“ RUSSIANSEDUCTION“ (“RUSSIAN TEMPTATION”)

Show program in 2 sectionson popular domestic and foreign music.

Choreography by Evgeny Panfilov.

The show that conquered Europe. The enchanting splendor of the star diaspora of dancers.

Luxurious suits. The choreographer's imagination is inexhaustible.

Beauty and charm, passion and seduction, exoticism and chic - this is a show

Panfilov "Russian temptation".The Russian temperament is a holiday for sure!

“PERM - BEIJING - RIO DE JANEIRO,

OR PERM TRAVELERS

IN CHINA ON A BRAZILIAN NIGHT”

We invite you to experience some fun escapism.

Cast aside your pale stiffness and surrender yourself to a passionate frenzy

Brazilian rumba and samba - dance with us, laugh with us, create!

"BLACK SQUARE"

Tricks and bands Axis, Dream Opera, Massiv Attack, Von Leuch, Actus.

Idea, choreography, production by Sergei RaynikBLACK SQUARE…

A storm the size of the globe rages on its surface.

"Black Square" by Kazimir Malevich has become one of the most

famous signs of avant-garde art.

However, the apparent simplicity of the sign has been hypnotic for almost a century

affects the imagination, causing many almost

mythological associations. Black square of the universe,

black square of the cosmos of the night, black square of the subconscious...

The darkness bound by boundaries calls and beckons into a certain sensual world,

shrouded in an unsolved mystery.Black square of the stage...

The temptation to create another reality, shrouded in the haze of dreams.

The white veil falls, the play of the elements begins.

The space of the square is inhabited by vulnerable and beautiful creatures,

just arrived in a world where beauty does not save,

where all people are enemies, and the path to perfection has long been lost.

Everyone chooses for themselves.Elements of the black square, playing,

They don’t finish the game, but twist themselves into a new sign.

“CASTING - OFF”

(“REJECTION”)

Alexander Vertinsky.Idea, choreography and production - Larisa Alexandrova (Moscow).

Who is pulling our strings in this strange theater of life?

Why do we follow the path of illusions and disappointments, repeating the same scenario?

What connects us, forcing us to fly in an endless swirl of passions,

and then scatters like fragments... fragments of happiness...

T what is desirable and unattainable...? Fate? Or our innermost Fear?

And how can one remain whole in the face of the painful necessity of doing

Choice in a state of eternal ambivalence...

Choreographer - director Larisa Alexandrova

Nominee performance at the National Theater Festival

« Golden Mask» 2008/2009. in 2 categories:

« Best Performance in modern dance" and " Best work lighting artist."

“ONCE MORE WILL YOU REMEMBER ME AND MY WHOLE WORLD …»

Concert program.

Dedicated to the memory of the Master.Choreography, costumes

Laureate of the All-Union and International choreographer competitions

Government Prize Laureate Russian Federation name

Fedor Volkov Laureate of the National Theater Prize

"Golden Mask"EVGENIYA PANFILOVA (1955-2002)

More than once you will remember me

And my whole world is exciting and strange,

An absurd world of songs and fire,

But among others there is one undeceiving

Nikolay Gumilyov

“ P. A. B. L. O.”

F. Chopin, group“ Amon Tobin”, “Daft Punk”, “Xiu Xiu”,

“Swod”, “Ported”, costa del flamenco.

Idea, choreography, set design by Sergei Raynik.

People will always talk about Pablo Picasso and his world, since he
creativity defies clear and convincing definition.

His images are rich in associations. They often contain something

what we call beauty, on the one hand, and ugliness, almost a mask of horror, on the other.

To come up with a ballet about the great Pablo means to risk entering the immortal

the flesh of his creativity, get bogged down in the magma of his frantic personality,

in the opposing force currents of his life. Choreographer

Sergey Raynik creates a choreographic touch

to the magical traces of the presence of Pablo's genius in the ocean of art.

"Ballet of Tolsty by Evgeniy Panfilov" 55th anniversary

from the Day of Victory in the Great Patriotic War dedicated to

"WOMEN. YEAR 1945"

One act balletto music by J. Garbarek, V. Agapkin, V. Geviksman,

F. Glass, W. May.Oh,

My Russia is wide, wide,The mother-damp earth is deep, deep,

Your heavens are high, high,But they are unable to contain women’s melancholy.

