American - Dancer | -
I love the dancers in the Bolshoi, but all of my Moscow friends are outside the company. A friend introduced me to Vika Gazinskaya, a well-known Russian designer. I met her group. The rest is history.
David Hallberg
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When I went to Moscow, I felt I was relearning Swan Lake - which was written for the Bolshoi - and being immersed in a tradition and history I had never experienced. It took a while to adjust to living there and learning the language, but now I have lots of friends. I get the best of two completely different worlds.
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I walk like a duck: very straight up and down. Or like a penguin. It's a dead giveaway that I'm a dancer.
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Every company has its own texture, vocabulary, and singular place in dance history, and I have always wanted to share my perspective of these world renowned institutions.
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Every company has its style, and that's what makes the Bolshoi so impressive: their attack on jumps or their attack on choreography.
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New York at times runs me dry because there's so much to do. There's never enough time to do everything. It's nice to have the balance in Moscow.
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Because of the way I'm built, I constantly have to strengthen. This is sort of a ritual: I put on my tights first, and right when I'm about to put on my costume, I get down on the floor, and I plank.
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I sew my own shoes. Other male dancers don't, but I like it one way, and I've learned to do it that way.
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Ballet is incestuous. This world is smaller than small.
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Bejart is almost never performed in New York City; critically, he just gets attacked here.
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I stopped acting Romeo and just became Romeo.
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The Bolshoi style is bigger and more emotional, in a way that I love. It has the freshness and intensity that is like what I've tried to achieve in my dance-acting roles.
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