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Friday, July 21, 2017

Nikolay Tsiskaridze: “I Can say Dmitrichenko Pasha, hang on!”

Today on the stage of the Kremlin Palace of congresses will take place the graduation performance of the Academy of ballet named after Vaganova, who just returned from a fabulous success at the Mariinsky theatre of St. Petersburg. It rector, with three years of experience Nikolay Tsiskaridze second year in a row makes Moscow the achievements of its graduates, where all grown-up — the scenery, the costumes — at the highest level. But, in fact, is his own report on the work.

About discipline, the corps de ballet at the Vaganova school reforms, the national archives, and the Bolshoi theatre and Pavel Dmitrichenko, released Explorer “MK” talked to the rector and people’s artist of Russia Nikolai Tsiskaridze just before the arrival of his school from St. Petersburg to Moscow.

photo: Alexey Kostromin

“I am against dancing and twitching men on stage”

— This year we have a different program, a different group of children — this is not a permanent troupe, and the school, ” said Nicholas. — Final performance I have included works that haven’t been filled with school and the Mariinsky theatre. This year we have restored Polish ball from the Opera “Ivan Susanin” — choreographic masterpiece Lopukhov and Molars, our legendary alumni. For thirty years he did not go, and our Professor Irina Gensler (at one time prima Donna of the Mariinsky theatre) spent a lot of time with me to recreate the Polish ball. Then I did a Suite of dances from “Ruslan and Ludmila” (in the next year, this masterpiece is one hundred years). Premiere the latest works of Fokine took place in Russia after the revolution, I put together a combination Fokine, and, thus, Glinka we have devoted the entire first act. We must not forget that in those days ballet was often performed in the operas, and it wasn’t any dancing, and there was complete ballet act.

In the second act we show “Bolero” by Bronislava nijinska, the first version of the play in 1928, when Maurice Ravel wrote music to order IDA Rubinstein. Benoit drew sketches of scenery and costumes, and Nijinska set. The ballet was shown in St. Petersburg, especially at the Mariinsky, which Nijinsky danced. I wish we remembered this distinguished graduate of the Academy and choreographer of world renown, quite unfairly forgotten. And besides, everyone knows buzharovskoe “Bolero”, in which the soloist performs a dance on the table. But the fact that the table was not invented by Maurice béjart, and Nijinska for IDA Rubinstein: béjart merely borrowed the idea and made my own version. So all roads lead to the street architect Rossi.

Well, in the third act we have the ballet “the Fairy doll” (music by Josef Bayer with false numbers on the music of Tchaikovsky, Drigo and Pugni). I took the “Fairy of dolls” for several reasons: first, the ballet was originally staged for the Hermitage theatre, which this year anniversary. At that time ballet enjoyed it so much the family of Nicholas II that he decided to withdraw their children at the Mariinsky theater on the ballet. And just a month this little show remade for the big stage of the Mariinsky theatre to the Grand Duchess came to the ballet with mom and dad. Second, “the Fairy doll” was the first work of Leon Bakst, the 150th anniversary of which is celebrated all over the world. I love this artist, worked in costumes in his sketches, and I really wanted the children to understand that “Susanin” they dance in costumes Fedorovsky, Ruslan and Lyudmila” is in the costumes according to the sketches of Korovin and Golovin. “Bolero” is Benoit, and “the Fairy doll” — Bakst. I invited professionals who were reading the kids a lecture on each piece, so they are well prepared.

And for me it is very important to train artists, because I’m against dancing and twitching men on the stage, against the thoughtless concerts that demonstrate it is not clear that on the background of colorless backdrop. I believe that our school in the twenty-first century needs to raise artists who can do the role and know what they are dancing. Russian theater has always been valuable, above all not only a serious approach to the profession, but also the fact that there were laws role, in recent years, trying to blur and destroy. I line is not broke and trying to from an early age to teach all that only by the roles they have to go on stage.

I really liked the phrase of Vladimir Medinsky, when he introduced me to the staff of the Academy: “I wanted,” he said to the diploma of the Vaganova was as valuable as a degree from Oxford or Harvard.” I have been to Oxford, Harvard excursions and spent a lot of time learning how there is an educational process. And I always thought that if I managed our system to introduce them to the experience… so I quietly do it. Today, children far away in cyberspace, well aware thanks to Wikipedia. So every time I try to explain to them the laws of the play: for what reason something is happening that the creators lived in a different century etc.

“I’m not criticizing Large. I just want to sit down and have fun after seeing the play”

— You sectorsthe three years, and you have this third edition. What kind of insights have been achieved?

