Olga Grishenkova Biography

Everyone is just waiting for the final "Sirtaki". You need to write directly in capital letters: “Everyone is dancing,” says the ballet and theater critic Arseniy Surge about the main event of the GO Nurievsky festival this week. In the center of our conversation is the life of Russian regional troupes outside Moscow and St. Petersburg. Arseniy Surzha: “It must be remembered that many, even the largest artistic phenomena in world history, depended on the viewer and the customer” the photo was provided by Arseny Surge “You should not be afraid of ballets about neurosetes” - Arseny, what main tasks should the domestic regional troupe of the opera and ballet theater should solve?

Do they differ from those that traditionally put, for example, Big or Mariinka? Or are these goals the same, but only the scale is different? For capital theaters, this need is not so pressing, because they already own the viewer in the fifth or sixth generation, and there is no great complexity with the involvement of a new viewer. The metropolitan theaters feed on “swan lakes”, earned by centuries Bolshoi or Mariinsky, even their museum -appropriation - some tourists go to ballets simply take a picture with a chandelier.

We notice that Moscow and St. Petersburg theaters, satisfied with the cashier and great demand for classic ballet, are engaged in the conservation of an old repertoire. Because of this, we do not see anything new. They say that the modern ballet “Storm” Vyacheslav Samodurov Prime Minister is scheduled for July 4, approx. In regional theaters, they still try to work with a new viewer-millennials and Zumers.

It is very important that groups outside the capitals have a need to feed themselves and, because of this need for additional income, you have to find common points of contact not only with the lovers of Giseli, but also with the viewer, who are interested in Netflix, YouTube channels, VK Video. It must be remembered that many, even the largest artistic phenomena in world history, depended on the viewer and the customer.

And the already an order was, the more difficult the technical task was, the better the project was obtained. Therefore, do not be afraid of ballets about neural networks - for the creative process it is necessary. The viewer needs to be worried, show what is in his information field. This does not deny the fact that “swan lakes” are needed. But the manifestations of a new word in the ballet theater are also necessary - they will not cause rejection even among viewers in the third generation.

I am convinced that real balletomans have a very important quality for any person - openness. Openness to the new, the ability to see something beautiful in the new one is necessary for everyone. It is necessary to educate it in yourself and eradicate the fear of new artistic phenomena. This is very important. This is explainable in terms of the technical capabilities of theaters. It must be understood that many current leaders have taste, adequacy and serious experience, some of them participated in foreign productions, worked in foreign troupes and they had a professional sense of ballet performance.

Those who worked abroad, especially in theaters of the second or third order, are well aware that a small troupe will not take out a classic 19th-century repertoire. These theaters, German, Danish, Dutch, realizing that the classic ballet is an unbearable burden for them, began to develop a modern ballet, and became the best in this. These theaters became the prototype of our best regional theaters - Perm and Yekaterinburg.

It is necessary to take into account a small number of artists and their uneven training. The regional theaters are very lucky if they are a graduate of the Russian ballet Academy or MGI, who was usually standing behind the side sticks on the side sticks, are usually students showing modest results - approx. From it you can already saw and pull something out.

But often, graduates of local folk colleges and cultural institutions come to provincial troupe. Among them, of course, there are nuggets that can drag equipment on themselves. Such artists have a good base for different tricks. They will greatly make pirouettes and revoltades. But, if you look at their feet, growth and proportions, it is obvious that you cannot put them in the classics.

And here a modern choreographer comes to the theater and gives these artists free plastic, and they begin to open. Of course, it is more profitable theater without a giant troupe to put a modern repertoire on a person. There will be more Prok from him than from Swan Lake, where a girl will stand among the swans tall centimeters, behind her - a girl - see, and next to her - a girl see.

Everyone has different legs, different brushes, different training and so on. In a modern repertoire, all this can be covered, exposed in the best light, in the classical one - almost impossible. One soloist can still be turned a little at another angle, put it so that, for example, an uneven line of the leg is not so noticeable. But with the cordobalet, everything is much more complicated.

Cordabalet is always the biggest pain of the theater. And a strong theater is always distinguished by a strong corps de ballet.Large soloists can be found in almost every team, some artists from Novosibirsk or Yekaterinburg may well dance at the Bolshoi Theater. So often it happens that talented dancers from regions through contests and personal ties lure large troupe.

