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- [Translator] Cabaret always makes me interested, Wechat: NEXIABET Whatsapp: +66944385708
and I always think about Moulin Rouge.
(drum hit)
- [Translator] As a dancer,
You dream of dancing at Moulin Rouge.
- [Translator] Sometimes I feel disturbed by that thought
that one day I won't be able to dance again.
(drum hit)
- I can audition for 500 girls, 500, 600 girls
in a year and only go home with five, maximum 10, 12.
(jazz music)
- [Narrator] Ladies and Sirs, we will take you
on the way through a parallel universe,
somewhere between reality and imagination.
Let's roam in history and current time
from the most famous revue theater of all time,
and see the secret the world behind the curtain
This is the most legendary of all cabarets.
(drum hit)
Ladies and gentlemen, welcome
the heart of the Moulin Rouge.
(drum hit)
- Moulin Rouge starts and cancan starts
as a shout, when they shouted, they shouted.
A little more screams
freedom and freedom for women.
("Cancan Music" by Offenbach)
(in French)
- [Translator] In 1889,
and even until 1925, women did not have a voice.
Have to squeeze yourself in a dress that is too tight,
not allowed to drive cars or smoke in public.
There is no tolerance for women.
Going out is something for the rich,
accompanied by women at night dresses and lots of jewelry.
Unlike this is a poor person,
factory workers, bakers and washers.
These two worlds rarely meet.
It is an upper class society from Boulogne and Orleans
with a tailcoat and their top hat that goes
to Moulin Rouge for fun.
("Cancan Music" by Offenbach)
La Goulue, who is greedy, His real name is Louise Weber.
He is an ordinary girl who goes to Montmartre,
drink a lot and dance cancan in Segale.
He is called Goulue because he likes to drink a lot.
One night he was found
in Segale by Joseph Oller.
He convinced him to show him cancan at Moulin Rouge,
and it became a big success.
- [Translator] It's always my dream becomes like Goulue,
even though it's really different
dance style at that time.
- [Translator] Joseph Oller, founder
Moulin Rouge, decide that this cancan should be
official dance from its establishment.
People have never seen it like that before,
the girls throw their feet in the air
and show yourself the audience is half naked.
Those people are truly fascinated.
- They want to go out and prove their independence,
and cancan are ways to do that,
shows their independence, that they can do this,
and show their ankles if they want.
- [Translator] Men gather around the stage.
They want it to be as close as possible to dancers.
From one day to the next, this Dance becomes very popular.
Toulouse-Lautrec put it on canvas,
the bourgeoisie finds that place.
This gives men the opportunity to see women
in an unprecedented rarity.
And for women, that is the way expresses their freedom.
They are even allowed to touch men,
which is considered inappropriate elsewhere.
(cheering woman) (play cabaret music)
From 1925, the general public was found
revues from the 20s gold.
From that moment on, not only Parisians and people
coming from the suburbs, tourists come from other countries
like the United States or United Kingdom.
They visit Moulin Rouge which has become
symbol for Paris, City of Lights.
- The difference with cancan is
it's technically improved.
- [Translator] The cancan is difficult to dance.
You have to train it almost like professional athletes.
This requires a lot of physical fitness.
- [Translator] It's quite demanding
in terms of muscle strength.
This requires a lot of body control.
If you don't have it, you can easily
pull your muscles with cancan.
- [Translator] Regardless of my experience,
I have to practice three months for that.
Running, dancing, and a strict diet.
(instrumental sultry music)
- Legs are taller, stiffer,
it was built for years.
("Cancan Music" by Offenbach)
- [Translator] One important thing,
always warm up, it puts the burden on your body.
You need to warm up properly if you want
to continue to do it for the old without injury.
Warming is the biggest part of work as a cancan dancer.
They spend 30 seconds one minute on stage,
but warm-up time before that one hour, with each show.
- The numbers, like that, are quite based on history
around political plays, you know, cathedral, hmm,
and wink in the church, which poured dame,
wink at the military.
There are so many, it's almost like a comic script.
("Cancan Music" by Offenbach)
And maybe a little like today, on Friday night
they will come out, and create chaos.
