السلام عليكم ..
شباب أبغي موضوع ( قصة ) عن اي قصة ممتعة أو قصة مخيفه
في حدود ثلاث صفحات ضروري الله يرحم والديكم
وشكر
شباب ما احد رد عليي ليش شباب الظاهر ما استاهل
مسامحة توني منتبهة للموضوع
One night a man had a dream. He dreamed he was walking along the beach with his best friend. Across the sky flashed scenes from his life. For each scene, he noticed two sets of footprints in the sand: one belonging to him, and the other to his friend.
When the last scene of his life flashed before him, he looked back at the footprints in the sand. He noticed that many times along the path of his life there was only one set of footprints. He also noticed that it happened at the very lowest and saddest times in his life.
This really bothered him and he questioned his friend about it.
Dear friend, You said that once I decided to follow You, You'd walk with me all the way. But I have noticed that during the most troublesome times in my life, there is only one set of footprints. I don’t understand why when I needed You most You would leave me."
His friend replied, "Dear, I love you and would never leave you. During your times of trial and suffering, when you see only one set of footprints, it was then that I carried you."
One night a man had a dream. He dreamed he was walking along the beach with his best friend. Across the sky flashed scenes from his life. For each scene, he noticed two sets of footprints in the sand: one belonging to him, and the other to his friend.
When the last scene of his life flashed before him, he looked back at the footprints in the sand. He noticed that many times along the path of his life there was only one set of footprints. He also noticed that it happened at the very lowest and saddest times in his life.
This really bothered him and he questioned his friend about it.
Dear friend, You said that once I decided to follow You, You'd walk with me all the way. But I have noticed that during the most troublesome times in my life, there is only one set of footprints. I don’t understand why when I needed You most You would leave me."
His friend replied, "Dear, I love you and would never leave you. During your times of trial and suffering, when you see only one set of footprints, it was then that I carried you."
On a recent weekend in Atlantic City, a woman won a bucketful of
quarters at a slot machine. She took a break from the slots for
dinner with her husband in the hotel dining room. But first she
wanted to stash the quarters in her room. "I'll be right back
and we'll go to eat," she told her husband and she carried the
coin-laden bucket to the elevator.
As she was about to walk into the elevator she noticed two men
already aboard. Both were black. One of them was big...very
big...an intimidating figure. The woman froze. Her first thought
was: These two are going to rob me. Her next thought was: Don't
be a bigot, they look like perfectly nice gentlemen. But racial
stereotypes are powerful, and fear immobilized her.
She stood and stared at the two men. She felt anxious,
flustered, ashamed. She hoped they didn't read her mind, but
knew they surely did; her hesitation about joining them on the
elevator was all too obvious. Her face was flushed. She couldn't
just stand there, so with a mighty effort of will she picked up
one foot and stepped forward and followed with the other foot
and was on the elevator. Avoiding eye contact, she turned around
stiffly and faced the elevator doors as they closed. A second
passed, and then another second, and then another. Her fear
increased! The elevator didn't move. Panic consumed her. "My
God", she thought, "I'm trapped and about to be robbed!" Her
heart plummeted. Perspiration poured from every pore.
Then...one of the men said, "Hit the floor." Instinct told her:
Do what they tell you. The bucket of quarters flew upwards as
she threw out her arms and collapsed on the elevator carpet. A
shower of coins rained down on her. "Take my money and spare
me", she prayed.
More seconds passed. She heard one of the men say politely,
"Ma'am, if you'll just tell us what floor you're going to, we'll
push the button." The one who said it had a little trouble
getting the words out. He was trying mightily to hold in a belly
laugh. She lifted her head and looked up at the two men. They
reached down to help her up. Confused, she struggled to her
feet.
"When I told my man here to hit the floor," said the average
sized one, "I meant that he should hit the elevator button for
our floor. I didn't mean for you to hit the floor, ma'am." He
spoke genially. He bit his lip. It was obvious he was having a
hard time not laughing.
