According to a statement released by this institution, the graduation ceremony will take place at the aula magna of ISA’s main headquaters in this capital. Last course, this higher education institution had the honor of graduating Viengsay Valdes, the current BNC director.
For her Bachelor’s thesis, Delgado chose to research a fundamental piece for any classical dancer: «Giselle,» considered to be by many critics «ballet’s Hamlet,» because Giselle means “to be or not to be,” they say.
This principal dancer spoke about the need of sitting down to discuss the story before the shows and documented her own exerience on the announcement of her debut, when Josefina Mendez, in charge of her rehearsal, decided to show her in writing every character’s intentions in the main scenes.
Moreover, the teacher introduced professional actress Alina Rodriguez to her, in order to explain to her the senses, ways to use gestures, and that process forever influenced today’s renowned dancer, who, despite many years of experience and good critics, assures that she still researches before dancing «Giselle.»
Sitting down to discuss a piece is important before dancing any role and ballet. Fortunatelly, this is being recovered, Delgado said at a panel convened early this year by the University of the Arts.
On the other hand, Arencibia’s thesis was about two pieces that renewed the BNC’s monotonous repertoire at the time: «Celeste and Oscurio,» created exclusively for the Cuban company by Belgian-Colombian choreographer Annabelle Lopez Ochoa.
Since she did not have to dance, she could study the pieces as an outsider, using comprehensive academic tools, and tried to assess the meaning of both.
Morejon delved into the ideas of the father of the Cuban ballet school, Fernando Alonso, who was her teacher and in charge of her rehearsals at the National Ballet School.
On talking about this eminent teacher, at the same panel at ISA, she highlighted his patience to tell stories related to the piece to be danced before starting to refine the steps at rehearsals, the detachment from dogmatism, the ability to explain each movement of the choreographies and relate it to a story, an expression or the body’s anatomy.
Fernando was also a champion of the individual identity of a dancer on stage. He liked that the artist reflected his or her soul and did not give in to just being a copy of someone, she said.
The three principal dancers have extensive international experience and their own styles on stage that set them apart as unique performers.
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