(laugh)
- Cathedral, and we do it together,
and we are right in front.
- Yes, everything does it with two hands,
but we have to do it with one hand.
- [Translator] As we always cross each other
during the dance round, we never
really completely safe from injury.
- And you're trying to keep something
technically good and harmonious aesthetic,
while still trying that sense of freedom,
and riots, and total release.
("Cancan Music" by Offenbach)
(the audience cheers and claps)
(cabaret style music)
(in French)
- [Translator] Lisette, my dear friend, welcome.
- [Narrator] This is a reunion with one
The biggest Moulin Rouge the stars, Lisette Malidor.
Thierry is used to be the stage partner returns that day.
Today, he is the director, and is responsible for
for the entire stage program.
- [Translator] Do you remember Brazil?
You have an amazing dress and we dance
in a rather flat movement, left, right,
and then you climb on my shoulder.
- [Translator] Small shoulders like that.
(cabaret style music)
And all musicians are there.
- [Translator] 17 musician and a conductor.
- [Translator] There is another orchestra,
too, it's there to motivate
the audience dances during dinner.
They all dance, I remember that very well.
We sit in the dressing room room, use our makeup,
and hear music and clanking from the plate.
That's really impressive, and there is that water basin.
- [Translator] The basin down here, is still there.
- [Translator] Oh, huh?
- [Translator] That and still so.
- [Translator] But this is new, right?
- [Translator] These two are platforms, yes, they are new.
- Ah, Moulin Rouge.
Follement.
- [Narrator] When young women, Lisette works
in a small salon on la rue Milton.
At night, he sells bills at Casino du Paris,
where he was found on the stage
by famous choreographer in 1970.
Six years later, he was the star of the Moulin Rouge.
- [Translator] 1976, Follement.
That is the new prime minister revue at Moulin Rouge.
Lisette Malidor is the opening.
Moulin Rouge is the biggest one commercial consumer champagne,
240,000 bottles per years, namely in 1976.
But today?
I never drink much, I have to make sense.
(laugh)
- [Translator] You are naked here, do you remember?
- [Translator] Well, it's not really naked.
We discuss important parts!
- [Translator] Covered, okay, but you don't use straps
and no bra, everything is hidden under rhinestone.
And the incredible extraordinary boots,
that is the perfect costume for you.
- [Translator] This is bills for Follements.
All registered managers.
Jackie Cherico, Doris Haug. (in French)
People call me the new Josephine Baker.
- [Translator] Lisette is used by to work best Vaudeville Theater in Paris.
He has this particular emission, something exotic and wild
who works amazingly on stage.
Roland Petit found it and told him
immediately get on that stage.
I want you to be there.
(cabaret style music)
- [Translator] That's right, it's difficult to switch from vaudeville to theater.
I then understood that there was such a thing cultural racism.
People know me from vaudeville and
they expect me to live there.
- [Translator] You want to destroy this image.
First you want girls with feathers
will ole ole ole and then you talk about negritude,
quote black writer.
That requires a lot of courage.
Nobody does this.
- [Translator] This is not a natural thing
to find your place if you are different.
In vaudeville theater, I can somehow forget
this difference like me can laugh, show my body.
I am allowed to be seen, desired.
- [Translator] Lisette Malidor is very suitable
in the image of Moulin Rouge.
When he enters the place, people will not recognize him.
He must dress the room, use his makeup,
her dress and rhinestone and feathers
and become a star when he goes on stage.
He wears a star costume.
The audience was fascinated once the show began.
After the show, he left the theater through the back door
and nobody recognizes it on the street.
People think he is fair an ordinary black woman,
no one will think of that he is a Moulin Rouge dancer.
No matter how great or majestic he might be.
- [Translator] It's beautiful to experience that because it makes me forget my own past for some time.
For the time being it helps me forget that I'm Black.
(instrumental music)
- [Narrator] Dancers from all over the world dream
career on stage from Moulin Rouge,
but it will still be dreaming for most of them.
- Today, everyone will start arrive and then we have
to try and control where they go.
We expect around 80 people, which is a big number.
This means this time we can't really
do auditions in the practice room.
We have to start on the stage.
