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Memory | Public Statements
Ana Botafogo (1957)
Fotos: Leonardo Franco
I did not come to spend thirty years, this year I celebrate thirty years of Municipal Theater (RJ).
The morning class is primordial for me, to wake my
body up.
Márcia Haydée and Henrique Martinez called me and told me they would like me to assume the position of Prima Ballerina, and although I had never done anything so big before, Márcia told me I had the guts.
When I am in my dressing room I'm Ana, but when you get on stage, you have to be the character, this division must exist.
The day-by-day of a ballet dancer is hard, it is tiring, and you must have a good sense of humor.
There are contemporaneous things that are beyond my language; however I search for that my way and I will give my best to achieve it.
The dancer is an instrument in the hands of the choreographer, it is our duty.
My first soap opera scene was a ballet dance, with Deborah Evelyn, and in every pause Deborah would sit and I would stand and then, thought 'Why is she going to sit down? ', and I found out. We spent seven hours recording a 2-minute scene. On the following day, it seemed I had danced the Swan Lake in full, as so tired and so crazy I was.
A ballet dancer must stay in the rehearsal room. I need to dance and rehearse, the rest, the others sort out.
What I tell the young dancers is to go after their dreams. It wasn't easy to reach where I am, my daily routine, the pains, the challenges and the priorities are not easy. From all artists, I believe that we, ballet dancers, are the ones who have to most resign things for our career.
It is wonderful to be able to, by means of our body, our movement, excite the public.
Figuras da Dança (Dance Figures) is awarding the public of dance with our memories.
"You keep surprising me; you're such a tiny, petite, skinny, small woman and become a bombshell on stage" (Luis Arrieta)
Rua Três Rios 363 | 1º andar| Bom Retiro
São Paulo | SP | CEP 01123-001
Tel: +55 11 3224-1380
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