movie review about the woman in black

The Woman in Black is as traditional a ghost story as is likely to be found in today's marketplace. All the elements are in place: an isolated, gothic mansion on the moors, mysterious deaths, a graveyard, an apparition in black whose appearances coincide with tragedies, frightened villagers, and long-buried secrets. All of this takes place in Victorian England, where superstition often trumps reason. There are also no postmodern aspects to this tale. The house is haunted; it's not potentially all in the mind of the protagonist. There are ghosts and, quite often, they are unfriendly. The title (taken from Susan Hill's novel) evokes Wilkie Collins' The Woman in White but, in this case, the elusive figure in the mists is garbed in black. Some story elements echo Dracula. Director James Watkins wrings maximum atmosphere from his sets; The Woman in Black oozes creepiness and some of the scares pack more punch than the typical "boo!" moments. During one lengthy sequence in which Daniel Radcliffe's character executes a meticulous search of the haunted mansion by candlelight, there's a repetitive cycle in which the sense of dread builds to an almost unbearable level only to be released by a shock before the whole thing starts over again. Radcliffe plays Arthur Kipps, a London-based solicitor with a four-year old son whose career has been in a tailspin since the death of his wife in childbirth. His firm has given him a last chance - travel to the out-of-the-way estate of the late Mrs. Alice Drablow, Eel Marsh House, and settle her affairs. In the town of Crythin Gifford, Arthur is met with naked hostility by the residents and pleas for him not to travel the lonely road to the house. Among the locals, only the progressive couple of Sam and Elizabeth Daily (Ciaran Hinds and Janet McTeer) greet Arthur with warmth and offer help. Upon arriving at Eel Marsh House, Arthur's beliefs in what is possible are challenged as a series of unnatural occurrences plagues him - whispers in the dark, a rocking chair that moves without prompting, music boxes that play without being wound, and the mysterious Woman in Black who appears as a harbinger of doom. From a marketing standpoint, the casting of Daniel Radcliffe is a coup; it has elevated the profile of what might otherwise be an obscure release to that of a potential mainstream hit. However, in some ways, Radcliffe seems ill-suited for the part. He appears too young and his dramatic chops, despite having been honed during a decade growing up as Harry Potter, are questionable. His screen presence is less imposing than that of his co-stars, Ciaran Hinds and Janet McTeer, both of whom command the camera's attention while on-screen. Hinds is working on his second ghost story in a few years (the previous one being The Eclipse - no relationship to the film about sparkling vampires). His brooding persona is perfect for this sort of production - he exudes the confidence and reliability that provides viewers with an anchor. As for Radcliffe, he does a workmanlike job conveying world-weariness, even if the mood is in contrast with his youthful appearance. However, this is not a character-based piece. The star's job description is that he be able to react convincingly to a variety of supernatural events and to endure being covered in mud. He has difficulty with neither. The film ends on a note that could best be described as "bittersweet." It certainly isn't a conventional happy ending, yet it offers more lightness and hope than the previous 90 minutes. In short, it's the perfect way to conclude the movie, even if it makes most of what precedes it feel a little irrelevant. There's a definite sense of closure and, even though there's a little bit of a twist, it's hard to imagine even the most inattentive viewer not "getting it." Watkins stacks the deck by tinkering with the look of the film during its waning moments. This is the second feature for the director, who made his debut with 2008's Eden Lake, a horror movie starring Michael Fassbender and Kelly Reilly. The genre holds an obvious fascination for Watkins, which is welcome, since he's excellent at bringing it to the screen. This is one of the creepiest PG-13 movies I have recently seen. The production company is Hammer Films, a venerable name in British horror. Responsible for some of the best monster movies of the '50s and '60s, when Peter Cushing and Christopher Lee were a favorite team, Hammer has endured over the years. Now, as then, the Hammer name is an assurance that terror, not soulless special effects, lies at the heart of the production. The Woman in Black bears this out.