Okay, what I will do is there are less boys,
as usual, unfortunately.
I will only start from here.
Joe will make you staples.
Bianca.
Nice to meet you, Bianca.
Hi, there.
Maybe it's easier if you many come here for Joe.
Whoo, Sydney Showboat. - [Dancer] Yes.
- Wow, you've come all the way.
And that will show them some choreography.
They will find the floor doing the choreography.
That will give me the first look.
We try to calm everyone.
- Pas de bourr├⌐e, right de bourr├⌐e, en voter.
You move forward at change pas de bourr├⌐e.
Soutenu with his hands raised.
Jump, release.
Push.
This runs seven and eight.
Yes, now with me.
Just mark where you are.
Five, six, seven, eight.
and one and two, three, and four,
five, six, up, seven and eight.
Yes or no?
- [Translator] When young Your dancer has a choice
between some shabby and opera ballets.
And the Moulin Rouge is somewhere in between.
If you are from Australia or another place
at the end of the world and offered a chance
dancing in Moulin Rouge in Paris, City of Light,
You will not hesitate for a second.
- You begin to feel it by the way people stand,
by the way they see and they listen to the choreography,
and by the way they behave during auditions,
how they follow instructions.
You can already see, you can feel it.
The way they smile, the way they laugh.
(Don't Say & apos; Em by Jeremih)
- [Dancer] I'll give a tip, don't worry.
Okay, here it is, ready?
- And then I will begin to thin out.
(pop music)
(choreographer gives instructions)
- [Choreographer] Five, six, seven, eight, one.
- Gail.
- [Natalie] Natalie Bukra.
- [Victoria] Victoria Bell.
- Victoria Bell, therefore there are two Victoria holidays
because we have a party tonight.
Basically, I'm looking for dancers who can learn quickly.
I will look very nice figure and long legs
to look good in costumes.
And then I will see those faces.
Face, very, very important.
So I will look for heights, of course.
We recommend one meter, 75 for girls
and one meter, 85 for boys.
- [Translator] Why do you choose to dance
in the Moulin Rouge instead of ballet?
Those are all questions about height.
After you are greater than one meter, 70
You don't have a chance in ballet
so try your luck at Moulin Rouge.
- Janet has a lot of hair, ha!
172. (in French)
- [Rick] Name?
- Tanya. - [Janet] Tanya.
- Tatiana. - [Janet] Tatiana.
(in French)
You watch heels there, Rick?
- [Rick] Yes.
- Wait a minute, I have, oh.
OK, 173.
Just rude.
- [Translator] That's evil.
- [Janet] 169 half.
- [Translator] 69.
(Dancers laugh)
- You realize that, like me auditions around the world,
if people are better than you or if there is someone
like you, I will always choose a higher girl, okay?
Yes?
So your chances of being truly are offered a job
is greatly reduced now.
- Have you ever heard of what they did in Paris
with high dancers, because like
five-eleven, six feet.
- I know that they love tall girls and
because I am five feet eleven I think
that would be a good idea for auditions.
- So I'm not always think I want to do it
Because I went to ballet school
so I thought I might do ballet first.
- And then I do gymnastics until I am 14 years old,
and then at the age of 14 I was too high
to continue gymnastics.
(upbeat dance music)
- 20 minutes, well, you let them go to the toilet
and drink water. - [Rick] Okay.
- Does anyone need a bathroom?
- Well, I auditioned last year in July,
and I have to do two auditions because
there are two around where I live.
And the first thing they told me was I'm too short to come here.
And then I do my one think three days later
and I am the right height so it must grow overnight.
(laugh)
(in French)
- [Translator] This is very the stress you need
to shine among hundreds of other girls.
You need to show your motivation.
- [Translator] I don't have training,
my work sells programs in the hall
and I don't understand what do when someone comes
to me and said I want to see you on stage,
let's find out if you can move.
And I am very clumsy and feel
like a small animal when I get on stage.
I just heard Roland Petit say,
"Oh boy, what will we do to him?"
- [Translator] I will never forget how it started with me.
I spent a night in a hotel near Gare de Lyon
and wake up very early I don't take a nap.
And because I don't bring dressing I go to several stores,
clothing store.
