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阿爾文?艾利美國(guó)舞蹈團(tuán)希望傳遞什么信息？

????艾利先生說得好：“舞蹈源于民間,，應(yīng)當(dāng)回到民間,。”他希望民眾能欣賞驚嘆舞者的作品,，但他也希望人們能在舞臺(tái)上看到自己的影子,。

????這個(gè)信息能被人們理解是因?yàn)槲枵呤窃谟米约旱纳眢w表演，而每個(gè)人都有身體,，這就是連結(jié)兩者的紐帶,。當(dāng)然，舞者的身體已經(jīng)接近完美,。

我真希望我能擁有阿爾文?艾利美國(guó)舞蹈團(tuán)舞者那樣的身體,。

????是的，我也一樣,。這很自然,。

你如何發(fā)揚(yáng)舞蹈團(tuán)燦爛的傳統(tǒng)？

????真誠(chéng)對(duì)待自己和自己的信仰,，與所處的時(shí)代和未來進(jìn)行對(duì)話,。我給舞者上課的時(shí)候，會(huì)讓他們用手臂擺出最簡(jiǎn)單的姿勢(shì),，告訴他們：“它屬于你,，因?yàn)闆]人能把這個(gè)動(dòng)作做得和你完全一模一樣?！?/p>

????所以,，如果我的姿勢(shì)是做個(gè)領(lǐng)頭人，通過這些舞者,、通過我對(duì)保留劇目的選擇以及通過我自己的舞蹈動(dòng)作編排,，向世界呈現(xiàn)我認(rèn)為的真善美，那么,，就算我遭到批評(píng),，我也必須堅(jiān)持自己的信念。我發(fā)現(xiàn)這是最大的挑戰(zhàn)，也是最大的回報(bào),。

還有什么其他的挑戰(zhàn),？

????作為一名舞蹈指導(dǎo)，我對(duì)肢體語言非常敏感,；對(duì)人們的感受也非常敏感,。我覺得沒有這樣的敏感就無法成為一名高效的領(lǐng)袖。但這種敏感有時(shí)會(huì)妨礙人們做出抉擇,。因此,，必須與內(nèi)心的情緒保持一定距離，做出對(duì)公司最有利的決定,。

????作為藝術(shù)家,，我們情感外露。從這個(gè)角度來講,，這不是一家公司,。我們要求舞者在舞臺(tái)上要非常敏感。因此,，在這么要求的同時(shí),，我們也非常關(guān)注他們的感受。

而你不得不拒絕很多人希望加入阿爾文?艾利美國(guó)舞蹈團(tuán)的請(qǐng)求,。

????是的,。總會(huì)有人落選,。他們走進(jìn)這扇門的時(shí)候,，我們就已經(jīng)達(dá)成了這樣的共識(shí)。舞者已經(jīng)習(xí)以為常,，他們必須適應(yīng)這一點(diǎn),。

能給些建議如何通過舞蹈面試嗎？

????盡管隨時(shí)可能會(huì)被打斷,，但是必須往下跳,。表達(dá)出你對(duì)舞動(dòng)的熱愛，表達(dá)出希望同觀眾溝通的強(qiáng)烈愿望,?？赡茏罱K還是會(huì)落選，但至少心里會(huì)好過些,。

What is the message of the company?

????Mr. Ailey said it so well: "Dance comes from the people and should always be delivered back to the people." He wanted people to be in awe of what these dancers are able to do, but he wanted them to see reflections of themselves on stage.

????That message comes across in dance because performers use their bodies and everybody has a body, so there is that connection. Even though these bodies are pretty spectacular.

I wish I had the body of an Alvin Ailey dancer.

????Right, me too. There's nothing wrong with that.

How do you carry on such a rich tradition?

????Be true to yourself and your convictions, because that speaks to the time you're in and to the future. When I'm teaching dancers, I have them do the simplest gesture with their arms, and I say, "You have to own that, no one will do that gesture exactly the way you do."

????So if my gesture is being a leader and presenting what I see as the truth to the world through these dancers and through my choice of repertory and through my own choreography, even if I'm criticized, I have to stand in the belief in my own convictions. I find that that is the greatest challenge, but the greatest reward too.

What are other challenges?

????As a choreographer, I'm very in tune with body language; I'm in tune with how people feel. I don't believe you can be an effective leader if you don't have that kind of sensitivity. But that sensitivity can sometimes get in the way of hard decisions. So you do have to find within yourself the distance to make decisions that are for the greater good of the company.

????As artists, we wear our hearts on our sleeves. In that way, it isn't a corporation. We are asking the dancers to be vulnerable on stage. So in asking all that, we're very sensitive to how they feel.

And you have to turn plenty of people down who want to be in the company.

????Yeah. Somebody's going to be rejected, we agree on that when they come through the door. Dancers are sort of used to that, they have to be.

Any advice on how to survive an audition?

????You have to go ahead and know you might get cut, then you can express your love of movement and the strong desire you have to communicate that to an audience. You still may not get in, but you'll have a better time.