Attitude Devant

attitude

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Here it is all about dance - contemplated from many different angles - and about looking at things differently.

                    

A short talk with Márcia Jaqueline - Brazilian Ballerina / Landestheater Salzburg.

A short talk with Márcia Jaqueline - Brazilian Ballerina / Landestheater Salzburg.

A Brazilian Ballerina now working on European Stages.

There is a certain, very special quality about Marcia Jaqueline that is getting to be quite uncommon these days: it is as if she'd be involved in a sort of “aura of peace”. She is calm, speaks slowly and is never loud – am I sitting in front of a Brazilian? Even though we were born in the same town, we had never met her before. By the time she was born, I was already leaving Rio. We belong to a complete different generation... I had the chance to watch her on stage while I was visiting but as I have said: we had never met before. Nevertheless I have only heard many (good) things about her, her charisma, her seriosity with her work, her collegial attitude... Many friends that we have in common repeated – without knowing what the others had said – the same (portuguese) words about her: “Ela é uma pessoa do Bem” (A Brazilian expression that means that a person that just does, acts, thinks good things... ).

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It is saturday afternoon in Vienna and we meet for a chat (and lunch) downtown... So many things to talk about: her present life in Salzburg, future plans, her Artistry... The day is cold but there is a certain warmth around us that made me wonder if we had perhaps really met before. We haven't. But it is like we had. Things like this don't happen very often to me.

Marcia Jaqueline started taking classes when she was 9 years old. A late Starter but such a fast learner, that she finished school at 14 - still to young to join the corps-de-ballet in Rio's “Theatro Municipal”. The director was Jean Yves Lormeau (former Etoíle from the Paris Opera) invited her to join the Theatre in a sort of “practicum basis”. At the age of 16 she was officially put under contract to join the company. Under Richard Cragun's direction/guidance she had her first première as a soloist in Sir Frederick Ashton's “La Fille Mal Gardé”. Ever since then she has been playing main roles but just in 2007, a the age of 25 (and after having danced Odette/Odile) she was appointed as a principal. Thoughout her years, she worked (and danced) with many important names in the busines: Élisabeth Platel, Natalia Makarova, Peter Wrigth, Vladmir Vasiliev, Marco Pierin, Luigi Bonino, Glenn Tetley, Thiago Soares, Vitor Luiz, Rolando Sarabia, Robert Tewsley and Marcelo Gomes.

In her own words, one of the most important moments in her career, was to have the possibility to work with Marcia Haydèe – her “highest inspiration as an artist”. Marcia coached her in Cranko's “Romeo and Juliet”. Other highlights for her are Petit's “Carmen” and “L'Arlesienne”
Julio Bocca invited her to join Montevideo's Ballet Nacional do Sodre 70th Aniversary Gala. An international Gala in Buenos Aires' Teatro Colón followed 2014. And after having danced Luiz Ortigoza's version of “La Bayadère” in Rio, she was invited by Marcia Haydèe to dance the same Ballet in her company in Santiago del Chile. As a Guest she took part in Galas in the U.S.A, Canada, Greece, Austria and Germany.



“How does your creative process begin when creating a new role?” I ask.

“While researching, creating a role, I like very much to search for “elements” that are outside Ballet and add them to this “jigsaw”! I mean visiting an Art exhibitions, Concerts, read books and Theatre pieces that are somehow related, connected to my research. This helps me a lot in creating “my” characters. I also try to watch films, Operas and other kinds of interpretation... "

“Technique?” is my next provocative question...

“Technique must flow with musicality and interpretation. Just like that I can feel complete, prepared and sure enough to go on stage. In my working process I always try to combine, unite all I can: first I take care of the technique in order to master it, dominate it. And then the musicality... after these two elements become natural to my body I can take care of the interpretation that flows more naturally, more genuinely. I do not believe in executing steps. I have to give them life, I have to give them a meaning. Technique exists to serve Artistry and Art.

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“I was dying to ask this question: which are your favourite roles?”

“Quite a few", she laughs, "Juliette, Carmem, L'arlesiene and now Medea, from Reginaldo Oliveira, in which I did my Debùt here in Salzburg. I still have a dream that has not been fullfilled yet: Marguerite in Neumeier's “La Dame aux Camélias”. Someday, I hope... "

“I know you solely as a classical dancer: your performance in Medea – a contemporary piece - was highly praised. How do you explain that?”

“At this point of my career, after having danced the great Repertoire, classic roles, I felt like searching for something new, a role that would challenge me in a different form, a role so demanding that it'd take out of me somenthing that even I was not aware of... This work did exactly for me what I was looking for. To leave a “comfortable” attitude and give myself totally, as a human being, on stage. Simple things like everyday's cliché of walking to the gate to wait for your husband, the sadness of a not corresponded love and even a desperate cry. This work taught me how to dance more naturally, like we do it in real life. Emotions happen. We cry without practicing it. We do not practise to feel anger but it happens. I felt all this in Medea. To be a woman on the first place, before being a Dancer. I cannot leave unmentioned the rapport which I felt working with new partner, Flavio Salamanka, a great artist that was essential in this new creative process for me. I think that all these points, put together, made me find what I was really looking for at this point of my career – and life!

“You and Guilherme Tomaselli have been married since ten years. How do you extend each other? I mean Dance vs. Music?”

“Gui helps me artistically very much. Mostly in the music area. Sometimes, after watching a rehearsal he gives me hints on musicality... he tells me about the music from the musician's point of view – and not from the dancer's. After so many years together he even gives me ballet corrections!”, she smiles. “From this union between Music and Dance, a project was born. A performance that unites also on stage. He completes me perfectly: in Life and in Art... More about it someday!"

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“Would you like to talk about Future plans?”

“Oh, the future... I like to live every day , one at a time, and let things happen naturally. I am extremely happy to be part of this new project about ballet at the “Landestheater Salzburg”, in company of the wonderful choreographer (and friend) Reginaldo Oliveira, whom I trust completely. I have no doubts about his artistic potential and capacoty and I am quite sure that we will bear many fruits from our work here in Salzburg!”

Thank you very much, dear Márcia, for taking your time and for sharing so much insight with me and our readers. I wish you lots of success in your life and career!

 

Balanchine - Neumeier - Robbins: Vienna State Ballet, March 22nd, 2018

Balanchine - Neumeier - Robbins: Vienna State Ballet, March 22nd, 2018

A short Talk to Suzan Oppermann - Vienna State Ballet - March 15th., 2018

A short Talk to Suzan Oppermann - Vienna State Ballet - March 15th., 2018