— I am sad that the broken system of interaction of the school with the theatre at the time of release from the Academy. School career don’t do — it teaches to career was done at the theatre. And when we come out of school completely reset your progress. So, I would like to restore the system: when Yuri Grigorovich knew from childhood all the children he will take to the theatre and do one soloist, the other characteristic, and someone just to cook for the corps de ballet. And the corps de ballet was everywhere smooth, because it was prepared by one school, some teachers, and there was a strong continuity. This is now destroyed. The troupe look like a patchwork quilt — no flatness because it is not from childhood.

I fell in love with ballet just because it was fine when any performance was truly a work of art. So when I’m talking about the chorus, I remember very well that all the artists were well chosen for growth. And Large, the troupe of which I entered, there was a clear role: one danced in the pack, while others never in the pack didn’t bother because they had imperfect feet, as was then considered. Was young men, just standing with their pikes, and were young men who were dancing without tights on the first line of the chorus. It was a caste; and now all the interview and watch it.

— What would you like to see today in ballet?

— I want quality. When the Bolshoi theatre the world-broadcast your performances, I could not help watching them — there is dancing and my students and colleagues. And every time I realize that it is not a one-off gig, but I see that these artists can not stand even close, and we show it to the whole world. I’m not criticizing, I want to sit down and have fun watching the show spent a lot of money. And as a leader I understand how the money is spent, how much, I myself have been involved in the creation of performances.

“Everyone knows that at any moment I can log in to the orphanage and check on bed”

— But back to the Vaganova Academy. What do you want to change as a person prone to radical statements and actions?

— In my remarks there’s nothing radical in them, but logic and responsibility. When I found out that before my arrival, after the death of Konstantin Mikhailovich Sergeyev (an outstanding dancer and head of the school of Vaganova. — M. R.), there was no methodical meeting, I was extremely surprised. Because our Academy is the main stronghold for the dictates of classical dance around the world. I started going to classes and realized that one teacher shows movement, and the other differently. “I was taught” — said my teacher. “What do you mean taught? — I asked. — There are rules Vaganova”. I immediately re-released her book and gave each. You know, in 1942, Vaganova and Tarasov, who led the Moscow school, the great teacher, came together and made a film on the school of classical dance, where they show how to do each movement. There removed little Plisetskaya, Struchkova. But the film was shot during the war, when nobody knew what will happen tomorrow. And people engaged in ballet. We now live in a different regime, but the laws of the dance must be clearly performs.

Are you asking what I changed. You everyone here can say that strict was the discipline. I still managed to do so in my absence she respected, but… everyone knows that at any moment I can log in to the internat and check how bed. And every person who fails to comply with the rules of public order, me will be told off. All losers in any subject retake me personally.

— You as a connoisseur of pre-revolutionary education by chance the cooler is not started at the Academy?

— No, not made, it is prohibited by law. But in principle, every child needs from childhood to understand that there are rules and they must be respected. They came to me and said, “I Want to play football in the yard”. Please — I bought them balls, and even a basketball net hung up, but said, “you Break the window…”

And if you break your leg? Glass is more important?

— Most importantly, that they were in the yard and under supervision. I was a child, and how much I say “slow down”, I ran. But it is better to give them the opportunity to run under your supervision, than they will do it on the sly.

— I do not understand the students love you or fear?

— Well, how can I know… we came to visit the puppet theatre “the Shadow” from Moscow, and its Director Maya Krasnopolskaya was the guys torture: “Well, Nikolay Maksimovich, screaming?” “No, not yelling”. — “Are you afraid of him?” — “No, not afraid.” He’s, like, good. As one boy said: “it is Terrible when he’s joking”. Language I, know, acute, and if I’m joking, then… well, better not to have me.

Photo: Mikhail Logvinov

And they told me that you want to build a pool. Really?

— The fact that the performances of the Mariinsky theatre, our children always participated in operas, ballets, dance at more than 20 performances in a month (Mariinsky pays for each participant’s school). And Valery Gergiev Abisalovich to provide the children with all the opportunities for comfortable work, but the load they have still huge, so swimming for them is very useful, especially when the children grow up and are formed. After all, ballet dancers don’t run, if you raise the bar, only with a certain age.

— Sorry, but the partner is not a burden?

— Raise the “live” weight and “dead” are two different things. Was a famed history, when our great weight lifter (can’t remember his name) couldn’t pick up the lightest dancer in the world — Ekaterina Maximova. I probably will not lift 50 pounds, and on one hand wore a ballerina the same weight safely. So the pool will have us where the boiler room. She is no longer working, and I want it converted into a sports complex to the children in the evening could swim and they had the opportunity for rehabilitation. This year there lived Russian 195 and 45 foreigners.