report the vow

When it comes to romantic movies there's no denying director Nick Cassavetes set the bar pretty high with The Notebook. While men may roll their eyes at the thought of snuggling up on the couch to watch Ryan Gosling row Rachel McAdams in a boat across a river amid hundreds of swans there are few women for whom the Nicholas Sparks adaptation doesn't appear in their top 10 all-time weepies. Well, ladies, here's another to add to the list - The Vow, about a newlywed couple recovering from a car accident one snowy night that leaves wife Paige with severe amnesia. When Paige (McAdams again, proving she's the go-to girl for romantic dramas) wakes up from her coma, not only does she not recognise her husband, Leo (Channing Tatum), her last memory is of being engaged to another man, hot-shot attorney Jeremy (Scott Speedman). While his wife tries to remember why she is estranged from her parents (played by Sam Neill and Jessica Lange) and has dropped out of university and a promising career in law to become an artist, Leo goes to great lengths to reboot his relationship with his one true love. But when his best efforts to make his wife fall in love with him again appear fruitless, he is forced to confront the very real possibility of having to let go and move on with his life. It's wouldn't be far off the mark to say Michael Sucsy's debut feature is a kind of mashup of The Notebook and the Adam Sandler romantic comedy 50 First Dates. But there's something a bit different about The Vow, a film loosely based on the story of real-life US couple Kim Carpenter and his wife, Krickitt. While not devastatingly sad, nor particularly funny, the less-than-formulaic plot ensures those who are not aware of the Carpenters' story never quite know how the couple's relationship is going to pan out. There is an underlying sweetness to the film, thanks largely to the chemistry shared by McAdams and Tatum, who between them light up the screen. The pair are so convincing we are able to overlook the weaknesses in the lopsided narrative - not to mention the few too many corny exchanges - and commit to The Vow.

movie review about atonement

This year has been rife with cash-in sequels and inferior remakes. Sure, Transformers was fun. Okay, so Shoot ‘Em Up made me bounce up and down like a giddy child with it’s over the top absurdity. But occasionally you feel that, even though these big dumb action movies are fun, after the hundredth movie where the plot exists solely to provide a link from set-piece A to set-piece B, you start to wonder if the art and the storytelling of cinema has gone down the pan. Flashy, over the top music video directors are all the rage, but they’re all visuals. They come across as having no concept of how to tell a real story or how to present characters that aren’t stereotypes. With his second movie Atonement, and at only 35 years of age, British newcomer Joe Wright strides confidently on to the scene and makes the like of Zack Snyder and Brett Ratner look like they learned their craft from a “For Dummies” book. Briony Tallis is a highly talented 13 year old daughter of a well to do family in pre-WWII England. While her cousins want to go swimming in the lake, she wants them to help put on a performance of her latest play. However, with this talent comes a feverishly overactive imagination. When she sees an incident between her elder sister Cecilia (Knightley) and servant’s son Robbie (McAvoy) on a hot summer’s day, her immature imagination misconstrues an awkward flirtation as something darker. Briony’s imagination continues to twist events throughout that day with terrible consequences.

Atonement might possibly qualify as one of the most visually stunning films of the year. Wright doesn’t use shaky-cam or the hyperactive editing common of his young directorial peers. In fact, where other directors seem determined to blind and overload your senses, Wright slams on the brakes. His previous movie Pride and Prejudice was a visually impressive film in itself, but for Atonement he brings his A-game. There are many moments which wow but one scene in particular, a 5 minute single-take steadicam shot, is stunning not only for its immaculate choreography but also a bizarre detached quality which adds to the interpretation of how the character we are following feels. Despite his young years Wright comes across as a more mature director of the old school than a Hollywood-chasing, MTV-alumni. Like fellow Brit director Ridley Scott he tells his story both through visuals and narrative. He makes the two work hand in hand. This is a darker, downbeat, more mature tale than Austin’s fluffy romance and Wright adjusts his handling of it accordingly. He goes out of his way to establish mood, using slow deliberate shots and never rushing to get to the next scene, even if it might be more important to the story. But this narrative pace suits the tale and it never feels as if it’s dragging its heels. Wright wants you to care about the main characters, to understand what they are going through, so that if and when things go wrong, you care. You feel. You understand. They aren’t stereotypes, they aren’t caricatures, they are people. And that makes anything they go through all the more real and relatable and powerful. It’s refreshing to see a movie not pushing you around urging you to keep up with a freight-train rush to the finale and more interested in the people than the set-pieces around them. That attention to detail is such that even sound plays a huge part in Atonement. The sound editing is heightened to the point that you can hear every little noise from an incessant fly buzzing to Cecila taking a drag off her cigarette. Sounds within the movie also become seamlessly incorporated in to Dario Marianelli’s score in a surreal yet effective way. It all helps come together to give Atonement a sometimes almost dreamlike quality apt to the movie’s tone and themes. None of the actors can be faulted. McAvoy is charming and likeable as the lowly servant’s son with ambitions in life and a pining for his lost love, Cecilia. With roles like this and his turn in The Last King of Scotland, McAvoy is slowly building himself a resume of great performances and is surely another talent to watch in the coming years. The always unpredictable but always stunning Keira Knightley proves that when the director is more interested in the characters than the special effects she can put in a good performance. As the bored elder Tallis she successfully captures differing sides to Celila which emerge as the story progresses. McAvoy and Knightley also work well together on-screen. They capture perfectly a repressed desire for each other that eventually has to boil over. Even young Saoirse Ronan handles herself well as young Briony, whose talent for writing may be more mature than most but is ultimately still a naïve young girl, not yet privy to the workings of adult life. Her strong performance makes it easy to see why Peter Jackson has cast her in the even more challenging lead role of his adaptation of The Lovely Bones. All the leads are propped up by a strong supporting cast of knowns and unknowns who cannot be faulted. Atonement is a film about love against the odds. But it is also a film about the power and danger of a lie. It’s impossible not to be moved by it, even if like me, you usually approach war-time period dramas with the kind of anti-enthusiam usually reserved only for an Uwe Boll movie.

My first report

For my first report i am going to write a review about a movie. I chose a really dramatic movie who is named Atonement.

It's a beautiful lovestory, which is damaged by one misunderstanding. So i am going to watch the movie and write about it soon.

Planning presentation about design:

We have to make a presentation about Design , I am going to make it with; Cheryl Sarjoe and Kamali van Bochove. 16 December 2011 we have our presentation.
Our planning:

*What is design: Kamali
*Designtools: Amina
*Designgenres: Cheryl
*Designs and Designers etc.: Kamali
*History of design: Amina
*Design techniques: Cheryl

We also have an interactive part:
Every group of 5 persons gets a paper and makes a pamphlet about a subject they like their favourite brand,band etc. They have 5 minutes to finish the pamphlets and after that they have to present it in front of the class. One group wins, that group gets a little present.