She thought: "My God, what a spectacle I've made of myself." She
was too humiliated to speak. She wanted to blurt out an apology,
but words failed her. How do you apologize to two perfectly
respectable gentlemen for behaving as though they were going to
rob you? She didn't know what to say.
The 3 of them gathered up the strewn quarters and refilled her
bucket. When the elevator arrived at her floor they insisted on
walking her to her room. She seemed a little unsteady on her
feet, and they were afraid she might not make it down the
corridor. At her door they bid her a good evening.
As she slipped into her room she could hear them roaring with
laughter while they walked back to the elevator. The woman
brushed herself off. She pulled herself together and went
downstairs for dinner with her husband.
The next morning flowers were delivered to her room--a dozen
roses. Attached to EACH rose was a crisp one hundred dollar
bill. The card said: "Thanks for the best laugh we've had in
years." It was signed, [COLOR=darkred]Eddie Murphy & Michael Jordan
quarters at a slot machine. She took a break from the slots for
dinner with her husband in the hotel dining room. But first she
wanted to stash the quarters in her room. "I'll be right back
and we'll go to eat," she told her husband and she carried the
coin-laden bucket to the elevator.
As she was about to walk into the elevator she noticed two men
already aboard. Both were black. One of them was big...very
big...an intimidating figure. The woman froze. Her first thought
was: These two are going to rob me. Her next thought was: Don't
be a bigot, they look like perfectly nice gentlemen. But racial
stereotypes are powerful, and fear immobilized her.
She stood and stared at the two men. She felt anxious,
flustered, ashamed. She hoped they didn't read her mind, but
knew they surely did; her hesitation about joining them on the
elevator was all too obvious. Her face was flushed. She couldn't
just stand there, so with a mighty effort of will she picked up
one foot and stepped forward and followed with the other foot
and was on the elevator. Avoiding eye contact, she turned around
stiffly and faced the elevator doors as they closed. A second
passed, and then another second, and then another. Her fear
increased! The elevator didn't move. Panic consumed her. "My
God", she thought, "I'm trapped and about to be robbed!" Her
heart plummeted. Perspiration poured from every pore.
Then...one of the men said, "Hit the floor." Instinct told her:
Do what they tell you. The bucket of quarters flew upwards as
she threw out her arms and collapsed on the elevator carpet. A
shower of coins rained down on her. "Take my money and spare
me", she prayed.
More seconds passed. She heard one of the men say politely,
"Ma'am, if you'll just tell us what floor you're going to, we'll
push the button." The one who said it had a little trouble
getting the words out. He was trying mightily to hold in a belly
laugh. She lifted her head and looked up at the two men. They
reached down to help her up. Confused, she struggled to her
feet.
"When I told my man here to hit the floor," said the average
sized one, "I meant that he should hit the elevator button for
our floor. I didn't mean for you to hit the floor, ma'am." He
spoke genially. He bit his lip. It was obvious he was having a
hard time not laughing.
She thought: "My God, what a spectacle I've made of myself." She
was too humiliated to speak. She wanted to blurt out an apology,
but words failed her. How do you apologize to two perfectly
respectable gentlemen for behaving as though they were going to
rob you? She didn't know what to say.
The 3 of them gathered up the strewn quarters and refilled her
bucket. When the elevator arrived at her floor they insisted on
walking her to her room. She seemed a little unsteady on her
feet, and they were afraid she might not make it down the
corridor. At her door they bid her a good evening.
As she slipped into her room she could hear them roaring with
laughter while they walked back to the elevator. The woman
brushed herself off. She pulled herself together and went
downstairs for dinner with her husband.
The next morning flowers were delivered to her room--a dozen
roses. Attached to EACH rose was a crisp one hundred dollar
bill. The card said: "Thanks for the best laugh we've had in
years." It was signed, [COLOR=darkred]Eddie Murphy & Michael Jordan
A woman came out of her house and saw 3 old men with long
white beards sitting in her front yard. She did not recognize them. She said "I don't think I know you, but you must be hungry. Please come in and have something to eat."