I bought some clothes, went to auditions,
and get my contract.
(optimistic pop music)
- Cha cha!
Γ ¬ I have a match, You get petrol ¬¬
ΓΓ¬ Turn on the floor like that Billie Jean ΓÖ¬
ΓΓ¬ The way we move at the end of the song ΓÖ¬
ΓÖ¬ They must do it fire drag, ΓÖ¬ fire alarm
- There are some good ones elements, some not so good.
So I'm very happy at the end.
Have a lotta kiss, a sweaty kiss,
so I'm glad they all enjoy themselves.
I think that's great.
(soft instrumental music)
- [Narrator] Every day, every night,
every year, magic rises.
Everything is right.
Routine becomes a ritual and movement
changed to choreography.
More than 80 men and women artists prepare for their performances.
120 people will provide food for 900 guests.
The show is sold out, almost as usual.
There are two shows per days and 60 dancers,
which is called Doriss Girls,
is the main attraction of this program.
Their names come from Native Germans, Doris Haug,
who founded this cancan group in 1957
and help put Moulin Rouge back to the map
with the choreography and the show.
In 2014, he died at the age of 87,
but the Doriss girl continues dancing day after day.
(dancers and chat staff backstage)
(Dancers who speak foreign languages)
(cabaret music)
- [Translator] The first time always feels strange.
(bel bantingan) (in French)
I was a solo dancer for cancan
and I do this work for four people years at Moulin Rouge,
but then the girl who did that shows a snake left and asks me
if I don't want to try it, might take action.
(dramatic instrumental music)
It's weird to jump in pool full of snakes,
but in front of an audience with all rhinestone
and light, you tend to forget the risks
even though it's not dangerous.
(dramatic instrumental music)
Sounds funny, but they know me.
There are some snakes it becomes very calm
when I work with them.
If I'm not there, because vacation, for example,
they are much busier and nervous.
There are 15 total snakes
and they change for evening events.
It's like rotation.
Some are very fun and you build
establish a relationship with them.
(the audience cheers and claps)
When I jump, they are already in the pool,
but when the pool closes me bring them out of the water
and give to animal officers.
They can't stay in water
all the time and I can't.
(chatting staff in French)
- [Translator] Everything is fine?
- [Translator] Yes, what about you?
- [Translator] Everything is fine.
- [Translator] Understood?
- [Translator] Yes.
- [Translator] Animals can feel
You are afraid to be better not.
- [Translator] Everything is perfectly organized.
Animal handling arrived shortly before the show began,
bring animals in, and take them again.
Snakes are treated like stars.
I can imagine that they talk to each other
if there are still several vacancies.
There must be auditions for their , such as for the dancers.
(cabaret music)
- [Translator] When I worked as a dancer,
we have two big horses on the stage.
Today is six, but they are small horses.
They have space here before and after their performances.
I believe they recognize us.
I'm not sure, because I never asked them,
but every night we greet each other.
(rustling dress)
- [Narrator] Time to change, costume,
program, the music.
Everything evolved over the past few decades,
but still there are always a little nostalgic
inside the Moulin Rouge, around the stage.
Back there is also room which is roughly
1000 costumes hand sewn for all shows are stored.
This is a colorful environment fur, rhinestone and sequins.
- [Translator] How are you?
- [Translator] Good, thank you.
- [Translator] Nice to see you again, do you carry photos?
- [Translator] Yes, photos from the back
when I started working here.
This was from the beginning of my beginning in 1965.
- [Translator] Frenizille.
- [Translator] Do you really remember that?
I can't remember all names.
- [Translator] I'm sure that's Frenizille, when is this?
Do you remember the choreography?
- [Translator] Sure, the small one.
- [Translator] Diagonal.
- [Translator] We have to tilt our heads,
but it's very difficult because we have our hats
and we can't really do it because of the hat
very heavy and often falls.
- [Translator] I like this one.
Do you remember training for this one?
- [Translator] Do you see where my feet go?
- [Translator] Yes that every night, right?
- [Translator] Goodbye.
- [Translator] Very good to see you, be careful.
- [Translator] Goodbye.
- [Translator] See you later.