But the cordobelet is an indicator of the theater. Fortunately, in repertoire policy we do not have one common trend, it would be boring. On the example of the Perm Theater, we see how two leaders who replaced each other - Miroshnichenko and Pimonov - relationship between each other. Alexey Miroshnichenko is the author of large historical paintings with scenery, costumes, props. Anton Pimonov, on the contrary, prefers a neoclassical style that does not suggest the plot.

Each theater leads its own art line and this is a great joy that we can come to different groups and see fundamentally different systems. But, of course, an important part of the story will be work with local, own choreographers, which is practiced by the Ural Opera Ballet. Now regional choreographers are engaged in the enlightenment of their spectators.

This is the experience of open rehearsals, which came from foreign practice, participation in projects such as International Ballet Day, when the troupe broadcast what is happening in their halls. Openness is necessary, because the ballet theater, unfortunately, many still seems to be a very closed phenomenon. The theater turns in the minds of the viewer into a temple, into which you need to come with a covered head, always in a skirt, and observe the necessary etiquette.

Despite the fact that the theaters are closer to the closest examination, which is more understandable and simpler than it seems. You just need to bring them to them. Some regional theaters are trying to do this, which is pleasing, because Bolshoi and Mariinka are far from always capable of this. Just because they are high and often do not see what the viewer needs. Who is on the top, who strives for her, who walks in the middle peasants, who is in outsiders?

In addition, we are in the framework of artistic rather than sports institutions, any ranking is dangerous here. According to what criteria should be considered: who is better performing the Swan Lake? Or a modern repertoire? Each theater has its own virtues. Of course, if you make a hierarchy in the format of a football table, we will find these ranks. But now the situation is such that a conditional middle peasant, recently breaking through the Premier League, can take the first positions already in the Champions League, if we speak football categories.

Among the regional troupes today, of course, are the leaders of the Yekaterinburg and Perm ballet. They have something that other regional theaters lack, integrity. And this is despite the fact that both theater experiences a new round of their choreographic history. Not so long ago, artistic leadership changed in both theaters, however, in the Perm Theater this is a return to the former, that is, to Alexei Miroshnichenko.

But in any case, these theaters have the current system and it is difficult to break it. Other theaters, unfortunately, do not yet have such a whole artistic life, although there are successes. The same Novosibirsk Theater of Opera and Ballet, Novat sins by artistic failure, the lack of a creative vector, its face. Although the theater has a very glorious story. At the beginning of the X, the troupe was drawn with the capital's theaters.

In Novosibirsk, Dmitry Chernyakov put, whose name became the synonymous concept of the director's opera, the orchestra of Theodore Kurentsis Musicaeterna was born there. Here, the legendary "Coppelia" Sergey Vikharev put. Now, unfortunately, there is no new choreographic thought in the theater. Yes, with the advent of Vladimir Kekhman, the theater became a super -vomiting product.

But this is exactly the product, it does not carry anything experimental. The Novosibirsk Theater now has a ticket price that is competing, and sometimes surpasses the prices for ballets in the capital. In this sense, the theater does not have to do anything, because there are beautiful carpets and a wonderful buffet. This is the place where the viewer will come A priori, as well as in the Bolshoi Theater.

For example, a native of Kazan is dancing there, Nikita Ksenophon, approx. This is the first order in the ballet and the example when the regional theater managed to seize the dancer with an incredible prospect. Nikita is a graduate of the Russian Ballet Academy. It is clear that he does not have data from the ballet prince, but Nikita has amazing charisma, technology, musicality.

We recently saw all this in the television project “Big Ballet” on the Culture channel. This is a real artist who knows how to own the public and live a party, be it a drunken-poured Ivan-Durak or a fierce-cold Claude Frolo. In the parties of Ksenofontov, every gesture is meaningful. But it is clear that Nikita cannot rewind all the performances and cannot be the only reason to come to the theater.

And now I cannot call another reason to go to the ballet to Novosibirsk. Theater named after Jalila appears in them very rarely. Kazan premieres do not cause big conversations, big opinions, positive or negative. They pass unnoticed, and few people know about ballet Kazan.