slightly reddish sky, and it seemed to Didamia that someone affectionately stroked her head, as if inviting her to calm down and sit down at the foot. nine0003

It must have been the silent dryad living inside the beech, who also couldn't sleep for a minute that night.

Didamia obediently sat down on the grass, feeling that her eyes had already begun to close completely.

But she could still hear screams in the clearing:

— And now there will be a game! Alkey groaned loudly: he could no longer get up on his own and lay on the ground.

In the glare of the bonfire, the poet seemed as inspired as ever, beautiful and extremely drunk:

- Let's do it this way: whoever our Endymion catches up with will be his beloved this night! One, two, three!..

Didamia only had time to blink her eyes, and there was no one in the clearing, except for the servants and Alkey, who, with all his desire, could not rise to his feet, but the rest of the women scattered, screeching, rushed into the forest.

“Come on, my dear, I’ll put you to bed,” the dryad said, and Didamia saw that the forest nymph had a dark, wrinkled face, reminiscent of the bark of an old tree, but it also had the external features of Diodora’s maid. “Look, how you all spun around here, if only someone poured water on top of you and calmed down as soon as possible. Even then I will go home with you, as if I have grown old for a whole year. nine0003

And Didamia gladly obeyed the grouchy dryad, realizing that for her personally the holiday had already ended and it was time to rest, and at the same time habitually thinking that in this way she would show an example of common sense to her other friends.

But where are they? Where did they all suddenly disappear to?

... And Philistina, as soon as she ran into the forest and took a few steps, she immediately felt how someone's strong hands grabbed her from behind and threw her into the grass.

She turned around and saw that it was Leonid, who quickly and somehow businesslike threw off his lion skin, spread it on the ground, making a warm bed, and silently shifted Philistina onto him. nine0003

Now Leonid's mighty body was completely naked and trembled with excitement, like a bull seized with wild passion, so that Philistina realized that it was useless to resist such an onslaught.

Yes, after such a stormy night, she didn't have any strength for it!

“Ah, but you don’t…” was all Philistina managed to say, but then her mouth was sealed with Leonid’s imperious kiss, and her body went on fire, as if it had already been thrown into the sacrificial fire.

Sappho, having heard the call of Alcaeus, deliberately ran in a completely different direction than all the other women, not at all wanting to participate in the common game. nine0003

"No, love is not a game, not chasing, not..." Sappho's ears were ringing as she ran to a clearing bathed in quiet, moonlight.

At first, when Sappho had just found herself in the forest, out of habit it seemed to her pitch dark between the trees, and she ran without distinguishing the road.

But now that her eyes had somewhat adjusted to the darkness, Sappho recognized familiar places and was delighted.

Well, of course, this was the same bank of the stream where Sappho first saw Phaon fishing, and she found herself here so quickly because she ran down the hillock into the lowland. nine0003

Sappho caught her breath a little and decided that it was time to return to the place of the holiday, and best of all, go straight home.

"WHY SHOULD YOU STRIKE FOR MORE?.."

Natalia Osipova's first appearance in St. Petersburg happened five years ago: at the festival "Don Quixote" was announced the performance of the young soloist of the Bolshoi Theater, which is already known was that this is the "second Plisetskaya" and "new Moscow miracle. Her Kitri flew to the Mariinsky scene (one might even say - rushed) - with such passion and with such desperate fearlessness, which really reminded the great Maya. At that the images of the Catalan barber and daughter the innkeeper sat on the performers like a glove, there was a gap, air for improvisation or, say, for instant reflection. Natalia Osipova and Leonid Sarafanov looked like runaways from the lessons of high school students - frolic, naughty, grimaced and turned on the heat. Kitri wove in a ring, shrugged her shoulders, stomped her foot and in mock sobs wringing her hands over "suicidal" Basil, prostrate on neatly unfolded raincoat. In swift Osipov's pace, tornado rotations, implausible elevation and temperamental stage presence concluded something from which By that time, we had managed to thoroughly wean ourselves - pure jubilation. nine0003

Subsequently fifty seconds YouTube video desafio de Kitri turned out to be worn out to holes from countless views of those who want more and more once fall into an ecstatic state.

