Спасибо, dear Piruette!
А вот и интервью с Гиёмом Коте о его проекте на ЮТ и других работах в качестве хореографа: он поставил 40-минутный балет по Сартру и работает над "Маленьким принцем".

Заявки на перевод принимаются.

http://www.cbc.ca/beta/arts/q-a-guillaume-ct-the-toronto-dancer-who-s-using-video-to-keep-ballet-relevant-1.3092745

I know everyone always says, "Don't read the comments," but one YouTube commenter lamented the fact that special effects were added to the dancing. They thought the dance should have been allowed to speak for itself. What do you make of that criticism?
I think the effects were incredibly subtle. What was beautiful about those effects is that they weren't adding anything to the actual movement; they just amplified the shape of what was happening. There are always going to be purists in ballet, and there are probably people who didn't agree with the making of the film in the first place. There were a lot of comments and a lot of discussion. The idea of homosexuality came up. Within the comments, there would be something about femininity or homosexuality, that ballet isn't manly, and then there would be 40 comments defending the art of ballet. I actually think Lost in Motion II didn't travel as far because it didn't have that element of controversy.

Your decision to start a production company and to continue making films — is the goal to help ballet stay relevant in the digital age?
One hundred per cent. There's such incredible potential. So You Think You Can Dance is our worst enemy in a lot of ways. It brings dance down to a level where people can easily accept it, but what I'm trying to do with the films is bring people up to what the high arts are doing. In this day and age, with the Internet, people crave excellence. There is so much crap out there that's really bright and flashy and easy to watch, but I think people are over that. People want to know what incredibly talented people do.

You're now choreographing your first full-length ballet with Le Petit Prince. What has it been like for you getting into choreography and taking on an assignment this big?
The good thing about the National Ballet is that if you're talented in something, then without you noticing, you develop organically. Karen [Kain, the National Ballet's artistic director] has an incredible way of seeing talent and not overwhelming you. I've learned so much from choreographing Being and Nothingness — a 40-minute ballet — and I feel like now I'm totally ready to try this full-length one.