Ballet superstar Diana Visheva's latest project, On the Edge, premiering November 6 - 10 at the Segerstrom Center for the Performing Arts, brings the ballerina together with choreographers Carolyn Carlson, director of the Centre Chorégraphique National in Roubaix, France and  Jean-Christophe Maillot, the artistic director of Les Ballets de Monte-Carlo. "I don't know many ballerinas like her, taking so many risks, going to the people," says Maillot. "She came here. To me, that's a very big statement."

I spoke with Diana in Monte Carlo via Skype where she was working with Maillot about her artistic vision, training, advice for young dancers and love for ballet.

Q: Why are you so passionate about working with new choreographers?

V: To be honest, it's not so difficult being a Principal Dancer with American Ballet Theater and a Prima Ballerina with the Marinsky Theater, where we focus mainly on classical ballet. Of course, I create my own atmosphere in the companies. I can choose my roles, partners, and the times when I'm ready to do different works. But, as a modern ballerina, I am interested in working with choreographers to see how they create especially on me. Sometimes in Russia, there isn't enough time for it. There are big companies with their own missions and visions, and the visions of the directors. Even if I am a very special dancer with Marinksy Theater, I don't think they will focus on my career to create something new just for me. So, I'm trying to be cool and not get mad at my directors, but to do it for myself.  Every time I do something, the programs are given as a gift to the company to which I belong. The first two projects, Beauty in Motion and Dialogues, in fact became part of the repertoire of the Marinsky. The response I see from dancers involved in the projects has been so positive and I'm very happy to see them be so open and happy.

Q: How do you select the choreographers with whom you'd like to work?

V: It depends on the time - what I'm ready for. Ten years ago I couldn't imagine dancing Martha Graham, and now I can't see how it would be possible in my career to miss it. Time to time I feel what I really need, what my body and my mind are ready for. Jean-Christophe Maillot has known me since I was 15 -- which was yesterday, by the way! I still remember the feeling in his presence. I was on stage and he was a judge, but I felt in the moment that I would meet this man one day in my life and we would work together. I'm not rushing. I know it's my destiny. If something doesn't happen, I know to be patient and the right moment for it will come. It's the same thing in my career - all my roles came to me on time, when I was ready for them. And I am, of course, very selective before I choose something to dance.

Q: Your dramatic depth distinguishes your performances and contributes so much to your compelling artisty. How do you cultivate that?

V: You have to use all your professional and life experience, and strong discipline. How much you're dedicated to what you're doing, how strongly you respond, are very important. And it's from God. With a good gift, though, and not hard work, it's impossible. Technical skills can be enough to get by, but for me it's impossible to perform until I'm able to feel the role, until it's under my skin and I take my breath as my character. It's not just acting skills. It's your whole body and physicality.

And you must be very open-minded. Every step forward is very difficult. When you've done very much, the next steps can become harder. The audience needs for you to surprise them. But not only that, you must also be able to surprise yourself. Sometimes, when people become masters, it's like a stamp. From one role to another role, they all look alike. To feel the difference you must be very well prepared. I would like to maintain the same energy, to have this excitement always that I'm doing something new.

 Read more Q&A with Diana Vishneva regarding how she prepares to tackle new styles of dance, keeping a fresh perspective on roles danced many times, her advice for young dancers and much more. On the Edge premieres November 6-10 at the Segerstrom Center for the Performing Arts.