"Is the man of the house home?", they asked.
"No", she replied. "He's out."
"Then we cannot come in", they replied.
In the evening when her husband came home, she told him what had happened.
"Go tell them I am home and invite them in!"
The woman went out and invited the men in.
"We do not go into a House together," they replied.
"Why is that?" she asked.
One of the old men explained: "His name is Wealth," he said pointing to one of his friends, and said pointing to another one, "He is Success, and I am Love." Then he added, "Now go in and discuss with your husband which one of us you want in your home."
The woman went in and told her husband what was said. Her husband was overjoyed. "How nice!!", he said. "Since that is the case, let us invite Wealth. Let him come and fill our home with wealth!"
His wife disagreed. "My dear, why don't we invite Success?" Their daughter-in-law was listening from the other corner of the house. She jumped in with her own suggestion: "Would it not be better to invite Love? Our home will then be filled with love!"
"Let us heed our daughter-in-law's advice," said the husband to his wife.
"Go out and invite Love to be our guest."
The woman went out and asked the 3 old men, "Which one of you is Love? Please come in and be our guest."
Love got up and started walking toward the house. The other 2 also got up and followed him. Surprised, the lady asked Wealth and Success: "I only invited Love, Why are you coming in?"
The old men replied together: "If you had invited Wealth or Success, the other two of us would've stayed out, but since you invited Love, wherever He goes, we go with him. Wherever there is Love, there is also Wealth and Success!!!!
white beards sitting in her front yard. She did not recognize them. She said "I don't think I know you, but you must be hungry. Please come in and have something to eat."
"Is the man of the house home?", they asked.
"No", she replied. "He's out."
"Then we cannot come in", they replied.
In the evening when her husband came home, she told him what had happened.
"Go tell them I am home and invite them in!"
The woman went out and invited the men in.
"We do not go into a House together," they replied.
"Why is that?" she asked.
One of the old men explained: "His name is Wealth," he said pointing to one of his friends, and said pointing to another one, "He is Success, and I am Love." Then he added, "Now go in and discuss with your husband which one of us you want in your home."
The woman went in and told her husband what was said. Her husband was overjoyed. "How nice!!", he said. "Since that is the case, let us invite Wealth. Let him come and fill our home with wealth!"
His wife disagreed. "My dear, why don't we invite Success?" Their daughter-in-law was listening from the other corner of the house. She jumped in with her own suggestion: "Would it not be better to invite Love? Our home will then be filled with love!"
"Let us heed our daughter-in-law's advice," said the husband to his wife.
"Go out and invite Love to be our guest."
The woman went out and asked the 3 old men, "Which one of you is Love? Please come in and be our guest."
Love got up and started walking toward the house. The other 2 also got up and followed him. Surprised, the lady asked Wealth and Success: "I only invited Love, Why are you coming in?"
The old men replied together: "If you had invited Wealth or Success, the other two of us would've stayed out, but since you invited Love, wherever He goes, we go with him. Wherever there is Love, there is also Wealth and Success!!!!
هذي عن روميو وجولييت
Romeo and
Juliet
Episode Rundown
go to quotes on Romeo and Juliet
No one who has ever loved and lost can fail to be moved by this poignant tale of romance, adventure and tragedy. Its themes are universal; its appeal, timeless. In short, Romeo And Juliet is as old as love itself. Actually, it's as old as 1935. The period between 1832 and 1892 marked the heyday of the full length story ballet. It gave us La Sylphide, Swan Lake and Giselle.
Though these classics continued to be performed, with the advent of the twentieth century, choreographers began to lean toward a shorter, more abstract style. A few however, remained faithful to the old formula. Romeo And Juliet is just that: a 20th century work modelled on a 19th century concept, retaining the sense of spectacle, large cast, and 'doomed relationship' story of the ballets of that earlier century.
