Anthology of contemporary dance in Russia.
21 century, the beginning
21 century, the beginning
Performance, consisting of 7 Russian dance companies works of 2000-2018 united into one piece. This integration of dance artists took place in one stage work, symbolically representing the development of contemporary dance in Russia as a whole "
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And this is just a beginnig!
Anthology of contemporary dance in Russia.
21 century, the beginning
21 century, the beginning
Contemporary dance
Performance, consisting of 7 Russian dance companies works of 2000-2018 united into one piece
1 hour 15 min.
Moscow
June 2018
Performance, consisting of 7 Russian dance companies works of 2000-2018 united into one piece
1 hour 15 min.
Moscow
June 2018
Concept, direction
Konstantin Grouss
Dance, Choreography Participants
Company - "Provincial Dances", Yekaterinburg
Choreographer - Tatiana Baganova
Work - "Imago Trap"
Performers - Ksenia Kaplun, Ekaterina Zanina, Anton Shmakov, Alexey Slutsky
Company - "Ballet Moscow", Moscow
Choreographers - Artyom Ignatiev, Anastasia Kadruleva (St. Petersburg),
Work - "Standby Godot"
Performers - Galina Gracheva, Kamila Mogileva, Anastasia Peshkova
Company - "Po.V.S. Tanze", Moscow
Choreographer - Alexandra Konnikova
Work - "The Dance That Lives in Me"
Performers - Alexandra Konnikova
Company - "Denis Boroditsky Dance Company, BDDC", Moscow
Choreographer - Denis Boroditsky
Work - "Opus 32"
Performers - Denis Boroditsky, Ksenia Babintseva
Company - "ZERO Dance Gallery", Moscow
Choreographer - Konstantin Grouss
Work - "Aheym"
Performers - Konstantin Grouss, music by Bryce Dessner performed by the Studio for New Music quartet - Stanislav Malyshev, Anna Burchik, Olga Kalinova, Irina Tsirulnikova
Company - "Electrotheatre", Moscow
Choreographers - Alberts Alberts, Alexandra Konnikova
Work - "That's right"
Performers - Andrey Anisimov, Georgy Grishchenko, Marina Kunilova, Marina Herolyants, Viktor Vyborov
Company - "Chelyabinsk Theater of Contemporary Dance", Chelyabinsk
Choreographer - Olga Pona
Work - "Out of sync"
Performers - Vladislav Morozov, Artem Sushchenko, Dmitry Chegodar, Denis Chernyshov, Tatiana Kritskaya, Maria Gerasimova, Tatiana Sushchenko, Kristina Leonova, Tatiana Lumpova, Rafael Timerbakov
The performance took place with the participation of Misha Humm - performer, musician, artist
Idea
Contemporary dance in Russia is the same age as the modern history of its country. At the beginning of the 21st century, having firmly declared himself, it actively develops its line in art through the efforts of artists of the new dance.
Maximum degree of freedom! - this was and remains his motto.
First of all, it is personal freedom, and then artistic freedom and independence.
Balancing between these scales and responding to the speed of the new century, contemporary dance is actively developing in both directions. Either by moving towards complete independence of expression, or by subordinating oneself to the power of new techniques of movement, born in the 20th century on the basis of classical dance and the study of human psychophysics. Both there and here - the territory of constant research and development, experiment and statement. On the basis of duality, a constant search for oneself - a powerful creative impulse and a sequence of most interesting artistic solutions.
Looking back opens the way forward and provides a way to understand that path. It's difficult to collect everything and everyone in one thing. However, it is possible to gather several leading choreographers, artists of new dance and new time on one stage and present the "Anthology of Contemporary Russian Dance of the 21st Century" within 90 minutes. In the form of a stage performance, performed by those who invented all this and who create their own history.
On Russia Day, June 11, Moscow.
Participants presented excerpts from their key works.
Konstantin Grouss has combined the fragments into a single continuous action.
For the first time, such a union of dance artists took place in one stage work, symbolically representing the development of contemporary dance in Russia as a whole.
And this is just the beginning!
Photo
Anthology of contemporary dance in Russia.
21 century, the beginning
21 century, the beginning
Video will be here
Choreographers and their works participating in the performance
"Сardboard "
Company - "Chelyabinsk Theater of Contemporary Dance", Chelyabinsk
Choreographer - Olga Pona
Work - "Out of sync"
Performers - Vladislav Morozov, Artem Sushchenko, Dmitry Chegodar, Denis Chernyshov, Tatiana Kritskaya, Maria Gerasimova, Tatiana Sushchenko, Kristina Leonova, Tatiana Lumpova, Rafael Timerbakov
The collage for the performance was created on the basis of the performance "Cardboard" and other works of the choreographer of recent years. Graphics and technical excellence, built relationships and freedom. "It is not known who they are, these mysterious characters existing in isolation in their offices, where you can only hear the rustle of a pen on paper. Writers? Composers? Scientists-botanists? Or someone else who has withdrawn from the outside world and plunged into his own, drawn, cardboard. And whether a person from the street would return them to reality is an open question "
Choreographer - Olga Pona
Work - "Out of sync"
Performers - Vladislav Morozov, Artem Sushchenko, Dmitry Chegodar, Denis Chernyshov, Tatiana Kritskaya, Maria Gerasimova, Tatiana Sushchenko, Kristina Leonova, Tatiana Lumpova, Rafael Timerbakov
The collage for the performance was created on the basis of the performance "Cardboard" and other works of the choreographer of recent years. Graphics and technical excellence, built relationships and freedom. "It is not known who they are, these mysterious characters existing in isolation in their offices, where you can only hear the rustle of a pen on paper. Writers? Composers? Scientists-botanists? Or someone else who has withdrawn from the outside world and plunged into his own, drawn, cardboard. And whether a person from the street would return them to reality is an open question "
Olga Pona
Choreographer
One of the pioneers of contemporary dance in Russia. She has been working in the Chelyabinsk contemporary dance theater since its foundation in 1992 as a teacher and choreographer. She was born in Novotroitsk, Orenburg region. She graduated from the automotive faculty of the Chelyabinsk Polytechnic Institute, and then from the choreography faculty of the Chelyabinsk Institute of Culture. She has staged over 20 performances and many miniatures in Russia and abroad. Among the productions: "Another Bird", "Waiting", "Does the English Queen Know Life", "Attraction", "Dives and Ascents", "A Man is a Man Who Found His Own Identity", "Meetings" in Chelyabinsk theater of contemporary dance; Dotted Lines - Supported by Tanzhaus nrw, Düsseldorf, Germany; "A Little Nostalgia" - for the American Dance Festival; The Other Side of the River - commissioned by Théâtre de la Ville in Paris, co-production with Kampnagel, Hamburg, and Tanzhaus nrw; "The Pushing Factor" - Arnhem, Netherlands; "Dots and Dashes" - Ljubljana, Slovenia; The Shelter was commissioned by the Pumpenhaus Theater in Münster, Germany.
Collaborates with drama theaters, as a guest teacher teaches at the Faculty of Contemporary Dance at the Humanitarian University of Yekaterinburg.
