immense physical effort. The same is true for classical ballet. All that effortlessness conceals years of hard work. I do not meticulously study or imitate swans. The inspiration comes from the feelings they awaken in me. With Odette I think of purity, vulnerability, a combination of dignity and quiet tragedy. Odile, too, is regal and refined in my eyes, not an aggressive creature. And although she is more woman than bird, the powerful, liberated sweep of a swan’s wings inspires me to use my arms with the utmost freedom. The movement must extend beyond the fingertips.” Yuanyuan Zhang: “I always look at that long neck, the elegance with which a swan carries its head, slightly inclined forward but never collapsing. That beautiful line of the neck, the wings drawn back, these are elements I try to weave into my dancing. To let the movement begin in the back, with the wings, in my case the arms, following. With Odette I imagine a swan gliding softly, her reflection in the water, the way she watches over her cygnets. This will be my third run of Swan Lake, and as Odile, with all her power, I feel more secure each time. Odette, with her purity and simplicity, demands far greater imagination. I have mastered the steps, now I want to reveal more of her character.” Photo: Altin Kaftira Photo: Marc Haegeman Moving like a swan Riho Sakamoto (2023) Olga Smirnova (2023) Text: Astrid van Leeuwen
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