(inaudible)

(inaudible)

>> No, (inaudible)
>> (inaudible)

>> Yes, and warm, (inaudible) was
very high up in the mountains

with (inaudible), icy cliffs.

>> (inaudible)
>> You see that's why I came without

an overcoat and now I'm--
(laughter)

now I'm (inaudible).
(applause)

(inaudible)
(laughter)

Just pay good attention
and so that I'm less (inaudible).

(laughter)

I'm well known as being
a nasty person.

Nasty, that's my second name.

It's just because I, well--
I've had the privilege of

being taught by many very great
teachers, by Madame (inaudible),

by (inaudible), and (inaudible)

And as it is, it's an adoption of
all the great teaching knowledge

that I received, that, you know,
every teacher concocts their own

final way of relating to you.

So if give me attention, you will
understand me, I hope.

For one thing, I feel that right from
the beginning, you know,

even when you're very perfect
and young, if you are being taught

and not just, (inaudible), you never
use thumbs, head, body--

by that time you get used to doing just
those things and it's very hard

for you to only have (inaudible).

Nevertheless, it's too hard to
do everything anyway, but

the more you use that and try to
pay attention to the little details

that I'm passing you with because
those are important teachings.

Let's not waste anymore time
and let me teach.

(inaudible) is open second position and
follow me, I will (inaudible), then you.

So this is set to your body first,
this is the most important thing.

Start at the end of (inaudible).

It's different and (inaudible).

And (inaudible)

Please, for correction.

And, we begin.
♪ (piano music) ♪

(inaudible direction)

(inaudible direction)

(inaudible direction)

>> (inaudible)

(inaudible)

>> Alright, we're at the second position,
open second, (inaudible),

which is for ten seconds, okay?

One, two,
♪ (piano resumes) ♪

(inaudible direction)

And up.

Elevate, ten seconds,
now (inaudible)

Out, (inaudible)

(inaudible), go down,
nice and easy.

And one more time.

Look to the side, look.

(inaudible)

Be careful, I don't want you
to stretch your arm.

(inaudible direction)

We're low on time.

To the side, go <i>Swan Lake</i>,

and then up, up, the body starts
first going into the waistline, push.

And up (inaudible), two.

Other side, look, (inaudible).

Look, nice and high.

(inaudible direction)

Push, and come out, (inaudible).

Now both spread.

(inaudible direction)

Knees bent, yes.

(inaudible direction)

Show yourselves,
climb into the (inaudible)

(inaudible direction)

(inaudible direction)

And to the side.

Circle, come out from that.

(inaudible direction)

First off, down.

Now angle down.

Raise upwards, (inaudible)

Raise (inaudible).

(inaudible direction), now plié.

Head on your shoulder,
right shoulder, yes.

Now ease into it
at the same time, reach.

Towards the (inaudible), looking.

(inaudible directions)

Plié, up, pushing against the bar...
down.

Reach (inaudible) turn around.

The other side. Heels down.
(inaudible) open arms.

(inaudible direction)

Once more.

(inaudible direction)

Raise to the center.

(inaudible)

Spring up.

(inaudible)

Open your arms upwards and out.

Step fourth position only once,
(inaudible) heels.

And grand plié while holding
your arm upwards.

Use your arms. Excellent coordination.

(inaudible) step down the heel (inaudible)

(inaudible)

Second arm above the bar.

Raise (inaudible).

(inaudible directions)

Turn around, and take arm down.

Be careful pushing it back in.

(inaudible directions)

(piano stops)

(inaudible directions)

If you don't have (inaudible).

Here (inaudible)

(inaudible directions)

Now...

You see, waving with your arm,
looking at the floor isn't necessary.

Stretch. This is all you need.

The exercise (inaudible).

(inaudible instructions)

(inaudible) preparation,
arms out to the side (inaudible)

tendu, plié with the heels (inaudible).

One, two, and three, (inaudible)

Back, close, side, close,

side, down, shift weight,
just shift the weight, don't--

Okay?

And one, preparation.

♪ (piano resumes) ♪

(inaudible directions)

Heels down, (inaudible) tendu.

Press back heel, one.

Move the knee, (inaudible).

One, heel down, shift your weight,
(inaudible)

And one...

(inaudible directions)

(piano ends)

(inaudible) knee cap becomes
immobile here, and it folds right in.

Right?

Stay a little bit more over the ball
of the foot.

(inaudible instructions)

arched through here, and allow to
(inaudible) and your arms.

(inaudible) position.

(inaudible instructions)

♪ (piano resumes) ♪

Around the wrist (inaudible)
move them to the side.

(inaudible directions)

Head back down (inaudible)
the chin. (inaudible)

(piano stops)
(inaudible directions)

Don't...
don't back up (inaudible).

(inaudible instructions)

(inaudible) shoulders

(inaudible instructions)

open chest (inaudible)
push your arms back.

Everybody, pull your head
high from the top.

(inaudible instructions)

Now, let's do tendu.
Tendu in two, in three, and four.

And one, and two, and three, and four.

One, and two, and three, and four.

And one, and two, and three, and four.

(inaudible instructions)

but allow your movement to be light,
definite, and (inaudible).

(inaudible instructions)

Okay?

(inaudible). That's the most important.

(inaudible)

♪ (piano resumes) ♪

(inaudible directions)

(piano stops)

(inaudible) That's good.

Turn to the other side please.

And one.

♪ (piano resumes) ♪

(inaudible directions)

(piano stops)

Ladies and gentlemen,
when you finish, don't rush.

Impose yourselves.

Try to create magic, and try to be seen.

When you finish, (inaudible)
just a little slower.

Look at me, and not at some other
(inaudible).

Okay.

Let's do <i>battement</i> together,
<i>battement jeté</i>.

Four times (inaudible) two, three, four,
three, two, three, four.

<i>rond de jambe</i>, two, three, four.

(inaudible) two, three, close,

four, four, <i>rond de jambe</i>, four.

Let go. Four. Yes.

Bend three times (inaudible).

(inaudible) eight times, à la seconde...

sustain, slow it down, eight times
(inaudible),

down, waist, pull up.

(inaudible)

one, two, three. Then you turn around.
You have nice form.

If you do this...

you turn around, and then you
become good heavy.

Alright, <i>battement dégagé</i>.

(inaudible instructions)

And one.
♪ (piano resumes) ♪

Two.

Plié.

One, two, three, four.

(inaudible directions and counting)

(inaudible directions and counting)

(piano stops)

Ladies and gentlemen, it's good to get
used to a mixture of tempos.

Try not to do always too slowly,
or always too fast.

See, like, here, it's with energy down.

With energy up, to lock yourself,
to stay...

pull down. (inaudible) change.

(inaudible directions)

And one.
♪ (piano resumes) ♪

Two.

And look (inaudible).

(inaudible instructions)

(inaudible instructions)

(piano stops)

That's it, don't tighten shoulders.

Ladies and gentlemen, get to point
of holding yourselves--

I may be wrong, but my feeling is how
you hold yourselves to free the rest

of the movements and still have the
strength and control.

It's hold yourself closer with
(inaudible) bone structure. See?

Through your spine, through your neck.

Allow the arms, chest, body to be free
of holding in.

You see? Stretch muscles, but don't
tighten the muscles.

Okay, (inaudible) both sides?

Alright, let's do... a <i>rond de jambe</i>.

Let's start with fondu. Press down on
here so the arch, here,

but press down so you don't become
this way.

Open with this unorthodox wrist.

Sustain... come down.

Then, again, melt.

Sustain, come down.

<i>Rond de jambe</i>.

(inaudible), plié, <i>tendu</i> up. 
<i>Rond de jambe</i>.

And two and three and up.

And one, two, three, four,
five, and six.

And one, (inaudible), and up, (inaudible),
right all the way through here.

And up.

Then, <i>battement</i>
and <i>grand rond de jambe</i>,

back, even shoulders and hips.

You should be able to do that
better than I. You are young.

And...

come here.

Pull through the leg. Pull through
the center.

Allow the...

to reach the line, stretch the line.

And then we'll hold. Alright?

Then same thing going back.

Demi-plié, tendu front.

♪ (piano resumes) ♪

And looking away...

melt, <i>soutenu</i>.

<i>Posé</i>.

Round.

Look side (inaudible).

Close.

(inaudible) heel, toe, neck.

Heel, toe. Down.

And up. Two more.

Back, heel, two.

Tendu, raise up.

Slowly (inaudible).

Up strike. Up, strike, raise.

Up, <i>en battement</i>.

Side... back.

Plié.

Heels up.

Full swing of hips.

(inaudible) supporting side. Close.

Tendu back. (inaudible)

Raise (inaudible).

(inaudible directions)

Come down, slowly come down.

<i>Rond de jambe</i> (inaudible).

Tendu. Leg up.

(inaudible directions)

Now lean into (inaudible).

(inaudible) back to center.

(inaudible directions)

Close in (inaudible).

Turn around to the other side, please.

Try to use more of your arms
(inaudible).

And one.

♪ (piano resumes) ♪

(inaudible) your arm.

Melt, tendu.

Bring the chest up.

Raise.

(inaudible) come down.

(inaudible instructions)

Take time (inaudible)
first positon.

(inaudible) first position,
delay slightly.

Relax, relax, relax.
Relax.

Hold on your back side, supporting side.

(inaudible) to the side.

And <i>en battement</i>.

<i>Rond de jambe</i>.

(inaudible instructions)

Boys, (inaudible).

(inaudible instructions)

(inaudible instructions)

Plié.

(inaudible directions)

(piano stops)
Don't go down, (inaudible).

Girls and boys, when you finish
and you look to the side,

it looks so much more important...

You see, when you raise--
change the head position,

it's... look, the best way is to look 
sharp side,

and then when you raise here...

(inaudible).

You see, when you do that, it allows
you to push back your weight, (inaudible).

Another little thing, girls and boys,
try to raise yourselves always

you see, in dancing you constantly shift
weight from two feet,

onto one, the other one front, back.

Shift more of your weight, you see.

When you stand two legs,
your center goes here.

You cannot lift the leg
and remain the same way.

So what you do?
Through chest and belly button,

the whole upper part of the body leans
towards the ball of the foot.

You do not sit. You're pulling up
very, very high, that support inside.

And then the working side
will play right into the...

supporting side, so then you don't
even have to worry whether your

arm alignment-- it takes care of
systematically.

Now, what goes after this?

How about doing...

let's do like melt, and out, and melt,

(inaudible), down, roll out, brace into
the ground, down, half toe,

in one, two, three, four, five, six,

seven, eight.

Melt in two, melt (inaudible).

(inaudible instructions)

To, for one thing, (inaudible), secondly,
to show more of your (inaudible).

Then, melt to the side, melt straight down
and then (inaudible) without much accent

in your eyes, just to free your leg.

Now, next time around...

let's do melt in here, then <i>tombé</i>.

Take, like, over the precipice,
take a little break.

Over, close, re-open.

Switch weight with one, thrust,

then slowly come down.

Same thing. Melt...

From melting into <i>développé</i>.

Take a breath (inaudible).

(audience laughs)

Go to the side.

Don't look at your chest.

Re-open, and (inaudible).

(inaudible) with both sides. Right?

To the back, side up.

Okay, (inaudible).

Melt.
♪ (piano resumes) ♪

And two.

Melt.

Out.

Melt.

Swing up. (inaudible)

And down.

(inaudible directions)

Spring up.

In (inaudible), two, three,
four, five, six.

One, two, three, four, five, six.

One, two, three, four, five, six.

Melt. Out. Melt. One half toe up.

Melt.

(inaudible direction)

(inaudible direction)

Now... okay.

Open your arms. Open (inaudible).

(inaudible) demi plié.
(inaudible) demi plié.

Up. Spring up. (inaudible directions).

Out. Pull up.

(inaudible). Melt.

Spread shoulders, hips. Re-open.

Pull up with one thrust.

Falls back, slowly.

I cannot do it because I'm old.

In. Feel like you were (inaudible).

This is not surgical operation.

(inaudible directions)

(piano stops)

Right.

Ladies and gentleman, the more you expand
through the chest, arms, reach, extend,

the freer you are, the stronger you are.

Chest, neck muscles, shoulders down,
have a compact center.

Alright, and the other side.

Lead with your arm only to the center
of your chest.

Don't go to that (inaudible).

Keep it open.

And one.

♪ (piano resumes) ♪

Reach, incline the head.

Open to the left side.

Up.

Melt.

Raise through the inner part of the toe.

Don't make the wrist.

You're not smearing the bread
with butter.

Okay.

Nice and hollow (inaudible) rib cage.

Chest is hollow.

(inaudible instructions)

And melt.

Bend.

(inaudible directions)

Now push with one movement,
hips to shoulders.