Choreographer
One of the pioneers of contemporary dance in Russia. She has been working in the Chelyabinsk contemporary dance theater since its foundation in 1992 as a teacher and choreographer. She was born in Novotroitsk, Orenburg region. She graduated from the automotive faculty of the Chelyabinsk Polytechnic Institute, and then from the choreography faculty of the Chelyabinsk Institute of Culture. She has staged over 20 performances and many miniatures in Russia and abroad. Among the productions: "Another Bird", "Waiting", "Does the English Queen Know Life", "Attraction", "Dives and Ascents", "A Man is a Man Who Found His Own Identity", "Meetings" in Chelyabinsk theater of contemporary dance; Dotted Lines - Supported by Tanzhaus nrw, Düsseldorf, Germany; "A Little Nostalgia" - for the American Dance Festival; The Other Side of the River - commissioned by Théâtre de la Ville in Paris, co-production with Kampnagel, Hamburg, and Tanzhaus nrw; "The Pushing Factor" - Arnhem, Netherlands; "Dots and Dashes" - Ljubljana, Slovenia; The Shelter was commissioned by the Pumpenhaus Theater in Münster, Germany.
Collaborates with drama theaters, as a guest teacher teaches at the Faculty of Contemporary Dance at the Humanitarian University of Yekaterinburg.
"Aheym"
Company - "ZERO Dance Gallery", Moscow
Choreographer - Konstantin Grouss
Work - "Aheym"
Performers - Konstantin Grouss, music by Bryce Dessner performed by the Studio for New Music quartet - Stanislav Malyshev, Anna Burchik, Olga Kalinova, Irina Tsirulnikova
"Aheym means 'homeward' in Yiddish, and this piece is written as musical evocation of the idea of flight and passage. As little boys, my brother and I used to spend hours with my grandmother, asking her about the details of how she came to America. (My father's family were Jewish immigrants from Poland and Russia). She could only give us a smattering of details, but they all found their way into our collective imagination, eventually becoming a part of our own cultural identity and connection to the past. In her poem "Di rayze aheym," the American-Yiddish poet Irena Klepfisz, a professor at Barnard in New York and one of the few child survivors of the Warsaw Ghetto, writes: "Among strangers is her home. Here right here she must live. Her memories will become monuments." Aheym is dedicated to my grandmother, Sarah Dessner" - Bryce Dessner
"In my workI took the color wheel as a symbol of return in which, during the performance the colors of life - red and green turn a full circle of 360 degrees, going through all other possible combinations of colours. The dance exists in a rigid musical structure, then obeying it, then going beyond, maintaining a balance between a completed production and an open structure " - Konstantin Grouss
Choreographer - Konstantin Grouss
Work - "Aheym"
Performers - Konstantin Grouss, music by Bryce Dessner performed by the Studio for New Music quartet - Stanislav Malyshev, Anna Burchik, Olga Kalinova, Irina Tsirulnikova
"Aheym means 'homeward' in Yiddish, and this piece is written as musical evocation of the idea of flight and passage. As little boys, my brother and I used to spend hours with my grandmother, asking her about the details of how she came to America. (My father's family were Jewish immigrants from Poland and Russia). She could only give us a smattering of details, but they all found their way into our collective imagination, eventually becoming a part of our own cultural identity and connection to the past. In her poem "Di rayze aheym," the American-Yiddish poet Irena Klepfisz, a professor at Barnard in New York and one of the few child survivors of the Warsaw Ghetto, writes: "Among strangers is her home. Here right here she must live. Her memories will become monuments." Aheym is dedicated to my grandmother, Sarah Dessner" - Bryce Dessner
"In my workI took the color wheel as a symbol of return in which, during the performance the colors of life - red and green turn a full circle of 360 degrees, going through all other possible combinations of colours. The dance exists in a rigid musical structure, then obeying it, then going beyond, maintaining a balance between a completed production and an open structure " - Konstantin Grouss
Konstantin Grouss, Artist / Curator
founder of International сulture project "Art-Residence" and «ZERO Dance Gallery»
Sphere of interest is in choreography, contemporary theatre, and integration of choreography, sculpture and video. Curatorial practice over the past years is also devoted to the study of transition from one medium into another, searching for common codes of different artistic positions.
I focus on the boundary zones between different media, searching for different types of information in both artistic and curatorial practice, which I devote equal time and attention.
Graduated from Dance and Art school and the Technical University. Studied at the "Class of expressive dance" by Gennady Abramov, Moscow. Fellow of danceWeb program in dance and choreography, 2004, Vienna. Participant of ICR (International Choreographers In Residence) program of American Dance Festival ADF, USA, 2007. Participant of SPACE Programme in contemporary art provided by Performance Corporation (Dublin, Ireland), 2008.
Resident OMI International Dance Collective, NY, USA, 2011. Worked with different choreographers and theatre directors: Shusaku Takeuchi (Netherlands), Yury Urnov, Valery Fokin, Tatyana Grindenko, Kirill Serebryannikov (Russia), Theodor Tezhik (Russia-Czech), Efva Lilja (Sweden), Maida Withers (USA).
Curatorial practice
Exhibitions and festivals
Curatorial practice over the past years is also devoted to the study of the process of transition from one medium into another, searching for common codes of different positions.
I build my curatorial practice from the perspective of the artist, director, working on whole construction of projects as over an artistic performance, physically involving the audience into the process.
Contemporary art
"Accelerator of New Moscow", art-science conference, exhibition
"Quest for Silence", contemporary art, music, dance
«Kod Epohi / Zeitgeist», Contemporary art, music, dance, science. Museum of applied and folk art, Moscow
«Art-Ovrag», festival of public-art, architecture, street-art, music and dance
«no translations», contemporary art, music, dance
"extension.art", contemporary art, music, dance
"Architecture-body-dance", contemporary art, music, dance
Contemporary dance
"Anthology of contemporary dance in Russia. 21 century, the beginning" Moscow. 2018. Dance performance, consisting of 7 Russian dance companies works of 2000-2018 united into one piece.
"Room Room Room", contemporary choreography festival. Special project of 5th Moscow biennale of contemporary art, International culture project "Art-Residence", 2013
«Kod Epohi / Zeitgeist», Contemporary art, music, dance, science. Museum of applied and folk art, Moscow
«no translations», contemporary art, music, dance
"extension.art", contemporary art, music, dance
founder of International сulture project "Art-Residence" and «ZERO Dance Gallery»
Sphere of interest is in choreography, contemporary theatre, and integration of choreography, sculpture and video. Curatorial practice over the past years is also devoted to the study of transition from one medium into another, searching for common codes of different artistic positions.
I focus on the boundary zones between different media, searching for different types of information in both artistic and curatorial practice, which I devote equal time and attention.
Graduated from Dance and Art school and the Technical University. Studied at the "Class of expressive dance" by Gennady Abramov, Moscow. Fellow of danceWeb program in dance and choreography, 2004, Vienna. Participant of ICR (International Choreographers In Residence) program of American Dance Festival ADF, USA, 2007. Participant of SPACE Programme in contemporary art provided by Performance Corporation (Dublin, Ireland), 2008.