Ckv Interview

EXAMPLE INTERVIEW

					Natalia Osipova, Bolshoi Ballet ‘A role for a lifetime - a conversation after a debut’
	On 22nd November 2007, the Bolshoi's youngest star ballerina, Natalia Osipova, made her much-anticipated debut in the title role of Giselle. It is every ballerina's dream to dance the part, and for Osipova it was an especial challenge. Renowned for her brilliance in the bravura role of Don Quixote's Kitri, (a part which she has already performed to huge acclaim in London), Osipova seemed an unusual choice for this most lyrical and dramatic of ballets. At first both the Bolshoi management and her coach, Marina Kondratieva, were wary of her taking it on, but over time, as she worked more and more on it, they saw that she could bring her own individual and unique gifts to the ballet. Here, in a frank and candid interview which first appeared in Russian on the forum.balletfriends.ru website, she tells Mikhail Smondyrev about the challenges of learning the role and of her experiences in performing this most beautiful of ballets. IP. Mikhail Smondyrev – Giselle and you? When did you first begin to think about this role? Natalia Osipova (thoughtfully) – About Giselle? Clearly, not during my first years in the theater. Because in the beginning I was drawn to bravura roles, to Don Quixote, for example. And Giselle… I don’t even remember who gave me the notion that I could dance this role. After my debut in Don Quixote I danced Kitri, Kitri, Kitri, all the time. I could dance this ballet now if you were to wake me in the middle of the night. I wanted to do something diametrically different, and I’ve always been attracted to ballets with some kind of dramaturgy, which offered a chance to act. Plus, I desperately want to suffer on stage. I feel close to such roles. I am drawn to Juliet, but Romeo and Juliet is not in our repertory now. So that’s how I came to Giselle. At first, both my coach and the management were skeptical about my desire to dance this ballet, but I was able to convince Marina Victorovna Kondratieva that this was indeed the very role I had to work on at that moment. M.S. – In the context of your desire to act on stage… How did you work on the character of Giselle? What was more important – your own vision for the role, or that of your coach? N.O. – We worked intensively for two months. Nothing else has been as difficult for me. Before rehearsals started, I thought that I knew everything I wanted to do. I already formed my vision of the role. But when I began to work, I realized that I was over-thinking, over-complicating things – the performance doesn’t need that. Then Marina Victorovna [Kondratieva] became involved. She had her own view of the ballet and slowly began to dismantle my “architectural extravagances”. I disagreed with her about many things; you could even say that we argued. I didn’t want to do much of what she suggested, and she was flatly against some of my wishes.   Natalia Osipova as Kitri and Ivan Vasiliev as Basil in Don Quioxte © John Ross Could you give us an example, please. Well, I wanted to hug Albrecht in a very banal way as early as the basket dance—out of tenderness for him. This is when my village girlfriends are going off to gather grapes. But Marina Victorovna said, “Natasha, why are you embracing him? You’ve got your friends there. Two people in love couldn’t even hold hands during that time, and you are going to hug him right in front of everyone.” Or in the scene when Albrecht kisses Bathilde’s hand and I rush in between them. I wanted to turn to Albrecht right away; there is nothing I want from Bathilde. But it’s staged differently - I have to ask her and she has to show me her ring. In the end, I accepted some things, and Marina Victorovna accepted some things. She didn’t break my individuality. And in the last two weeks before the performance she simply gave me a lot of support and encouragement. And she said that…, “Yes, you probably won’t dance like everyone else, and, yes, someone may say that certain things should be done differently, that it’s too emotional, but – this is your performance, this will be your Giselle, and you have that right.” You studied video recordings. Which performance was the most memorable, made the greatest impression? I watched so much, practically everything possible. Carla Fracci left the most vivid impression. It’s difficult to form an opinion about dancers from the first half of the XX century. It’s interesting, but we don’t have complete ballets, only excerpts, so I can’t judge. Really, I liked almost everything that I saw – a little bit from everyone. And I began to gather this information and adjust it to fit me, my Giselle. But at a certain point I realized, that I am going mad myself and don’t understand anything anymore. And I decided - that’s it, I am not going to watch anything else, I am putting everything away and going from my own individuality. I asked myself what I would do in a situation like this. That is, I put myself in my character’s circumstances.   