(inaudible directions)

Keep the chest (inaudible).

(inaudible directions)

(inaudible) will give you more balance.

Be careful.

(inaudible) Fold your head up.

Don't tuck your head in your shoulder.

(inaudible) down here. Square shoulders.

(inaudible instructions)

That's it. That's it.
That's it. That's it.

You see it's good to be straight because
(piano stops)

you know many people would envy
you, but you see, you're over doing it.

You see? You almost push your weight
of your chest onto your heels.

You see? Hold...

You see, like you, when you
hold your arabesques.

It's not only your back muscles.
It's the tummy muscles here, here.

Rib cage and being pushed more over the
ball of the foot on which you stand,

that it holds. Not only back muscles.

Back muscles make you go out of line,
if it's only back muscles.

Equally (inaudible), then you have
freedom to relax chest, arms, heads.

Now, let (inaudible).

In, four times, three, four.

(inaudible instructions)

It's involving-- You can start
from (inaudible)

Yes, then you move (inaudible) toes over
the ankle, then go to the third position.

Showing in, completely stretch the knee,
and come to the third position holding in.

Yes? Four times.

Then change back, four times, to the side.

Then coupé at low level, down turn,
side, raise,

quick like, side, close in.

Then (inaudible) two, three, four.

Change, two, three, long time.

Reach coupé lower level.

Bring down. This is where you turn.

This is not from the back.

The turn actually starts from here.

Turn, open to the side, (inaudible),

flic flac, open, closed in.

Right?

Be nice and turned out.

And one.
♪ (piano resumes) ♪

And nice-- your arms here.

One, two, three, four.

One, two, three, four.

(inaudible) each side, turn.

(inaudible), flic flac, side toes
(inaudible)

Maybe a little slower because...

(inaudible directions)

Girls and boys, still keep the
turn out of your--

from the hip socket to the knee,
out to the side. You see?

Even here, when you reach to the front,
all this is turned out

as the heel (inaudible).

See, don't turn at any time,
your (inaudible).

Let go from the heel,
through the knee,

through the turned out hip, whole leg.

To the other side please.

And one.
♪ (piano resumes) ♪

And open.

(inaudible instructions)

Side, close back.

(inaudible instructions)

(piano stops)

(inaudible)

Look. Open (inaudible).

Sometimes it's done only one (inaudible).

(inaudible) raise the leg, because if it's
only closing the leg, you (inaudible),

but this way you will-- hip, interchange.

But raising slightly on the leg.

Alright.

Now let's do <i>battement</i> (inaudible).

One, two, three, four,
double two, double two.

One, two, three, four,
double two, double two.

One, two, three, four, five, six,
seven, eight.

One, two, double stretch, double stretch,
raise tall, small balance,

and coupé... coupé.

Back, two, three, four,

double back, double back, side, two,
three, four, double side, double side.

One with arm and head together,
in and out.

Then <i>en passé</i>, this time will be back.

(inaudible) <i>passé</i> front, <i>en passé</i> back,
two times.

In raise, even shoulders, nice and free,

just float, arabesque.

Okay?

And one.
♪ (piano resumes) ♪

Two. And look side.

Brush with the ball of the foot.

Look straight. High skull.

One, two, three, one (inaudible).

Two, back, back side.

One, two, double two.

One, two, stay...

Close, and back, two...

(inaudible instructions)

(piano stops)

That's it.

Now, be careful.

You know, God will help you only if
you help yourself. Help!

Raise the (inaudible), you see.

You lift too much your chin.

I would love just to see your full face,
rather than your chin.

Chin is nice, but also show
your eyes, slightly.

Well, in this case, I would do
slightly to the side.

You see? The arm addresses the center,
inward with fingers,

but look slightly to the side.

Girls and boys, when you do that
double effacé,

be sure, don't look into the floor.

Don't block yourself.

Here I am.

Here I am.

Who could be better? 
(dancers laugh)

You know? That's not how you really
should believe in yourself.

You have to better work hard to get
more and more,

but fool the audiences.

Just tell them you are the best one.

Okay?

Now, there is no one more insecure person

in this whole ballet, than I was.
You know?

And I'm still now, but I think that
(inaudible).

You know, I may not be able to stay
in balance, but I fake, you know.

That's what you should do, fake.

But fake it good.
(laughter)

Open nicely.

One.
♪ (piano resumes) ♪

Two, and to the side.

(inaudible directions)

Fake but be humble.

(inaudible instructions)

Look under.

Raise, raise, raise.

Effacé. Chin up.

(inaudible instructions)

And then coupé back, <i>aprés</i>.

(inaudible instructions)

(inaudible instructions)

(inaudible instructions)

(piano stops)

(inaudible instructions)

Lean slightly more.

Down, down, down.

Lean, lean. Pull from the legs,

right underneath your groin.

You see, this is what raises the

whole body onto the standing side.

Girls and boys, be always pushing down
on the groin.

in your poses or in your work.

Don't allow...

Let the knees, thighs, stomach,
the front, down.

Okay, let's do...

One, two, passé, two, ankle.

<i>sur le cou-de-pied</i>, arm, passé.

Passé through here.

Down, two...

spring up!

Second arm... up.

Raise higher, stream line to the center.

Open your arms later.

See, don't even--

To develop (inaudible) balances,
try to hold on to pose.

The sooner you drop,
or just open your arms,

the sooner you get out of balance,

so really stay on in balances longer.

That second time you repeat again,
the first time, don't stay too long.

Don't over... (inaudible)

Then repeat the same thing, second time,

passé développé à la seconde.

Arm up to crown...

the second one.

Stay as long as you wish.

Not too long, because there is
another class. (dancers laugh)

And one.
♪ (piano resumes) ♪

Open, relax.

In.

Push, right, (inaudible)

Passé.

(inaudible directions)

Repeat.

(inaudible directions)

(piano stops)

Relax your (inaudible) right side. Relax.

Boys and girls, look.

Your look has a lot to do with
your balances.

Don't look at almighty God.

You know, he's not going to help you.

I mean to say, he helps you if you
help yourself.

Look to have impartial look.

You see, I look to the audience.

People think that I look into their faces.

I really register my look from here.

It's kind of a sultry look.
(audience laughs)

You see, I level myself, because if you
look up, you're bound to fall down.

You see, the way you look,
raising skull,

registering the look from here,

you hold yourself better.

Naturally, body, but look helps you also.

Alright, try to be outside, please.

Small effacé through the ankle first.

Eight times, and one.
♪ (piano resumes) ♪

Two...

(inaudible directions)

(piano stops)

Ladies and gentlemen, you know, 
that's my perception, but that heel,

whenever you go into some balances,

if you take so much time getting up there,

your body is still sleepy,

and by the time you bring the second arm,

it's time for you to continue.

So what is better?

You see, when you really go with one

spring up and lock,

you see, then, try to bring off-- isolate
from the shoulder your arm.

Come all the way down, all the way down,

And through the elbows,
slowly bring arm up.

And, that's not what I'm talking--

It's this, you see?

Relax your arm.

Come down.

Up.

You see? This will show off your balance.

It will give you better balance.

You see, if you go slowly,

you're not quite feeling yourselves.

If you push quickly,

you really do more (inaudible).

Stay longer, spontaneously (inaudible)

And then second arm with each (inaudible)

(inaudible instructions)

How big this movement is.

(inaudible) they fall, they...

you know, they stand up.

It's to build the excitement.

Same thing you do.

You see? You do the step (inaudible).

(inaudible instructions)

(dancers and audience laugh)

And then they appreciate.

You have perfect balance,
you go up, here...

(inaudible)

It's nice, you see?

They want to see somebody else.

Did you have both sides?

Okay.

Let's move <i>rapidement</i>,

two, three, four, five, six, seven, eight.

One, two, three, four,

five, six, seven, eight.

(inaudible) can go on, on the half toe.

Let's have it shorter.

Let's do effacé, then (inaudible).

It's just like shaving up and down.

This (inaudible) doesn't show,
and it's harder to do.

It's like shaving up and down.

Okay, then.

Then this time, reach right passé,

and stretch front.

From here, turn.

Spring up into (inaudible).

Hold balance.

Stretch up. Pull up.

Hold on to the pose (inaudible) arms.

Typical on that pose, people don't see

that you have (inaudible) out of balance.

(inaudible) visual thing.

(inaudible) de battement.

(inaudible). One.
♪ (piano resumes) ♪

Two.

One, two, three, four.

Back, two, three, four.

(inaudible instructions)

Circle... with the head.

Four, stretch.

Effacé.

(inaudible directions)

(inaudible instructions)

And pirouette.

(inaudible) turn.

(piano stops)

(inaudible instructions)

Girls and boys, be careful.

Don't allow yourself (inaudible).

Upper arm, you can lift as high
as you wish.

But don't have your faces
from the audience.

So lower arm...

allow to be seen, either from
the front or side.

Alright, to the other side, please.

(inaudible) battement.

Arm open, the leg to the side.
♪ (piano resumes) ♪

Into the wrist line.

(inaudible directions)

(inaudible directions)

(piano stops)

(inaudible) it's either better almost to,
stop if you have toe,

because that serves (inaudible)

(inaudible) serves you more as a break

if you turn and you push the heel

(inaudible) as you stop.

Almost like (inaudible), because to stop

on a big movement like that in a turn,

just dead stop, it's very hard,

so you see, it's like (inaudible).

Allow the-- you see, you were late

(inaudible) was very lazy.

Allow the arm, leg (inaudible).

Same amount of (inaudible).

Your leg becomes so much more
important and visible.

Now, let's do-- relax, (inaudible)

<i>balançoire</i>, two, <i>balançoire</i>, two.

One, two, three, circle out, brush, two.

One, two, three, one, two, three.
One, two, three.

Circle out, brush two.

So, three balançoire, battement rush,

and then, on the fifth one,
circle at the same level,

then carefully (inaudible) first position,
raise like this.

And one, to the first.
♪ (piano resumes) ♪

Open the leg back.

Balançoire, two, (inaudible), three.

(inaudible counting and directions)

(inaudible directions)

You see, you allow the (inaudible)

to be withdrawn. Expand, you see.

Spread your shoulder blades.

Expand through the neck muscles down.

Shoulders down.

Reach, and even when you close your arms,

allow them to close in and out.

You see, don't (inaudible).

(inaudible) Look to the sides longer.

Exercise your head to stay
always in a better place.

And first position. Stretch your leg back.
♪ (piano resumes) ♪

(inaudible) And one, two (inaudible).

(inaudible directions)

Towards the bar now.

(inaudible directions)

(inaudible directions)

(piano stops)

Girls and boys, your arms...

don't allow-- your arms should be like

a beautiful--
like a beautifully framed picture.

The frame is-- are your arms.

You are not going to take a very expensive

(inaudible) as well.
Doesn't mean expensive.

A good picture can be cheap, you know.

You buy it somewhere at the Salvation Army

and that happens to be a Rembrandt,
and nobody else knew.

And then you place it beautifully,
you know, well chosen by somebody who

know how to frame a picture
and it'll look priceless.

So your arms are like frames,

so have them like strained.

For one thing, is it (inaudible) gradually

from leg, shoulders, through the elbows--

don't drop elbows.

Feel like there is a rod from here to the

center towards your elbow,
and it holds up fingers.

Now, sometimes I say something
very cruel to my students:

don't put the engine on, but fit your
wrist into garbage disposal.

You're not going to go like that...
(laughter)

Yes? You're going to make the knuckles,

push that middle knuckle out.

The rest of the knuckles will fit into
small, rounded pit, you see?

Sometimes you finish at the end,

and you say here it is.

You know, you finish a pirouette or
something at the very end of the variation

But generally in pas, hold your arms

Always alert and alive.

There's always a little stretch to each.

Don't exaggerate. Don't do (inaudible).

But be alive.

Like... like... if you have bird
(inaudible) discussion today.

Use all of yourselves, the entire body.

Head, arms, body, hips, chest, knees,
legs, everything.

Don't just dance with your legs.

Now, what have we done?
What we haven't done?

Let's do like this.

Demi-plié, in two, carefully sous-sous,

in two, out, collect yourself,

to the ball of the foot (inaudible)

in one, developpé, front fondu.

Step here.

Arabesque, face, now attitude, one arm...

second arm.

And then here, now reaching,

pull away, don't close back.

Reach away. Hold the bar.

And come back.

Then leap into fondu here.

And stretch, close in.

Lead away, coupé.

Passé.

Développé écarté, open your arm.

Bend into the leg, into the bar, here.

Now passé, and développé écarté
on the full foot.

Leading with fingers, same way, 
the way the instep is slightly turned out.

So, you do (inaudible)

coupé, switch your weight first.

Coupé passé, développé fondu, turn.