They should not sing like birds, but wander in the dark,And there were only two letters left for them,

One in a third of the sheet - predawn,And the second from a friend is posthumous.

What will Russia have in us?The fact that the women did not speak up

What the children did not askThe fact that the grass has not been harvested...

« CAGE FOR PARROTS"

One-act choreographic fantasyto music

J. Bizet - R. Shchedrin “Carmen Suite”.

Idea, choreography, staging, costumes, set design of the Laureate

All-Union and international competitionsEvgenia Panfilova.

Oh, the brilliant perfection of the cell - a temptation that eternally captivates a person.

How good it is to be in natural captivity.Secrets, sorrows, doubts, tears of the world

unknown to parrots. How is it with people? In general, this is life on both sides of the bars.

Irony and sadness, beauty and ugliness, constraint and freedom?

Is it needed at all?

“Let my free handling of music cause bewilderment, delight or protest.

But the idea that suddenly arose in me simply cried and begged

into this music. And life, in which I no longer understand anything, also asked

to this stage and to this music. And the freedom that I value very much,

also asked to go into the cage, and then back, and then again into the cage….

And again I don’t understand anything. Maybe you, my dear viewers, will understand this.”

With love and respect, Evgeny Panfilov

"Chickens, Cupids, Swan Plus"

Ballet fantasy

To the music of P.I. Tchaikovsky for the ballet “Swan Lake”.

Choreography by Vladimir Galkin.

What wind blew the romantic magician Cavalier Gluck into the land of ridiculous chickens?

Who invented you, star dream? Who said that a Chicken is not a Bird?

Cavalier Gluck casts a little magic, consoles the ladies, calls the fairy Swan,

throws a luxurious ball. Oh, how good it is that all the halves of hearts have found each other!

"ROMEO AND JULIET"

Three act balletto music by S.S. ProkofievBy tragedy of the same name W. Shakespeare.

Choreography, direction, set design, costumes of the LaureateAll-Union and

international competitionsEvgenia Panfilova.

Their names became symbols of first and last love.

A thunderstorm of early passion accompanied by the rustle of autumn leaves.

Eternal youth under the snowy veil of death.

A space of tragedy where the almighty Queen Mab triumphs,

where two main strings intertwine - melodies:

invincible love and invincible fate.

“ THINGSITOLDNOBODY”

"THINGS I DIDN'T TOLD ANYONE"

One act balletto music from works

G. F. Handel, A. Vivaldi, W. A. ​​Mozart, E. Satie.

Choreography, lighting design: Itzik Galili (Israel-Netherlands).

Russian-Dutch project “Choreography of Itzik Galili

at the Evgeniy Panfilov Ballet Theater.The project has been completed

with the support of the Cultural Council of the Embassy of the Kingdom of the Netherlands in Moscow.

The play is a nominee of the National Theater

Golden Mask Awards 2006/2007 in 2 categories:

"Best performance in modern dance" and

"Best Actress - Maria Tikhonova."

Dance - company "Fight club"

"PRISON"

One act balletto music by A. Pärt, M. Manson, S. Reich, J. Woble, N. Cave,

groups "Ramstein" and "Raison d'être".

Choreography by Evgeny Panfilov

A play about fragile solidarity men's fraternity, about the eternal aspiration of man,

both to freedom and to aggression. The prison is a blind barrier that divides life forever.

The tragedy of ruined youth, killed hopes, illusions.

The tragedy of our common sentence. The image of the painful, dead

time in captivity, embodied in original choreographic

solutions and scenographic findings.

The ballet is built on the dissonance of musical images,

symbols that are significant for Russian people.

"ALRAUN"

One act balletto music foreign composers and Peter Mamonov.

Choreography, set design, costumesALEXEYARASTORGUEVA

Alrauns - mythical creatures. They are friendly to people, but are not averse to making jokes,

sometimes quite cruel. Demonologists believe that recently

Alrauns changed their underground lifestyle:

they liked the warmth and comfort in people’s homes so much,

that they moved there. Easily transform into anyone.

