Amanda Gomes is the prima ballerina of the Tatar Musa Jalil State Academic Theatre of Opera and Ballet, an Honoured Artist of Tatarstan and a laureate of international competitions. She graduated from the Bolshoi Theatre School in Brazil. She has been performing professionally since 2014. Amanda Gomes has appeared on leading stages in Brazil, Italy, Uruguay, Paraguay, and Switzerland.
Why did you decide to become a ballerina?
Since childhood I loved dancing, especially to different kinds of music. But most of all I was inspired by the image of a ballerina: the tutu, pointe shoes, and tiaras. At the age of seven I began to study ballet, and once I realised it could become a profession, I decided to dedicate my life to it. By the age of ten I was already studying at the Bolshoi Theatre School in Brazil, and since then this art has become my calling.
And why did Russia become the next stage in your career?
At the School my mentors were Russian teachers, and during my student years Russian theatres and ballet dancers became important sources of inspiration for me. I was fascinated by the dedication, the sincerity with which dancers here step onto the stage. They put their soul into every movement, and this is much more than simply demonstrating flawless technique. Their example inspired me with a dream – to dance on the stage of a Russian theatre.
How did your adaptation to the local culture go? What turned out to be the most difficult? And how did you manage with learning the Russian language?
The first serious turning point in my life was the move from Goiania to Joinville, where the Bolshoi Theatre School is located. The residents of my home city are very open and sociable, while in Joinville people are more reserved. The difference was significant. But the greatest change in my life came when I moved to Russia at the age of 19. I experienced a strong cultural shock! A completely different climate, a foreign language. I arrived here knowing only two words: “spasibo” and “khorosho”. I had to learn Russian, but I started to study it with great enthusiasm because I clearly understood why I was here.
What especially won your heart in Kazan? And what do you like most in Russia?
On arriving in the country – first in Moscow, then in Kazan – I was struck by its history, culture and architecture. I was especially deeply moved by the passion with which theatre and ballet are cherished here, preserving this centuries-old cultural heritage.
In your view, how do Brazil’s national characteristics manifest themselves in classical ballet? And what is the main contrast?
In Brazil, the energy of life really overflows – and in ballet this becomes our distinguishing feature. I admire my compatriots: their brightness and talent conquer the world’s stages; they are worthy representatives of our culture.
In your opinion, what practical steps could the BRICS countries take to establish systemic cooperation in the field of joint ballet projects?
Ballet is an art without borders, understood by everyone even without words. It is enough to see the dance – and its meaning will be revealed to the viewer. It is a unique form of creativity. From my first days in Russia I communicated with the audience in the language of art, conveying emotions and ideas through movement. This is how art erases boundaries: joint projects promote cultural exchange. Each country makes its own unique contribution, developing the traditions of ballet.
Which dance elements of BRICS countries’ peoples, in your opinion, could enrich the language of classical ballet?
Classical ballet is often associated with tutus, “Swan Lake”, or strict academic technique, but it requires universal training from the artist. To dance the classics at the highest level, one must also master character dance and contemporary choreography. Folk dances and elements of folklore are part of the compulsory programme of professional education in Brazil. A true ballet artist is not only pure classicism but also a synthesis of different techniques mastered over years of training.
In your opinion, how does ballet succeed in overcoming cultural barriers? In what ways does ballet bring dancers from different countries together?
Art is a bridge between cultures. Each artist embodies the national traditions of their country, and when they meet on stage – a miracle happens. I hope that in the future ballet stages around the world will be open to dancers of all nationalities.
What institutional mechanisms can support ballet artists of BRICS countries? Are there cultural exchanges, special programmes or other tools of cooperation?
I am convinced that cultural exchange is extremely important. Although I have not had the chance to participate in BRICS projects, my desire to become acquainted with the ballet traditions of the world arose as early as the age of 14. That was when I first went to international competitions, and that experience turned out to be invaluable. Learning the particularities of ballet in different countries had a significant influence on my professional development and largely shaped my personality.
What, in your opinion, makes the Russian ballet school unique? What are its characteristic features that create this distinctive style?
Between the Russian and Brazilian ballet schools there are certainly many similarities. However, it is the Russian school that demonstrates exceptional dedication – both in its approach to performing a role and in its attitude towards the performance as a whole. Each country has its own unique style. But the ability to give oneself to the dance completely is inherent not only in Brazilian dancers but also in Russian ones.
What are your professional dreams? How would you like to change the cultural space around you?
I rarely share my most cherished dreams, but one of them is of a world of art – multifaceted and united. I would like cultural exchange between countries to develop more actively, and the creative sphere to receive the recognition and support it deserves. After all, only art can truly touch the human heart.
What role do you dream of? Is there a part you would especially like to dance?
I have performed many ballet roles, but I like best those productions in which I have yet to take part. Nothing inspires me as much as preparing for a new performance, for creating a role in my own interpretation. Even though Odette, Giselle, or Juliet have been danced thousands of times, on stage these roles belong only to me. The true image is born not from imitation, but from the depths of one’s own soul. This path is not easy, but the moment of complete fusion with the role on stage is incomparable.
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