Gigi caciuleanu wikipedia

For me, she has always been the person who has done most for me in the world. The meeting with Madame "Papa" — as we all call her — is one of the few interesting meetings I've had on this earth. The moment I saw her dancing, that's when I saw the light. She was giving a recital somewhere in front of a lot of people, but this recital hadn't been announced, it was in an "underground" place, that is.

I had just come running from school and I saw on the stage a hand rising and concealing her face. This dance erupting from inside her was called 'Thinking' and that's when I felt I was having a revelation. Of course, in a lifetime one meets a lot of people and many of them are very interesting people. Pina Bausch was a great help at a time when I was at an impasse.

I was somewhere between Romania and the rest of the world, which seemed to me a sort of deep abyss with no prospects, so this meeting with Pina didn't exactly happen in the context of concrete artistic collaboration. She simply saw the 'Bolero' I had made in Cologne and asked me to join her company, which at the time was in Essen, Germany.

She invited me to spend one year with her dancers, which is a one in a lifetime offer for a dancer. It was the very period of Pina's transition towards the Wuppertal Company. The WolfgangSchool in Essen is a sort of castle or many-story mansion with three or four dance halls, a music school, an acting school, a musicology school and everything that has to do with art.

This school had a senior year, a kind of master's programme, and in this group there were people like Susanne Linke, Carlos Orta, Katerine Denizou. She left me these dancers to work with me. The meeting with Pina Bausch meant rather the opportunity to invent and create, coming from a world where I was simply a performer. I had left the country with my first creation, so I couldn't really call myself a choreographer.

But meeting these dancers was fabulous. Susanne Linke kept close to expressionism, but in a very personal manner and she is now a manager in Germany and a well-known choreographer. I had these personalities working for me. But she was of great help, though. She started from a very prestigious company, that of the Marquis de Cuevas.

Go to America right away. It connects at the same time East and West, North and South. You can find everything in Paris. Mornings are splendid in Paris, evenings are charming, nights are divine. In sunshine or heavy rain the cobblestone in Paris shines. Every house seems to have a name. I believe France and Paris are the center of the wind rose.

Is there a rupture between ballet and dance? I remember that, as a child, I used to go to the Opera House in Bucharest and stay glued to that red velvet rail and watch Gabriel Popescu and Irinel Liciu. To my mind they had broken away from the classical, too… I mean that 'Walpurgis Night' — which I don't think I'll ever forget — was one of the most beautiful things that have ever happened to me.

Classical dance is a succession of personalities, of people like Ulanova, like Maia Plisetskaya, like Rosella, who could do four pirouettes on their pointes as easily as going to the marketplace. This is the beauty of classical dance. I feel attracted to it, but there is more about dance than classical dance… the classical is just a part of dance and I think I've never had a serious problem not doing what I was required to do.

I don't think one has to belong to the classical school to be a dancer. I would say that — keeping the adequate proportion, of course — the episode in Madame Dona's school that you told me about resembles, in a way, the Gigi I remember from the Choreography School and then from the Romanian Opera House. It was your creation. Did you cross Master Oleg then?

But I took the 'Buffoon' literally, since by his very nature he was supposed to break the rules, to bring joke to the level of art and art to the level of joke.

Gigi caciuleanu wikipedia

I have never claimed to have discovered anything new. Still, every time this happens to me, the very next moment I realize there is more to be discovered. It's like an onion that you keep peeling and you never get to the end of it. They say there's nothing new under the sun. But Borges said something very beautiful: 'There is nothing old under the sun'.

Because everything is renewed every day. And this is the passion that keeps me going. I've been through difficult times when I didn't want to go to the Opera House and step into that conservative repertoire again. And so I rediscovered classical dance. Miriam's beautiful thinking made me rediscover classical movements, although her thinking is very modern.

Din isi infiinteaza propria companie de balet, Compania Gigi Caciuleanu cu care intreprinde numeroase turnee incununate de succes, pentru ca in sa revina in Romania unde realizeaza mai multe spectacole si are o fructoasa colaborare cu Teatrul de opera si balet Oleg Danovski din Constanta. Primind numeroase premii si distinctii, Gigi Caciuleanu transmite astazi tinerilor stilul sau original de dans contemporan.

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