Step (inaudible) on the front leg
as far as you can.

Don't step out of (inaudible).

Then turn towards the bar.

One arm up, second arm.

Then after that, take the bar,

and heel to stretch that long muscle here.

Come back again. First, then (inaudible)

turn further, look to the side, fondu.

Then stretch pose on the floor, close.

Then turn away, écarté downward,
downtown. Yes?

I don't know where's your downtown.

Probably there. Yes?

And then open your arm,
then towards the bar,

open, then come to full foot,
and développé again,

right inline with the wrist
accompanying your instep.

Alright, so...

And make good preparation.
That's most important thing.

It's even more important than dancing,

because that sets up.

One.
♪ (piano resumes) ♪

Two.

Look.

Collect yourselves.

Switch weight, coupé.

Passé. Arm, also helps you to développé.

Stretch completely.

Step as high as you can. (inaudible)

Turn to the bar.

(inaudible directions)

Now stretch here away.

(inaudible directions)

Take it further. Promenade (inaudible).

Look to the side. Don't cover your faces.

Now (inaudible). Don't rush it.

Now, turn away.

And (inaudible directions).

(inaudible) Open your leg,
and open your wrist.

And (inaudible). Now reach from here.

Look straight. Look far.

Look to same lines where you're
going to put the ball of the foot.

(inaudible directions)

Turn inward.

And développé once again.

And, into the leg.

Stretch, raise (inaudible).

Good.

Turn to the other side please.

And one.
♪ (piano resumes) ♪

And two.

And down. Demi-plié.

(inaudible directions)

Switch your weight onto the leg
which will be supporting you.

Also shoulders not only the hips,
shoulders also, hold this.

Hold the bar.

Push on your groin down.

(inaudible directions)

Even shoulders. Bring that side
a little bit more to the knee.

That's right. Little bit more here, front.

(inaudible directions)

Now (inaudible) further.

(inaudible) look to the side.

(inaudible directions)

(inaudible directions)

And allow the wrist, arm to help you
développé.

Ladies and gentlemen,
I did notice right now (inaudible)

but be careful when you close your arms
be careful--

I don't know, maybe I'm wrong, but you see

this is what you do to stretch.

You give life in little stretch through
the chest and arms.

Now this, you lower elbows.

Then you lead with finger tips in,

and you compress arms into position.

You raise up here, or you reverse here.

Don't break the wrist unless you dance
Scheherazade. (laughter)

And all those things.

But you see, sometimes,
you people do this,

and what you show is the hands that are
out of kitchen.

I should know, because
I do a lot of kitchen work.

All of my home work, you know, vacuum,
and polish, and dine and everything.

So I'm trying, therefore,
to close my hands.

Try to show the little fingers,
around your wrist.

Don't ever show your palms.

Or don't drop your wrists here.

Closed to the touch.
Closed touch.

You come here.

Side close your wrists without showing
this side.

Okay?

Now let's do rond de jambe.

(inaudible) Let's do tendu coupé, in, out.

Passé, rond de jambe.

Rond de jambe in one, two, three.

Down in two, in three.

In four, full passé, grand rond de jambe.

Head down.

Pointe (inaudible).

(Inaudible) back,
ron de jambe.

Let's do (inaudible) back,
passé back.

Rond de jambe, fast.

Small.

No no, (inaudible).

Let's forget about small.

(Inaudible instructions)

So, (inaudible) passé tight,
four times only.

(Inaudible), up toe,
passé (inaudible).

Okay.

And one-- I always say,
and God help me to remember.

♪ (piano melody begins) ♪
Coupé front.

Two.

And then a little faster.
♪ (music increases tempo) ♪

(Inaudible) stretch, don't kick.

Three. Four.

Melt. Up.

Melt. Up.

One. Two.

Pointe-- rush.

(Inaudible instructions)

Passé back, side (inaudible).

(inaudible instructions)

Down, left toe.

(inaudible instructions)

Okay, do the other side.

(inaudible instructions)

It's beautiful.
(inaudible).

You kick (inaudible).

Okay, preparation and one, please.
♪ (piano melody begins) ♪

Okay, (inaudible) the 
other side.

(Inaudible instructions)

(inaudible) stretch.

Now melt, out toe.

(inaudible instructions)

Shoulders nice apart,
and widely spread.

(inaudible) a little bit
more clarification of that.

See that encourages you
to open your shoulders more.

The more you fully (inaudible)
abdominal and rib cage,

the more the chest and
shoulders spread out.

See, if you push here out,

then shoulders (inaudible) and small.

The more you pull in through here,

through here, the more you open,

and the freer you become in your dance.

I know you're already looking at your
watch.

What else?

Oh! Let's do like this.

Now...

(hums to a beat)

Close. (continues humming to a beat)

One, two, three.

And stay.

Side, double rond de jambe.

Side, double rond de jambe,
tombé coupé, pas de bourrée,

stretch-- no, don't stretch.

Okay, just (inaudible).

Girls, make it very nice and delicate.

And, look, if you just drop your sides,
it's going to be a little bit coarse.

But if you twist your whole body,
as long as you don't twist the shoulders

against the hip line--
it's like épaulement.

And then stretch.

In one, two, three, four.

One, two, three, four.

And one.
♪ (piano resumes) ♪

And...

(inaudible counting and directions)

(piano stops)

(inaudible)

That's it. Hold on to the
(inaudible) chest.

You are now going to (inaudible).

(inaudible directions)

To the other side please.

And one.
♪ (piano resumes) ♪

(inaudible directions)

Look to the side,
to the other side.

(piano stops)

What do you have there? You probably,
all of your bank, all the gold is there.

Just pose your back.

See all the savings there, the gold...
(inaudible)

See, allow-- each time you raise the head
south, it's so free and it's so natural

to use the-- turn your heads (inaudible),
you know, just for the fun of it.

Drop your head down, or too much back,
and try to rotate your heads.

See how flat you look?

Of course you don't have the (inaudible)
in the back.

But, it's true, you see.

This is the extent. I cannot turn more.

But here, you see how stronger...

then turn (inaudible).

Okay, let's do just simply
battement avant, battement fermé.

One, to the point of the point.

Two, up two in two.

One, close (inaudible).

One, to the toe, one...

One, simple, one, toe.

Up the toe, half toe, gap.

Terrible memory. One.
♪ (piano resumes) ♪

Simple.

(inaudible instructions)

Raise it, raise it.
Chest up, please.

(inaudible) in and out.