It is impossible to drive away Alraun. Even if the house burned down,

and people move somewhere, alraun follows them and

may well become the master of the situation. Through his efforts life

suddenly turns to you in a completely different direction,

what you expect to see.

You are also in the game, but choose the rules yourself!

For all fans of modern ballet choreography, the program of the Evgeni Panfilov Ballet Theater will be a real gift. Artists of the Perm ballet school will present one-act performances to the guests ballet performances"The River" and "The Pretender". Capital connoisseurs of ballet art were able to get acquainted with the work of the group last year, when the artists brought with them two beautiful, vibrant performances - “Mona Lisa” and “Romeo and Juliet”. The dancers demonstrate not a classical, but rather an avant-garde approach to choreography. This artistic approach has already been appreciated by both ballet fans and ballet critics.

The production “The River” was born in 1998. Its creator was Evgeny Panfilov himself. This wonderful director and choreographer has received the status of one of the brightest and most shocking directors in the country. Ten years after the birth of the play, it appeared before the audience in an updated version. At the center of the action is the image of a river. Here it is perceived as a symbol of life - constantly changing and unpredictable. The performance is accompanied by music by Ludwig van Beethoven, Peter Weil, and modern composers.

The second performance included in the program is based on the famous fairy tale play by Evgeniy Schwartz. The author of the production was Alexey Rastorguev. The project draws the attention of viewers to the idea of ​​the struggle in man of opposite principles - dark and bright sides. The action turned out to be bright, dynamic, and quite expressive. Through the plasticity of the dancers’ bodies, not only the emotional component, but also the semantic depth of the work is perfectly conveyed. Today the Perm project is called one of the main avant-garde ballet companies in the country. To appreciate its uniqueness, you need to buy tickets now for the program of the Evgeni Panfilov Ballet Theater.

Irreparably early, at the age of 47, the earthly path of Evgeniy Panfilov, a wonderful choreographer and human being, was cut short. amazing fate. It is still impossible to comprehend this loss. A month before the tragedy, the Panfilov Theater participated in the Moscow International Contemporary Dance Festival. For the first time, metropolitan audiences saw Panfilov's version of The Nutcracker.

...Multidimensional inner space performance, populated by the ubiquitous and immortal gloomy mice, a world devoid of illusions, leaving no hope for happy ending. Now the impressions of this tragic ballet give rise to involuntary associations, which are tempting to interpret as a prophecy. In fact, Zhenya, as a true artist, always understood that happiness is fleeting moments that you need to not only appreciate, but also be able to earn... Earn it with titanic work. To be honest, I have never met such an obsessed choreographer: he was able to rehearse for 8-10 hours, without days off or vacation, and easily took off and went to festivals, tours, and filming. As if he foresaw that there would be little time left.

On that last visit to Moscow, Zhenya communicated easily and willingly. However, in my opinion, he was never a closed person. He said that joy comes as a reward for suffering, that life is harsh and short. In response to this remark, one of the participants in the conversation asked what seemed at the time an absurd question about death, about the premonition of the end. Panfilov replied: “No one knows how much time we have, how long we have. I know that I have a lot to accomplish..."

Zhenya was called a genius nugget, the patriarch of the newborn Russian modern dance. An immensely talented man, he always threw himself completely into his work. Panfilov managed a lot - more than enough for a dozen lifetimes: about 80 performances and 150 choreographic miniatures. But he never repeated himself in anything, he knew how to admit failures and listen to impartial opinions.

The main work of his life was the author's theater, in which he himself was a performer, a choreographer, a screenwriter, a director, a set designer, and a costume designer. He created the THEATER OF HIS WILL. He also wrote sad poems, staged grandiose entertainment shows, and came up with the choreography of films.

