Book biography of the artist

I want to share my thoughts and observations about the artist’s life with readers in the intellectual publishing system of Ridero in this book, look at it from the inside and answer the questions frequently asked to me. In no case I do not impose my opinion on anyone, I just share my thoughts. Perhaps someone will be interested in the process of working on the dance and the experience I have gained will be useful.

People without skin, the life of an artist, like the life of the most ordinary person, is full of surprises. Let's just say that these surprises are not always pleasant. I have long noticed that artists are "people without skin." They are most vulnerable and sensitive, easily vulnerable and touchy. The fact that for an ordinary person is a trifle, for an artist can turn into a real tragedy and ends with a nervous breakdown.

Again, all people are different and impossible and it is not necessary to lead everyone “to the common denominator”. Moreover, in domestic plan, artists are much worse adapted to our lives. Rarely, one of them has a commercial vein. Many of them are content with rather modest earnings. Maybe this will occur because their head works in a different direction?

But as they say, God gives talent, another money. Dancing without rules for me has always been a real torment to dance according to the rules. I know well that in every dance, and especially in the classic, there are many of these rules. I easily obey them when I make a “machine” or rehearse. But if I go on stage and start dancing, as all these schemes and rules completely disappear from my head.

I hear and dance only music, and every time I hear it in a new way. This is madly annoying all my teachers, but I can’t do anything with me. In the classroom in Dance Secret. For me, it is completely impossible to repeat the dance exactly one to one. Even if it is already dancing a thousand times and all the movements in it are verified to a millimeter, when you do not need to think about the dance scheme, about choreography, I dance it differently each time.

Watching the video, I am once again convinced that completely different dances are obtained - according to the emotional mood, by execution, according to the accuracy of execution. It is no secret that all artists have successful and unsuccessful performances. There are many factors for this - an unusual platform, a “dead hall”, poor health or mood, but a lot more.!

But it happens the opposite, you wake up completely “not in the mood”, you get up “not from that leg”, but some trifle is completely changing and dancing with full dedication. Everyone knows the saying "Stability is a sign of skill." But this statement is only partly true. It is more likely to be accuracy. But it does not guarantee the stability of the mental attitude.

More than once I noticed that while you are waiting for your exit, you can worry like a first -grader on the first of September. This excitement, mental thrill - the key to inspired performance of the dance.

But there are days when you do not worry at all - and this is terrible! You understand that you just go on stage now and just mechanically work out your number. I don’t know if something can be done about it, but inspiration does not come by order ... Each artist has his own secrets of preparation for the concert. In some interview, I read how the famous Italian tenor Andrea Bochelli was tuned in to the performance.

He just listens to the music in the morning all day, losing individual fragments. I most often do not have such an opportunity. Concerts are arranged on Saturday or Sunday, and over these days you need to redo a bunch of everything that has accumulated in a week, including household chores. The only thing, I strictly limit the circle of communication during concert days, this measure is forced, which allows you to maintain mental balance and the created mood.

The free fragment is over.