从上海到美国,从天天哭鼻子到首席舞者,从元元到谭元元到Yuan Yuan Tan,谭元元的芭蕾之路也并非笔直畅达,除去泪水汗水,还有受伤。月黑灯疏的墓地。着长纱裙的乡村姑娘吉赛尔,面对前来痛悔倾诉的男青年阿尔伯特,由最初缓慢起舞的哀怨忧伤诉说,到后来的男女主角欢快轻盈交谈——在一连串的托举与交叉跳跃的长镜头中,仿佛白纱裙罩着的只剩一缕香魂——她轻盈如云,缥缈如烟,真个柔若无骨轻若游魂到几近虚无。 From Shanghai to the United States, from crying nose to chief dancer every day, from Yuan Yuan to Tan Yuanyuan to Yuan Yuan Tan, Tan Yuanyuan’s ballet road is not straightforward, removing tears of sweat and injuries. Black moon sparse cemetery. Giselle, a country girl with long veil skirts, was faced with sad young men Alberto, who had come to confession and talked about, complaining of sadness and grudge from the initial slow dance to later cheerful and light conversation between the hero and heroine - in a series of lifts and crossings Jumping long shots, as if white silk skirt with only a ray of Soul - her light clouds, lingering smoke, really tender if no bone if wandering to almost nothingness.