- [Translator] Then I switched for costume work.
This is something very different,
but I can stay in the same environment.
- [Translator] And this is the premiere?
- [Translator] Yes, in 1965.
Great.
That is my first appearance.
- [Translator] What a beautiful hairdo.
- [Translator] I have to be careful
because it can tear my hair.
- [Translator] Really?
- [Translator] That's enough weight and because there is a wire
behind me losing a lot of hair
in the middle and back of my head.
- [Translator] Because the hair is shifting?
- [Translator] Right, they hold it together.
- [Translator] But I'm sure is quite impressive.
And look at that face, oh la la!
It's still the same picture.
- [Translator] Yes, by Toulouse-Lautrec, it's still there.
(optimistic instrumental music)
- [Translator] Great memories, right?
- [Translator] Yes, I bring them for you to see.
- [Translator] All cancan can change.
You work here for 50 years.
You are a true celebrity in Moulin Rouge,
everyone knows you.
- [Translator] It's been 50 years, but not 50 years on stage,
but I work on the stage as long as possible.
- [Translator] Every night.
What was the atmosphere at that time?
- [Translator] That's amazing, extraordinary.
I remember tangos strings.
When I started working in 1965,
there are these costumes called la neige.
We wear underpants,
but if we move a lot and swing our feet in the air
at the beginning shows, pants are somehow
slipping between our ass cheeks.
So I told Ouineverge who still works with costumes,
hear, why don't you attach the string there
and that will make everything much easier?
He did it and that's how it is today.
We often party there,
but it's banned today.
- [Translator] Yes, right.
- [Translator] We celebrate it all birthdays.
There are always cakes and champagne.
- [Translator] That according to my taste.
- [Translator] You only have the present cake and a bottle of water.
- [Translator] Water, that's right.
- [Translator] It's sad.
Sometimes I am a bad girl.
Birthday parties are extraordinary.
I invite them all and they come.
I will watch the show tonight.
- [Translator] We will give the best and lift our feet up high.
Lift our legs.
- [Translator] No, I'm not dancing anymore,
only when I'm on vacation.
(laugh)
- [Translator] That is gold day, do you remember?
There are so many places in Paris.
(cabaret music)
People go from one theater, from one cabaret to the next.
- [Translator] I remember that there were girls
who dances on stage at the Casino and then
work directly in another cabaret.
They work until five o'clock in the morning.
(cabaret music)
- [Translator] We worked a lot at that time.
The girls still do it, but we also do a lot of appearances on TV,
but everything changes.
No more dancing on TV anymore.
We work with Carpentier and I even
performing with Jean Noir, do you know him?
- [Translator] I also think that dance
the form has changed.
There are more movements and it's more complicated.
(cabaret music)
- [Translator] If you compare the 1970s performances
with this one day, still follow the same principle.
This is still the same,
but still different.
Rhythm, melody has changed, movement,
stage decoration, but it's still the same show.
Moulin Rouge is an idol who never dies.
As long as there is Paris there will become the Moulin Rouge.
- [Translator] You work at Moulin Rouge
for three years without a day off.
That's very difficult.
- [Translator] It's not difficult for me.
I consider it rather normal.
- [Translator] I can associate it.
But seven days per week is quite something,
but we are used to it.
- [Translator] But to be honest, once you have your place
here you don't want to leave it again.
(laugh)
- [Translator] It's not like that today.
People will not be permitted work seven days per week.
Fortunately, there is a law for that now.
- I think they are following it community style.
People are more modern now, there is a rhythm.
Everyone is connected to the planet.
Before we don't have a connection except, you know,
on the side of the locker room.
I know all the lives of my colleagues.
Now it's very different.
Everyone focuses on smartphones
and Facebook, whatever.
(optimistic instrumental music)
- That's the main difference.
Personality, the way they behave,
exactly as usual.
Aspiration, that's fear, how it works--
That's the same, it doesn't change at all.
(instrumental music)
- [Narrator] Many dream about being on stage
from the biggest vaudeville theater in the world,
but they are not alone there.
They are only one star among many others.
- [Translator] Not is as easy as everyone wants
to be the most beautiful.