Two years later Natalia Osipova and having become by that time her constant partner Ivan Vasiliev almost repeated the mise-en-scene, only on this time they played a drama: on the floor, awkwardly twisted her knees, prostrated Giselle, and over her unfeigned sobbed the count, who, as we all remember, "joking too casually." nine0003

Before dying of heart failure (or because of lost illusions?), this little a peasant woman with a neatly combed head turned into a crazy bacchante and rushed around the stage, as if driven by an invisible force. dying the agony was played/danced at such a high degree that seemed to be heating up around Osipova and the air trembles. And further - already otherworldly being—she did not float in a somnambulistic cloud, but soared into the air like a white whirlwind, sweeping away on its way all the obstacles it meets. nine0003

A year later, in 2010, we spoke for the first time - fluently, as if in outline. Natasha Osipova turned out to be in life pale and quiet - in black eyes, however, guessed what can be called the strength of the spirit. Or fortitude. These eyes and her whole appearance seemed terribly familiar, but the association flickered and disappeared. I asked how she Muscovite, I see Petersburg. Natasha told that I first came here at the age of fifteen: “... I just came to take a walk and see. I remember A friend took me around the city and told me - then he hanged himself Yesenin, and then Raskolnikov killed an old woman ... I think what is it! But then for some reason I I liked it here more. Now it seems that the city is too cloudy - maybe for my attitude. Embankments, canals, of course, very beautiful". nine0003

In April 2010, she will probably introduce I couldn’t imagine what would happen in this “cloudy” city "his" - well, or almost "his". Then "Red arrow" took Natalya Osipova to Moscow, and we had to wait for the next festival. A month later she became the prima ballerina of the Bolshoi theater, and a year and a half later, together with Ivan Vasiliev went to Mikhailovsky. Of course, it didn't look like Nureyev's tour de force at the airport Le Bourget, but there was a stir in both capitals serious: for people to leave the Bolshoi voluntarily - such as they say, "old-timers they won't remember." The excitement of passion slowly subsided, and in February 2012 we met again - on this time with Natasha and Vanya. nine0003

Marianna Dimant You are probably already tired from questions about parting with the Big and meetings with Mikhailovsky. And yet - how do you now?

Natalya Osipova Now we are wonderful - in the Mikhailovsky Theater there is a wonderful troupe, excellent teachers. The main thing is that there is an opportunity to work a lot. Dance several premieres in a season - it's just great! Although, of course, it's hard, that everything has to be learned at once ...

DimantPersonally on you in Big anything did you set?

Osipova They explained to me that it was for me, it turns out that Balanchine's Rubies were staged - but I didn't was in the know ...

Ivan Vasiliev And they put on me "Young man and death" by Roland Petit, and I was the only one performer of this ballet at the Bolshoi Theater... Now he will probably disappear from the repertoire.

Dimant You go and beg for parties had to?

Osipova I can't beg for anything. Honestly. I go, I ask, they promise me ... And then it turned out - lie. And so constantly ...

I. Vasiliev, N. Osipova. Photo by M. Dimant

Vasiliev Well, they would immediately say: “no”.

Osipova In general, we left. We have a life short - stage life. Therefore, it is a pity to spend time to sort things out. And not in money here's the deal, as some say. If it were a question about money, I would earn more in New York.

Dimant The difference between Moscow and St. Petersburg school already managed to feel?

Osipova In St. Petersburg, girls have more developed hands - in the sense of beauty and purity of lines. I am currently working with Zhanna Ayupova - she is at hand she watches very carefully, and I learn from her. And my soul and my temperament - they are with me everywhere ...

Dimant Well, the Mikhailovsky scene is not for you too small?

Osipova More sensitive problem for me here is that the slope is big. Actually it’s more convenient to dance on a straight floor: I’m under a roll you have to adjust your body - so that in time forward rotations do not fall. Vanya, for example, everything equals ...

