To interpret a character role it is necessary to turn to its origins, its time, its creator, its audience… Above all, it is necessary to learn from life, in essence the same school and inspiration where those more or less well-defined characters appear.

To achieve this transformation, one must feel like they do, one must beat in unison, suffer, laugh, love and hate like they did. It is about placing the canvas, which is your body, at the disposal of that timeless character.

There are so many technical tools to do it. But the most important one, the one that gives voice and narrates, the one that makes us ballet dancers, is music. Thanks to the communication between the movement and the composer’s creation, the stories behind each character are produced. Just listen to the drum roll that opens Coppélia’s introduction: you will see that happiness lives together with sadness and that creation lives together with destruction during this play.

In short, “confronting” a character means rehearsing and turning up in the battle without defence, willing to merge into that connection between classical dance and the audience.