Natalia Osipova as the Ballerina in Bright Stream © John Ross And I really lucked out with my partner, Andrei Merkuriev. I don’t think that anyone else could have been as considerate during the two months of rehearsals, as willing to understand me. I am a fairly difficult person in terms of communication. I can never express exactly what I want. I would start saying, “Well, let’s do it this way and that way” (Natasha gestures gracefully as she speaks), and Andrei would answer, “Natasha, I don’t get what it is that you want, you have to explain.” I would demonstrate, and he’d begin to understand. I was very lucky to have him. I doubt that anyone else would brave spending two months with me to prepare so seriously for my debut. He almost went mad himself, but helped me so much. Andrei is a very creative person and, like me, very emotional. He has his own views on the role, on ballet, on art. We argued a lot - sometimes our opinions clashed. Often it seemed to me that when I tried to explain something, he looked at me as if I were crazy. I would feel hurt, and all my initiative would dissipate. We also quarreled over the fact that I just can’t do everything exactly the same way every time. One day we’d agreed that we would do three glissades, and then look at each other. The next day I came to rehearsal, did four glissades and looked away. Andrei said, “Natasha, how long is this going to go on? We agree, and then you have something new every day…” It was tough for him to work with me. It’s not that I am forgetful; it just happened this way. I was searching. He was irritated, of course, that we were not moving forward, that we were working at such a slow pace, standing in place, that nothing was happening. But I thought that until we found ourselves, there was nowhere to go. Then, after a rehearsal, we’d sit down and talk. We talked a lot. We couldn’t get the basket dance exactly right for about a month. At first, I was too emotional, but it’s too early for that - after all, it’s the very beginning of the ballet. And then Marina Victorovna was annoyed that I was taking all the initiative on myself. I go up to Albrecht, I hug him, I tell him, “sit here, go there, do this and that.” I didn’t believe her, thought she was exaggerating. But after I recorded myself on video, things became absolutely clear. Video recording really helps during rehearsals - you can see yourself from the outside. For example, in the bench scene at first Andrei moved towards me, and I away from him. Then we watched the tape, and it looked too much like “La Fille Mal Gardée”, while “Giselle” is a completely different ballet. And we did it in another way. When building your character what was the starting point – your ideas (did you invent a story for yourself?), or was it the steps, the choreography that ignited your imagination and emotions? The difficulty of this ballet is that each movement has to express meaning. You have to know very precisely what it is that you want at every moment, how you are relating to your partner, what you are feeling, what he is feeling. Otherwise, it’s impossible. The steps themselves are not complicated, the choreography is almost banal. And it will be perfectly boring, if you don’t understand what you are doing. My goal was to, first, learn the steps, and get them inside my body. Once the body remembered, I began to invent a story for myself. It took us a long time to arrive at that story. Andrei and I already knew what we wanted from each other, what we should feel in each episode. That also changed throughout the rehearsal process. And as a result steps changed, too. Of course, the choreography is our framework, but it can be done completely differently, especially in the dramatic scenes. But even pure dancing episodes are not performed exactly the same way by different ballerinas.   Natalia Osipova as Gamzatti in La Bayadere © John Ross About the dances. Some people said that you made the choreography more challenging technically. Is this so? (surprised) – More challenging? In the first act there was nothing new, absolutely nothing. The only things I changed were my arm positions in some places. Perhaps people got that impression because I really did all the choreography as it was set by Lavrovsky. If there was a double pirouette with a change of feet, I did a double, not a single, as you can sometimes see done. The audience forgets sometimes. I told Marina Victorovna that some people do a certain thing in such-and-such a place, and others do something else. And she answered, “People can do what they please, you do it as it was choreographed”. What about the diagonal in the first act variation where you do hops en pointe, stop and turn toward Albrecht, who is actually offstage at that moment. Nowadays, our ballerinas simply keep going forward without stopping to pose. That pose is called tirebouchon. That is how the variation was choreographed. Yes, Albrecht is not there, and so first I turn to the villagers on one side and then to my mother, who is sitting on the other side. This moment made me uneasy. I said to Marina Victorovna, “It’s not logical, I am so eager to dance - Natalia Osipova © Bolshoi Ballet/M.Haegeman the fact that he is looking at me has to be the inspiration, but he is not actually there.” But I think the diagonal with the turns and tirebouchon is