Vasiliev I don't care. Let the stage and ride but the world remains even...

Dimant Did you calculate this mathematically? nine0003

Vasiliev No, I just apparently have a reliable inner vertical…

Osipova Good vestibular apparatus.

Vasiliev I am well adapted ... for survival.

Dimant You, Vanya, are being modest. What is the name of that mind-blowing thing you did at Laurencia?

Vasiliev I always have something breathtaking...

Now one thing, then another... There are, for example, two his jumps - two, at least. First, two with half turn assemble revoltade in "Flame Paris" diagonally is my patented, you can say jump. And the other is in Don Quixote: two rounds with a skid. I did it first. Officially it is believed that I also started triple "sodebasks" make. I don't think so... It seems to me that before me they jumped ...

Dimant Do you know, some people say that you with your technical invention - a little "circus on stage"...

Vasiliev I don't care... Absolutely! Let be they say. Some speak, others invent. Now, for example, everyone is doing a double saut de basque en dedans - and they forgot already that Vladimir Vasiliev invented it. Everyone is doing revoltad - and his invented by my teacher Yuri Vladimirov. And they also said about them: “Damn, tricks again! nine0003

I. Vasiliev (Basil), N. Osipova (Kitri). "Don Quixote". Photo by S. Levshin

N. Osipova (Giselle). "Giselle". Photo by B. Svetin

Dimant It's scary to jump triple "sodebask"?

Vasiliev You know, this is for me not yet the limit, I want more. Twice I can already jump by three. And four I will make a turn. Why not?

Dimant Still have to someone themselves, as they say, to prove?

Osipova You see... We just dancing, but it turns out, that at the same time we are constantly proving something. nine0003

Vasiliev We just do our job, from which we get pleasure. But all sorts of talk go - someone says "they can!", And someone says "They can not!". And it turns out that we don't care we prove something.

Dimant About your right to "prince" and "count", yes

Vasiliev Acceptable. And because I will dance prince, the ballet world will not collapse, I'm sure!

Osipova It's not just about princes. .. Why do people do they go to ballet at all? The world in this sense is divided exactly in half. Some go to receive the so-called aesthetic pleasure - they crave to contemplate the pure, perfect beauty, beautifully built people, who all do incredibly well. And others go to the theater for live emotions, for experiences — they want something to turn over in them. nine0003

Vasiliev Aesthetics - it can be different. Today considered to be as long as possible. legs, tall height, all kinds of beauty ... But is Prince can't be short? And is it so obligatory thin-excessive thighs? Why does the prince there cannot be other legs - with large fleshy roundness? Maybe some people even like it. - such a muscular prince.

Osipova Of course, there is such a thing as role...

Vasiliev Role?.. Well, it can be discussed endlessly. And yet the main thing is something else. Came out on scene - convinced. Or - not convinced. Everything. nine0003

Dimant Natasha, what were you planning for at school? For what role?

Osipova It seems that they did not plan anything . .. how will go... When I was graduating from Marina Konstantinovna Leonova, she, in my opinion, firmly believed that I I will become a ballerina who will dance everything.

Dimant And were there those who did not believe in you?

Vasiliev And now there are such ...

Osipova Yes, I myself did not fully believe in myself, when it was released. But even without believing, I still hammered ... Of course, everyone predicted the future of the bravura for me dancers - Kitri in Don Quixote, Gamzatti in "La Bayadère" there are such powerful women's parties. I don't think I've been seen in romantic parties, lyrical. But I took up Giselle, then for "La Sylphide", then for "La Bayadère", then for "The Sleeper"...

Vasiliev A handsome boy may come out with long legs, and it will be about nothing at all. And maybe someone like me will come out, someone Quasimodo and quickly convince the public that he is one hundred percent prince. Or there is a graph.

Dimant Well, what kind of Quasimodo are you? You are beautiful young man!