The story of the ballet version of Romeo And Juliet is faithful to Shakespeare's play. At a grand masquerade ball in the Italian Renaissance city of Verona, Juliet meets Romeo, and his mischievous friends, Mercutio and Benvolio. That night, after the ball, Juliet wanders out onto her balcony, where she and the awaiting Romeo pledge their love for one another.In a secret ceremony, Romeo and Juliet marry. Minutes later, on the streets of Verona, Romeo's friend Mercutio is stabbed in a duel. Romeo loses control, and kills Mercutio's murderer. Romeo is banished forever from Verona. Desperate to reunite with Romeo, Juliet agrees to drink a sleeping potion. Appearing lifeless, she will be buried in the family tomb, where Romeo can join her, and the two can escape together. But Romeo does not receive the correct message. He believes Juliet to be dead, and stabs himself. Juliet awakens to see her loved one lying lifeless, and she too takes her own life.
Romeo And Juliet differs from the classic ballets of the last century in a number of ways. The most obvious difference is the story. Unlike the scenarios for La Sylphide or Swan Lake, Shakespeare's tragic tale of two young, star-crossed lovers is no mere fairy tale; it's as modern a story as there is in ballet. The trademark immediacy of Romeo And Juliet poses a new dramatic challenge for the dancers. As such, Romeo And Juliet requires a very naturalistic acting style. In fact, Romeo And Juliet is less suited to the 'research oriented' dancer of say, Giselle, and more open to the kind of dancer who would let his or her self be guided by the music. And in Romeo And Juliet, there is a lot that can be discovered; the score, by Sergei Prokofiev, is a constant inspiration. Most true-to-life must be the fiery passion between the young lovers. And for that to come across, a special chemistry has to exist between the principal dancers. This heightened dynamic between the two principal dancers is another notable departure from eighteenth century ballet.
But in Romeo And Juliet, it isn't simply the young lovers' passion for one another that's unbridled - it's their enthusiasm for life. The two are in constant motion. Juliet runs the gamut from free movement, to intricate pointe work, while Romeo leaps from pas d'action to pas d'action.
There is no definitive version of Romeo And Juliet. Yet no matter how you slice it, this tragic love story, full of passion and death, looks, feels, and plays like a classic eighteenth century ballet. The truth, however, is that it is as young as the two lovers who lose their lives in an attempt to find togetherness and always will be.
Some quotes on Romeo and Juliet by...
Celia Franca
Evelyn Hart
Nikolaj Hubbe
Karen Kain
Kevin McKenzie
Amanda McKerrow
Ivan Nagy
Marianna Tcherkassky
Veronica Tennant
Celia Franca on Romeo and Juliet:
"Whether it's the Nutcracker Prince in The Nutcracker with the Sugar Plum Fairy, or whether it's the prince in Swan Lake with the swan queen, let's face it, they're in love. There are different levels of love and different interpretations of love, and perhaps the prince in The Nutcracker never kisses the Sugar Plum Fairy, but there's certainly some choreography in there and it's a little bit suggestive, and indeed, if I were dancing the Sugar Plum Fairy, I would want to be in love with my Prince. With Romeo And Juliet, it's just a more realistic version of love. When they dance together, the passion is coming out of their ears. It's exuding from their bodies. It's much more realistic, but it's still love. Every ballet is about love. There's no such thing in my opinion as an abstract ballet. Whether a man or a woman are dancing together and they're not telling a story, there's no particular narrative, there's still chemistry between them, and God help you if there isn't because it's going to be a bad performance."
Evelyn Hart on Romeo and Juliet:
"There's that whole third act after Juliet is cast out by her parents and she has this unbelievable music just you know, on the floor, and you can do as little or as much as you like, and it's best to do as little, because the music says it all. Just expressing everything that's happened before and you know, her first night with Romeo, and he's out the window. And then that wonderful moment where she just sits on the bed and it's like, she sees her life going before her, and it's just brilliant. When you hear the music, the small piece in the third act, there is one note when you turn away, and there is hope and every time I run off the stage, there is a tear streaming down my face, and that is the one place where Juliet has hope, and it is the combination the rest of it after that is kind of faint and over. But you finish it, and kind of walk outside, and feel the fresh air, and feel like all your senses are heightened and you feel grateful for being alive."