He performed little “in the conversational genre” (although he had excellent command of words), understanding that art does not need declarations, that the result of the artist’s mental expenditure is the emotional persuasiveness of his works. But at press conferences he answered surprisingly frankly: “I don’t plan my subsequent works - they come to me, germinate in me, “ripen” unexpectedly.” When asked if he was offended to hear that “Panfilov is a shocking figure, a kind of carnival man,” he answered, smiling: “I was the first to take to the Perm streets in shorts more than ten years ago - not because I wanted to surprise anyone . This is simply the most comfortable clothing for a hot summer. I wear what makes me feel good and free. I also didn’t want to be a troublemaker by creating “The Fat Ballet.” I needed this." With his perspicacious gaze, Panfilov caught the extraordinary beauty and harmony in the plasticity of the Rubensian plump ladies and wanted us to see it.

Zhenya had an unusual combination of spontaneous, natural talent and clear calculation. And the discipline in his troupe was fantastic. There was a disruption to the performance at the festival - a performer from one of the troupes fell ill. This became known at a time when the first spectators were already walking around the foyer. It was too late to cancel the evening. “Panfilov’s Men” were free that day - they had danced the day before. Zhenya came to the rescue without hesitation. He had no doubt that all the artists would gather at the start of the show as spectators - “otherwise they would have warned me.” Last artist I arrived at the theater fifteen minutes before the curtain opened. Absolute loyalty to art, a rapidly realized impulse of mutual assistance endowed this performance of the Panfilov Theater with special significance. “There are no hopeless situations, you have to dance,” Wife told his artists. And they danced wonderfully, dressed in an incomplete set of costumes, jumping on rickety stools hastily brought from the actors’ buffet, “picking up” their bellies after a hearty lunch.

This act revealed Panfilov the man, his unbending and stubborn peasant character. People loved to write and talk about Panfilov’s childhood and youth. Often compared to Lomonosov. In the fantastic metamorphoses of childhood and youth they saw the almost fatal predestination of the bright and extraordinary creative path. One of five sons large family living in a tiny village Arkhangelsk region, through the profession of a tractor driver and military service - to the Chairman of the Russian branch of the World Dance Union (WDA) - Europe.

Evgeny Panfilov began to comprehend the art of ballet at the age of 23. While still a student at the Perm Institute of Arts and Culture, he created an amateur group, and in 1987 the official countdown of Panfilov’s theater seasons began, when his troupe received not only recognition, but also a name: the modern dance theater “Experiment”. Since then, not a single festival or competition modern choreography, both in our country and abroad, could not do without the participation of Panfilov’s troupe or his dance numbers. And there was no competition where the jury did not award choreographer Evgeny Panfilov. It is difficult to list his regalia: laureate of many all-Russian and international competitions and festivals, laureate of the national theater award “Golden Mask”, laureate of the Russian Government Prize named after Fyodor Volkov.

In the early 1990s, the troupe was reorganized into Russia's first private theater, the Evgeni Panfilov Ballet. A little later, original, almost exotic new Panfilov groups arose - “Tolstoy Ballet”, “Fight Club” and “Bel-Cordeballet Group”. By the beginning of the new century, the united theater of Evgeniy Panfilov already included four independent groups. There was time and creative energy for everyone. Each troupe showed several premieres annually. In 2000, an event of extreme importance occurred - the author's contemporary dance theater "Ballet of Evgeniy Panfilov" received state status.

Panfilov's creativity is paradoxical. He never declared contemporary dance to be alternative to classical ballet, nor did he destroy established canons by erecting the building of his theater. It is no coincidence that in 1994, Evgeny Panfilov, together with the artistic director of the Perm Choreographic School, recognized master of the classics Lyudmila Sakharova, implemented the tandem project “Metamorphoses”, in which avant-garde and classics coexisted in complete harmony. On the legendary stage Mariinsky Theater Panfilov staged the ballet “The Rite of Spring”.

Panfilov loved Perm and created a well-deserved reputation for it as a city center of modern choreography. A few days before his death, the artistic director of four Perm theaters, Evgeny Panfilov, was nominated for a State Prize.

With the passing of Panfilov, modern dance in Russia became orphaned. Talents of such creative power, enthusiasm, independence and freedom rarely appear. This is recognized not only by numerous fans who considered Panfilov “a living classic of Russian contemporary dance,” but also by those who accused him of amateurism, hasty work, and called his experiments “hooligan bravado.”

