Darci Kistler, the last remaining ballerina at New York City Ballet to have been 2molded and hired by its co-founder George Balanchine, plans to retire in the 2010 season, she said on Wednesday. Darci Kistler는 공동 설립자 George Balanchine에 의해 고용되고 만들어진 NYCB에 마지막 남은 발레리나인데 2010년에 은퇴할 계획이라고 수요일 전했다.
16살의 Darci kistler는 1980년 차이코프스키 모음곡 작품 3번을 처음 공연했다.
That would complete three decades with the company, where Balanchine singled her out at the 4tender age of 17 in 1982 to become a principal, after only two years there. 그녀가 이 회사에 들어가고 2년후 어린나이에 단장이 되갖구, 30년을 일했다네요.
“As it’s happened with every dancer, there’s a certain point where you realize, ‘I want to go off the stage gracefully,’ ” Ms. Kistler, 44, said in a telephone interview. “I just felt it was time.” 44살의 나이에 멋지게 무대에서 내려오고 싶었다고 전화인터뷰에서. 적절한 타이밍이라고 했데요.
Ms. Kistler said she wanted to devote more of her day to teaching at the School of American Ballet, 5affiliated with the company, where she has been leading a 6hefty schedule of classes for 15 years. And the aches and pains that come with age have taken their 7toll, she said. 그녀는 이제 SAB에서 애들 가르치고 싶데요. 15년동안 빡빡한 시케쥴로 바쁘게 했던 그 회사와 관련된 학교에서. 나이에 따른 고통과 상처가 그녀에게 부담이었다고.
“I don’t want to walk around in pain,” Ms. Kistler said. “I didn’t want to see myself with a plastic hip in 10 years.” Retirement will also give her more time to spend with her 12-year-old daughter, she said. Besides, she added, after nearly three decades there were few dancing challenges left to meet. 고통속에서 살기 싫고, 10년후에 몸이 망가진 자신을 원하지 않고. 은퇴가 12살된 딸이랑 시간을 더 많이 보낼수 있게 해줄거라네요.
“I knew there wasn’t another ‘Swan Lake’ in me,” she said. “There wasn’t another ‘Sleeping Beauty.’ ”
더이상의 백조의 호수도 잠자는 숲속의 미녀도 공연하지 않는데요.
Ms. Kistler’s career has been marked by injuries, but also by 8resilience. She came back from a severe ankle injury in 1982 and then back surgery about nine years ago, she said, to correct a 9hereditary 10condition that caused a 11ruptured disk and threatened a 12nerve. 발레리나라는 직업이 상처와 회복으로 상징되어왔습니다.그녀는 9년전, 신경을 위협하고 디스크파열을 야기시켰던 유전적인 조건을 고치기 위해 수술을 했었습니다.
Although Balanchine never choreographed a role for her, Ms. Kistler danced central parts in most of his creations, including “Agon,” “Apollo,” “Symphony in C,” “Concerto Barocco” and “Vienna Waltzes.” She interpreted roles created for her by Jerome Robbins and her husband, Peter Martins, New York City Ballet’s ballet master in chief.
Ms. Kistler was born in Riverside, Calif., the only daughter and youngest of five children, and studied early on with Irina Kosmovska in Los Angeles. After two summers at the School of American Ballet, she received a scholarship to attend full-time in 1978.
Mr. Martins, then a dancer with the company, recalled his first conversation with Balanchine about the teenage Ms. Kistler. “I bumped into him in the elevator, and he looked at me with glee and said, ‘I have a new one,’ ” Mr. Martins recalled. “ ‘Her name is Darci, and I’m going to promote her immediately.’ The elevator door opened and he disappeared. I’d never seen him so happy.”
Mr. Martins said Balanchine later asked him to be her partner, feeling she had not been well served by previous ones. “He said to me, ‘Please, will you take care of her?’ ” Mr. Martins recounted.
In a 1996 interview with The New York Times Magazine, Ms. Kistler recalled, “Mr. Balanchine cast me in ‘Nutcracker’ with Peter. He put my hand in Peter’s, and he said, ‘Dear, I have matched many marriages.’ ”
Ms. Kistler seemed to wear her Balanchine legacy lightly.
“I’ve always said a Balanchine dancer is someone who dances Balanchine ballets,” she said in the telephone interview. “Yes, he has that magic fairy dust he could shake, but there are enough of us who have that. But I’m not going that far away. I feel like that fairy dust I could still shake at the school.”
Ms. Kistler and Mr. Martins married in late 1991, and six months later they became the subject of tabloid headlines when Mr. Martins was arrested, accused by his wife of an assault. The charges were later withdrawn. Mr. Martins said later that he had pushed Ms. Kistler and she fell into a shelf.
No date has been set for Ms. Kistler’s last performance. She said that she delivered the news to her boss and spouse over their regular Monday lunch date on Jan. 26.
“I think he was a bit shocked,” she said. “I don’t think that it’s easy to shock Peter. In the end I think he was relieved,” she added, suggesting how hard it would have been for him to raise the possibility of her retiring. “I wouldn’t have done that to him,” she said.
Mr. Martins said that he hated to see Ms. Kistler go but admired her for “taking the initiative and making the decision out of the blue one day.”
“Not everybody does that,” he said, adding that he had played no role in her choice.
When asked what the departure of the last Balanchine dancer from New York City Ballet meant, Mr. Martins noted wryly that in Ms. Kistler’s absence, every dancer at the company will have been hired by him. “That is a milestone for me,” he said.
- bow out 퇴장하다. 사퇴하다. bow 인사하다 out은 밖으로 나가는 거. 합치면? [본문으로]
- mold 동사= 형성하다. 본떠서 만들다 명사=거푸집, 틀 [본문으로]
- suite 모음집 hotel suite room 하면 침실 욕실 또 뭐드라? 그게 합쳐진 방이잖아요? 그래서 suite는 한벌, 집합체의 의미입니다 [본문으로]
- 부드러운 tender steak 연한 스테이크 tender age 하면 어린나이, 세상물정 모르는 나이라네요. chilren of tender age 순진한 애들 [본문으로]
- 특별한 관계를 맺고 있다. be affiliated with. [본문으로]
- a hefty increase in salary 두둑한 봉급의 인상 무거운 hefty 강한 [본문으로]
- tunnel tolls 터널 통행료 운임세, 세금, 사용료. [본문으로]
- 탄력, 복원력, = elasticity e conomic resilience 경제적인 탄력성 [본문으로]
- hereditary 상습의, 세습의, 유전의 [본문으로]
- on[upon] (the) condition (that) …이라는 조건으로 ;만약 …이라면 (if) on this[that, what] condition 이 [그, 어떤] 조건으로 [본문으로]
- rupture 파열, 관계를 이간질시키다. [본문으로]
- 신경의 nerve cell 신경세포 [본문으로]
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올 여름에 피티 생산 그만둘 거래요. ㅜㅜ 속상해