Nikolaj Hubbe on Romeo and Juliet:
"You start rehearsing. You can't, I don't think you can, I think you can prepare a lot. But I think that if you prepare too much, with the literature, the music and this and that and looking, I think you stifle yourself. I think you set too many limits on yourself. As a dancer you have to, it's another medium. It's through the brain but it's mostly through the body and the music. And if you have too many preconceived ideas, this one and that one and he has to be this or that, you never in the studio during rehearsal, you never discover anything."
Kevin McKenzie on Romeo and Juliet:
"That's a ballet that put all the romantic and classic ballets into focus for me. Because for the first time - I did it much later in my career - and I had done "Swan Lake" and "Giselle" and "Sleeping Beauty" and all that before. When I did Romeo, I came to find that, you know what? I'm not dealing with anything mythical. I'm not falling in love with a bird and I'm not being danced to death by Wilis or waking up a girl who's been asleep for a hundred years. You know, I mean, it's human. It's visceral. It's guts. It's real life that happens every day."
"The lightest ballerinas in the world can be so heavy to lift, you know? I mean, because if you were to pick up this couch, it would be a strain, you know? But, if this couch could breathe and you know, go with it, it would be a lot lighter. My God, the dancing in that! Now there's a role where you're on the stage and dominating it most of the ballet. You're not standing around for a single second. Every single minute is high pitched. You know, you're fencing for your life, or there was a ballet that I was physically sick the next day."
Amanda McKerrow on Romeo and Juliet:
"That was the ballet I needed to learn to be human on stage, and to rip away that curtain that we all have. You can hide behind it in various roles but Juliet is a girl before she's a dancer, really. I mean, it wasn't just doing the steps and trying to express the character through the steps ; that doesn't work in that ballet like it does in other ballets. It's just raw emotion, and to just get up and let yourself do that in front of thousands of people... that was the real challenge for me in that ballet."
Ivan Nagy on Romeo and Juliet:
"The physical abandon of this ballet is a startling contrast to, say, a ballet like The Sleeping Beauty. In The Sleeping Beauty, the movement is very poised and stylized. But in Romeo And Juliet, the dancing, like the acting, is much more natural. This poses a major challenge for the dancer, for while the idea is to appear free, one must never forget about 'line.'"
Marianna Tcherkassky on Romeo and Juliet:
"There's that whole third act after Juliet is cast out by her parents and she has this unbelievable music just...you know, on the floor, and you can do as little or as much as you like, and it's best to do as little, because the music says it all. Just expressing everything that 's happened before and you know, her first night with Romeo, and he's out the window. And then that wonderful moment where she just sits on the bed and it's like, she sees her life going before her, and it's just brilliant."
Veronica Tennant on Romeo and Juliet:
"Romeo And Juliet is not dead or an old story. We have Romeo And Juliet in Sarajevo happening. We have a young servant and his Muslim girlfriend shot dead trying to cross battle lines. That is a story that is as alive for us today as it was in 1597 when Shakespeare created Romeo And Juliet. So it's all about life and people and love and human tragedy and flaws in our human makeup that make these tragedies happen. We see it every night on the news. Every time I dance Juliet it was today's life that I was talking about and today's emotion and humanity and who I am and who people are and sometimes the sadness of that."
Romeo and
Juliet
Episode Rundown
go to quotes on Romeo and Juliet
No one who has ever loved and lost can fail to be moved by this poignant tale of romance, adventure and tragedy. Its themes are universal; its appeal, timeless. In short, Romeo And Juliet is as old as love itself. Actually, it's as old as 1935. The period between 1832 and 1892 marked the heyday of the full length story ballet. It gave us La Sylphide, Swan Lake and Giselle.