Panfilov knew how to not only demand from each artist, but also be responsible for each of them. “I am a dictator, and it’s very difficult for my guys with me. I know it. Demanding from them extreme dedication of physical and emotional strength, I must first of all feed them and create decent living conditions.”

The last result of his lifetime was the celebration of the fifteenth anniversary of his theater - all four troupes showed premieres. If we had known, we would have dropped everything and rushed to Perm. But no. We didn’t see “The Prisons” performed by “Fight Club”, “Lessons of Tenderness” presented by the “Tolstoy Ballet”, and “BlokAda” - the premiere of the main troupe, which was jokingly called the “Ballet of the Thin” - the final, as it turned out, bitter reflection on life and death. Zhenya, I'm sorry...

Elena FEDORENKO,
August 2002

Now forty days have passed since the day of his death. But the pain does not go away. At first huge, with sharp protruding corners, filling everything inside, it gradually shrank, turning into a small needle, sharply and pricklyly reminding itself of itself at every opportunity. Panfilov is no more, and we need to learn to live without him.

I know many people feel a sense of enormous loss and orphanhood, and there is nothing to console them. People like him burst into our reality like a holiday with fireworks and a natural disaster at the same time. After which life without their presence changes its meaning, loses its fullness and poignancy. With all his being, Panfilov refuted the canons and stereotypes invented by someone. It was impossible to force him to play by someone else's rules; he was literally a lawless comet.

At the age of 23, he, an Arkhangelsk man, first entered a ballet class, guessed his destiny and stepped into destiny. At the Perm Institute of Culture, Panfilov transferred from the club work department to the choreographic department. And a year later he had his own team and shocked Perm with the first performance “The Star and Death of Joaquin Murrieta”. Then there was the choreographership of GITIS and the first award - the title of laureate of the All-Union Competition. When the venerable jury found out that the recipient did not have a choreographic school behind him, there was a shock. The ballet caste did not want to accept him for a long time. For them he was a provincial upstart, a bastard, an enfant terrible. Many years later, having gone through “American universities” at ADF, having received a huge number of international prizes and awards, having created a first-class professional theater, he will storm the bastions of the “Golden Mask” over and over again in the same frame as the Bolshoi and Mariinsky, and they will finally open for him new nomination"modern dance". But by that time, for domestic avant-garde artists, he will not be radical enough and will receive reproaches for being too “balletic”! The paradoxes of his fate do not end there.

When we met about 14 years ago, Zhenya was a blond, impetuous hippie: intelligent blue eyes and very sincere, slightly hasty speech. He was constantly inventing something, composing, fantasizing. Already at that time he made a colossal impression with the frantic rhythm and intensity of his life. But the main thing is Panfilov on stage. When he danced, moved, improvised, the stage space expanded to incredible proportions, everything else faded into shadow, his magnetism and energy were phenomenal, and his artistic courage was delightful!

And he not only danced, but also wrote poetry, drew costumes, and came up with the scenography for all his ballets. He acted in films. He did show projects and directed holidays. He was a brilliant manager of his theater and even (in difficult moments of his life!) was engaged in commerce. He talked about this with some strange humor: but we sell vodka and cigarettes (this is in the early 90s). Or: I bought a cow carcass, I need to feed the artists (this is after the default). And constantly, all the way, invariably composing and directing, composing and directing. About 100 performances and countless miniatures!

As if knowing in advance that he did not have much time allotted, he lived in an unimaginable regime, inaccessible to the understanding of mere mortals, with the desire to have time, to speak out, to convey to everyone.

In recent years, what he has created has been clearly divided into two streams: complex conceptual works and sparkling extravagant shows. Both of them with full dedication and professionalism: do it, do it! He explained this with sly simplicity: firstly, the theater needs to earn money, and artists need to live with dignity. And secondly, the public needs to be trained, first they will come to watch the dances, and then, you see, they will be drawn to something serious. The trick with the Perm audience was a success; the performances are always sold out, a sea of ​​flowers, an atmosphere of love and adoration. His fantastic popularity took the most unexpected forms: they could ask him for an autograph, offering his own passport for this, traffic cops more than once let go of a car in peace, where besides Panfilov there were six more people, and how many times did drivers, having seen the shaved skull of my guide, generally give me a ride for free? .