Resident OMI International Dance Collective, NY, USA, 2011. Worked with different choreographers and theatre directors: Shusaku Takeuchi (Netherlands), Yury Urnov, Valery Fokin, Tatyana Grindenko, Kirill Serebryannikov (Russia), Theodor Tezhik (Russia-Czech), Efva Lilja (Sweden), Maida Withers (USA).
Curatorial practice
Exhibitions and festivals
Curatorial practice over the past years is also devoted to the study of the process of transition from one medium into another, searching for common codes of different positions.
I build my curatorial practice from the perspective of the artist, director, working on whole construction of projects as over an artistic performance, physically involving the audience into the process.
Contemporary art
"Accelerator of New Moscow", art-science conference, exhibition
"Quest for Silence", contemporary art, music, dance
«Kod Epohi / Zeitgeist», Contemporary art, music, dance, science. Museum of applied and folk art, Moscow
«Art-Ovrag», festival of public-art, architecture, street-art, music and dance
«no translations», contemporary art, music, dance
"extension.art", contemporary art, music, dance
"Architecture-body-dance", contemporary art, music, dance
Contemporary dance
"Anthology of contemporary dance in Russia. 21 century, the beginning" Moscow. 2018. Dance performance, consisting of 7 Russian dance companies works of 2000-2018 united into one piece.
"Room Room Room", contemporary choreography festival. Special project of 5th Moscow biennale of contemporary art, International culture project "Art-Residence", 2013
«Kod Epohi / Zeitgeist», Contemporary art, music, dance, science. Museum of applied and folk art, Moscow
«no translations», contemporary art, music, dance
"extension.art", contemporary art, music, dance
The string quartet Studio for New Music was created within the walls of the Moscow Conservatory by its graduates in 2004. Participants: Stanislav Malyshev (1st violin), Inna Zilberman (2nd violin), Anna Burchik (viola), Olga Kalinova (cello). The quartet perform since 2008. The performers studied chamber music under the guidance of such famous professors as A. Bonduryansky, A. Korchagin, N. Kogan, A. Rudin, T. Alikhanov, A. Shishlov. During their studies, the quartet members have repeatedly become laureates of international competitions (named after S.I.Taneev, Russia, 1999, named after Bellini, Italy, 2000) and music festivals ("Youth Academy of Russia", Usedom Music Festival, Festival of Russian Culture in Cannes and others).
Since 2005, the quartet began cooperation with the Center for Contemporary Music at the Moscow Conservatory, and over the past decade the musicians have successfully performed a number of world and Russian premieres of works by A. Berg, L. Berio, A. Volkonsky, F. Donatoni, D. Cage, D. Ligeti, V. Lutoslavsky, D. Melkikh, A. Mosolov, S. Reich and many others. A special place in the quartet's activities is occupied by cooperation with young composers, whose music the musicians regularly perform in their concerts and at international composers' competitions (named after N.Ya. Myaskovsky and named after P.I. Yurgenson).
Some composers have dedicated their works to the Studio for New Music quartet. The performing skills of the musicians were highly appreciated by well-known composers of our time, including V. Silvestrov, K. Penderetsky, A. Gossen, J. Tsinstag, H. Lachenmann.
The quartet actively collaborates and plays music together with various musicians, including A. Lyubimov, A. Rudin, E. Kichigina, M. Pekarsky, A. Trostyansky, N. Manabe, Ensemble Modern and others.
The quartet members perform as part of the Studio for New Music ensemble of soloists under the direction of I. Dronov.
The quartet gives many concerts, both in Russia and abroad, playing at the most prestigious venues in Paris, Berlin, Milan, Nice, Baku, Istanbul. Musicians are regularly invited to take part in various international music festivals: El Jem (Tunisia), St. Gallen (Switzerland), "Eurasia" (Yekaterinburg), "Moscow Forum", "Moscow Autumn" and many others.
Since 2005, the quartet began cooperation with the Center for Contemporary Music at the Moscow Conservatory, and over the past decade the musicians have successfully performed a number of world and Russian premieres of works by A. Berg, L. Berio, A. Volkonsky, F. Donatoni, D. Cage, D. Ligeti, V. Lutoslavsky, D. Melkikh, A. Mosolov, S. Reich and many others. A special place in the quartet's activities is occupied by cooperation with young composers, whose music the musicians regularly perform in their concerts and at international composers' competitions (named after N.Ya. Myaskovsky and named after P.I. Yurgenson).
Some composers have dedicated their works to the Studio for New Music quartet. The performing skills of the musicians were highly appreciated by well-known composers of our time, including V. Silvestrov, K. Penderetsky, A. Gossen, J. Tsinstag, H. Lachenmann.
The quartet actively collaborates and plays music together with various musicians, including A. Lyubimov, A. Rudin, E. Kichigina, M. Pekarsky, A. Trostyansky, N. Manabe, Ensemble Modern and others.
The quartet members perform as part of the Studio for New Music ensemble of soloists under the direction of I. Dronov.
The quartet gives many concerts, both in Russia and abroad, playing at the most prestigious venues in Paris, Berlin, Milan, Nice, Baku, Istanbul. Musicians are regularly invited to take part in various international music festivals: El Jem (Tunisia), St. Gallen (Switzerland), "Eurasia" (Yekaterinburg), "Moscow Forum", "Moscow Autumn" and many others.
"Танец, который живёт во мне"
Company - "Po.V.S. Tanze", Moscow
Choreographer - Alexandra Konnikova
Work - "The Dance That Lives in Me"
Performers - Alexandra Konnikova
Premiere - April 2011 at the Assembly Hall with the support of TSEKH. Shown at festivals - Eхtension Art (Art-Residence), 2011; "Phenomenon" (interdisciplinary festival at Art-Play), 2013
"The dance that lives in me" can be called a declaration of dance independence. Immersed in the question "what is dance", choreographer Alexandra Konnikova creates a manifesto in which she seeks to free dance from qualities that are not necessary for its manifestation and thus find an understanding of the essence of dance that is relevant to itself. Continuing to be in question, Alexandra creates this dance in real time and space.
Choreographer - Alexandra Konnikova
Work - "The Dance That Lives in Me"
Performers - Alexandra Konnikova
Premiere - April 2011 at the Assembly Hall with the support of TSEKH. Shown at festivals - Eхtension Art (Art-Residence), 2011; "Phenomenon" (interdisciplinary festival at Art-Play), 2013
"The dance that lives in me" can be called a declaration of dance independence. Immersed in the question "what is dance", choreographer Alexandra Konnikova creates a manifesto in which she seeks to free dance from qualities that are not necessary for its manifestation and thus find an understanding of the essence of dance that is relevant to itself. Continuing to be in question, Alexandra creates this dance in real time and space.
Aleksandra Konnikova
Choreographer, dancer
Graduated from the State Musical College named after V.I. Gnesins as musical theater actress, then she studied contemporary dance and improvisation in Gennady Abramov's Expressive dance Class at the School of Dramatic Art theater.
In 1999 she became one of the founders of the dance company "PO.V.S.TANZE", since that time she has been participating in all projects of the company as a creator and performer (among the performances - "Blood"; "Beetles", "Anticipation / Aftertaste / Song" and Shum Zo, The Practice of Probability, We Were Here, The Ark (2017); solo projects include Travel Diary; "The dance that lives in me."