Though these classics continued to be performed, with the advent of the twentieth century, choreographers began to lean toward a shorter, more abstract style. A few however, remained faithful to the old formula. Romeo And Juliet is just that: a 20th century work modelled on a 19th century concept, retaining the sense of spectacle, large cast, and 'doomed relationship' story of the ballets of that earlier century.
The story of the ballet version of Romeo And Juliet is faithful to Shakespeare's play. At a grand masquerade ball in the Italian Renaissance city of Verona, Juliet meets Romeo, and his mischievous friends, Mercutio and Benvolio. That night, after the ball, Juliet wanders out onto her balcony, where she and the awaiting Romeo pledge their love for one another.In a secret ceremony, Romeo and Juliet marry. Minutes later, on the streets of Verona, Romeo's friend Mercutio is stabbed in a duel. Romeo loses control, and kills Mercutio's murderer. Romeo is banished forever from Verona. Desperate to reunite with Romeo, Juliet agrees to drink a sleeping potion. Appearing lifeless, she will be buried in the family tomb, where Romeo can join her, and the two can escape together. But Romeo does not receive the correct message. He believes Juliet to be dead, and stabs himself. Juliet awakens to see her loved one lying lifeless, and she too takes her own life.
Romeo And Juliet differs from the classic ballets of the last century in a number of ways. The most obvious difference is the story. Unlike the scenarios for La Sylphide or Swan Lake, Shakespeare's tragic tale of two young, star-crossed lovers is no mere fairy tale; it's as modern a story as there is in ballet. The trademark immediacy of Romeo And Juliet poses a new dramatic challenge for the dancers. As such, Romeo And Juliet requires a very naturalistic acting style. In fact, Romeo And Juliet is less suited to the 'research oriented' dancer of say, Giselle, and more open to the kind of dancer who would let his or her self be guided by the music. And in Romeo And Juliet, there is a lot that can be discovered; the score, by Sergei Prokofiev, is a constant inspiration. Most true-to-life must be the fiery passion between the young lovers. And for that to come across, a special chemistry has to exist between the principal dancers. This heightened dynamic between the two principal dancers is another notable departure from eighteenth century ballet.
But in Romeo And Juliet, it isn't simply the young lovers' passion for one another that's unbridled - it's their enthusiasm for life. The two are in constant motion. Juliet runs the gamut from free movement, to intricate pointe work, while Romeo leaps from pas d'action to pas d'action.
There is no definitive version of Romeo And Juliet. Yet no matter how you slice it, this tragic love story, full of passion and death, looks, feels, and plays like a classic eighteenth century ballet. The truth, however, is that it is as young as the two lovers who lose their lives in an attempt to find togetherness and always will be.
Some quotes on Romeo and Juliet by...
Celia Franca
Evelyn Hart
Nikolaj Hubbe
Karen Kain
Kevin McKenzie
Amanda McKerrow
Ivan Nagy
Marianna Tcherkassky
Veronica Tennant
Celia Franca on Romeo and Juliet:
"Whether it's the Nutcracker Prince in The Nutcracker with the Sugar Plum Fairy, or whether it's the prince in Swan Lake with the swan queen, let's face it, they're in love. There are different levels of love and different interpretations of love, and perhaps the prince in The Nutcracker never kisses the Sugar Plum Fairy, but there's certainly some choreography in there and it's a little bit suggestive, and indeed, if I were dancing the Sugar Plum Fairy, I would want to be in love with my Prince. With Romeo And Juliet, it's just a more realistic version of love. When they dance together, the passion is coming out of their ears. It's exuding from their bodies. It's much more realistic, but it's still love. Every ballet is about love. There's no such thing in my opinion as an abstract ballet. Whether a man or a woman are dancing together and they're not telling a story, there's no particular narrative, there's still chemistry between them, and God help you if there isn't because it's going to be a bad performance."