more interesting, more varied. What about the coda of that variation? There are two versions; one of them was thought to originate in the West, but it was danced by Spessivtseva, so they are both ours. You chose to do the customary pique turns. I really like Spessivtseva’s diagonal, more than our traditional turns. But I wasn’t allowed to do it, not yet. If I dance this ballet often and it really becomes part of my repertoire, I will dance the diagonal. My coach thinks that it is an acceptable version, and quite possibly it will be a better and more effective one for me. For the moment, though, it’s better not to do it; there is lots of talk as it is. But if we are talking about the second act, there we did add some technical challenges to the duets, and more precisely to the lifts, which in fact were choreographed that way a long time ago. At the end of the adagio, for example, we do the “swallow”. Everyone had always done it. People started to say, “What have they done!” But Marina Victorovna said, “What are you talking about, thirty years ago we all danced it like that.” In her time, all partners lifted their ballerinas in a “swallow”. There was another place, after the adagio, where we did something as it used to be – this is right before my jumps with batterie, when Andrei lifts me in a pretty pose. These days ballerinas throw their legs open in a pas de chat, but we did it the way it used to be danced. We didn’t make anything up, it all existed before. Something Andrei and I took from the French were the carrying lifts in the Adagio. Nicolas Le Riche did it this way. In our version the ballerina is simply carried, and then she does an arabesque. Andrei lifted me and rocked me side to side in a wave-like motion – it looks very beautiful. And it’s very difficult for the partner who practically has to carry my whole weight on his outstretched arms - insanely difficult for him. And after that he still has to lift me into “coffin” and carry without being able to see where.   Natalia Osipova as Gamzatti in La Bayadere © John Ross You had very slow tempi during the duets - when you met Albrecht, and in Grand Adagio. It was very beautiful. Did you arrange this with the conductor? (smiling wistfully) – We only met the conductor (Alexander Kopylov) twice before the performance. He came to our rehearsals, and for some reason the pianist kept playing too fast, and we kept asking for a calmer tempo. In the end the orchestra was even a little calmer than we needed. At certain moments we were uncomfortable, but then we realized, that it was right and beautiful. We weren’t hemmed in by the musical framework - we didn’t need to rush to take a certain pose because there’s not enough time and I am just about to be lifted. We heard the orchestra for the first time at our premiere. The theater couldn’t give us either a rehearsal with the orchestra or rehearsals with the corps de ballet – something didn’t come together. I hardly tried out my new costumes, didn’t rehearse in them, and only put them on a couple of times before the performance. I haven’t had this kind of experience before. I hope this doesn’t become the norm. It was different with Kitri. I realized that it won’t help me to cry or go off the deep end, and that I have to collect myself. Andrei and I went to the theater on our day off to try the cloth that covers the stage. All of our classes and almost all our performances are done on linoleum flooring. But for “Giselle” a cloth gets nailed down to the stage. The friction is different, your turns are faster. You prepare for a double pirouette and can just fly off somewhere. And it’s easier to slip when the cloth doesn’t stay in place. You have to get used to it and adjust. When you dance on it everyday, it’s fine, but when you change from one kind of floor to another it distracts you from the most important thing.   Natalia Osipova with Bolshoi colleague Ivan Vasiliev outside the Studios at the 2006 Havana International Ballet Festival © Margaret Willis There were some mistakes and inaccuracies during the performance, probably due to lack of rehearsals with the company - with the sword in the first act, and in the scene with Albrecht and the lilies in the second act, when you didn’t make an appearance in the trees. The first gaffe was even earlier, in the basket dance. Since we didn’t rehearse with the girls, I didn’t have enough time to run over to them and join in. So, I decided to play the situation as if I was unwell and needed a little rest. The sword... In the mad scene, after I remember the flower and Albrecht’s vow, I have to walk in a semicircle and bump into the sword. I walked in a straight line and missed it. I had to step back and look for it, while the right music was already playing. I missed the entrance with the flowers for a very banal reason. After all the jumps in my solo, my Achilles tendon really hurt. I ran backstage to retie my pointe shoe, because it really was very painful. As I am tying the ribbons, I realize, “My God, I missed my entrance.” Andrei had to improvise something. It’s because I don’t know the ballet that well yet. Later, I was told that ballerinas often forget to enter at that moment. Myrtha’s