(piano stops)

Girls and boys, the more you rush to your
feet, to the floor,

the more control, the easier, the firmer,
you hold your body, like "yes!"

See, if I just (inaudible),

bring the leg up without brushing,
the rest of my body wants to (inaudible).

The more I brush, the more I hold myself.

Turn to the other side, please.

Turn as much as you can.
Don't exaggerate.

It's better to have sometimes a little
bit less of a turn down, fifth position,

you know, instead of heel to the toe.

It's better to have maybe a
little bit less.

Before you (inaudible) that ankle to
stretch your knee caps (inaudible)

sides up, you're going to get that
(inaudible) good turn out

from the other side.

Okay.

Now when you close like Madame (inaudible)
used to say, close trying to be turned in

and then stretch the knee at the
same time.

Like the knee is stretched at the
last time, then it goes right for you

to turnout from your hip side.

And one.
♪ (piano resumes) ♪

(inaudible), out.

(inaudible directions)

(piano stops)

Ladies and gentlemen, you know what?

In work, we become tense,
we forget one or another, a third thing

about ourselves, about the corrections
and so on, that you'd like to remember,

but if you happen to tense your hands,
just shake out the tenseness,

open your arms and just let them bring--
come down, nice long oval tradition.

Just... (inaudible).

Now from training, naturally you want
to drop, and just (inaudible).

(inaudible)

Take away the bars, please.

(inaudible)

You know, that's one thing, I was a very
lazy dancer. That was my failure.

But, each time before going to bed,
I always think how I dance.

I always find (inaudible). That was wrong,
and even the times when (inaudible)

more or less, alright, then I'd say,
"oh, yes, this needs to be worked on."

And then I never found the time to work
on it, because I was lazy.

You know, that is not commendable.
None of you (inaudible).

One, two, three, four, five.
Let's do that.

Alright.

Let's...

(inaudible)

One, and two, now tendu fermé,
tendu fermé.

Demi-plié (inaudible), relevé,
and pull up.

Tendu fermé, tendu fermé.

Circle your arms, looking away, same pose.

You strike up, down, chassé,
pas de bourrée,

tombé coupé, pas de bourrée.

Tombé, and inside pirouette.

Close down.

Tendu fermé, tendu fermé.

Demi-plié, relevé, (inaudible).

(Inaudible directions)

Down. Raise up same arm.

Now, (inaudible).

Look to the audience.

Coupé very tight. 
Tight.

Coupé (inaudible),
rush to the first position.

Don't drop your arm.

Lean this way.

And then pirouette.

In.

Alright?

Hold your arms until the 
very very end pirouette.

And when you finish pirouette 
it's nice to hop off.

It's like raising slightly on
your foot in assemble.

Okay, very (inaudible).

And one...
♪ (piano music begins) ♪

And two.

Look at the audience.

One, two, three,
and four.

Down.
Raise up.

For the (inaudible).

One.

(Inaudible instructions)

Down.

(Inaudible instructions)

Measure your paces.

(Inaudible instructions)

Pirouette and continue.

(Inaudible instructions)

Melt.

And in and (inaudible).

(Inaudible instructions)

Girls if you were little cats 
you'd lose your mouse so

quickly before you can count
to, you know, (inaudible). (laughter)

You'd lose the mouse.

Because look, here.

You look, you
(inaudible), and you turn

and you look.

You look down,
you look down.

Mousey, where are you?

You see, and it's gone.

Let's do it in two
groups please.

Alright, girls first.

Well (inaudible) up
in two groups right.

(Inaudible).

Look (inaudible).

When you do chassé,
instead of doing down or

dropping your movements.

It's (inaudible) strongly 
with the back foot to

chase the front leg.

You see you go with
arms to here to here.

You see you float.

Raise the back leg.

And then rush to the
first position.

Tight tidy (inaudible)
heel down.

Then coupé side,
turn around.

Tombé.

And even here, don't
look away.

I look where I step.

Most of you know this already.

See, when you get old
you have so many students

that you can recall.

Alright, and one.
♪ (piano begins) ♪

(Inaudible), full body,
head, chest.

And go ahead.
♪ (piano resumes) ♪

One, two, too (inaudible).

(Inaudible instructions)

(Inaudible directions continue)

Melt. 
Raise up.

When you melt don't drop.

(Inaudible) and up.

Remove yourself.

♪ (piano fades) ♪

Girls and boys you see
once you establish your

preparation alignment,
your good body,

you'll never read it wrong.

You look away,
you look to the audience.

You change, you look under.

You look away,
you look under your arm.

You look here,
you look here.

And you look starting to 
(inaudible).

You see, so there is really
never a chance for you

to look down and drop
with the chin unaligned.

Change please, to the 
other group.

Change arms fast (inaudible).

If you take low arms it spoils
a nice little (inaudible) tendu.

This tendu becomes 
more ready.

And this unless you do
a little (inaudible)

the simpler it becomes
for the (inaudible).

And one...
♪ (piano melody begins) ♪

One, two, (inaudible).

(Inaudible instructions)

(Inaudible) to the audience.

(Inaudible instructions)

(Inaudible) look side
to the audience.

♪ (piano fades) ♪

Be careful when you step.

You see you stepped 
your body back.

(Inaudible) the more you
pull out your body

the more harmonized 
that makes you.

You step if your body
is behind.

Alright. (sighs)

Let's do coupé, pas de 
bourrée, coupé passé.

One and two and three
and four.

One and two,
three and four.

One and two,
and three and four.

Coupé, pas de bourrée
to the side.

On place to the knees facing.

And over, under,
backward, to the other side.

(Inaudible), pas de bourrée,
(inaudible) and up.

Come back down.

Alright, so...
you see for more harmony

try to rotate the whole body.

And here.

Then facing.

Then involve-- look.

Then here from the back.

Then coupé pas de bourrée,
coupé pas de bourrée.

Very tight each time.

And pas de bourrée.

Each time you start,
always very tight.

First one is, pas de bourrée
to the side changing (inaudible).

Then bourrée, to passé.

Yes, then over from the back.

Then under from the back.

This.

This.

And then we see a (inaudible)
and the pose is still the same

except arms and
head change here.

Now this (inaudible) close
this (inaudible)

revolves you back.

Then (inaudible),
pas de bourrée down.

Up.

(Inaudible instructions)

You always go (inaudible).

Over, under.

You want to do it a little
bit slower one time

for everybody to get used to?

And one...
♪ (piano melody begins) ♪

Two.

