It's probably one of the biggest cornerstones in the classical repertoire. It represents a standard of classical ballet that we still hold high.
It's really the artist who needs to find their language to communicate. Learn about how people tick -- it's always a new challenge.
I want to give the dancers a chance to explore the roles. It's one thing to teach the steps and technique, but another to teach characters. I don't think you can really teach that. I can guide them, but they need to find the character for themselves.
I know dancers who can do the dancing but there is no passion in the character. They can have the flawless lines, the technique and the steps. But the character isn't there. And that looks terrible. It's a balancing act that needs to be done right.