Vasiliev This is because I have had enough sleep now, shaved and look good. "Giselle" I wanted dance while still at school, as a student. Here are the very feet. And nothing stopped me. to me first at the Bolshoi Theater, I remember, they said: “This is for you it is forbidden". I asked:

— Why? Will I technically do the role?

— Of course you will.

— Will I do the role emotionally?

— Of course you will.

- What's the problem?

- And it is customary for us to dance the first act in white tights.

Dimant I see. From their point of view, the legs yours - in a white leotard enlarging the shape - would have become unacceptably muscular and absolutely not graphic. How was all this resolved?

Vasiliev It's simple: I danced in brown. nine0003

Dimant You are now dancing in a white leotard - "Sleeping", for example?

Vasiliev Well, of course. Now I can myself allow it. I looked at the record - it looked normal. This, apparently, is my complex, which I worked out in the Bolshoi. Here Marcelo Gomez is not shy, and his thighs are twice as big as mine. He is a wonderful artist, full of life and energy. After all, it happens that, apart from beautiful legs, nothing no - no emotions, no technique. There are two beautiful legs - and what to do with them? Walk? nine0003

Dimant Natasha, how did you meet Giselle?

Osipova It was the idea of Alexei Ratmansky, and my teacher Marina Viktorovna Kondratieva supported him. By that time, I had already danced "Don Quixote" for years - another year, and you can it would be better to put an end to the ballerina: solid Kitri, and nothing more. Of course, I just freaked out. with joy - after all, it was my secret dream and my plan. I bore him and kept thinking: “How can I fit and tell me about it? Everyone will laugh at me…” After all, they even doubted my ability to dance the first act, "earthly", which nevertheless requires expression, play, drama. About the second mystical, ghostly, I don't say...

Dimant But you are an actress!

Osipova So no one knew then! That I can be a lyric-romantic actress plan.

Vasilyev We have adopted too much in Russia rigid system of roles. And they are always afraid: "Not him, not her, it won’t work, it won’t work!”…

Dimant We and Leonid Sarafanov also got, so to speak, "along the count's line" ...

Vasiliev That's right. And now we are here, in Mikhailovsky, all gathered together. Such, perhaps ... substandard. nine0003

Osipova Lenya is an excellent dancer...

Dimant Still, ballet is very conservative art…

Osipova Unfortunately. And it seems to me that always lives in danger of being banal, slipping to the stamp: that's just this way and nothing else. And not God forbid to show your individuality, dare do something there in your own way, change something...

Dimant I remember how you, Natasha, fall to the ground in Giselle, like a broken doll. And so lie down - not preoccupied with the elegance of the pose, ugly having collapsed knees ...

Vasiliev When a person dies, he is unlikely to thinks about grace.

Dimant But in ballet, they always die beautifully!

Osipova There is an abstract aesthetic, and there is concrete, living, human emotions...

Vasiliev We vote for emotions... I can't I look at puppet games... For example, Kitri in Don Quixote - I want to see a woman here, from which all the men in the front rows of the stalls have jaws they beat on the floor, drooling ...

Osipova To my performances, probably for naked, abstract beauty is not necessary. Yes, I have has its own problems, purely aesthetic, about which I know very well...

Dimant It annoys you when they tell you about your "aesthetic problems"?

Osipova No, rather spurs on.

Dimant Here, for example, your raised shoulders... To me, to be honest, they don't interfere at all.

Osipova Yes, but to someone interfere. I understand - in "La Bayadère" or in "Sleeping" to dance with raised shoulders is impossible. nine0003

But in Giselle, I'm sure - it is possible and necessary. With them, with these shoulders, with nervous rubbing hands, I feel myself there psychologically more reliable. Because my heroine poor simpleton, awkward and naive. Through these upturned shoulders i can to say, I enter her soul.

Scene from the play "Don Quixote". Photo by S. Levshin

N. Osipova (Laurencia). Laurencia. Photo by V. Vasiliev

Dimant And yours "sport run" in Don Quixote with elbows back - what has become the subject of violent public discussions, is also a way get used to? nine0003

Osipova Well, yes. But in "Sleeping" I am like this I won't run - another image, other ways to it...