Yes, in 1993 he radically changed his appearance, finding his own style: the country guy turned out to have aristocratic manners and subtle taste! He liked to slightly shock the audience and the theater crowd, he was not afraid of gossip, because for a long time he had not allowed anyone close to him. Only the most insightful guessed that the external brilliant image is famous, successful, charismatic! - not more than theatrical mask. Panfilov paid too high a price for his talent, including unbearable loneliness.

For some part of the press, he was a tasty morsel, this is where he could hone his pen! First: the leader of the vanguard, the troublemaker, the patriarch (ah, ah!)! And then: unchewed pieces of the West, a passing nature, matured in compromises... And even after death, in lively obituaries - quick “global” conclusions based on 3-4 performances seen. My God, what did this neglect cost him and who will now give them food for verbal exercises?

Unlike many provincials, Panfilov was never eager to go to Moscow: metropolitan life with its laws of the concrete jungle categorically disgusted him. He was slowly “surrendered” by those who called themselves friends. And he knew how to forgive, finding a very simple explanation for betrayal: it means the circumstances turned out to be higher. But he himself did not forget anyone, remained faithful to his favorite Festivals: Vitebsk, Severouralsk, Volgograd, Chelyabinsk - and went there under any conditions, because he was loved there almost as much as in Perm, because there were fellow ascetics there, because He treated the Russian province with tenderness and reverence. He always helped everyone, and his support in difficult moments was life-saving. He never tired of remembering and thanking his teachers, he was a sensitive son and a most tender father.

But someone outsider who happened to attend a rehearsal of his theater could be horrified: despotic, cruel, with crazy rage in his eyes! Otherwise, there would be no troupe with a reputation as the best in Russian contemporary dance. These wonderful artists, capable of so much and so sensitive to their masters, each with their own individuality, this well-trained, stylistically unified troupe did not at all fall on his head as a gift of fate. He made them himself, each and every one. The process of transforming a studio group into a professional theater was not simple and painless: over the course of 15 years, the composition was constantly updated, the pace of life increased, the requirements became more stringent, and the bottom line was the drama of human breakdowns and the loss of previous illusions. But the result was more important.

His lifelong frantic duel with fate and circumstances, human prejudices and inertia, in the end the duel with himself became Panfilov’s essence so much that it seemed: the state of ordinary and calm work was contraindicated for him. He never managed to live in a comfortable, respectable environment.

Farewell to the deceased Panfilov was beautiful and tragic, like his life. All of Russia and all dance world stirred up a feeling of irreparable misfortune: responses came from everywhere, from Japan and America, from Europe and small Russian cities. For all 5 hours, while his coffin stood on the stage of the Perm Drama Theater, there was an endless stream of people, then a funeral service, where there was almost no sound empty words, and, finally, his last theatrical appearance: to the music from the ballet “Romeo and Juliet” he was carried past people who did not hesitate to cry and applaud him for the last time. All summer, fresh flowers, candles and poems appeared on his grave.

Larisa BARYKINA,
August-September 2002

The theater "Ballet of Evgeniy Panfilov" was created as a unique theater association, consisting of three choreographic troupes: “Evgeniy Panfilov’s Ballet”, “Evgeniy Panfilov’s Tolstoy Ballet” (created in 1994) and “ Fight club Evgenia Panfilov" (2001) with different dance aesthetics, united by a single author's style of the choreographer-winner of the All-Union and international competitions, the Russian Government Prize named after. Fyodor Volkov, laureate of the national theater awards “Golden Mask” Evgeny Panfilov (1955-2002).

Evgeny Panfilov was born on August 10, 1955 in the village of Kopachevo, Kholmogorsky district, Arkhangelsk region, in the family of a rural teacher. As a student at the Perm State Institute of Arts and Culture, in 1979 Evgeny Panfilov created the Impulse plastic dance theater in Perm. Many years later, having seen Panfilov's performance in Moscow, a prominent musical critic Alexey Parin called him “a genius nugget from Perm.”

Panfilov tirelessly moved forward along the path of complicating his choreographic skills, but since there were no schools of modern choreography in Russia, he relied on dancers who had gone through a good choreographic school classical ballet. In 1987, the theater was reorganized into Russia's first private “Evgeniy Panfilov Ballet”.

