Zyuzin Sergey Gennadievich Biography

Muah: Maria Bystrova Designer: Atelier Biser you have been working in the troupe of the Mariinsky Theater for 22 years, from the year in the status of soloist, behind your shoulders all the main parties of the classic repertoire, beautiful duets, including Farukh Ruzimatov, Carlos Acosta, Andrian Fadeev and Marcel Gomez, but you practically do not give interview Let's start first.

You were born in Chisinau. How did you get to Petersburg? I arrived in St. Petersburg - then it was Leningrad - in the year. A cousin lived in Leningrad, and we periodically visited her, and in Chisinau I went to the art school, where, among other things, there was choreography. This is where they advised you to try to enter the Leningrad Choreographic School. Everything turned out somehow in passing smiles.

We arrived on vacation, entered the entrance exams, and they accepted me. I stayed, and my mother left. I was ten years old. That is, there were no background with gymnastics and romantic dreams? I had a classmate who watched the famous film about Anna Pavlova, fell in love with ballet and with all her creature stretched to the street of architect Russia. I had nothing like this inside: a completely ordinary girl who plays in the yard with the boys.

Without an excessive hill, which, as it seems to me now, is somewhat interferes with studies, and in the theater, and in principle to get to the end and keep afloat. All this can bring down a concentration that is important in our daily work. Was it hard at the school? Looking back, I understand that all this was terrible stress. Firstly, I kept waiting for the holidays and every mom's call.

When I came home, I instantly ate the whole dinner - my mother did not even have time to blink. Relations with classmates were good, but still it was hard to live in the boarding school, and there was no money to buy something for myself: both time was not easy, and my mother brought me up. Was the study itself easily given? On the contrary: the first years were the most difficult, and thoughts were swarming all the time: “Why did I come here?

At the same time, everything, of course, began with the rug, and it was already shaking on it. I was so thin, long, and for the data there was always a higher assessment than for performance. It puzzled me all the time. In general, when the class ended, I even exhaled. All other objects were easy, especially literature. It even seems to me that my son’s love of reading was transmitted precisely from me.

Who helped to stop being afraid of the classics? In the middle grades, Irina Aleksandrovna Trofimova taught us amazing and amazing, and when they tell me that I was well learned, this is thanks to her, because any data should be used to use, otherwise they are completely useless in the lack of coordination and musicality. Irina Alexandrovna, by the way, still teaches at the Academy, although she is 91 years old.

Inna Borisovna Zubkovskaya, who built training in a different way-with theatrical and ballerinsk accents, which, of course, is necessary before the end of their studies. Immediately after the Academy you got to the Mariinsky Theater and, as was then accepted, started with the corps de ballet. We could perform Pa-de-Trua, and then immediately put on heels for Hungarian dance. Participated in everything in a row.

Now we are observing another practice: yesterday's graduates often dance exclusively solo variations and insert numbers. Is this experience of the corps de ballet really necessary, which used to adopt everything without exception? I think yes, it was needed. Moreover, when you see an artist who has gone all the way, his result is immediately evident - he is completely different.

The sensations of the scene and the performance are completely different: he feels the fabric from the inside, is in organic matter with the rest of the participants, and not in itself does something, as in the training class. Moreover, together with everything we adopted the experience of soloists - not through recordings, a auditorium or rehearsal, but being with them inside the same dramatic space, and this is invaluable, because you are not just sitting in the mise -en -scene, and you are shaking all over the mustache.

I am very grateful to that time for this knowledge and for the experience of working with all the teachers of the corps de ballet, including with the legendary Nina Fedorovna Utyova and Inna Borisovna Zubkovskaya, with whom I rehearsed all solo variations. What was the first serious party? Despite the fact that I was released from the Academy with a lyrical role - the fairy laughs, Gamzatti became my first large batch.

Everyone helped, but it was very exciting. Makhar Khasanovich before the performance, however, said: “I understand that you will do everything with the dance, and the dramatic scene between Gamzatti and Nikia in the first act? They say nothing like - it turns out laughing. But still, Mahar Khasanovich gave the opportunity to go to the Gamzatti party for the second season of your work in the theater.

This is a great trust. Mahar Khasanovich even gave me the opportunity to dance in the second season at Diana and Acteon, along with Carlos Akosty. Recently Philip Stepin soloist of the Mariinsky Theater - approx.He was still studying then, but I actually did not realize anything: it was still very young. Which of the teachers introduced into the performances? I was immediately entrusted with legend.

Then we studied a lot with Yuri Valerievich Fateev. When our release came to the theater, he was just starting as a tutor: an insanely passionate person who loves to check everything and thoroughly pass for several hours. We went on stage, as if somewhere once it was dancing. And, of course, it was with him that I prepared only Balanchin. There was extensive experience working with Sergey Gennadievich Vikharev: thanks to him, I was nominated for a “golden mask” for “awakening the flora”.

Incredible professional! I loved him very much, and I really still lack his humor. You call your ballet mother Tatyana Gennadievna Terekhova, with whom you have been working for many years. I remember how I wanted to get to her. And at first I even asked her wife Sergei Mikhailovich Gerezhny about it, with whom I also worked a lot. With Tatyana Gennadievna, we have developed a very friendly and creative relationship.

I grew up with her and overgrown with her luggage. In addition to the fact that we have prepared a lot of premieres with her, including Swan Lake, all parties were very finalized. And three years ago, at the evening, which the theater dedicated to Tatyana Gennadievna, I went out in the ballet “Raymond” - for me it was a debut, which I did not even dream of.

In addition to teachers, you were lucky with partners. And what duets were especially remembered? I immediately want to recall Andrian Fadeev, with whom I worked in the first years in the theater. I just could not dream then that I would get him as a partner. He was already a dancer with tremendous experience at that time, but we always had always checked everything before the performance, despite the fact that he could no longer do this.

Andrian introduced me to Romeo and Juliet. For me, this performance was very long -awaited, and I was just in the seventh heaven with happiness. And at 24 years old, I was already given the “Giselle”, into which the Farukh of the Rusimats introduced me - he helped me a lot not only in the sense of technology, but also in terms of the image. I must say, this is a great luck - to work at the start with such experienced dancers.

By the way, not so long ago - just a couple of years ago - you danced Giselle with Marcelo Gomez. He is an incredible partner in all respects. I knew that this performance would give me a lot, and went to it, as for a holiday - in anticipation! I must say that such performances as Giselle are very dramatic, and in order to organically exist in them, you need to survive a certain emotional experience, which only intensifies with age and gives your interpretation even more nuances and style, and when you are still a baby, then a lot, including running, misanse and madness, usually looks not quite natural.

What does "good partner" mean? In my opinion, this is when he can gather on the stage regardless of the premiere or small experience and at the right moment to do everything so that nothing happens to the partner. My husband Maxim Zyuzin is a vivid example of this. He will die, fall, but he will always pull the ballerina. Did your love start with duets? We were friends at the Academy, and then we somehow prepared the Swan Lake together-for both of us it was a debut.

I think that it was this performance that brought us closer. I remember that he was very cheerful, and I was picking all the time. Now the opposite is true: he smiles more demanding. In fact, honestly, I will say: looking back, I understand that I was so lucky. Did you always know that you would become a soloist? I just wanted to dance and work on stage.