Public-talk
ALEXEY MIROSHNICHENKO
Arts Square Gallery
Ital'yanskaya Str., 5
April 20, 2019
On 20 April, Arts Square Gallery introduced a long-awaited meeting with one of the leading Russian choreographers Alexey Miroshnichenko.
The ballet master was always notable for his ambitious approach, recognizable style and incredible potential to interpret a broad range of choreographic languages. He collaborated with the Bolshoi and Mariinsky ballet, the Novosibirsk ballet company and New York City Ballet. The world’s leading stages waited for him, but in 2009 Miroshnichenko moved to the banks of the Kama River to head the Perm ballet. The decision supported by his entire professional surrounding (Makhar Vaziev, Leonid Desyatnikov, Polina Osetinskaya, Pavel Gershenzon and Alexei Goribol) was not occasional for Miroshnichenko. Later he remembered: «Probably, it’s my fate. Since the beginning of my studies in the Vaganova Academy, I often heard the name „Perm“. Our veterans remembered the years of evacuation, our ballet masters gave regular master classes in the Perm ballet school, and many graduate students of this school danced on the Mariinsky stage».
Among many outstanding productions created in collaboration with the Perm ballet there are such ballets as Swan Lake, Conditionally killed, Chout, The Fountain of Bakhchisarai, evenings of ballets Winter Dreams and See the music, ballets The Second Detail, The Wedding, Firebird, Cinderella, Nutcracker ballets, and also the groundbreaking project Romeo and Juliet in collaboration with the Kenneth MacMillan’s Foundation.
Under direction of Miroshnichenko, the Perm ballet turned into a worldwide famous national dance brand which attracts balletomanes from all over the world.
What the audience would like to ask Alexey Miroshnichenko? Why the author’s versions of classical eternal stories are so attractive and relevant today? Why the Nutcracker? How is it possible to add so many new meanings and new significances to so well-known tales? And how the master succeeds to turn 2D text into 3D reality? How masterpieces are born? And what does it require? It’s difficult to predict all the questions.
The moderator Veronika Kulagina, an editor-in-chief of the «PRO Tanez» magazine, has prepared exciting questions to discuss everything and not to miss the most essential.
Read more: Public talk with Alexey Miroshnichenko
Lecture by Leila Guchmazova
«ON THE OTHER SIDE»
Arts Square Gallery Ital'yanskaya Str., 5
April, 18, 2019
On April 18, a dance critic, observer of the Rossiyskaya Gazeta newspaper, expert and jury chairman of the Golden Mask Russian National Theatre Award, Leila Guchmazova invited everyone to join a unique lecture-reflection in the Arts Square Gallery.
The art of dance, despite its corporeality, always tended to tell unrealistic stories: myths, fairytales and dreams. Classical tradition has given us many examples. Here a Count and a peasant girl reunite in a spirit world, and there a young Englishman falls asleep and sees in his dream a Pharaoh’s daughter. Or like this: once upon a time a darling Prince arrives at the lakeside to shoot for a while, and there are swans…
Dance so succeeded in establishing friendly relations with fantastic world that it almost forgot about its limits: now it is possible to set the first act in a real world and the second in a fictional (Giselle), to insert the scene of a dream into realistic narrative (Don Quixote) and even to erase boundaries between realism and fantasy without even realizing it (Nutcracker).
Academic ballet transmitted to modern dance productions this unique tradition to combine fantastic and real world. Dance Open keeps an ear to the ground and this year repertoire includes three ballets — the Nutcracker, Alice and Coppélia — following these trends. On these ballets with its old and new meanings, fine lines between real life and another world is based the core of the interactive lecture.
By Leila Guchmazova
Read more: Lecture by Leila Guchmazova «On the other side»