Evelyn Hart on Romeo and Juliet:
"There's that whole third act after Juliet is cast out by her parents and she has this unbelievable music just you know, on the floor, and you can do as little or as much as you like, and it's best to do as little, because the music says it all. Just expressing everything that's happened before and you know, her first night with Romeo, and he's out the window. And then that wonderful moment where she just sits on the bed and it's like, she sees her life going before her, and it's just brilliant. When you hear the music, the small piece in the third act, there is one note when you turn away, and there is hope and every time I run off the stage, there is a tear streaming down my face, and that is the one place where Juliet has hope, and it is the combination the rest of it after that is kind of faint and over. But you finish it, and kind of walk outside, and feel the fresh air, and feel like all your senses are heightened and you feel grateful for being alive."
Nikolaj Hubbe on Romeo and Juliet:
"You start rehearsing. You can't, I don't think you can, I think you can prepare a lot. But I think that if you prepare too much, with the literature, the music and this and that and looking, I think you stifle yourself. I think you set too many limits on yourself. As a dancer you have to, it's another medium. It's through the brain but it's mostly through the body and the music. And if you have too many preconceived ideas, this one and that one and he has to be this or that, you never in the studio during rehearsal, you never discover anything."
Kevin McKenzie on Romeo and Juliet:
"That's a ballet that put all the romantic and classic ballets into focus for me. Because for the first time - I did it much later in my career - and I had done "Swan Lake" and "Giselle" and "Sleeping Beauty" and all that before. When I did Romeo, I came to find that, you know what? I'm not dealing with anything mythical. I'm not falling in love with a bird and I'm not being danced to death by Wilis or waking up a girl who's been asleep for a hundred years. You know, I mean, it's human. It's visceral. It's guts. It's real life that happens every day."
"The lightest ballerinas in the world can be so heavy to lift, you know? I mean, because if you were to pick up this couch, it would be a strain, you know? But, if this couch could breathe and you know, go with it, it would be a lot lighter. My God, the dancing in that! Now there's a role where you're on the stage and dominating it most of the ballet. You're not standing around for a single second. Every single minute is high pitched. You know, you're fencing for your life, or there was a ballet that I was physically sick the next day."
Amanda McKerrow on Romeo and Juliet:
"That was the ballet I needed to learn to be human on stage, and to rip away that curtain that we all have. You can hide behind it in various roles but Juliet is a girl before she's a dancer, really. I mean, it wasn't just doing the steps and trying to express the character through the steps ; that doesn't work in that ballet like it does in other ballets. It's just raw emotion, and to just get up and let yourself do that in front of thousands of people... that was the real challenge for me in that ballet."
Ivan Nagy on Romeo and Juliet:
"The physical abandon of this ballet is a startling contrast to, say, a ballet like The Sleeping Beauty. In The Sleeping Beauty, the movement is very poised and stylized. But in Romeo And Juliet, the dancing, like the acting, is much more natural. This poses a major challenge for the dancer, for while the idea is to appear free, one must never forget about 'line.'"
Marianna Tcherkassky on Romeo and Juliet:
"There's that whole third act after Juliet is cast out by her parents and she has this unbelievable music just...you know, on the floor, and you can do as little or as much as you like, and it's best to do as little, because the music says it all. Just expressing everything that 's happened before and you know, her first night with Romeo, and he's out the window. And then that wonderful moment where she just sits on the bed and it's like, she sees her life going before her, and it's just brilliant."
Veronica Tennant on Romeo and Juliet:
"Romeo And Juliet is not dead or an old story. We have Romeo And Juliet in Sarajevo happening. We have a young servant and his Muslim girlfriend shot dead trying to cross battle lines. That is a story that is as alive for us today as it was in 1597 when Shakespeare created Romeo And Juliet. So it's all about life and people and love and human tragedy and flaws in our human makeup that make these tragedies happen. We see it every night on the news. Every time I dance Juliet it was today's life that I was talking about and today's emotion and humanity and who I am and who people are and sometimes the sadness of that."
مشكور خوي (( alsayda )) و الله يرحم والديك ومشكور و ما قصرت
مع التحية
العفوو ما سوينا شي
بس اني بنت
بس اني بنت