And coupé pas de bourrée--

No.

Play different music,
happy music.

(humming upbeat melody)

Rather than slow. And one.
♪ (piano music begins) ♪

(Inaudible) over.

Under.

And down.

And passé, and passé,
and go down and in.

One, two, three (inaudible).

One, two, three.

One, two, two.

One, two, three.

And one, two, and four.
♪ (piano fades) ♪

Okay girls and boys,
go a little bit ahead of music.

Go a little bit,
almost like happy.

And one, two.

And one, two, three.

One, two, three.

One, two, three.
♪ (piano music begins) ♪

One, two, three.

One, two, three.

One, two, three.

And one, and two,
and three, and four.

Maybe it's too fast.

Just a shade slower.

Alright.

And one...
♪ (piano music begins) ♪

I need everybody together.

(Inaudible instructions)

Close your arms like her.

Alright, what will help you
everybody is by closing

your arms a little bit
deeper into it.

And deeper arm.

One, two, three, close.

Up, two, three.

Address one, two, three.

And one, two, three,
close your arms you see.

Close the other arm.

Then again from your arms 
here to here (inaudible).

And then pas de bourrée
and (inaudible).

Don't make it slow--
happy.

Make it kind of staccato.

Okay so (inaudible) like,
it'll move.

Alright, and one...
♪ (piano music begins) ♪

And...

Show your faces,
(inaudible instructions)

(inaudible) your arms,
(inaudible) to your arms.

(inaudible instructions)
♪ (piano music ends) ♪

You see, to make the (inaudible)
you don't do it anymore

then (inaudible) the music.

(Inaudible) count the time.

But you see, if you prolong
arms that will show what you do.

That you do coupé
pas de bourrée.

You see, it's like (inaudible).

I don't need (inaudible)
to your wrists.

But light, light.

Light. Show the.. leg movements.

You see? If I do this, nobody will
see my (inaudible).

Let's do like that, in one, in two.

(inaudible)-- start with plié (inaudible).

One, slow, small glissade soutenu.

And here, turn around, and come down.

Reach open.

Gather yourselves. Coupé, passé,

développé, écarté.

Now turn into effacé.

Step, allongé. (inaudible) first.

Then circle, circle, circle, to here.

Raise half toe, tombé coupé, pull up.

Down here, reach toe, attitude, half toe.

(inaudible), pas de bourrée.

And you have the correct leg.

Then to the other side. One and two.

And plié, glissade, glissade.

Soutenu (inaudible). Hold pose.

And come down, then open arms.

Collect to supporting side.

Coupé, passé, developpé, écarté.

Then phase into effacé.

Step into first arabesque.

Promenade, promenade, promenade.

Raise up, tombé (inaudible) coupé.

Both hands (inaudible)
directed into the spine.

Now (inaudible) your attitude en croisé.
And then...

(inaudible) to the side.

(inaudible)

Don't grow old. (audience chuckles)

Okay?

(inaudible)

Okay, and one.
♪ (piano resumes) ♪

And-- girls and boys. (piano stops)

Don't stay like mummies.

Although mummies make very good money.
You know? They charge $25 and $50 to see

Tutankhamen's... you know, ornaments
and things when they show it at the

museum in Los Angeles.

So mummies actually pays more
than a dance student. (laughter)

But you see... pull up.

You see, also about, you know,
about your expressions.

What is your personality or your
expression?

It's (inaudible) to turn up, and
(inaudible) and synchronize,

and do the right things.

You see, if you stay nice and firm on
the slightly outward ridge of the foot,

in nice position, you go up through the
center,

your bones tie up your tight muscles
here, tummy, rib cage.

Expand chest, raise the spine, skull,

and then you float, you see.

You have a very impartial look that is
really not smile, not forced smile,

not look sad or (inaudible).

You see, you just be free.

That's why when I say pull to the
deep center of yourselves.

Allow the rest of the dance to be free
or (inaudible).

Now do you remember what I asked
you to do?

(inaudible instructions)

Alright.

And one.
♪ (piano resumes) ♪

Two.

Reach.

Plié, and...

Stretch. Collect.

Coupé.

Passé.

God help you. (laughs)

Effacé, pulling outside.

(inaudible directions)

Up, tombé, coupé, (inaudible).

Plié, plié (inaudible).

(inaudible) to the side with closed arm.

Soutenu, (inaudible).

(inaudible)

(inaudible instructions)
(piano stops)

The longer you go here, and then at
the peak you raise the half toe

by the time you (inaudible) shoulders
and hips into that direction.

This is your peak (inaudible) when you
raise the half toe attitude.

Then cut in the arms, you see, like
(inaudible) resting, coupé.

Side, and change. Open your arms.

See, try to sell more. You know?

(inaudible)

Alright, do you want to do it again,
everybody? (inaudible)

Alright, if you want it.

If, my god, I don't-- I don't tell you
how you people can work so hard.

I saw most of you already in class
yesterday.

Today, I'd be already in grave by now.
(audience laughs)

Okay, first move please.

I don't mean that you have to be lazy.

I couldn't agree more with (inaudible).

Girls, you have arms (inaudible).

You have arms like that.

It's like lost in time.
I'm lost, I couldn't be found.

Where am I? (audience laughs)

This is the pose.

You see? I feel...

(inaudible)

And then by the time you raise your arms,
you're not somewhere, there, and up here,

but, you know, it's... (laughter)

You go through here.
There's no (inaudible).

Close your (inaudible) almost (inaudible)
but try this softer.

Go ahead. And one.
♪ (piano resumes) ♪

(inaudible)

And arch, arch.

You see, this is what really makes the
whole movement stronger.

Spot (inaudible).

Lean the head. Lean the head sooner.

See that gives you more time.

See, eyes, ears, but not the face,
not the head.

(inaudible)

Relax (inaudible).

(inaudible instructions)

(piano stops)

Girls and boys, look. When you do
tombé coupé, don't look down at the floor,

because for one thing, you lose your
(inaudible) as you're focusing.

You are... your body and yourselves.

You see if you look down, if you resist,

you arch, and if you tend to look with
eyes down, you don't really allow your

head to look down. More chest.

See, then you, you float, you glide.

You dance with your audience,
otherwise, we dance to the floor.

Now somebody that's plotted to
make fun of me, with my short hair,

they left a bobby pin here.
(audience and dancers laugh)

Can you imagine?
(audience and dancers laugh)

Okay, (inaudible).

