Everything was because Marie-Agnes Gillot became a ballerina – not a great person.

She is tall and has a wide shoulder. The most important thing is bilateral scoliosis. When her back is swollen, she sometimes forms a hunched back.

However, when Gillot walked onto the stage, the hump disappeared and it was like being magical.

“My time is limited. My muscles and myself are standing,” the star said. “As time goes on, I will return to my corset skirts sets unless I undergo surgery. My Metal rod back.”

On Saturday night, when she was at the finale of the Paris Opera Ballet, Giot will end the extraordinary chapter of modern French ballet.

As the last great French ballerina of her generation, she left her home at 9:00 to go to the French capital’s elite ballet school and concealed her problems from her teacher.

“When I arrived, who did I think these nasty slim ladies are?”

Do not want to be considered “disabled”, only her roommate knows her secrets.

– “Nobody gave me a free pass” –

The dancer told AFP reporter: “No one gave me a free pass.” The opposite is true.

She did not become a major dancer until she was 28 years old. Then even the great choreographer Maurice Beyat was angry. She declared, “She is the best and finally they decided.”

Unlike her predecessor, the legendary legend Sylvie Guillem was relieved by Rudolf Nureyev. She did not have such a strong mentor.

When Gyolo was eventually named a ballerina, she created history and became the first modern piece ever to be promoted in Paris.

“I think it is very difficult for us to manage the French people who are energetic, sharp-headed and unusual in ability, not just ballet,” she said.

Gillot is undoubtedly because she is “too gifted and will not accept any mistakes from me. They are super tough for me, but they are talking about medium types. ‘Don’t worry, we will let you pass.’

“People who fell before me (during their final testing) and people after that continue to be the main dancers, and I cannot make the smallest mistakes.”

Only when she was 18 when she “ran to New York” did she get rid of “sweeping” and gave her the role she thought she deserved.

“I was described as an adjective of sports, tall, atypical, rebellious and punk, because I was very few, but I didn’t see it!” She laughed.

“I consider myself an excellent soldier with many disciplines. He has accepted all types of dance and has never given priority to classical or contemporary considerations.”

The 42-year-old Gillot has been working with Chanel, Hermes and Repetto in the film and fashion corset skirts sets industry in recent years – and art, and even saved her sweat in a small jar for a project.

She also collected some poetry.

But as the only female French choreographer who performed her work at the Paris Opera, her dance still provoked her passion.

She is keen to correct errors in dance education and told AFP that some elite schools “killed” the young dancers’ creativity.

“I will develop children’s curiosity by bringing them to the theater to see great actors … or even to fashion shows where they make clothes from garbage bags so that they can create their creativity. And not just orders and orders,” she said.

“We cannot allow a little child to break through 10,000 children. We must cherish their imagination rather than let them control it,” she told the Paris Games magazine earlier.

Critics complain about the lack of charisma dancers may be because of the way the dancer drilled.

“You can be a great dancer, but no personality,” she said.

With her warm and th laugh laughter, character is no longer what Gilolot lacks.

In the past three months, she spent most of her life “painfully” leaving her institution. “Now I just want to keep working hard.” She laughed.

Even so, there will still be memories that will always remain with her. The greatest of these is “In the seven months I dance with my son in the stomach. I will lift my legs and he will stop.”


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