By February it was already it is known that soon Natalia Osipova debuts in "Swan Lake" and I asked why she didn't dance it before so far?

Osipova I didn't want to for a very long time, but now I think that I should dance it, and I said to myself, what I'll try. I don’t know how much I can do my to realize fantasies . .. But if I don’t, then I just don't respect myself. I clearly know now what I want to say there. nine0003

Dimant Well?

Osipova I want that in the white act at last there were not just movements, but that there was a monologue about her life, her suffering. White adagio by Ivanov amazingly staged. If you take it apart, it becomes it is clear that there are three parts, and I want it was clearly visible. That's when she communicates with a prince, do you perceive her as a swan or as girl? In the same place, according to the libretto in the white act, you can see - they fly, descend, and she becomes a girl. There is a lot in this ballet - plastic and spiritually, and there is a lot to tell about: this endless cantilena. And I want people to saw. nine0003

Dimant "Black act" for you no difficulty does not represent?

Osipova I think the third picture is for me will make it easier - by the way, I never could understand how the prince managed to confuse Odile with Odette. Can a man be so wrong? An incredibly beautiful woman came to to seduce, charm, chain and not give descent. And he was seduced by this incredible beauty. It is necessary to show all these transitions, all the nuances - how she reacts to whether it is being conducted or not. In this ballet For me, first of all, two duets are important - “white” and “black”. The whole story develops in this moment. nine0003

The debut in Lebedin took place in April 2012, two months after our conversation. Intuition Natalia Osipova, acting and ballerina, suggested to her the artistic solution that now it seems perfect and absolutely matching with sentiments of Pyotr Ilyich. Art Osipova, being humanistic in nature, always talks about a person. Told her history was primarily a history of women and more broadly, human. Abstract swan remained behind the scenes (a sham bird swam along the lake, the water in which for the last hundred years, frankly, slightly stagnant and covered with duckweed), on the stage - from the first timid and at the same time her desperate steps unfolded a monologue of the wounded and, as it were, an awakening soul. Her "lines" about which balletomanes and critics spoke so much, were perfect - if, of course, you understand below them the content expressed in plastic. Natalia Osipova's dance is like a chiaroscuro in painting, filled with contrasts of light and dark, instantaneous transitions from despair to exultation, from quiet sorrow to rushing outward joy. Osipova is not interested in abstractions, she is occupied with the details of the almost psychological, not characteristic of ballet. Attentive the viewer will notice them - just like an attentive a painting lover will notice tanned fingers Rembrandt's Danae, exactly to the place where the lace cuffs of the sleeves begin. They, these details, may seem almost alien in the context of the most conventional from the arts - after all, classical ballet, as you know, "there is a castle of beauty." Osipov is not just moves her feet in a small pas de Bourree suivi, she vibrates mentally, just like touching to the partner's shoulder, she doesn't just follow to the delivered text, but asks: "Listen!" And this strange, impatient, harsh gesture not only convinces - it seems the only pertinent, chilling in the spine and, in fact, justifying the existence all those cardboard swans painted on the back water, conditional heroes covered by conditional suffering and flowing "cranberry juice". Of course, if you dance what dances Natalya Osipova - that is, the confession of a hot hearts, no more and no less - and dance so as only she can, falling into the state of the present trance and again causing a feeling of thickening air around her. nine0003

N. Osipova (Odile). "Swan Lake". Photo by V. Vasiliev

Odile, the little devil, seduced her and seduced, and poor drugged Prince Marcelo Gomez surrendered without a fight. A frisky girl with a feather, stuck in a black-haired head, appeared accompanied by someone who was conditionally called Evil genius, but in fact seemed to be the unconditional embodiment children's and adult fears, the ruler darkness that came from the abyss. These two were tied some secret, unforeseen libretto connections, sparks were struck between them, they fooled, bewitched and tenaciously lured into their networks. An evil genius in the guise of a fantastic black birds, Satan, who "rules the ball", was Ivan Vasiliev, and what has long seemed like a fairy tale for children of primary school age, again became strangely acquire human outlines, overgrow with details of unexpected gestures, gloomy looks, light and dangerous touches. nine0003

