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tv   Treasures of the World - Segovia - The Setting for Power Games Spain  Deutsche Welle  September 16, 2018 4:15am-4:30am CEST

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in this production the children of the shovels and her husband york and zandi were part of the cast further intensifying the emotions felt by their mother. who became necessary for the children it was like playing it was a great experience for them they learned all the songs and the wonderful thing about theater is that it is a lot like playing we play dead and then we all get up again. look and then the mike with your children were often with you during productions and while traveling or on tour and the dentures were with you to. read up by it was like one big family for you but also for me was the. babysitter and i always had babysitters with me. but they did spend a lot of time with the dancers during rehearsals for fear intense and when they were dancing too they were just part of the cast they didn't get any special
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supervision oil or no i always tried to have them with me so i never forced them to come by so i always asked if that's what they wanted one but i just wouldn't see enough of the children otherwise because we spent a lot of time working and at the theaters and were often asked in the evening. obviously we've tried to strike a balance. but fortunately both the children love dancing and singing and going to the theater and playing theater. so it seems that passion has been passed on to them. but. you invested a lot of time in promoting young talent start you have the children's dance company . time company you've also been involved in dance in schools now important is there to you. the this this is in the. yeah i was
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as is. my interest in children stance actually came with my first child last. asked me last little i got on a workshop at a school and it grew from there and that's what the. i found it more and more interesting as i realized how important our ancestors particularly for children approaching puberty and then couple interacting with other people's bodies with their own bodies their own self-image stuff because you're very much confronted with yourself and as process because you're working in a group lance if you're single in a lot about group dynamics you get a new spatial awareness how do i move within a room how do i stand in relation to somebody else i'm at home i think effectively a great help in everyday life it's not that everyone needs to become a dancer it's about learning to live in your own body to feel your body and to feel at home when your body. as if the whole thing. is there were.
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last year you yourself danced again here at the ready as is tim for the project to her and. you missed instinct would you like to do it more often again with the thought of me with the i love down thing on stage but i can't do both if i'm choreographing a big piece i can't be on stage myself as well that's just the way it is but if i can dance for special projects now and then i'm happy. for booking your play. one of those special projects superman or listen it offers dancers and artists from various parts of the world scope to interact and explore current political and social issues through art an opportunity for balls to explore and improvise to.
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as if the mystic at the root is an easy but you know passing on a growing number of pieces to outside companies including some abroad where your dancers oversee the rehearsals and if this is this is an opportunity to release the ensemble to work independently of you align our bad work and. yes this is a new branch of my work you could say. i think it's good for experienced dancers to pass on what they know and that these compositions continue to live on and the younger generation feel it inside but many dancers who pass on what's continue to dance themselves i think it's good to give others the opportunity to be involved but it becomes like a whole new production if think you just passing something on but that's not actually the case things sort of like going to work out what is the work on it. i
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usually do a workshop with the dancers or i go through the entire piece as it's intended with all the moves so that i know what it's all about. these boys and it intends and that's the i've noticed that i can't do that a lot but it's exciting to pass something on and watch it take on a new life on the scene it is that noise laden called. in the spring of this year the day after the live veal in lisbon performs nash about his piece. the dancer spent five weeks rehearsing the actual bouts then turned up to add the finishing touches. to of her experience dancers had overseen all the rehearsals. from israel. then cloudier show others from portugal. it was their job to help the dancers find their own style rather than just copying certain moves suddenly the two were working as equals alongside their longstanding boss i think it's working relation of many years and the personal relation also you
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know so there. i think in that case gives a lot of trust like she gave her responsibility to hand over the piece and she gives a trust and also we have been working with them for five weeks so we can actually we know them better than her in this situation so it's a it's a good thing that i still stay. in communication with each other for certain things i mean then something she comes and she wants to bring it from the outside more her own. owner sensations and smell and to put something on top of what we brought but it's it's a long term collaboration so we are communicating in a very natural way and i truly happy my so i still see things differently sometimes and i pass on the specific details that are important to me. but i know that the dancers i've chosen are very precise and that i can trust them and so far it's
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worked very well touch wood and there's been no problems it's been i enjoy being able to let go and step back a bit in the piece takes on a life of a time and it's not a fixed creation rose and moves away from that back. when we're. done let's talk about your new production exodus which you did for the twenty fifth anniversary of your dance company. exodus from the greek both in the sense of departure and escape what led you to this idea. i was big and it was this idea of fleeing from more scaping from something finding our way out is that obviously we associated on the one hand with the bible and the exodus of the israel lights from egypt. but when you're in greece for example you see it written in every subway station many clubs and bars have adopted the name
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exodus. that fascinated me and that's often. on the one hand you have this idea of a group that's running away their corporate fleet leaving one place and moving somewhere else in. it on this and on the other this process that takes place more in the mind. is often coupled with all step out of your body into another dimension and to this technique trance or ecstasy taking off comes up and all that test next half or less gets very much about a group experience it includes going to new and past the point of exhaustion with the audience. and so that's like a journey to. a journey that lasts two and a half hours involving captivity then finding a way out and escaping it raises questions such as what we're fleeing from and where to exodus is intense and heavy going and for now at least it will be the last
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production that sasha about stages with her company.


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