- Beautiful and you might know that
because, you know, you have eyes.
You know you might have a better body
and everything from others people on the streets.
- [Translator] Most beautiful, best dancers.
You want to be better than others
and it is not easy to overcome this every night.
- When you come here, you will be a part
of 70, 80 other beautiful people so completely removed.
There is no point big head about various things.
We don't have big heads here,
that you leave your ego at home.
- [Translator] Currently troops from Moulin
Rouge is anonymous.
The dancers with them are called captains no
related to the audience.
They enter the theater through the staff entrance
and not allowed to enter the hall.
Viewers admire them when they are
on stage and they are fully anonymous when they are on the road again.
- [Translator] If I play a leading role,
I have my own sauce the room and someone by my side
which helps it go smoothly, I like that.
You are treated like a little star
and during the show you are a real star.
(singing backstage)
Actually, I sang that song once.
(instrumental music)
- [Translator] Nicola used to be a cancan solo dancer too.
- [Translator] That's right, both of us.
- [Translator] We appear on the joint stage.
- [Translator] I dance for performances for 20 years
and now I continue to work as a dresser,
so I'm still part of the event.
(staff and dancers chattering backstage)
(cabaret music)
They shouldn't miss their appearance
if there are costume malfunctions at the last minute.
- [Translator] Fortunately there is a dresser
which helps us and explains everything,
otherwise we won't be able to manage.
- [Translator] I always dream about being unable
to get on stage because my costume is not ready yet.
That would be a nightmare if I lost my clue.
- [Translator] This is ours task to prepare the dancers
for their performances on stage right in costumes
which is meant for them.
- [Translator] They are not responsible
for us on time.
- [Translator] The dresser and the customer do a great job
especially in the case of costume maintenance.
They must be treated as they are in daily use.
That can't be taken for granted.
- [Translator] To save time,
we prepare each costume backstage.
It takes about 40 seconds.
They need to change costumes there
during that time period.
(cabaret music)
This is a routine job.
(laughs backstage)
But there might be a small accident.
- [Translator] But we will find a solution.
I will go out, right?
- [Translator] Many things happen.
- [Translator] Sometimes You lose earrings
as long as all the commotion and the landed in the weirdest
place or even near the office.
- Well, the first time my rope was released
and then the second time-- (dancer laughs)
The second time, there are like these beads
and they are attached to us ankles and that's loose
and I tripped them and rather fell,
but it's okay.
This won't happen tonight.
I will be very careful.
- [Translator] There have been several accidents.
I fell on stage during the show.
- [Translator] The heel of my shoe is cracked
so I do everything on my foot ball
try not to show anyone.
Finally it ends fine. (laugh)
- [Translator] I will not the mind is on stage
with bare feet. (laugh)
- [Translator] That can be funny too,
You only need to improvise.
(music playing backstage)
- [Translator] Let me put it on the shelf.
I will be good with you.
(in French)
- [Translator] Jeanne, this is is one of cancan.
Can you change the zipper?
- [Translator] Zippers don't close properly
because it is quite shabby, therefore I exchange it
so that it won't cause any problems in the future.
Always better prepared for possibilities.
The costume must be very high quality.
The material must be strong
that they don't wear out quickly.
Two shows are enough strain on costumes.
If the stitches aren't solid, they might tear.
(instrumental music)
- [Narrator] The Moulin Rouge doesn't like
other workplaces, it's a dream factory that never stops.
Whoever wants to be part of this play comedy
must be truly dedicated to that.
- [Translator] At night, we turn into princesses.
We appear in front of thousands of people.
It feels almost like a dream.
(soft vocal music)
There are two different worlds for me.
At home, I have everyday life as a mother,
but everything changes when I get here.
I focus on myself and be a different person.
I use make-up, it becomes this character.
I like it because of this heavy contrast.
But now I have to go onstage.
(beaded costume crackling)
I almost never have to place my child
sleep at night, it's difficult,
but once a week I have night off, on Sundays.
- [Translator] This is complicating life if you work
at night and lift a child himself.
I was lucky because of me Mother helped me a lot
when my children are young and then they get used to it.
They live at home or I take it later.
