Maya Plisetskaya - If you’re a ballerina watch this! #inspirationalspeech

** Get 10% OFF sitewide on with the code DANCELINE at checkout and start the new year by wearing something new and cool! ** _________________________________ Happy New Year Danceliners! What about starting the new year with an inspirational speech from Maya Plisetskaya? The concept of this speech is focused on being a dancer as an artist who is able to touch the emotions of the audience thanks to their dancing. Dancing is hard work, exercises and much more than that, but dancers shouldn’t forget that dancing is also feeling something and making the audience feel the same! :) Maya Plisetskaya (born November 20, 1925, Moscow, Russia, .—died May 2, 2015, Munich, Germany) Russian prima ballerina of the Bolshoi Ballet of Moscow, admired particularly for her technical virtuosity, expressive use of her arms, and ability to integrate acting with dancing. Plisetskaya, a niece of the dancers Asaf and Sulamith Messerer, studied with Pavel (or Paul) Gerdt’s daughter Yelizaveta and with Agrippina Yakovlevna Vaganova and graduated from the Bolshoi school in 1943. Plisetskaya was noted for her unique, individualistic portrayals in both Soviet and classic ballets. Her repertory included Zarema in The Fountain of Bakhchisaray; the title role in Laurencia; Mistress of the Copper Mountain in The Stone Flower; Kitri in Don Quixote; Myrtha, Queen of the Wilis, in Giselle; Aurora in The Sleeping Beauty; and the dual character Odette-Odile in Swan Lake, frequently considered her greatest role. Plisetskaya performed in a number of countries and was a guest artist with the Paris Opéra in 1961 and 1964. Her performances were recorded in the films Stars of the Russian Ballet (1953), Swan Lake (1957), Plisetskaya Dances (1964), Anna Karenina (1975), and Carmen Suite (1978)—in the latter two starring opposite her protégé Alexander Godunov. In 1964 she received a Lenin Prize for outstanding work in the arts. She appeared in ballets by such non-Soviet choreographers as Roland Petit, Maurice Béjart, and Alberto Alonso. From 1975 she also performed with the Ballet du XXe Siècle of Brussels, and she was artistic director of the Rome Opera Ballet (1983–84) and Spain’s National Dance Company (1987–90). Her first choreography was Anna Karenina (1972). ________________________________ Video Sources for content: and For requests, feedbacks or infos, or if you think one of these content should be removed for any reason, do not hesitate to contact us at: @ Follow us on: Facebook: