INTERVIEWING ALICIA QUADRI

By Raquel Nahum

Introduction

Between the years 2006 and 2010, the Colón Theatre had to close

its doors in order to carry out an important restoration. Because

of this, and the necessity of their artistic staff to have a place to

rehearse, an agreement between the SHA (Sociedad Hebraica

Argentina) and the GCBA (Gobierno de la Ciudad de Buenos Aires)

was made. As a result, the ballet and the choir began to rehearse

at the SHA. The members of the ballet and the members of the

SHA shared some common places, such as the dressing room, the

gymnasium and the cafeteria. In this way, I had the opportunity to

exchange a few words with the dancers.

However, to my dismay, I couldn't ask them all I would have liked to ask to satisfy my curiosity.

Once the agreement ended, the choir and ballet members returned home (Colon Theatre), but

one of the ballet's member s continued attending the SHA. I used to see her in the cafeteria,

where some of my gym classmates were having coffee and chatting with her. Then I knew her

name: Alice. We talked about many topics. Fortunately, we could meet more often and I had the

opportunity to know her a little deeper.

This year, when our teacher of English informed us about our annual project, I decided to ask Alice

if she would like to answer some questions regarding her profession and her life as a dancer,

among other topics. To my surprise, she accepted immediately. The different informal interviews

were carried out at the cafeteria of SHA.

I will try to transmit in my own words some aspects about her rich life. I could not record the

interviews. I took conceptual notes of her answers. I hope you find it interesting.

AN ARTIST 'S LIFE

Alice began to study dance when she was about 8 years old.

At the age of 10, she entered the Colón Theatre, she started

the dance school. She was stimulated by her mother, who had

always wanted to study dance, but her parents hadn’t seen

with good eyes that a young girl had this kind of life. As a

consequence of that she felt frustrated, but she intuitively

knew that her daughter was made to dance and she decided

to offer her the chance she had never had.

Since she entered at CT (Colón Theatre), her days went between the dance school during the

morning, from 7.30 to midday, and the school during the afternoon. At dance school her schedule

included many subjects and some of them were: French, music, physiology, anatomy, and then

classic dance with classes four times a week and contemporary dance. Her mother was an

unconditional support bringing her the accompaniment she needed at that time.

At the age of 13 she was the soloist dancer in an amateur group and got presentations at San

Martin Theatre. She also went on some tours with this group. The performances were in different

provinces of our country.

While she was attending her 5th year at CT dance school,

she won the contest examination to be member of the

stable staff, with only 15 years old.

Although this profession gave happiness to her, she also

was a victim of stress because she had had a lot of

responsibility since she was very young. The stress caused

her some physical problems.

When she was 17, she went on a tour during 45 days. By that time, she had to travel alone with

her mates, without her mother support. Then she won an improvement dance scholarship at the

American Ballet and she stayed there during a month.

When she came back, she had to go on leave. At that moment she was going through a personal

crisis and needed to explore other paths. Finally she realized that she had been born to dance and

began to take private dance classes.

Returning to the CT, she competed, in front of an international jury, for the position of “prima

ballerina”. She submitted 3 works required and 1 of her own choice and, fortunately, she won the

position. Afterwards she never had any doubts about her professional election (her vocation),

despite the physical pains and the professional and personal difficulties she had to go through.

She made her début as prima ballerina in the role of Juliet (Shakespeare’s Romeo and Juliet). She

admits experiencing a kind of magic while dancing and interpreting this particular role. Finally, she

realized that it was her place and what she had always wanted to do. Music + dance +

interpretation of a role with the blending of its feelings and the magic of the time when the story

develops, makes the character alive in the artist and the public receives it as true.

Despite time elapsed, the magic remains. I could perceive it in her words.

When I asked her how characters were prepared, she said that a deep understanding of the play is

needed and also the motivation of the teachers and their advice.

Another aspect to take into account to achieve a good performance is the confidence and security

provided by the partner. We must consider the risks dancers are exposed to.

She had the pleasure and the privilege of dancing with very important artists, some of them were:

Nureyev, W. Vasiliev, Olga Ferri, José Neglia, Raúl Candal, E. Camaño, among others.

The opportunity to travel for training arrived: the Metropolitan of New York, the City Center and

the Lincoln center. She went on tour at the Paris Opera. Also she trained in Hamburg, Frankfurt

and Berlin Operas. Finally, she auditioned and won a contest, but she resigned because her

husband, a Colón Theatre dancer too, didn't.

During 1974 she went on tour with all the Colon ballet. They were at different cities in Brazil, Chile,

Aruba, México, Curacao, Venezuela, Monterrey, Guadalajara, and after that another tour around

Colombia.

Her best moments were with the performances of Giselle, Swan

Lake, Coppelia, Romeo and Juliet, The Sylphide, Don Quixote.

She also danced A Midsummer Night’s Dream, The Sleeping

Beauty and Cascanueces, all of them with the choreography of

Oscar Araiz.

In all professions and jobs problems or accidents occur and the ballet world isn't stranger to this,

but Alice told me that most of the mistakes on the stage are minor inconveniences that the public

hardly perceives. One example was a fall she had in her début that elegantly suceeded.

One of the most impressive and exciting memories to her was when she returned to dance after

her leave and received a standing ovation from the audience, during several minutes, in addition

to the many bouquets received (more than eighteen), and the possibility she had to see her

mother excitement because of the demonstration of affectation to her daughter.

Regarding her personal life and work, she had to rest for some months during her first pregnancy.

After that, Liliana Belfiore assigned her the role of Lilac fairly at Sleeping Beauty, that preparation

meant a great physical effort. She made her début when her baby was 2 and half months old.

She departed with her husband to the USA, to take lessons, when her older daughter was 3 years

old and the younger 6 months old, leaving the girls in charge of her mother who supervised the

staff that took care of the girls.

When I asked what the Colón Theatre closure for restoration meant and the need to move to the

SHA for rehearsal, she admits that those were very difficult times, because they felt that they had

lost their "home" (Colón Theatre). Anyway she did not have problems with the new place, but

other people had some worries given by the terrorist attacks in the Israeli Embassy and Amia in

previous years. The ballet and the choir were at the SHA from 2006 to 2010.

Rehearsals for the gala reopening were made at the

Municipal Exhibition Center. The return to the CT was

very significant in her life. Her first feeling was to be in

another theatre, the typical aromas (woods, clothing,

make up...) had gone, the history she lived there within

those walls had gone. It was a shock. The old dressing

rooms had disappeared and the new ones were

completely different. Also the floor had changed.

She danced till the age of 52 and in the reopening gala when she was 55 years old. She hasn't

doubts she would choose this profession again despite all the difficulties she had to face.

This has been a brief overview of Alicia’s professional life.

Also she is very grateful with her mother, an important support in her life. She remembers her

parents' happiness seeing their daughter happy in her profession.

For new applicants, as a piece of advice, she believes it is very important to follow passion.

At the moment, she is still a member of the SHA because she likes the environment.

Finally, I would like to thank this artist who allowed me to glimpse an unknown world to me, but

much more for giving me the opportunity to meet such a simple, sensitive and caring human

being, always willing to help. I only have to say: Thanks Alicia Quadri.

Alicia Quadri on YouTube:

Coppelia.The Prayer Female Solo Alicia Quadri Teatro Colon

http://www.youtube.com/watch?v=DT1yb2Ac6do

Ballet Giselle con Alicia Quadri y Raúl Candal 5 de 11

http://www.youtube.com/watch?v=_H2mmpOqnEY

La Sylphide Effie Alicia Quadri Teatro Colon

http://www.youtube.com/watch?v=_g97Hn9-xow