In 2000, the private theater was awarded a new status: State regional cultural institution “Evgeniy Panfilov Ballet Theatre”. The choreographer's name is included in the title state theater as a sign of exceptional merits and achievements in the development of modern choreography in Russia. Panfilov was not only a choreographer, but also a director of all his performances, created sketches of costumes, and invariably stunned the audience with eccentric scenographic inventions.

The Evgeniy Panfilov Ballet Theater was honored to represent Perm at the National Theater Festival and the Golden Mask Award 9 times. These are ballets: “8 Russian Songs”, “Romeo and Juliet”, “BlokAda” and many others. The first time the “Golden Mask” was received by our already famous, unprofessional in terms of choreographic preparation, “Tolstoy’s Ballet” for the performance “Women. Year 1945" April 17, 2006 at the XII ceremony of presenting the National Theater Award "Golden Mask" in the category " Modern dance» The prize was awarded to the theater’s play “The Parrot Cage”. The one-act choreographic fantasy “The Parrot Cage” to the music of J. Bizet and R. Shchedrin “Carmen Suite” was first presented to the public in 1992. The remake premiered on May 18, 2005 at the Diaghilev Seasons. The author of the libretto, choreographer, director, and set designer of the ballet was Evgeny Panfilov. He was also the first performer of the role of one of the parrots.

The Great Master created in Perm and left for Russia not only his unique theater, but also a school of truly modern choreography. Now the theater is headed by Natalya Khristoforovna Lenskikh, who was invited to this position by Evgeny Panfilov himself.

The theater has long outgrown the confines of a provincial attraction; many times it has defended the glory of Perm as the cultural capital of the Urals both in Russia and abroad. The unique artistic heritage of Evgeny Panfilov was and remains the main measure of the theater’s creative activity. Evgeniy Panfilov's performances continue to arouse constant public interest far beyond the borders of Perm and Russia, which is confirmed by annual invitations to prestigious all-Russian and international festivals and worthy awards.

Ballet by Evgeniy Panfilov

Tolstoy's ballet

Creation of the Panfilov Theater

In 1987, the Theater was reorganized into Russia's first private theater, the Evgeniy Panfilov Ballet. In the same year, the artistic director of the famous Perm State Choreographic School, People's Artist of the USSR, Honored Teacher of Russia L. Sakharova invited Evgeniy to teach a modern dance course to her students. E. Panfilov and L. Sakharova carried out a joint project, which demonstrated the organic fusion of classical ballet traditions and modern choreography, the possibility of peaceful coexistence of avant-garde and classical ballet on the same stage, and the mutual enrichment of two ballet movements.

From 1993 to 1996 Panfilov also taught modern choreography at the Perm state institute arts and culture. In 1994, Evgeniy created another original troupe in Perm, the Tolstoy Ballet of Evgeniy Panfilov, the only group of its kind in Russia that has the official status of a theater. “Tolstoy’s Ballet” has in its repertoire eight independent full-scale performances and several programs performed together with the “Evgeniy Panfilov Ballet” theater. 1995 Noted in Panfilov’s biography for new successful experiments: the work of a choreographer in feature film Russian director A. Uchitel “Giselle Mania” (St. Petersburg, Russia) and a joint production of the ballet “Brahms - Moment of Movement” (Munich, Germany) with German director Alex Novak. In 1997, on the famous stage of the Mariinsky Theater (St. Petersburg, Russia), the premiere of I. Stravinsky’s ballet “The Rite of Spring” took place, which was staged by Panfilov at the invitation artistic director Mariinsky Theater V. Gergiev. In the same year, especially for the VII Moscow International Ballet Competition for the Mariinsky Theater artists A. Batalov and E. Tarasova, Panfilov staged a piece of modern choreography (A. Batalov was awarded the Grand Prix of this competition). B 1997 and 1998 Panfilov, the only Russian choreographer, was invited to International festival Sacro-Art (Lockum, Germany), for which he carried out special productions of ballets on sacred themes: the philosophical dance-mystery “Habakkuk”, stunning with the power of choreography (presented at the National theater festival"Golden Mask" 1996-97 In the category "Best Performance") and one act ballet"Luther." At this festival, famous foreign theater figures and critics unanimously called Evgeny Panfilov “a choreographer of the 21st century.”

