Feb 082012
 

Giuseppe Picone Giuseppe Picone answers the Gramilano Questionnaire… Dancers’ Edition

Q&A

When did you start dan­cing?
I star­ted when I was 10 years old at the Teatro San Carlo bal­let school in Naples.

Why did you start dan­cing?
My elder brother Raf­faele took me to the audi­tion and I fell in love with bal­let imme­di­ately. Till then I had no idea of what bal­let was.

Which dan­cer inspired you most as a child?
Abso­lutely: Rudolf Nureyev.

Which dan­cer do you most admire?
I admire and respect Julio Bocca.

What’s your favour­ite role?
Albrecht in Gis­elle.

What role have you never played but would like to?
Scheherazade is an amaz­ing ballet!

What’s your favour­ite bal­let to watch?
When you like bal­let you like to watch all of them.

Who is your favour­ite cho­reo­grapher?
Balanchine.

Who is your favour­ite writer?
I like Italian writers Ori­ana Fal­laci and Fabio Volo.

Who is your favour­ite dir­ector?
[diret­tore d’orchestra - con­ductor] David Cole­man — the best!!!

Who is your favour­ite actor?
Al Pacino, Jack Nich­olson and Anna Magnani.

Who is your favour­ite singer?
Pav­arotti and Michael Jack­son. Lately I like Adele.

What is your favour­ite book?
Nureyev’s biography.

What is your favour­ite film?
Dan­ger­ous Liais­ons, dir­ec­ted by Stephen Frears with Glenn Close, Michelle Pfeif­fer and John Malkovich.

Which is your favour­ite city?
Roma… Caput Mundi.

What do you like most about your­self?
I like life.

What do you dis­like about your­self?
At times I’m too nice with people who don’t deserve it… big mistake!

What was your proudest moment?
I left home at 14 years old and my coun­try at 16. It was very dif­fi­cult, but my pas­sion for bal­let was strong and I’m very proud I did it.

When and where were you hap­pi­est?
When my six neph­ews were born.

What or who is the greatest love of your life?
My fam­ily, my love, my friends.

What is your greatest fear?
I’m scared to not be able to move anymore.

If you could change one thing about your­self, what would it be?
We should accept what we are and deal with it!!!

What do you con­sider your greatest achieve­ment?
To have sat­is­fied my instincts as a dan­cer and still have a private and nor­mal life out­side ballet.

What is your most treas­ured pos­ses­sion?
My family.

What is your greatest extra­vag­ance?
I rarely go to sleep before 2am because I like to have fun. But when you have to get up at 8am for class… it’s hard.

What do you con­sider the most over­rated vir­tue?
Fake kind­ness and fake smiles.

On what occa­sion do you lie?
Only white lies to tease friends…

If you hadn’t been a dan­cer what would you have liked to do?
A styl­ist… I love clothes.

What is your most marked char­ac­ter­istic?
I’m patient.

What qual­ity do you most value in a friend?
Loyalty.

What qual­ity do you most value in a col­league?
A true friendship.

Which his­tor­ical fig­ure do you most admire?
Giuseppe Garibaldi.

Which liv­ing per­son do you most admire?
All people who volunteer.

What do you most dis­like?
Poverty, because it’s killed so many people.

What gift would you most like to have?
I’ve got it… a DOG!

What’s your idea of per­fect hap­pi­ness?
Fam­ily. Private Life. Bal­let at its best.

How would you like to die?
Do you know I’m from Naples? That means I’m super­sti­tious… so no comment.

What is your motto?
Live and let live.

Giuseppe Picone — a biography

Giuseppe Picone trained at the Bal­let School of Teatro San Carlo in Naples and at twelve years old was chosen by Beppe Menegatti to dance the role of the young Nij­in­sky in the World Première of the bal­let Nij­in­sky with Carla Fracci and Vladi­mir Vassiliev. He also trained at the Acca­demia Nazionale di Danza in Rome and was the recip­i­ent of the first prize at the Rieti and Pos­it­ano competitions.Pierre Lacotte invited him to join the Bal­let National de Nancy as soloist when he was six­teen, and he danced in the lead­ing roles of Pet­ruska (Fokine), La Son­nam­bula (Bal­anchine), Paquita (Petipa), L’ Ombré (Lacotte). In 1993 he joined the in Lon­don, where he danced until 1997. He then moved to the Amer­ican Bal­let Theatre in New York, his début being in Ben Stevenson’s Cinder­ella.

