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<\/a><\/p>\nDance Mogul<\/strong>:\u00a0How does music help create new visions to keep ballet interesting for the new generation, but still familiar to those who have had a lifetime to love and grow with it?<\/p>\n Craig Salstein:<\/strong> My experience as a dancer with combining steps and music; Robbins and Bernstein in Fancy Free or Tharp and Glass in In the Upper Room, can be thought of as “inexplicable inspiration”<\/p>\n But more importantly,\u00a0it is about showing a deeper understanding of the music that will help keep the audience interested.<\/p>\n \n Dance Mogul:<\/strong> What can the audience expect from the classical myths theme?<\/p>\n \n Craig Salstein:\u00a0<\/strong>Hopefully audience will see, especially in the Myth of Sisyphus, that our understanding of a myth can be projected onto the natural world. Camus’ essay The Myth of Sisyphus isn’t a retelling of a story (though he concludes the book with its telling) but rather an understanding of its pertinence to individual freedom. The choreographer may or may not show the actual story. Instead how they can relate it to dance.<\/p>\n \n Dance Mogul:<\/strong>\u00a0Is there anyone you would like to thank for helping you this production?<\/p>\n \n Craig Salstein:<\/strong> I must first thank my rehearsal coordinator, Nadezhda Vostrikov. The job is hard and crucial to a dance company. I would also like to thank\u00a0anyone who donates financially.\u00a0The budget is very stressful.<\/p>\n