In 2007–2010, she initiated and curated projects for the development of contemporary dance in Russia with the support of TSEKH, curated the ROOM ROOM ROOM indoor performance and dance festival together with Konstantin Grouss and the 5 Solo project at the ZIL Culture Center. Conducts laboratories in the field of motion research and performance; Manages the Action Laboratory Performance project with the support of the Stanislavsky Electrotheatre.
Choreographer, dancer
Graduated from the State Musical College named after V.I. Gnesins as musical theater actress, then she studied contemporary dance and improvisation in Gennady Abramov's Expressive dance Class at the School of Dramatic Art theater.
In 1999 she became one of the founders of the dance company "PO.V.S.TANZE", since that time she has been participating in all projects of the company as a creator and performer (among the performances - "Blood"; "Beetles", "Anticipation / Aftertaste / Song" and Shum Zo, The Practice of Probability, We Were Here, The Ark (2017); solo projects include Travel Diary; "The dance that lives in me."
In 2007–2010, she initiated and curated projects for the development of contemporary dance in Russia with the support of TSEKH, curated the ROOM ROOM ROOM indoor performance and dance festival together with Konstantin Grouss and the 5 Solo project at the ZIL Culture Center. Conducts laboratories in the field of motion research and performance; Manages the Action Laboratory Performance project with the support of the Stanislavsky Electrotheatre.
"Imago trap"
Company - "Provincial Dances", Yekaterinburg
Choreographer - Tatiana Baganova
Work - "Imago Trap"
Artists - Ksenia Kaplun, Ekaterina Zanina, Anton Shmakov, Alexey Slutsky Artists: Vera Sokolova, Yaroslav Frantsev
Sounde design: Valery Vasyukov
Golden Mask Award 2018 - Best Performance in Contemporary Dance
Nominations for the Golden Mask Award 2018 - Best Choreographer / Choreographer "The starting point for the creation of the performance was the fables of Aesop, La Fontaine and Krylov" The Dragonfly and the Ant "(" The Ant and the May Beetle "," The Ant and the Cicada ").
The imago is often defined as an "unconscious representation", but it is not so much an image as a scheme developed by the imagination, a stable stereotype of the subject's perception of another person. Thus, the imago can be objectified not only in images, but also in feelings and actions. In addition, the imago should not be understood as a reflection of reality, even if distorted. The dragonfly is a well-flying predatory insect. Large, with a movable head, large eyes, four transparent wings with a dense network of veins and an elongated slender abdomen. In Russia, dragonflies are widespread throughout the country. An individual ant is a small fussy insect, in whose actions it is often difficult to find any logic and purpose, but it adapts well to cyclical changes in the environment and to its random disturbances. " - theater "Provincial Dances"
"The conflict of insects is a reason to talk about the ability not to reject, to understand, and sometimes to accept someone else's world. And as usual, the artist inscribes his personal theme in this big theme - the theme of the relationship between an artist and an" ordinary person.
" The artist (he is a dragonfly, he is different) has a quivering body, the ability to soar to heaven on high supports and fall backwards from his own weakness or someone else's cruelty. Others, "ordinary", have strong support, directness of movements, physically capacious steps. The action is screwed until, finally, ants firmly standing on the ground - ordinary people - acquire technical limbs in the spirit of Kafka, and then their arms-corrugations and legs-pipes participate in the dance as a normal continuation of bodies. Avoiding straightforwardness according to the traditional director's canons, the choreographer-director nevertheless clearly prescribes the setting, the development of events and the ending. After it, a weighty message remains, conveyed by muscle strength and body ligaments: are we ready to see objective reality, where we are all different? Are you ready to feel this objective reality with your own brain, and not believe everything that is imposed on us? " - "Russian newspaper"
Choreographer - Tatiana Baganova
Work - "Imago Trap"
Artists - Ksenia Kaplun, Ekaterina Zanina, Anton Shmakov, Alexey Slutsky Artists: Vera Sokolova, Yaroslav Frantsev
Sounde design: Valery Vasyukov
Golden Mask Award 2018 - Best Performance in Contemporary Dance
Nominations for the Golden Mask Award 2018 - Best Choreographer / Choreographer "The starting point for the creation of the performance was the fables of Aesop, La Fontaine and Krylov" The Dragonfly and the Ant "(" The Ant and the May Beetle "," The Ant and the Cicada ").
The imago is often defined as an "unconscious representation", but it is not so much an image as a scheme developed by the imagination, a stable stereotype of the subject's perception of another person. Thus, the imago can be objectified not only in images, but also in feelings and actions. In addition, the imago should not be understood as a reflection of reality, even if distorted. The dragonfly is a well-flying predatory insect. Large, with a movable head, large eyes, four transparent wings with a dense network of veins and an elongated slender abdomen. In Russia, dragonflies are widespread throughout the country. An individual ant is a small fussy insect, in whose actions it is often difficult to find any logic and purpose, but it adapts well to cyclical changes in the environment and to its random disturbances. " - theater "Provincial Dances"
"The conflict of insects is a reason to talk about the ability not to reject, to understand, and sometimes to accept someone else's world. And as usual, the artist inscribes his personal theme in this big theme - the theme of the relationship between an artist and an" ordinary person.
" The artist (he is a dragonfly, he is different) has a quivering body, the ability to soar to heaven on high supports and fall backwards from his own weakness or someone else's cruelty. Others, "ordinary", have strong support, directness of movements, physically capacious steps. The action is screwed until, finally, ants firmly standing on the ground - ordinary people - acquire technical limbs in the spirit of Kafka, and then their arms-corrugations and legs-pipes participate in the dance as a normal continuation of bodies. Avoiding straightforwardness according to the traditional director's canons, the choreographer-director nevertheless clearly prescribes the setting, the development of events and the ending. After it, a weighty message remains, conveyed by muscle strength and body ligaments: are we ready to see objective reality, where we are all different? Are you ready to feel this objective reality with your own brain, and not believe everything that is imposed on us? " - "Russian newspaper"
Tatiana Baganova
Choreographer
She was born in the Tyumen region. In 1990, after graduating from the choreographic faculty of the Moscow Institute of Culture, she began working as a dancer at the Yekaterinburg Provincial Dances Theater, and later tried herself as a director of choreographic miniatures. Her first major work was a one-act ballet staged in 1992 to the music of A. Terteryan "Versions. Part I ". In 1993-94, she underwent long-term internships at the American Dance Festival in North Carolina. She has appeared as a dancer in performances by choreographers Christine Brunel (Germany), Monica Runde (Spain), Donald McKale (USA), Anouk van Dyck (Netherlands), Joachim Schlemer (Germany). She took part in master classes of many European and American teachers, studied eurythmy with Julian Koyman, studied directing.
With the Provincial Dances troupe, already in the role of artistic director, she staged more than ten performances, many of which were awarded prizes at international competitions and festivals in Hanover, Paris, Vitebsk, France. "Les Noces" by I. Stravinsky staged by Tatyana Baganova is a performance that has already become a legend. In 2000, this work won the Golden Mask National Theater Award in the Best Choreographer / Choreographer nomination.