The forces of evil, of course, were defeated - in the final the villain's wing was torn off, and with his powerful his torso struggled for a long time in the last convulsions, as if insisting on the vitality of this evil, which indeed dwells not only in fairy tales. That evil that knows how to come, win and rule in a businesslike way. How the stronger the power, the more terrible the writhing, and the process the extinction of this life leaving the once powerful organism, Ivan Vasiliev made it completely unambiguous. And also the fact that the energy dance and strong acting characteristic - things are quite compatible. nine0003

"Stage nonsense magical current "went into the hall in such a powerful stream, that involuntarily remembered words of Akim Volynsky about "productive conflagration for the benefit of mankind," which some him, this humanity, representatives.

Dimant The main thing for both of you is human content dance, live emotion. For equipment Are you not worried at all?

Vasiliev Ask, for example: "Vanya, why are you endlessly practice these triple sodebasques? And then, what can I do now in the same ballet "Spartak" to go on stage and not think about how it will work out I have a double "sodebask" or it won't work. O s i p o v a When your emotion is so high, you and must move at the same emotional degree. And if on stage you, for example, come off two centimeters from the floor, then it looks stupid. nine0003

Dimant Which of the things you danced was technically the hardest?

Osipova "Pharaoh's Daughter" by Pierre Lacotte - if you dance the way he set. But probably even more complex is the first act of The Sleeper. Here, you definitely won’t get out on emotions alone.

It is necessary to dance incredibly cleanly, in a very correct manner. There's nothing to hide is, so to speak, the triumph of the classical dance.

Dimant You are the first time "Sleeping" in New York danced? nine0003

Osipova There was also a funny story - literally a few days before the performance on me two boys attacked and... well, not exactly beaten, but hit quickly... I didn't even realize it.

Vasiliev In fact, it was a long-planned operation to capture the ballerina's bag Osipova in order to take possession of pointe shoes and a hammer. To reveal the secret of her technique.

Osipova They just tore the bag... Swing gave everything. Fingals appeared - well, when on the nose hit, you understand ... (more than one layer of makeup then had to impose). me in this regard gave a particularly warm welcome - apparently glad have been seen alive. nine0003

Dimant And how are you received by your colleagues in the West?

Osipova Everywhere is good. American Ballet Theater for me as a native - for the fourth year I have been connected with this theatre. Colleagues are very support - help, explain, teach. I was introduced, for example, in "Romeo and "Juliet" Macmillan is not our school, different manner. Naturally, I can't dance like me please. And they called Alessandra Ferri (former amazing Juliet in this performance), so that she introduces me to Macmillan style. Juliet at Macmillan's dances in a long dress, and therefore foot work is incredibly important there. At the same time, she has a very feminine open top, open arms, open poses, all port de bras. And you, as it were you do not stand clearly on your foot, but a little you get off your feet, as if you are constantly balancing. nine0003

Vasiliev What else is very important - there are no passing movements, no just dancing. That is, there is a lot of dance, but any gesture is very full and meaningful. And everything is fluid and continuous - no such that now you need to get ready and get up in some pose.

Osipova Macmillan's ballets are a whole the world with its own vocabulary, its plasticity.

Dimant Do you find this other vocabulary easy?

Osipova When you have already learned this, when entered the body, it is easy. But first, when you don't understand... I remember, I’m generally there at first like a cuttlefish I was - it was scary to look at myself. Nothing at once is not done - everything must be included. nine0003

Dimant Nureyev choreography for you did you have to dance?

Osipova Yes, in Paris, The Nutcracker is the most probably the most difficult thing that I have danced in my life. This choreography is a complete nightmare for the performer! Some kind of sadism. I agreed at first and then I found out what it is. When I learned then I thought: “God, I even the first part of the variation didn’t, but there are so many more!” You constantly balance the body moves, and you must stand clearly on foot. In duets, double fish, pirouettes, transitions, jumps - so many little things! had to train yourself directly - to learn talk with your feet... It seems that Nureyev created obstacles on purpose, so that in each the movement had to overcome them. nine0003

Dimant And how do you feel about Nureyev the dancer?