bouquet. Usually, it’s carried this way (Natasha demonstrates), but I wanted to do it like this, from all my heart. But the bouquet was just too large, it had to fall apart. One or two flowers fell out in the middle of the stage, but at that moment, in my terror, it seemed as if half the bouquet fell out. Were you nervous? As never before in my life! I didn’t sleep well for almost a month. But beyond the anxiety, I really fell under the spell of the role, and I began to lose my mind a little. I heard from many people that this ballet is difficult psychologically and that it’s hard to recover from it. When my parents began to worry, I realized that something strange was happening. I changed while working on this role, I grew up. Natalia Osipova while at the Bolshoi Ballet School in the solo from Esmeralda at the La Scala International Gala in September 2003 © Teatro alla Scala/Andrea Tamoni You showed a very naturalistic heart attack, and your mad scene was truly frightening… I received four text messages during the intermission, one of them from my mother. They were all asking if I was alright. I was really hysterical in the mad scene. I don’t quite remember what my arms and legs were doing. In the final moments, just like Giselle, I couldn’t see anything anymore. I could have easily knocked someone over. I almost fell, when the gamekeeper Hilarion, Ruslan Pronin, caught me to point me toward Bertha. I wanted to push him away, really wanted to. And the death itself came off very natural – I watched the video afterwards. I didn’t embrace Albrecht, didn’t cling to him, but just collapsed dead. But Natasha, you risk burning out on stage this way. You are an actor; shouldn’t you play the part instead of living it in front of the audience each time? The answer was the ballerina’s silence. Are you pleased with what you’ve done? Let’s say that I am pleased that I danced this role. I can’t fault myself for not doing enough. We worked long and hard on this ballet. Undoubtedly, much remains unfinished. A ballerina can work her entire life on a role like this. I am very happy that I danced it. I wanted to so much. And the role changed me. I will continue working to fix the mistakes, but I want to stay true to who I am. It was very important for me not to lose myself in this ballet and do something only because it’s tradition, without bringing something personal to the role. I did what I felt. Marina Victorovna Kondratieva really helped me to do it my way. She brought me into the ballet without breaking my individuality. And now she says that I can fill in the framework with my own colours. I told my own story, as best I could, and it was my truth. I didn’t do everything I wanted, but I hope to have another chance. Andrei and I have two performances in Turin, and I was promised another in Moscow in the spring. This is your first tragic role. I am sorry that I won’t be able to interview you after your hundredth “Giselle”, but what about right now? What’s next, what are your plans, dreams? I dream about serious, major work – about Juliet. I would really like to dance it now, at my age, not when I am thirty. I don’t even care which version I dance. I’ve been invited to Stuttgart. Perhaps, I’ll be able to dance Cranko’s “Romeo and Juliet” there. I was also offered Katharina in his “The Taming of the Shrew”.   Natalia Osipova and Ivan Vasilyev in Don Quixote © M. Logvinov This January, in Paris, I have my first performance as Medora in “Le Corsaire”. And I’ve been cast in “La Sylphide” in February. It’s also a tragic story, but more naïve and magical, without the depth of Juliet or Giselle. In the spring there is going to be Aspiccia in “La Fille du Pharaon” – I’ve only danced this role once, in London. As far as the white classics, I would like to dance Nikya sometime down the line. “Swan Lake”, no, at this point I don’t want to, and probably, couldn’t do it. It would be interesting to dance “Sleeping Beauty”, but it’s performed so rarely that I am unlikely to get it. In that ballet I would have liked to dance the happiness of youth. After all,I am still so young.

CKV interview 2

Heey, We have send the interview to the person we are going to interview. She is dancing on Scapino Ballet. And she is going to send the interview to us this week. So we hope that she will send the interview soon, so we can update our blog.

INTERVIEW UPDATE

Heey,

So we tried to contact the person who is studing on the codarts, but she didn't had any time to help us with our interview. We thought of an other person who has to do something with dance. So we sent some mails to some dance acadamy's , one of them for example is Scapino ballet. We hope one of tham answer soon so we can update our interview.

Ckv interview

Heeey,

So our second assignment for ckv is to interview a person who does something with cultural art. So we were thinking about who we were going to interview. So we thought maybe we can interview a dancer or someone on a dance acadamy. So we have to e-mail that person and make an agreement to interview that person.
We are going to interview someone on the codarts dance acadamy in Rotterdam.
I am going to do my interview with Laurie.