Tatyana Baganova is a constant participant in international projects. She worked in France, Spain, Holland, Poland, Austria. Commissioned by the American Dance Festival within the framework of the International Choreographers program, she has staged 5 performances: Maple Garden, Lazy Susan, Flying During Tea Time, After Involvement. Diptych. Part II "," Sepia ". Later, all of them were transferred to the Provincial Dances Theater and received recognition in Russia and abroad. Maple Garden won the Golden Mask Award (2001) in the nominations for Best Choreographer and Best Artist. After Engagement won the Golden Mask Award (2008) in the Best Contemporary Dance Performance category.
As a choreographer, she took part in productions of the performances Notre Dame Cathedral by N. Skorokhod based on the novel of the same name by V. Hugo (directed by G. Gobernik) at the Novosibirsk Youth Theater Globus (1997), La Traviata by G. Verdi at the Yekaterinburg State Academic Theater opera and ballet (1998), "The Beautiful Galatea" by F. Suppe at the Yekaterinburg Theater of Musical Comedy (1998), "THAIS" at the Experimental Youth Theater of the Ural State Conservatory. M.P. Mussorgsky (1998), "Diary of Anna K." (based on the novel "Anna Karenina" by L. Tolstoy, staged by N. Skorokhod, director A. Proudin) at the Yekaterinburg Theater for Young Spectators (2000), "Gold of the Narts" (directed by V. Khodova) at the North Ossetian Ritual Theater "Arvaiden" ( 2003), musicals "Catherine the Great. Musical Chronicles of the Times of the Empire "by S. Dreznin (2008) and" Pit "(2013) at the Sverdlovsk Academic Theater of Musical Comedy (directed by N. Chusova). In 2004 she staged the opera-ballet "The Nightingale" by I. Stravinsky at the Perm Academic Opera and Ballet Theater named after I. P. Tchaikovsky (nomination for the "Golden Mask").
She has been a member of the jury several times and has given master classes at international and national choreographic competitions and festivals. In the 2003/04 season of the Bolshoi Theater Tatiana Baganova took part in a production of the opera Fiery Angel by S. Prokofiev. In 2013, at the invitation of the Bolshoi Theater, she staged "The Rite of Spring" by I. Stravinsky (stage director P. Klinichev, scenography and costumes - A. Shishkin) as part of the international project "The Age of the Rite of Spring - the Age of Modernism." The performance won the Golden Mask Theater Award in the nominations for Best Performance in Contemporary Dance and Best Artist's Work in Musical Theater.
In 2015, she became the author of choreography in the performances The Little Mermaid (Yekaterinburg Theater for Young Spectators, director R. Feodori), Lulu (Bavarian State Opera, director D. Chernyakov), and Carmen (Yekaterinburg Opera and Ballet Theater, director A. Titel). She took part in the second season of the Bolshoi Ballet project on the Kultura TV channel as a choreographer.
Choreographer
She was born in the Tyumen region. In 1990, after graduating from the choreographic faculty of the Moscow Institute of Culture, she began working as a dancer at the Yekaterinburg Provincial Dances Theater, and later tried herself as a director of choreographic miniatures. Her first major work was a one-act ballet staged in 1992 to the music of A. Terteryan "Versions. Part I ". In 1993-94, she underwent long-term internships at the American Dance Festival in North Carolina. She has appeared as a dancer in performances by choreographers Christine Brunel (Germany), Monica Runde (Spain), Donald McKale (USA), Anouk van Dyck (Netherlands), Joachim Schlemer (Germany). She took part in master classes of many European and American teachers, studied eurythmy with Julian Koyman, studied directing.
With the Provincial Dances troupe, already in the role of artistic director, she staged more than ten performances, many of which were awarded prizes at international competitions and festivals in Hanover, Paris, Vitebsk, France. "Les Noces" by I. Stravinsky staged by Tatyana Baganova is a performance that has already become a legend. In 2000, this work won the Golden Mask National Theater Award in the Best Choreographer / Choreographer nomination.
Tatyana Baganova is a constant participant in international projects. She worked in France, Spain, Holland, Poland, Austria. Commissioned by the American Dance Festival within the framework of the International Choreographers program, she has staged 5 performances: Maple Garden, Lazy Susan, Flying During Tea Time, After Involvement. Diptych. Part II "," Sepia ". Later, all of them were transferred to the Provincial Dances Theater and received recognition in Russia and abroad. Maple Garden won the Golden Mask Award (2001) in the nominations for Best Choreographer and Best Artist. After Engagement won the Golden Mask Award (2008) in the Best Contemporary Dance Performance category.
As a choreographer, she took part in productions of the performances Notre Dame Cathedral by N. Skorokhod based on the novel of the same name by V. Hugo (directed by G. Gobernik) at the Novosibirsk Youth Theater Globus (1997), La Traviata by G. Verdi at the Yekaterinburg State Academic Theater opera and ballet (1998), "The Beautiful Galatea" by F. Suppe at the Yekaterinburg Theater of Musical Comedy (1998), "THAIS" at the Experimental Youth Theater of the Ural State Conservatory. M.P. Mussorgsky (1998), "Diary of Anna K." (based on the novel "Anna Karenina" by L. Tolstoy, staged by N. Skorokhod, director A. Proudin) at the Yekaterinburg Theater for Young Spectators (2000), "Gold of the Narts" (directed by V. Khodova) at the North Ossetian Ritual Theater "Arvaiden" ( 2003), musicals "Catherine the Great. Musical Chronicles of the Times of the Empire "by S. Dreznin (2008) and" Pit "(2013) at the Sverdlovsk Academic Theater of Musical Comedy (directed by N. Chusova). In 2004 she staged the opera-ballet "The Nightingale" by I. Stravinsky at the Perm Academic Opera and Ballet Theater named after I. P. Tchaikovsky (nomination for the "Golden Mask").
She has been a member of the jury several times and has given master classes at international and national choreographic competitions and festivals. In the 2003/04 season of the Bolshoi Theater Tatiana Baganova took part in a production of the opera Fiery Angel by S. Prokofiev. In 2013, at the invitation of the Bolshoi Theater, she staged "The Rite of Spring" by I. Stravinsky (stage director P. Klinichev, scenography and costumes - A. Shishkin) as part of the international project "The Age of the Rite of Spring - the Age of Modernism." The performance won the Golden Mask Theater Award in the nominations for Best Performance in Contemporary Dance and Best Artist's Work in Musical Theater.
In 2015, she became the author of choreography in the performances The Little Mermaid (Yekaterinburg Theater for Young Spectators, director R. Feodori), Lulu (Bavarian State Opera, director D. Chernyakov), and Carmen (Yekaterinburg Opera and Ballet Theater, director A. Titel). She took part in the second season of the Bolshoi Ballet project on the Kultura TV channel as a choreographer.
Misha Humm
Performer, musician, artist
The creator of the Pagendarm Theater and the Wild Theater, numerous performances that cannot be clearly ranked in any style of theater or dance, being a completely original act with its own style and technique of stage expression. This technique is based on the way of perceiving the human body as a carrier of archaic information about the world and the relationship of various phenomena.