— Fashion for ballet training stable or waves? But this year people in place?

— About this year I can only say in August, but in the past we took 60 people viewing 1800. And this only for a day passed about three hundred. Interest in the ballet comes in waves: this year for the first time in the last 25 years came 36 boys. Never have so many boys, and I was very happy, because after the collapse of the Soviet Union subsided, the figure for the reception of boys. We must not forget that theatre graduates of the Conservatoire and, most importantly, ballet is the main export of our country. Mind you, the only diplomas, which do not require confirmation in the West, is from the sphere of culture, and all other diplomas people have to confirm.

“We must not forget that the victim and Pavel Dmitrichenko was in a good relationship”

— I can not ask about the fate of Pavel Dmitrichenko, in 2013, accused of attack on Sergei Filin and a month ago released.

— I plow a lot of respect and very good to him. And repeatedly said, including on the court that didn’t believe and still not believe in his guilt. Yes, he came, we saw, and my attitude towards him one iota has not changed.

He came to you in Peter?

— No, I was in Moscow, we met. He expressed a desire to pursue a dance career. I supported him in this and was advised to go to study, but he said he is already learning.

But as for him actually returning to the profession? After three years lost form. Yes three years one week at the artist does not stand up at the bench… you know how the matter.

He says he did. And then, perhaps, it will not be a classical dancer, his repertoire was a wonderful character roles.

Since Pavel Dmitrichenko was convicted, he has a chance to do serious theatre or the stigma of “prisoner” will not allow?

— He does not legally have the right to occupy posts in state institutions related to work with children. And in the other, he can do everything. Why not? The most annoying thing for me in this situation that nobody is interested in the desire of the audience. The viewer expressed that I did not me — someone on this notice? Same thing with Pasha… he has a huge following, and these people want to see him in the Bolshoi. And will it participate in them or not, it depends on the leadership. If he will take up the matter with the mind, he has the opportunity and potential.

— Are you willing to help him?

— How can I help him? I work in another city and I can only say “Joan, hold on.” If you need my tutoring help, please.

— For example, if we need your recommendation, written?

Sure, I openly went to the trial of Paul, nor from whom nothing is concealed.

— Still heavy, the fate of man. He’s even gone girl, which if it happened?

— I repeat: nothing to do with the girl, this situation had not. We must not forget that the victim and Pasha were in a good relationship. The rest is journalistic fiction.

But she didn’t wait for it.

— And why did she have to wait for it, if he married a year before she got married? They broke up before this whole mess. Not to be confused with forks and bottles. It’s Figaro from Beaumarchais says: “I am much better than its reputation”. As outlined the whole situation three years ago at the Bolshoi theatre — not everything as it really is.

“I never said, “Medina is very good or very bad

— You’re one of the few who stands up for the Minister of culture. The position requires?

— I don’t stand up, every time I say, “Lord, let us see what has been done. There are statistics, basic numbers: what did the past year, and that was the year before, and ten years.”

So I love history. One memoir was written way and another that way. Love both, but take a piece of paper and read: neither one nor the other in this place was not. At some point in my life I began to read what is written in the archival documents of the Bolshoi theatre. If you read the Chronicles of Assembly, the shock. The first shock I had when I read the minutes of the meeting on the dismissal of the Mariinsky Vaganova. Who were her accusers? Her pupils (were the 37th year, people are imprisoned or just shot), which said such things!!!… But, after reading the documents, I now know exactly what saved her Marina Timofeevna Semenova, who was the prima Donna of the country. And that only one student of Vaganova from all — Natalia Dudinskaya — in this meeting defended his teacher.

Or I saw the documents, dismissed as Maris Liepa, then Grigorovich, and then others, — the names of the accusers has not changed. They do not care whom to praise and whom to blame, and they still are. I never said, “Medina is very good or very bad Medina”. I just want to encourage you to look at the statistics. Or recently I was in the US, and one of my friends with whom I kept in touch, wrote me that because I supported the Crimea, then he doesn’t want to talk. I was so funny. I was approached by many people, and I told them: “If you will ask me a specific question on this email, I can answer you”. But no one could ask him because none of the letters do not read. Read the names of the signatories and their cursed.

— The last question. Have you principalship ends in 2019. If you don’t get re-elected, are you willing to open a private school?

Never. I said it before the appointment and now I repeat: never! It is making money, and to me it is irrelevant. All my life I have served in public office. And I understand that if I want to grow ballet dancers, I have to teach them in public schools. I’m much more interested to serve his cause. To serve would be happy fawn sick.

Marina RAIKIN,

Saint Petersburg — Moscow.

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