He has danced the lead­ing roles of clas­sical bal­let: Gis­elle (Deane, Fracci, Jude, McK­en­zie), Swan Lake (Nureyev McK­en­zie, Dow­ell, Jude), Cinder­ella (Corder, Steven­son), Romeo and Juliet (Nureyev, Mac­Mil­lan, Jude), The  (Steven­son, Holmes, McK­en­zie, Amo­dio, Deane), La Bay­adère (Makarova), Études (Lander), One­gin (Cranko), Gaîté par­is­i­enne (Frank­lin), Les Patineurs (Ashton),Vari­ation for Four (Dolin), The Sleep­ing Beauty (Hynd, Mac­Mil­lan, Wright), Ray­monda (Gacio), Don Quix­ote (McK­en­zie), Il Corsaro (Holmes, Khomyakov).

He has also danced lead­ing roles in many neo­clas­sical, mod­ern and con­tem­por­ary works:  Pas De DeuxSquare DanceWho Cares?The Four Tem­pera­mentsDiver­tisse­ment 15′  (Bal­anchine), Sin­foni­etta (Kylián), Spring and Fall (Neumeier), Gong (Mor­ris), Black Tues­day (Taylor), Known by heartPush come to shoveBrahms Haydn Vari­ation (Tharp), L’Arlésienne (Petit), In the Middle Some­what Elev­atedSlinger­land pas de deux (For­sythe), Sym­phonic Dance (Bigonz­etti), Dis­pos­i­tion (Selya), Homage à Miles Davis (Naisy), Te vojo bene assajeFranca FlorioLa Son­nam­bula (Can­nito), I have a dream (Can­nito e Mer­ola), The Roman Spring  of Mrs Stone (Bouy), Bacco e Arianna (Fran­zutti), I due gen­tiluomini di Ver­onaDavidApollo e Dafne (Gian­netti), La Lac­rimosa (Tanes­ini), Vider­unt Omnes (Mar­tor­ana), Dib­bukDream about Japan (Rat­mansky), Morte di un inno­centeSparta­cusAmadeus Moz­artAlles WalzerThaïsApol­lon mus­agète (Zan­ella), the bal­lets in Aida and Macbeth (Iancu), SaharaBolero (Mat­teini), Nar­cisoBlue Moon (Garofoli).

When he danced in the Amer­ican Bal­let Theatre’s world première of Le Cor­saire with Nina Anani­ashvili he was nom­in­ated for the pres­ti­gi­ous Prix Benois de la Danse. He was invited to par­ti­cip­ate in Nina Anani­ashvili and Friends in Japan and at the Inter­na­tional Bal­let Star Gala in Taipei. He has been a guest artist at sev­eral import­ant bal­let com­pan­ies such as the Royal Bal­let, Boston Bal­let, Bolshoi Theatre, Teatro dell’Opera di Roma, Wiener Staat­soper, , Los Angeles Dance Theatre, Bucarest National Opera, Bal­let Nacional de Cuba, Bal­let National de Bor­deaux, Slov­ene National Bal­let, Mace­do­nian Opera and Bal­let, Teatro San Carlo di Napoli, Arena di Ver­ona, Teatro Massimo di Palermo and at many inter­na­tional fest­ivals and galas. He was invited by Ren­ato Zan­ella to dance at the Vienna New Year’s Con­cert in 2005, becom­ing the first Italian to do so.

He is often a guest in Italian tele­vi­sion includ­ing , Festa della Repub­bica from Rome, the last night of the fam­ous San Remo Fest­ival in 2009, Pre­mio Caruso from Sor­rento and in 2010 he was the lead­ing dan­cer in the Italian New Year’s Con­cert from the Teatro La Fenice in Venice.