Works with techniques of musical and voice improvisation. Creator of the art-residence Creative castle "Guslitsa".
He traveled a lot and lived in India, studying methods of working with the body. He studied under the masters of traditional and contemporary Japanese dance, which was reflected in his worldview and in the future in all the creative activities of both the performer and the creator of performances in the field of modern non-verbal theater.
Misha Humm sees his story as a journey without a starting and ending point. The dance along this path can be described as the transformation of emptiness, in the metaphysical sense of the word, into a material sequence. In every moment of this process there is a source of motion, which is the object of research.
In the project "Anthology of Contemporary Russian Dance of the 21st Century" Misha Humm is present as a caesura, pause and space between the lines.
Performer, musician, artist
The creator of the Pagendarm Theater and the Wild Theater, numerous performances that cannot be clearly ranked in any style of theater or dance, being a completely original act with its own style and technique of stage expression. This technique is based on the way of perceiving the human body as a carrier of archaic information about the world and the relationship of various phenomena.
Works with techniques of musical and voice improvisation. Creator of the art-residence Creative castle "Guslitsa".
He traveled a lot and lived in India, studying methods of working with the body. He studied under the masters of traditional and contemporary Japanese dance, which was reflected in his worldview and in the future in all the creative activities of both the performer and the creator of performances in the field of modern non-verbal theater.
Misha Humm sees his story as a journey without a starting and ending point. The dance along this path can be described as the transformation of emptiness, in the metaphysical sense of the word, into a material sequence. In every moment of this process there is a source of motion, which is the object of research.
In the project "Anthology of Contemporary Russian Dance of the 21st Century" Misha Humm is present as a caesura, pause and space between the lines.
"Opus 32"
Company - "Denis Boroditsky Dance Company, BDDC", Moscow
Choreographer - Denis Boroditsky
Work - "Opus 32"
Performers - Denis Boroditsky, Ksenia Babintseva
Music - Rufus Waunwright
Premiere 2006. Vitebsk. First Prize
There is an ancient parable about how a fish, which had a philosophical mind, asked another fish: "I have heard a lot about the ocean; where is it?"
Choreographer - Denis Boroditsky
Work - "Opus 32"
Performers - Denis Boroditsky, Ksenia Babintseva
Music - Rufus Waunwright
Premiere 2006. Vitebsk. First Prize
There is an ancient parable about how a fish, which had a philosophical mind, asked another fish: "I have heard a lot about the ocean; where is it?"
Denis Boroditsky
choreographer and artistic director of the independent dance company BDDC
He began his dance career as a soloist of the State Academic Folk Dance Ensemble named after Igor Moiseev.
In 1995-2001 he was a soloist and Dance Captain "Riverdance Show".
In 2001-2004 he was the lead singer of the Bill T. Jones / Arnie Zane Dance Company (USA).
Upon returning to Moscow, he founded his own dance company Boroditsky Denis Dance Company. During the existence of B.D.D.C. more than 30 productions have been created, from miniatures to full-length performances. Many of them have been awarded prizes at international competitions and festivals. Leads an active teaching activity - both in Russia and abroad, including the USA, France, Austria, Italy.
Member of the jury of dance competitions and international festivals.
• Nominated for the National Theater Award "Golden Mask" (2010)
• Grand Prix at the XXI International Festival of Contemporary Choreography IFMC (2008)
• First Prize at the XIX International Festival of Contemporary Choreography IFMC (2006)
As a choreographer, he worked in the following projects:
• 2017 - choreographer of the performance "Andy Warhol - POP & ART" at the Gesher Theater, Israel.
• 2017 - choreographer of the play "EMELYA" or "at the behest of the pike" in the drama theater in Istra. • 2016 - Special Prize of the Golden Mask of the Drama Jury for the play "Alisa" of the Krasnoyarsk Youth Theater, staged by Daniil Akhmedov and choreographer Denis Boroditsky
• 2015 – Choreographer-director of the gala concert dedicated to the 85th anniversary of the Yamal-Nenets Autonomous Okrug.
• the play "Alice" based on L. Carroll, (Krasnoyarsk Youth Theater, 2014)
• performance "Rumi - in Flamen" for Landes Theater Linz (Austria, 2011)
• play "The Bat" to music by J. Strauss, director V. Barkhatov (Bolshoi Theater, 2010)
• the play "Parts of the Body", directed by V. Ignatov (project "Open Stage", 2010)
• show "Aurora", director V. Barkhatov (Theater-circus "Krakatuk", 2009)
• the play "The Flow" based on the work of Hermann Hesse "Siddhartha" (Evgeny Panfilov Ballet, 2009) • national Russian circus show "Avaia" (Canada, 2006-2007).
choreographer and artistic director of the independent dance company BDDC
He began his dance career as a soloist of the State Academic Folk Dance Ensemble named after Igor Moiseev.
In 1995-2001 he was a soloist and Dance Captain "Riverdance Show".
In 2001-2004 he was the lead singer of the Bill T. Jones / Arnie Zane Dance Company (USA).
Upon returning to Moscow, he founded his own dance company Boroditsky Denis Dance Company. During the existence of B.D.D.C. more than 30 productions have been created, from miniatures to full-length performances. Many of them have been awarded prizes at international competitions and festivals. Leads an active teaching activity - both in Russia and abroad, including the USA, France, Austria, Italy.
Member of the jury of dance competitions and international festivals.
• Nominated for the National Theater Award "Golden Mask" (2010)
• Grand Prix at the XXI International Festival of Contemporary Choreography IFMC (2008)
• First Prize at the XIX International Festival of Contemporary Choreography IFMC (2006)
As a choreographer, he worked in the following projects:
• 2017 - choreographer of the performance "Andy Warhol - POP & ART" at the Gesher Theater, Israel.
• 2017 - choreographer of the play "EMELYA" or "at the behest of the pike" in the drama theater in Istra. • 2016 - Special Prize of the Golden Mask of the Drama Jury for the play "Alisa" of the Krasnoyarsk Youth Theater, staged by Daniil Akhmedov and choreographer Denis Boroditsky
• 2015 – Choreographer-director of the gala concert dedicated to the 85th anniversary of the Yamal-Nenets Autonomous Okrug.
• the play "Alice" based on L. Carroll, (Krasnoyarsk Youth Theater, 2014)
• performance "Rumi - in Flamen" for Landes Theater Linz (Austria, 2011)
• play "The Bat" to music by J. Strauss, director V. Barkhatov (Bolshoi Theater, 2010)
• the play "Parts of the Body", directed by V. Ignatov (project "Open Stage", 2010)
• show "Aurora", director V. Barkhatov (Theater-circus "Krakatuk", 2009)
• the play "The Flow" based on the work of Hermann Hesse "Siddhartha" (Evgeny Panfilov Ballet, 2009) • national Russian circus show "Avaia" (Canada, 2006-2007).