Come, the other group, please.

Have you lost the floor? There again.

Where (inaudible). Is it a number for you
there?

Come, and when you look...

See, you know, I pick on you.
That's why my students (inaudible),

because, you know, I'm trying to give
the best of the knowledge that I was

so fortunate and lucky to receive.

Just like having the great privilege and
honor to dance with Madame Danilova.

I watched. I cherished every move.

I remember how she screamed at me,
how she...

you know, I'm winded, I'm exhausted,

"Lift knee! You didn't do right! Again!
That's bad! You're terrible."

But I learned, and so, I pick on you,
it's for you to get more (inaudible).

You see, come out. Here I am.

Whether you can do it or not,
assure them that you can,

that you know (inaudible).
(inaudible).

Alright, in one.
♪ (piano resumes) ♪

Open eyes, and wide arms.

That's right.

(inaudible) plié, and small close in
your arm.

(inaudible directions)

Come down, first. Stretch arms.

(inaudible directions)

Either side, you can go either way.

(inaudible directions)

Here.

(inaudible directions)

Look to the audience. Again.

Down.

You can still go here, here, here.
(piano stops)

(inaudible)

See there's one time when you turn
around and you start to look at the--

move the floor from under you.

They are not going to remove that floor
until the (inaudible) class. Okay?

The other group, please.

Boys and girls, stretch more.
Expand more.

This is what gives you stronger lines.
This is what supports you.

That's what gives you balance.

This is what gives you that beautiful
reach and real dance. You see?

So, don't be afraid. You never can
stretch enough to the center.

Of course, too much that way.
(inaudible)

Alright, go ahead, please.

Before starting to establish yourself,
one. ♪ (piano music) ♪

(inaudible) Start, reaching up,
we plié.

Reach up, then (inaudible)

That's it, (inaudible)
position the arms, (inaudible).

Reach then go higher,
(inaudible)

(inaudible)

(inaudible)

Alright, let's do...

Let's do chassé, (inaudible)
chassé, (inaudible).

Jeté, but you, back, front,
assemble.

(inaudible) full body with hips,
chassé, (inaudible),

chassé, (inaudible), step-- it's just
a bounce, don't just step heavy.

Bounce, assemble, (inaudible),
arabesque, (inaudible), arabesque,

first, second, third, back.

Third arabesque, jeté,
hold on until the passe

and assemble, you should start assemble
from here, back to (inaudible).

Same thing, jeté, until I say (inaudible).

You back up, then you force.
You see?

You switch wing, here battement,
battement, and cut like scissors.

Open the arm, opening primarily the back
arm and the last minute you, (inaudible).

Alright? So, one, two, chassé,
(inaudible), chassé, (inaudible)

One and two and three and four.

One, two, three, and four.
One and two and three and four.

(singing)

Okay?

Let's walk through once,
so that you can memorize (inaudible).

The more you twist, the more you look at
the audience, the more you reach, pull in.

It's just like, sailor dance, you know?

No?

Okay, and one
♪ (piano music) ♪

And! One, two, three, four.

More, one, two, three!

You go down. Go up and side,
under the arm with nothing like that.

Okay let's do it once again.

First group, please.

But there was something I,
I noticed...

Oh, girls and boys, allow the same
amount of steps to look like

you're really comfortable, but you're
not to miss your expectation,

but to have plenty of time,
do it comfortable.

You see, to the same amount of music,
try to be a little bit more relaxed,

more down to the point,
don't do extra small little things.

I don't think I can do it, my age, but
I'll try to show you. ♪ (piano music) ♪

(piano stops)
Of course, I expect you to do it better.

But you see...
(applause)

I'm not going to make you,
feel any better. (laughter)

Alright, try not to look too rushed,
okay? Good.

First-- ♪ (piano music) ♪
and I do appreciate, thank you very much,

I feel much better, thank you.

When you hold, like this go down here,
your arms, see?

That move with your arms from here.

Down, up, you see?
Will help your assemble,

which is not a very big jump, if you want
to take the time-- that's better, see?

If you just move arms here,
it does not bounce you up (inaudible).

You want to do second group, please?
Or same group, second group, maybe.

Let's rest for a minute.

And go ahead in one,
♪ (piano music) ♪

And chassé, (inaudible)

Yes, yeah, they needed that little
kind of extension break.

Alright, let us-- first group.

Keep it nice and tasteful,
the more you reach, the more you pull up,

the more you look to the side,
the more it brings the movement,

(inaudible), it's softer. Alright?
And one, ♪ (piano music) ♪

Two and chassé, (inaudible).

Excellent, good.

(inaudible)

Girls and boys, when you back in chassé,
you can't go back too soon, okay?

(inaudible), the first thing is the big
step already starts reaching back,

then attack! Here, you see?

Then you stay more facing to the audience,
than showing the back to the audience.

That's it, stay even longer
facing the audience, see?

Back up longer, and then faster attack
into (inaudible).

Alright, second group, please.

Then we'll...

And,
♪ (piano music) ♪

And chassé, okay.

(inaudible)

Okay, ladies and gentlemen, one thing,
for boys or girls, the more you get

used to, using your arms, the richer
and more beautiful, the stronger--

you girls will look more feminine,
you boys will look more masculine.

Use stronger, bigger arms. Of course,
don't pull unnecessary moves, you see?

Use them within scope and limitation,
I've never reached further--

well, in that first arabesque sometimes
you may have (inaudible),

but the shoulder stays facing, but
otherwise, don't ever open-- like

some people do so much arms.
Open with a slight, close, this, close.

You see? It revolves,
it should be very simple.

Alright, let's do just, little (inaudible)
but, you know, just to finish.

I used to play the piano, certain songs,
but now it looks like, you know, like

somebody going back to (inaudible).

I just didn't have the strength
as an amateur.

Alright, just, just, (inaudible),
don't worry, go ahead, in one.

♪ (piano music) ♪
Okay, (inaudible)

And, one, two, three, four,
five, six, seven, eight.

One, two, three, four,
five, six, seven, eight.

One, two, three, four,
five, six, seven, eight.

One, two, three, four,
five, six, seven, eight.

Okay, (inaudible)

(inaudible)

Go up, turn back away, (inaudible).

Ladies and gentlemen, this gives me
a great deal of pleasure to be here

and namely why, it's our very dear
friend, Igor Youskevitch

and all of my (inaudible).
(applause)

You still have a lot to go and I look
forward to seeing you again in there

and...

(inaudible) is my name.