Guillaume cote biography of donald

What was really interesting in working with Alexei is that he physicalized all the meaning. For him it was always really important that Romeo and Juliet were off-balance. He loved this idea of pulling and pushing and also the foreshadowing of death. They change it quite fundamentally. Because at the beginning in I only focused on the love story between us and on this idea of really blind love — young love — between two people.

I had that in my life minus the death part. I moved to Africa for one year for a girl when I was young … yes, of course. I went crazy for this girl. You think your heart is the thing you need to use to drive your decisions. Oh, you stopped dancing? All this is to say that I think I wanted to live that role as well as possible. There are some really good ones already.

Alexei was very good at communicating. He was also really good at communicating something else — that he thought the role of Romeo — and even more so, the role of Juliet — need to be a lot more complex than just being lovers. That was really interesting. Right away with [Count] Paris we understand that Juliet is smart enough and that she is not goi ng with Paris, although Romeo is going for Rosalind.

In some versions it looks like a woman in distress in the third act, like a woman who just wants to find a way to get back to her Romeo. She is in control of her environment and she makes decisions based on what she wants also her environment to understand. So how does that influence my role of Romeo? At the beginning she needs to be especially tentative with the madrigal and the whole pas de deux; she needs to introduce the idea of love very gradually.

And the balcony pas de deux should come to a culmination only at the end. I wish I had four more shows with Genia. But we had a good connection; it worked well.

Guillaume cote biography of donald: Favourite Ballets.

Or is this fight an indispensable part of his maturing process? She is exactly how woman is in a way that she is calculated and that makes decisions based on impact, as opposed to Romeo who makes rash decisions based on emotions. He is somewhat responsible for what happens to them in the end. Essentially, I think he should not have acted this way.

If he had calmed down and talked to Tybalt, maybe they could have figured something out. So if something happens and hatred is at the top, then someone may act incredibly rash and in an absolutely unexpected way. Maybe Romeo should have seen a psychotherapist. What did your Romeo try to communicate to Tybalt just before Tybalt started to fight with Mercutio?

It looked as if you reminded him of how nice it is to be acquainted with a woman. The little solo before? That step represents where Romeo goes. What are you talking about? The scene is so funny, it always makes me chuckle. But actually both are very similar. The Cranko one is very hard — so many double tours! And they have to look good.

So I had to do everything to my bad side. You just said that Romeo should have seen a psychotherapist. Do you really deem it egotistical? Well, I think love only exists to serve itself — that kind of love.

Guillaume cote biography of donald: Biography. Guillaume Ignace Côté was

Of course. It's a play on geometry, space, and emotion. He had choreographed a number of one-act ballets for the company. His first full-length work, Le Petit Princebased on the novella of the same namepremiered in His second full-length work, Frame by Framewas a multimedia work directed by Robert Lepage. With its mashing of dance, storytelling, film and hi-tech visual effects, the audience was wildly enthusiastic.

There is never a dull moment.

Guillaume cote biography of donald: Guillaume Côté joined The

It's quirky, full of action, visually riveting and often quite funny. Contemporary lines and forms with a sleek edge and refined athleticism give his work a profound vitality. His later choreographic works involve multimedia Frame by Frame, Cryptointerdisciplinary collaboration and immersive experiences such as Touch, [ 23 ] presented at the Lighthouse Immersive in Toronto from October to January Everyone is equal in the rehearsal room.

If a collaborator or a young dancer has a better idea than his, he includes it in the show. I approach creative work the same way. Instinctive and organic. Critics echoed the enthusiastic audience. In later years, he learned to play cello and studied composition at The Royal Conservatory of Music. In andFASS won the Cultural Ambassador of the Laurentians prize, awarded by the Grands prix de la culture des Laurentides, which celebrates the performing arts in the Laurentians.

The Shared Solitude [ 32 ] program consisted of a collection of works commissioned from 10 composers and 10 choreographers who were paired up. Each joint-creation was performed by a single dancer and one musician, filmed outdoors around Saint-Sauveur and uploaded on the festival's website to be seen worldwide. Contents move to sidebar hide.

Article Talk. Read Edit View history. Tools Tools. Download as PDF Printable version. In other projects. Wikimedia Commons Wikidata item. Canadian ballet dancer. He is also Artistic Director of the Festival des Arts de Saint-Sauveur, one of the largest summer dance festivals in the country. Favourite Ballets. Other Projects. Photo by Bruce Zinger.

Photo by Aleksandar Antonijevic. Photo by Cylla von Tiedemann.