In December 2000 The private theater “Ballet of Evgeniy Panfilov” has been awarded a new status: now it is the “Perm State Theater “Ballet of Evgeniy Panfilov”. The name of the choreographer is enshrined in the name of the state theater as a sign of exceptional merit and achievements in the development of modern choreography in Russia. The theater opened the season in its new status with the premiere of the ballet by P.I. Tchaikovsky "The Nutcracker". In April 2001 Becomes a laureate of the National Theater Award “Golden Mask” in 2001. In the “Novation” nomination for the one-act ballet “Women. The year is 1945." performed by the Tolstoy Ballet troupe. And in July 2001 For outstanding contribution to development theatrical arts Russia Evgeny Panfilov was awarded the Government Prize named after Fyodor Volkov.

In May 2001, the Choreographer created another experimental male troupe, “Evgeniy Panfilov’s Fight Club,” which at the end of the month took to the stage with the integral program “Men’s Rhapsody,” fittingly completing the busy theater season, and in December 2001. Presents another fantasy show “Take me like this...”, the leitmotif of which is the triumph of male physicality, brutal and elegant at the same time, the theme of male self-sufficiency, male energy, male brotherhood. The 15th theatrical anniversary season opened with the premiere of the one-act ballet “Surrender” to the music of the groups “Nocturne”, “Bled Exis”, “Sopor Esternus” and Natasha Atlas, which shows a world sliding into the abyss, a world that has capitulated to vice and cruelty and didn't notice it. Life after the death of God turned out to be beyond the power of humanity. In February 2002, Evgeny Panfilov was invited to Germany (Berlin) to stage the ballet “Life is Beautiful!” to music 7th Symphony by D. Shostakovich and Soviet songs 30-50s, which premiered on the stage of the Tempodrom theater on February 6, 2000. The production, transferred to the troupe of the Evgeni Panfilov Ballet Theater, was called “BlokAda” and was a huge success on the stage of the Perm State academic theater Opera and Ballet named after P.I. Tchaikovsky June 19, 2002 At the festival of theaters by Evgeniy Panfilov dedicated to the closing of the 15th anniversary theater season. As part of the same festival, another premiere was shown - the one-act ballet “Prison” performed by the dance-company “Fight Club”.

He staged the one-act ballet “Spring in the Appalachians” for students of the Perm State Choreographic School, which was successfully presented in Oxford (UK) and received a Grant from the Perm Administration; In May 2002 E. Panfilov was awarded the Diploma and Prize to the choreographer “For the best number of modern choreography” (“Figurine”) of the VII open competition of Russian ballet dancers “Arabesque-2002”. (Russia, Perm) In 2003 E. Panfilov was awarded the prize of the Ministry of Culture of the Russian Federation and the editors of the magazine “Ballet” “Soul of Dance” for 2002. In the category “Dance Magician” (Moscow, Russia). The prize was received by representatives of the theater. On the occasion of solemn ceremony During the presentation of the prize, the one-act ballet “Tyuryaga” was performed by the dance company “Fight Club”.

In all the latest performances, Panfilov revealed another side of his great personality. He had long been concerned with existential questions, he penetrated deeper and deeper into the labyrinths of consciousness and subconsciousness and embodied the images he saw there in his unique choreography. Panfilov was not only a choreographer, but also a director of all his performances, created sketches of all the costumes for his ballets, and invariably stunned the audience with eccentric scenographic inventions and original performing inventions. Possessed an extraordinary poetic gift. The Great Master created in Perm and left for Russia not only his unique theater, but also a school of truly modern choreography. Living legend of Perm art - the paradoxical and unique “Ballet of Evgeny Panfilov”. A brilliant diaspora of dancers, embodying theatrical traditions Diaghilev, the gloss of the classics, the romance of the Russian avant-garde and the secrets of surrealism. Refined psychologism and daring experimentation, an enchanting spectacle that is equally tempting for discerning ballet connoisseurs and the mass public.

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