Famous Russian ballet actors surnames. Life on stage. Great dancers and choreographers, famous all over the world. Ermolaev Alexey Nikolaevich

On April 18, the famous dancer, choreographer, choreographer, theater director and actor, teacher and People's Artist of the USSR Vladimir Vasiliev will celebrate his 75th anniversary. The role of Spartacus, created by Yuri Grigorovich specifically for Vasiliev, became a symbol of the Russian ballet of the Bolshoi Theater in the second half of the 20th century. “At the age of 28, he played a role that immediately became one of the chosen series of general cultural and timeless significance, where Anna Pavlova's Swan, Galina Ulanova's Juliet, Maya Plisetskaya's Carmen,” wrote Asaf Messerer, ballet dancer, choreographer and uncle of the unsurpassed Maya Plisetskaya ...

Even at the choreographic school, a unique duet of Vladimir Vasiliev and Ekaterina Maksimova was formed -

his wife and constant partner, a ballerina, for whom he created ballets, concert numbers and films. This duet has been repeatedly recognized as "golden", "the best in the world", called "the legend of the XX century." But does everyone remember that, in addition to the television recordings of ballet performances in which Vasiliev participated, such as Spartacus, Romeo and Juliet, The Nutcracker, Stone Flower, Cinderella, his biography also included artistic pictures , ballet films? These are "The Tale of the Little Humpbacked Horse", "Spartacus", "Gigolo and Gigolette". Since 1971, Vasiliev has acted as a choreographer, staged a number of ballets on the Soviet and foreign stage, as well as the TV ballets "Anyuta" and "House by the Road" to the music of V. A. Gavrilin. In the film "Fouette" Vladimir Vasiliev acted both as a choreographer and as a co-director. Well, the great Franco Zeffirelli himself invited Vasiliev and Maksimova to the film version of La Traviata!

Mikhail Baryshnikov

But to another famous dancer, one of the most famous representatives of male dance in the 20th century, born in the USSR - Mikhail Baryshnikov - Joseph Brodsky himself dedicated several poems: "Classical ballet is a castle of beauty ..." and "We used to water the lawn from a watering can ...". Baryshnikov's name is even mentioned in the book "Necessary Things" by Stephen King.

In the cinema, Mikhail Nikolaevich had a chance to play several roles. But in his biography there is an interesting story connected with the TV show "Fiesta", staged by Sergei Yuryevich Yursky, based on the novel by Ernest Hemingway "The Sun Also Rises." When Baryshnikov made his debut on the stage of the Kirov Theater,

it turned out that the stage had not seen such a dancer for a long time. In the city they started talking about the fact that this young student, in terms of his talent, is, perhaps, equal to Vaclav Nijinsky and Rudolf Nureyev. And Sergei Yursky made an unexpected step - he invited the ballet dancer to play the dramatic role of the Matador in his play "Fiesta". How can a dramatic artist prove that he is a bullfighter? Of course, the question here is, first of all, in the plastic. The ballet actor was what was needed. It was Baryshnikov who could play real Spain better than anyone else. But in 1974, Mikhail Baryshnikov did not return from a tour in Canada and became a defector. As it was then supposed, everything connected with his name had to be destroyed. In particular, the tape with the recording of the play "Fiesta", but on Leningrad television the editor Elena Nisimova hid the tape, thanks to which the recording was preserved in the archive.

And abroad Mikhail Baryshnikov played in several films, such as "White Nights", "Jack Ryan: Chaos Theory". He was nominated for an Oscar for his supporting role in Turning Point. The film was presented in eleven nominations for the award, but did not receive a single one. In one of the scenes in this picture, Mikhail Baryshnikov sings the song "Crystal House" by Vladimir Vysotsky. The dancer also starred in the last episodes of the last season of Sex and the City as another lover of Carrie Bradshaw, the Russian artist Alexander Petrovsky. Immediately after their plot acquaintance, Petrovsky invites the journalist to the Russian Samovar restaurant in New York, which, by the way, is owned by Baryshnikov.

Maya Plisetskaya

An entire era in our art, an outstanding personality, a brilliant ballerina, a talented actress and an interesting woman - this is all about Maya Plisetskaya. She is always modern. Both during their active creative life, ballerinas, and now - the standard in everything. It is Maya Mikhailovna who personifies the Russian ballet for many. And it is difficult to find a person in the world who does not know this name. Otherwise, an asteroid would not have been named in honor of Plisetskaya, and the Moscow musical rock group Klyuchevaya would not have composed a song called Maya Plisetskaya, which has become a hit and a calling card of the group for many years. And there is no more symbolic name inextricably linked with ballet and choreography. And even with cinematography.