«ВСЕ ТАК»
Company - "Electrotheatre", Moscow
Choreographers - Alberts Alberts, Alexandra Konnikova
Work - "ALL AS IT IS", Dance performance in the wardrobe
Created at the Stanislavsky Electrotheatre in April 2017
Production - Alberts Alberts and Alexandra Konnikova
Choreography - Alberts Alberts, Alexandra Konnikova and participants of the performance
Music, lyrics - Ricardas Norvila
Collage performed by Marina Kunilova, Marina Kherolyants, Andrey Anisimov, Viktor Vybornov, Georgy Grishchenkov.
Ascent and descent, pain and pleasure, separation and unity, archaism and modernity. All these antinomies lose their polarity, meeting in the mirror of the bodily imagination.
"Life unfolds like a lady's fan in the theater. Then the fan folds down and becomes the size of a pencil. It is convenient to carry it with you. "
Alberts Alberts, Alexandra Konnikova: "This performance turns with new facets and meanings every time. Everything is as if we planted an unknown tree and now we see the growth of its branches and the appearance of buds, but it is completely incomprehensible how the fruits will look like and how soon they will ripen. We can no longer change it, but we can water, care and - most interestingly - observe. And now, when he has many hands, eyes, ears, memories, we can remember the very beginning. When last summer we were thinking about what would be interesting to create at the Stanislavsky Electrotheatre, we imagined a dance performance on the stairs, part of which the audience would watch from below, and some - from above. In the window of a designer store, we noticed an object: it was a small sculpture, looking at which from one angle we saw a contented person with a raised chin and hands behind his back, and from another - a sad person with a lowered head and hands folded on his stomach. Continuing to look, we found that the mood of the little man does not depend on the angle and you can see both at the same time. "
Choreographers - Alberts Alberts, Alexandra Konnikova
Work - "ALL AS IT IS", Dance performance in the wardrobe
Created at the Stanislavsky Electrotheatre in April 2017
Production - Alberts Alberts and Alexandra Konnikova
Choreography - Alberts Alberts, Alexandra Konnikova and participants of the performance
Music, lyrics - Ricardas Norvila
Collage performed by Marina Kunilova, Marina Kherolyants, Andrey Anisimov, Viktor Vybornov, Georgy Grishchenkov.
Ascent and descent, pain and pleasure, separation and unity, archaism and modernity. All these antinomies lose their polarity, meeting in the mirror of the bodily imagination.
"Life unfolds like a lady's fan in the theater. Then the fan folds down and becomes the size of a pencil. It is convenient to carry it with you. "
Alberts Alberts, Alexandra Konnikova: "This performance turns with new facets and meanings every time. Everything is as if we planted an unknown tree and now we see the growth of its branches and the appearance of buds, but it is completely incomprehensible how the fruits will look like and how soon they will ripen. We can no longer change it, but we can water, care and - most interestingly - observe. And now, when he has many hands, eyes, ears, memories, we can remember the very beginning. When last summer we were thinking about what would be interesting to create at the Stanislavsky Electrotheatre, we imagined a dance performance on the stairs, part of which the audience would watch from below, and some - from above. In the window of a designer store, we noticed an object: it was a small sculpture, looking at which from one angle we saw a contented person with a raised chin and hands behind his back, and from another - a sad person with a lowered head and hands folded on his stomach. Continuing to look, we found that the mood of the little man does not depend on the angle and you can see both at the same time. "
Alberts Alberts
Choreographer, dancer
Graduated from the J. Vitol Academy of Music in Riga. Studied at the "Class of Expressive Dance" by Gennady Abramov at the "School of Dramatic Art" theater.
In 1999, together with his colleagues, he organized the dance company PO.V.S.TANZE and became a permanent creator and participant in its projects. In 1998-2001, together with Alexandra Konnikova, he took part in the performance On the Ground by choreographer Sasha Waltz; studied contemporary dance at master classes by leading masters of Europe and the United States. Together with Alexandra Konnikova, he staged dance performances: "Colored Dreams of the White Donkey" (Theater of Nations), Past Continuous (based on the dance company "Dialogue Dance", Kostroma), "Virus of an Unknown Dance" (Cultural Center ZIL), etc. worked with directors Kirill Serebrennikov ("Plasticine", Center for Drama and Directing; "Depicting a Victim", Moscow Art Theater named after A.P. Chekhov), Evgeny Pisarev ("Italian Woman in Algeria", Musical Theater named after KS Stanislavsky and Owner I. Nemirovich-Danchenko; "The Wedding of Figaro", Bolshoi Theater), Ekaterina Granitova ("Northern Odyssey", RAMT) and others.
In 2017, together with director Evgeny Pisarev and choreographer Alexandra Konnikova, he worked on the play "Kinaston" at the Theater directed by Oleg Tabakov. At the Electrotheatre Stanislavsky worked as a choreographer in the play "Everything is so", in the operas "Maniosis" and "Maniosis-2. Continuation and Completion "(directed by Alexander Belousov).
Alexandra Konnikova
Choreographer, dancer
Graduated from the State Musical College named after V.I. Gnesins majoring in musical theater actress, then she studied contemporary dance and improvisation in Gennady Abramov's Expressive Dance Class at the School of Dramatic Art theater. In 1999 she became one of the founders of the dance company "PO.V.S.TANZE", since that time she has been participating in all projects of the company as a creator and performer (among the performances - "Blood"; "Beetles", "Anticipation / Aftertaste / Song" and "Shum Zo", "Practice of Probability", "We Were Here", "Ark" (2017); among the solo projects - "Travel Diary"; "The Dance that Lives in Me." In 2007-2010 she was the initiator and curator of projects in the development of contemporary dance in Russia with the support of TSEKH, curator of the indoor performance and dance festival "ROOM ROOM ROOM" together with Konstantin Grouss and the project "5 Solo" at the ZIL Culture Center. Conducts laboratories in the field of motion research and performance; leads the project "Action laboratory performance" with the support of the Stanislavsky Electrotheatre.
Choreographer, dancer
Graduated from the J. Vitol Academy of Music in Riga. Studied at the "Class of Expressive Dance" by Gennady Abramov at the "School of Dramatic Art" theater.
In 1999, together with his colleagues, he organized the dance company PO.V.S.TANZE and became a permanent creator and participant in its projects. In 1998-2001, together with Alexandra Konnikova, he took part in the performance On the Ground by choreographer Sasha Waltz; studied contemporary dance at master classes by leading masters of Europe and the United States. Together with Alexandra Konnikova, he staged dance performances: "Colored Dreams of the White Donkey" (Theater of Nations), Past Continuous (based on the dance company "Dialogue Dance", Kostroma), "Virus of an Unknown Dance" (Cultural Center ZIL), etc. worked with directors Kirill Serebrennikov ("Plasticine", Center for Drama and Directing; "Depicting a Victim", Moscow Art Theater named after A.P. Chekhov), Evgeny Pisarev ("Italian Woman in Algeria", Musical Theater named after KS Stanislavsky and Owner I. Nemirovich-Danchenko; "The Wedding of Figaro", Bolshoi Theater), Ekaterina Granitova ("Northern Odyssey", RAMT) and others.
In 2017, together with director Evgeny Pisarev and choreographer Alexandra Konnikova, he worked on the play "Kinaston" at the Theater directed by Oleg Tabakov. At the Electrotheatre Stanislavsky worked as a choreographer in the play "Everything is so", in the operas "Maniosis" and "Maniosis-2. Continuation and Completion "(directed by Alexander Belousov).