Vasiliev This is the peak, an unattainable person, who devoted his whole life to creativity. He maniac. Rudolf changed not only the dance itself, the aesthetics dance, but also the way of life of a dancer.

Dimant Is he your main idol?

Vasiliev He, absolutely. The more you know Rudik, the more you fall in love with him.

N. Osipova (Odette). "Swan Lake". Photo by V. Vasiliev

Osipova At first it was only my idol, but then Vanya got involved and realized that this was his idol too too. I always have tears in my eyes when I see him records...

Dimant Do you like Baryshnikov?

Vasiliev Baryshnikov - amazing, brilliant, fabulous. And Nureyev - he, perhaps, and not the best - but he's crazy. In it from nature there was rabies - such an animal on the stage!

Osipova Baryshnikov-Albert is the pinnacle.

When I saw it, I said: “Vanya, he will outshine any Giselle! I was just hysterical. Though this is a record, but Misha sneaks there!

Dimant Natasha, is it possible to formulate, what is creativity for you?

Osipova Burning. First, you burn yourself. Then, you get drunk. From the auditorium.

Dimant Your stage emotional state what does it depend on?

Osipova From a partner, firstly. If I have bad mood, I can't collect myself. Not really I'm falling apart. .. But it can be very difficult. nine0003

Dimant You already know how to be professional work?

Osipova On professionalism something is possible imitate. But the viewer who knows me - he will understand.

Dimant Is a suit important to you, for example?

Osipova I used to be like this... don't care what, how ... The main thing is to dance ... Now that I have matured, began to take it more seriously.

Dimant How do you tune in to the performance?

Osipova Sometimes, if there is a run-through on the day of the performance, you barely have time to comb your hair and make up. But I usually think about the performance, I catch a fortune ...

Dimant And does it come on stage?

Osipova I am always so inspired that usually comes.

Dimant And you, Vanya?

Vasiliev The main thing before the performance is correct tune in psychologically - do not overdo it, otherwise you can go on stage empty, lose the necessary emotion . ..

Osipova We are very different - I practically I go through the whole performance on the stage and this is how I tune in. I need to be incredibly warm and feel like I'm at home on kitchen. And I feel so comfortable, so wonderful, and so everything works out for me, that now I'm so warm and filled, I can give out everything I need. nine0003

Vasilyev Sometimes, on the contrary, it seems to me that if I go out to try some movements, then I do this is because you have to go out and try. So accepted. What to try? I have no idea in fact. I go out and do two rounds. Here, I tried it.

Dimant So you say that those jumps that previously seemed super-complicated, now they can jump all. But it is known that many, on the contrary, simplify texts.

Vasiliev Many simplify - yes. They speak: “We don't need technology! It needs to be beautiful! Let's jump two rounds and that's it." nine0003

Dimant We again moved from technology to aesthetics. They say - let there be two rounds, but clean and beautiful . ..

Vasilyev Yeah, clean and beautiful. Yes, yes ... Why can't you strive for more? It is clear that not everyone can. But if you can? They come to me to performances and more is expected of me. On the gap aorta to jump - like for the last time in my life!

Osipova Who else if not Vanya?

Vasiliev Yes-yes-yes-yes - who, if not me?!

Dimant - everything, no strength? ..

Vasiliev When I start complaining that here is my third Spartak, it's hard to dance, then I say to himself: “Vanya, you are a machine, but you have to plow necessary!" I am a terrible car.

Dimant But are you lazy? Ordinary, human?

Vasiliev Leni we have plenty!

Osipova Sleep is sacred... We are still friends we act corruptingly on the other - both are nocturnal people, we go to bed late. nine0003

Dimant Natasha, can I ask a stupid question? How do you manage to jump so high and silently land?

Osipova I don't know… Honestly.