For the first time on the movie screen, the famous ballerina appeared in 1951 in Vera Stroeva's film "The Big Concert". And then, of course, there were shooting in the films-ballets "Swan Lake" and "The Tale of the Little Humpbacked Horse". Prima of the Bolshoi Theater was invited to the film-opera "Khovanshchina". She took an active part in the television screening of the ballets Bolero and Isadora, The Seagull and The Lady with the Dog. In 1974 Maya Plisetskaya and Bolshoi Theater soloist Alexander Bogatyrev starred for television in the Nocturne to music by F. Chopin, from the ballet In the Night by the outstanding American choreographer Jerome Robbins.

In the very famous 1967 film adaptation of Leo Tolstoy's novel Anna Karenina directed by Alexander Zarkhi, Maya Plisetskaya played the role of Betsy. Then Maya Plisetskaya starred as the singer Desiree in the film "Tchaikovsky" directed by Igor Talankin. In 1976, the director Anatoly Efros invited the ballet star to the television film Fantasy based on the novel Spring Waters by Ivan Turgenev. The ballerina brilliantly played the role of Polozova. The action of the picture was "commented on" by choreographic duets staged by ballet master Valentin Elizariev. And director Jonas Vaitkus in 1985 invited her to his picture "Zodiac", where Maya Mikhailovna played the muse of Mikalojus-Konstantinas Čiurlionis. In addition, the prima of the Bolshoi Theater has appeared in many documentaries.

Galina Ulanova

And, of course, one cannot recall the "goddess of dance" Galina Ulanova. Until now, the phenomenon of ballerina's talent remains a mystery. She received almost all the awards that existed in the USSR, as well as awards from other countries. Among the unofficial awards are various titles that critics and audiences have awarded her:

“The soul of the Russian ballet”, “an ordinary goddess”. And the composer Sergei Sergeevich Prokofiev called Galina Sergeevna "the genius of Russian ballet, his elusive soul and his inspired poetry." In her dance there was always reticence, innuendo, detachment and depth in herself. Ulanova was the same in life - she rarely appeared in public, kept herself closed.

After the end of her ballet career, she began working as a teacher. Over the years, she worked with such famous dancers as Ekaterina Maksimova and Vladimir Vasiliev, Lyudmila Semenyaka, Nikolai Tsiskaridze and many others. During her career, she starred in six films, most of which were of a documentary nature: Ballet Soloist, Masters of Russian Ballet, Romeo and Juliet, Giselle and documentaries.

At the Bolshoi Opera and Ballet Theater of Belarus correspondent Naviny . by I learned firsthand what ballet dancers wear under tights and why it is believed that there are many gays among them.Read about ballerinas pregnancy and one day off a week in our 10 facts.

To find out which rumors about the Belarusian ballet are true, and which are pure fiction, to the correspondent Naviny. by assisted by a theater artist Gennady Kulinkovich with the ballerina assistants.

1. Are ballet dancers fragile and fluffy?

Hearing: For one performance, a ballet dancer lifts and transfers about 2 tons of weight.

Truth: The physical activity is really great. On stage - it depends on the production, of course - the ballet dancer, the man lifts the ballerina many times. In modern productions, all you do is pick up, set, pick up, set, pick up, circle, set. If you count the number of lifts, then yes, two tons is a real number.

In addition, ballet dancers rehearse and train a lot. This is also a load. We have rehearsals every day, except for the weekend, which is once a week. Plus performances.

2. Ballet dancers are more likely to get sick

Hearing: Ballet dancers get sick more often than others due to heavy loads and constant diets.

Truth: The ballet rehearsal rooms of the Bolshoi Theater of Belarus are equipped with bactericidal lamps, just like in a hospital. In winter, when the flu starts and other viruses appear, an individual worker turns on these lamps for half an hour to decontaminate the room. It is very important that diseases do not spread: we all work in close contact, train for many hours, rehearse. If someone brings a disease, then it is neutralized.

3. Occupational diseases in ballet

Hearing: Legs are the most sore spot on the dancer's body.

