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— Before you start working on a performance at the theatre was a casting for a consignment of solor. What it showed? And it was necessary, given that you, having spent a season at the theatre, you know our company?
It was a novelty for the theater, and not everyone reacted to it with the understanding that while the world is quite a normal practice. Casting allows to evaluate the possibilities of the Belorussian dancers.
Us casting was needed primarily because home men's game turned out to be too many applicants, which in itself is not bad, as evidence of the high level of the troupe. I personally like to take in the spectacle as many young singers, allowing them to be started in the repertoire, thus motivating them. This does not mean that I seek to circumvent the more experienced dancers, simply I see how the younger generation is reasonable enough "comes on the heels of" without being able to express themselves, while mature dancers have enormous repertoire, often allowing them to go on stage and do unless one party becomes perceptible Playbill loss. Although, remembering my own experience, I can say that dance Solor is a matter of honour for any of the dancer. For example, I've been waiting for this all my life, but fate was pleased that I got injured at the first performance, not even where it through, in an act of "Shadows" I have not resigned. It was in Brno in 2005, and then "Bayadere" I so more and not stanceval ...
— That is, for you this is somewhat remarkable performance?
-Up to the incident it was my most favorite Ballet, but after the injury I unknowingly became his escape, stopped watching because I didn't want to relive it over and over again. Now, of course, all this is behind us, the wound in the soul, the FTW and now I think about it the ballet with hope and optimism.
Returning to the casting, I think it was useful for all, because cool mobilized. As a result, all gathered themselves up and got a good power at launch. All applicants to the main actor seemed quite good and could potentially work role. But we have decided to build their preferences directly from the results of casting, casting aside all the arguments and partisanship. We have selected four future Solorov-Denis Zajntdinova, Maxima, Ilya Know Borodulina, Kirill Popov, but nobody says that over time, you will not be able to be entered in the show. We have a lot of young guys, promising that can and have to dance this performance in the future.
— Talk about the play. It's about moving performances at the Mariinsky (Kirov) Theatre?
— I realize migrating choreographed by Marius Petipa under the editorship of Vladimir Ponomarev and Vakhtang Chabukiani. It is worth mentioning the name of Nicholas Zubkovskogo, and added a brilliant Ballet room – a variation of the Golden Idol.
Means, earthquakes and the devastation in the finals will not be all end in "Shadows"?
— An earthquake shut down a play version of Peter Gusev, which many here recall, it also exists in a version by Natalia Makarova, which comes in many foreign theaters. Nor in the large, nor in the final of the Mariinsky currently you will see. Our final remained opened, although it took place: the soul of Solor flies away, he remains among the shadows. But all the same I would like to see the spectacle ended not just as entertainment, but that it is supported by and dramatic decision--say, Nikiya carried away a Solor in sky-high gave.
As is well known, the greatest ornament and at the same time the biggest challenge of this play is the scene of "the shadow".
– "Shadows" is always a demonstration of the troupe: immediately shows which data are of a dancer, what lines they have to hide, anything is possible. Therefore, when this Act I have elevated the criteria and I'm here, by the way, resorted to nepopulârnomu method: I've got the first on the scene, the highest female (usually happens the other way around) because to me it is important to show elongated, delicate line dancers. Be with us on the stage floor with a downhill, this effect could be even greater.
I put in the shade by leading soloists and even tried to impress from the first line of the spectator was particularly strong. When I watch "Bayadere" at the Mariinsky Theatre, and always learn in the first line of shadows, Pyranthracite brave and Aurora shield Juliette who gladly agree to this classic, Crown and the audience from this, of course, only win.
The audience sees the Shadows-how much?
— We have them will be thirty-five lines, six girls in each. Plus another trio of shadows and Nikiya is only thirty-four dancers. This is quite a lot for our scene. I specifically set by the artist Al?onoj Piklovoj to make maximum use of the space, the depth of the stage area. "We will use the back space scenes, so-called ar?er, which normally is not used, the distance will come away Vista, making the scene seem really awesome.
— Have you ever had any of the complexity in the work?
— An unexpected complexity revealed that many performers danced past version, remember it and when in the nuances of choreographic text met and at first it was not easy to arrange, it happened to us. Of course, this is not about fundamental things, and about the nuances, but for me, not least because I want high style.
Cast and Creative team for LA BAYADERE at Ekaterinburg State Academic Opera and Ballet Theatre
Libretto by Marius Petipa, Sergei Hudekova
Choreography By Marius Petipa
under the editorship of Vladimir Ponomarev and Vakhtang Chabukiani
Staged - Stanislav Fe?o
Conductor-Director – Pavel Klinichev
Production designer – Al?ona Pikalova
Costume designer- Elena Zaytseva
Choreography By Marius Petipa
under the editorship of Vladimir Ponomarev and Vakhtang Chabukiani
Staged - Stanislav Fe?o
Conductor-Director – Pavel Klinichev
Production designer – Al?ona Pikalova
Costume designer- Elena Zaytseva
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