Alexandra Konnikova
Choreographer, dancer
Graduated from the State Musical College named after V.I. Gnesins majoring in musical theater actress, then she studied contemporary dance and improvisation in Gennady Abramov's Expressive Dance Class at the School of Dramatic Art theater. In 1999 she became one of the founders of the dance company "PO.V.S.TANZE", since that time she has been participating in all projects of the company as a creator and performer (among the performances - "Blood"; "Beetles", "Anticipation / Aftertaste / Song" and "Shum Zo", "Practice of Probability", "We Were Here", "Ark" (2017); among the solo projects - "Travel Diary"; "The Dance that Lives in Me." In 2007-2010 she was the initiator and curator of projects in the development of contemporary dance in Russia with the support of TSEKH, curator of the indoor performance and dance festival "ROOM ROOM ROOM" together with Konstantin Grouss and the project "5 Solo" at the ZIL Culture Center. Conducts laboratories in the field of motion research and performance; leads the project "Action laboratory performance" with the support of the Stanislavsky Electrotheatre.
"Standby Godot"
Company - "Ballet Moscow", Moscow
Choreographers - Artyom Ignatiev, Anastasia Kadruleva (St. Petersburg)
Work - "Standby Godot"
Performers - Galina Gracheva, Kamila Mogileva, Anastasia Peshkova
Choreographers about the new work: "We are rather trying to conjecture what is not in Beckett's play. Imagine what is outside of it. We reflect on the topic of who Godot is and that everyone has their own Godot. Therefore, we inhabit our performance with characters that are not actually in the play. These are rather collective images, some cliches, in whose place anyone can find themselves.
"Anastasia Kadruleva and Artem Ignatiev from St. Petersburg have been creating their works in the Ballet Moscow theater in recent years. "Waiting for Godot" was created in collaboration with French composer Anthony Rouche (aka A.P.P.A.R.T.) and theater artist Dmitry Razumov, based on the play "Waiting for Godot" by Samuel Beckett. The choreographers are inspired by the main theme of the play - expectation. The characters of the work are supplemented by other heroes - collective images, they are placed in an abstract space - a place of waiting, transition, the so-called "limbo". Will the heroes wait for what they are waiting for or not? Is there a way out of standby mode? Will this expectation have a result?
Choreographers - Artyom Ignatiev, Anastasia Kadruleva (St. Petersburg)
Work - "Standby Godot"
Performers - Galina Gracheva, Kamila Mogileva, Anastasia Peshkova
Choreographers about the new work: "We are rather trying to conjecture what is not in Beckett's play. Imagine what is outside of it. We reflect on the topic of who Godot is and that everyone has their own Godot. Therefore, we inhabit our performance with characters that are not actually in the play. These are rather collective images, some cliches, in whose place anyone can find themselves.
"Anastasia Kadruleva and Artem Ignatiev from St. Petersburg have been creating their works in the Ballet Moscow theater in recent years. "Waiting for Godot" was created in collaboration with French composer Anthony Rouche (aka A.P.P.A.R.T.) and theater artist Dmitry Razumov, based on the play "Waiting for Godot" by Samuel Beckett. The choreographers are inspired by the main theme of the play - expectation. The characters of the work are supplemented by other heroes - collective images, they are placed in an abstract space - a place of waiting, transition, the so-called "limbo". Will the heroes wait for what they are waiting for or not? Is there a way out of standby mode? Will this expectation have a result?
Anastasia Kadruleva graduated from the Buryat Choreographic School, danced at the State Academic Theater under the direction of Boris Eifman, and worked with the Iguan Theater. She studied with leading teachers of contemporary dance. In 2008 she graduated from the Academy of Russian Ballet of Vaganova, specialty choreographer-ballet master, class of Professor G. Aleksidze. Laureate of international and Russian competitions of ballet dancers and choreographers. She is the author not only of ballets and performances, but also a choreographer in drama and opera performances. Also a teacher at the Academy of Russian Ballet of Vaganova on subjects - "Laboratory of improvisation", "Art of a choreographer".
Anastasia is a choreographer of such performances of the Ballet Moscow Theater as Equus, Seasons, Bolero and Polovtsian Dances.
In 2015, together with the Baby Lab project, Anastasia Kadruleva choreographed the children's version of the ballet Swan Lake (directed by T. Priyatkina-Weinstein), which was not only enthusiastically received by the audience, but was immediately included in the program of the Golden Mask festival.
Artem Ignatiev graduated from the Academy of Russian Ballet of A. Vaganova, a ballet dancer by profession. After working at the State Academic Ballet Theater under the direction of Boris Eifman decided to delve deeper into the study of contemporary styles of choreography and dance. He collaborated a lot with young choreographers of St. Petersburg, as well as with the Iguan dance theater and the Cannon Dance school. Participated in projects and trained in Austria, the Netherlands, Germany, Belgium, Moscow, France, Sweden, USA, in particular in such companies as Komische Oper Berlin, Conny Janssen Danst, Palindrome company. Now Artem is the curator of the contemporary troupe of the Ballet Moscow theater, the choreographer of numerous performances of the theater: Equus, The Seasons, Death of Tarelkin, Bolero and Polovtsian Dances.
The project was created and presented on the Day of Russia with the support of the Moscow Government
Thanks
Festival "Territory" for inspiration and production of the project
Evgenia Seisyan for help in organizing the project
All artists for their sincere service to art and wonderful works
Evgenia Seisyan for help in organizing the project
All artists for their sincere service to art and wonderful works
Anthology of contemporary dance in Russia.
21 century, the beginning
21 century, the beginning
Moscow
2018
2018
Any, even the most modest help, will serve as an opportunity to work for art and for society
Any amount invested in art is a contribution to the evolution, so it will return to you in the form of new opportunities
Please donate!
Any amount invested in art is a contribution to the evolution, so it will return to you in the form of new opportunities
Please donate!
I express my deep gratitude and gratitude to all performers, artists, composers, musicians, designers, photographers, with whom I have ever worked together on the same stage, in one project or who gave inspiration to go further on the path of discovery and knowledge.
I thank all the producers, managers, technicians, who, through their labor and participation, helped the projects to be realized, regardless of the complexity of the tasks they face.
I thank everyone who carefully analyzed the projects they saw, wrote about them or in any other way covered our projects in the media, social networks and just in conversations.
I thank my friends and my audience for their attention and support, for their understanding and criticism. In this process, it is possible to find, discover and share what can serve as inspiration.
I thank everyone who supported us with financial and other material resources, without which no project could see the light and reach its audience.
I thank all the producers, managers, technicians, who, through their labor and participation, helped the projects to be realized, regardless of the complexity of the tasks they face.
I thank everyone who carefully analyzed the projects they saw, wrote about them or in any other way covered our projects in the media, social networks and just in conversations.
I thank my friends and my audience for their attention and support, for their understanding and criticism. In this process, it is possible to find, discover and share what can serve as inspiration.
I thank everyone who supported us with financial and other material resources, without which no project could see the light and reach its audience.
© Konstantin Grouss 2003-2024. All rights reserved