John Clif­ford, Dir­ector of the Los Angeles Dance Theatre, cre­ated the role of in the Dance Musical Cas­ab­lanca.

In 2010 Giuseppe Picone was invited to take part in Vladi­mir Vasiliev: A Gala Trib­ute to a Dance Legend at the City Cen­ter Theatre in New York, and in Italy, Mario Piazza cre­ated the role of Mackie Messer in the Bal­let Opera da tre soldi with the Bal­let of the Arena of Verona.

He was the recip­i­ent of the Pre­mio Pos­it­ano in 1997 and 2002, Pre­mio Case­rta 1999, Pre­mio Gino Tani, as well as Pre­mio Danza and Danza as Best Dan­cer in 2002. He danced in Les Étoiles de Ballet2000 at  the Pal­ais des Fest­ivals in Cannes as one of Dan­cers of 2004, and he was awar­ded the Pre­mio Anita Buc­chi as best male dan­cer of the sea­son 2005/2006, Pre­mio Asti Danza 2007, Inter­na­tional Prize Apulia Arte 2008, Prize Moz­Art Box 2008, Prize Ugo Dell’Ara 2010, MPS Dan­zain­fi­era Prize and Napoli Cul­tur Clas­sic Prize 2011, Prize Aurel Mil­los 2011, Spe­cial Prize GD Awards 2011. Since 2004 he has been the artistic dir­ector of the Gran Galà Picone and The Giants of Bal­let.

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  • wp socializer sprite mask 16px Giuseppe Picone answers the Gramilano Questionnaire… Dancers’ Edition
  • wp socializer sprite mask 16px Giuseppe Picone answers the Gramilano Questionnaire… Dancers’ Edition
  • wp socializer sprite mask 16px Giuseppe Picone answers the Gramilano Questionnaire… Dancers’ Edition
  • wp socializer sprite mask 16px Giuseppe Picone answers the Gramilano Questionnaire… Dancers’ Edition
  • wp socializer sprite mask 16px Giuseppe Picone answers the Gramilano Questionnaire… Dancers’ Edition
  • wp socializer sprite mask 16px Giuseppe Picone answers the Gramilano Questionnaire… Dancers’ Edition
  • wp socializer sprite mask 16px Giuseppe Picone answers the Gramilano Questionnaire… Dancers’ Edition
  • wp socializer sprite mask 16px Giuseppe Picone answers the Gramilano Questionnaire… Dancers’ Edition
Aug 122011
 

asked writers to choose their favour­ite romantic film, and explain the reas­ons for that choice. This is drastic­ally edited look at the list; to read in full go here:

brief encounter1 500x377 The Times asks writers to choose their top romantic filmsPhilip Collins on Brief Encounter (1945)

If the joy of romance is con­tained in the con­trast with the accom­pa­ny­ing sad­ness, which it must be, then the essen­tial romantic film is Brief Encounter. Adap­ted by David Lean from a Noël Cow­ard play, no film of sweeter sor­row was ever made.

Mat­thew Par­ris on Whistle Down the Wind (1961)

As a boy I fell in love with Hay­ley Mills. Or, rather, I fell in love with Kathy, the part she played as a child act­ress in the film of her mother’s novel, Whistle Down the Wind.… [con­tinue reading]

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Apr 132011
 

lauren bacall humphrey bogart Why rock stars make such appalling actorsAndrew Lowry in his Tele­graph Blog thinks he knows why.

The mech­an­ics of star­dom are tricky to elu­cid­ate, but one of the core prin­ciples is the cre­ation and main­ten­ance of a per­sona. didn’t actu­ally spend his days crack­ing wise with end­less dan­ger­ous dames, but he spend 20 years doing it on screen. Clint East­wood is, by all accounts, a friendly and loqua­cious chap, not a cold-blooded killer in a poncho. It hap­pens in music, too, except that the per­sona is (usu­ally) far closer to the star’s actual self – which spells dis­aster when they expand into movies.

Movie star­dom – real, proper, old-school star­dom – depends on mys­tery. Can you ser­i­ously tell me one thing about , other than that he thinks gen­o­cide is A Bad Thing?… [con­tinue reading]

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