- [Translator] I don't know how they manage.
Being at home with a schedule like that.
They are real fighters.
- [Translator] You must be present 24/7
and you have to give up your personal life.
- [Translator] Of course, you pay for it and so do I.
My dream is to have children.
- Forget going out at night,
forgot to meet people at eight o'clock at night
to go to dinner, that doesn't happen.
And that can be very difficult for many young people.
You know, boyfriend, you won't see it.
- [Translator] No girlfriend.
This is my family. (laugh)
(Dancers chattering backstage)
(cabaret music)
- [Translator] I already want to become a dancer when I was a kid, but it's not easy.
My parents oppose and don't tell me,
This will not happen.
- [Translator] My parents are fine with that.
- [Translator] I am scared and not told
my parents about that.
- [Translator] In Cuba, culture has something
military character, which is
somehow related to politics.
Although there are many dances,
people expect from young men to be present
military schools instead become dancers.
(laugh)
- [Translator] I first appeared on stage when I was nine years old.
- [Translator] My ballet teacher asks me,
do you tell your parents
people will see you naked on stage?
I answer, no.
You are crazy, he said.
- [Translator] My first sisters come to see the show.
He saw me appear for the first time
yesterday the day after tomorrow.
He will watch over me tomorrow do the main part.
He told me that he had to cry.
- [Translator] After shows, I go to my parents
to see what they say about that,
but they don't say anything.
I am waiting for the reaction and finally ask them,
so you like that?
And they say you look for fun.
That's it. (laugh)
This is the only time they say something
about my decision to present myself in the naked
on the vaudeville theater stage.
(cabaret music)
You decide for yourself that you present your body on stage.
You must obey this decision
and that's what I always try to do.
- [Translator] It's all about costumes,
feathers, rhinestone, sequins.
This composition is there to promote beauty
from the form of women, which our beauty as women.
There is nothing surprising about it, I think.
- [Translator] And everyone naked today, right?
- With nudity, I think it is something very prominent in all shows, especially in Paris.
You have nudity, all have it.
I think here is very classy.
It doesn't look sexual or anything.
It is done in a very classy way.
This is very good.
- Not much nudity for new girls.
I think it's a little choice later
once you've been here for a while.
I don't know.
- Hopefully everything runs smoothly good and finally
I will get used to doing shows
and it will be easier, huh.
(cabaret music)
- Women are permitted have their own opinions
and must be heard.
The rest, shows your body wearing costume or makeup
really nothing anything related to that.
That only places values on the
attribute you have different
for what other people have.
(cabaret music)
(instrumental music)
- [Translator] Submitting this work is very difficult for me.
I go to Monsieur Clericourt 's office and she says,
OK, of course, I all cry.
- [Translator] You missed it.
I will lie if I say that it doesn't hurt to go.
That's difficult.
Because I'm not really ready for that,
I have to face many problems.
- This is a little different.
They have more opportunities now to learn.
- Moulin Rouge gives us this opportunity
to learn if we want to do something else.
And everyone uses it or not.
It depends on people.
- Which of my generation is rather jealous,
can we say, because they have
to solve all this yourself.
Now, we really help.
- I really like it, I have learned and I know
what will I do after Moulin Rouge.
- [Translator] My goal is to keep working
in the show business and I want to graduate
on all the experiences I got here
for years for other dancers.
- [Translator] I am a little doubtful about that.
I keep asking myself this question,
but I haven't found the answer.
- [Translator] Life goes on.
You are not always on the same track.
It is very important to keep you head and not lose you
courage just because you're not part
Vaudeville life again.
That might be a dream, but you can't always live in a dream.
Although dreaming can be very magical.
- What a great thing we live now,
but we all understand that it will happen
finished not too far away, you know--
- [Translator] You cannot play back time.
You are not always 20 years old. (laugh)
Only once a year.
(cabaret music)
- [Narrator] Ladies and Gentlemen, the wheel of life
keep spinning like red windmill wings,
but the Moulin Rouge still exists.
It's tempting, entertaining, and stunning,
as has been done for more than 125 years now
and probably will do it longer.
(cabaret music sung on Frenc Translated by: www.subtitlecinema.com