Truth: This is partly true. Occupational diseases of dancers are diseases of the joints. Ballet dancers have bones at the big toes, their joints become inflamed, naturally, they hurt. Women also have this disease, but it is caused by uncomfortable, tight shoes that deform the foot. For ballet masters, constant stress on the toes and forefoot: many movements in ballet are performed on toes.

The second common class of health problems is prolapse of internal organs from constant jumping. Everything is individual, but often the kidneys, heart, and other internal organs go down, which subsequently press on the bladder.

4. Young retirees

Hearing: Some people think that ballerinas retire too early.

Truth. Ballet dancers legally retire with 23 years of work experience. The time of maternity leave is not included in the seniority. As a result, ballet dancers become young retirees. However, many of them do not actually go on a well-deserved rest: depending on the state of their health, retired dancers work as tutors, teachers, stage directors, stage workers, costume designers, etc.

To the interlocutor Naviny. by Gennady Kulinkovich has two years left to retire. In the future, the dancer also plans to engage in teaching.

5. Abnormal operation

Hearing: Ballet theater dancers have two days off a week, just like ordinary citizens

Truth. Ballet dancers work 6 days a week. One day off - on Monday. In the summertime, due to the fact that spectators migrate to summer cottages and to the seas, the day off at the Bolshoi is postponed to Saturday. The female part of the troupe is happy about this: at last there is an opportunity to spend time with the family. Men grumble: when the day off is on Monday, you can at least relax and not do household chores.

The working day for ballet masters is also abnormal in the understanding of an ordinary person: from 10:00 to 15:00, then a three-hour break, after a break, work resumes at 18:00 in connection with evening performances. The official working day for ballet workers ends at 21:00.

A long break is necessary so that after morning workouts and rehearsals, the body has time to rest and recover before evening work.

This is convenient for young dancers: you can study during the break. Gennady Kullinkovich, for example, received a higher choreographic education. But now he sees few advantages in this graph.

“With such a schedule, it is very difficult to arrange a personal life. Look at me: 38 years old, and no family, no children. All life is in the theater ",- says Gennady.

6. Ballet and children are incompatible?

Hearing: Due to the requirements for appearance, ballerinas have to give up motherhood.

Truth: It is really more difficult for ballet dancers to have a family and children in the midst of their careers than for representatives of other professions: both the work schedule and the fact that postpartum restoration of shape takes time and effort affects. So girls use two strategies: either have a family and children right after college / university, or put it off until they retire.

Despite the unfavorable circumstances, in the Bolshoi Theater of Belarus there are ballerinas who have two, and some even have three children.

“Just like doctors and teachers, we combine work and pregnancy. We plan, go on maternity leave, recover and work further. This is the business of each individual artist, but during pregnancy - the sooner you leave dancing, the better for you and your unborn child. This is associated with risks: here you have to bend, jump, you can fall and get hurt, ”- told site ballerinas of the Bolshoi.

“We are the best mothers, wives, and we also know how to dance and walk around the kitchen on tiptoe”,- the ballerinas joke in response to a question about the specifics of family life.

7. If he dances in ballet, then he is gay.

Hearing: There are many gays among ballet dancers.

Truth: This is a common stereotype, says ballet dancer Gennady Kullinkovich. We already do not react to it. So they say about all the men who dance. It is born out of a misunderstanding on the part of the viewer: how men can remain indifferent and calm, surrounded by so much beauty and nudity. After all, the audience often gets backstage, and the men are shocked: here everyone changes clothes, intimate parts of the bodies are at hand ... But we are already used to this and react as to something normal. So the viewer thinks that men in ballet are gay.

8. What does the dancer have under the leotard

Hearing: Dancers don’t wear panties.

Photo pixabay.com

Truth: They talk about the underwear of male artists more than about the underwear of ballerinas: the viewer under the snow-white tights, to his surprise, does not see the expected outlines of the panties.

Gennady Kulinkovich said that dancers have their own secrets. Dancewear manufacturers meet the artists' expectations and produce seamless patterns of special underwear invisible under the costume - bandages. Special clothes for dancers are sold by a store located near the Bolshoi.

9. Meat in pointe

Hearing: Ballerinas put meat in pointe shoes to reduce trauma to their feet.

Truth: Do not put meat. There are more modern ways to protect your feet. Ballet firms produce special half shoes that only cover the toes. They are silicone. Someone does not put anything - it is already convenient for him. Silicone inserts for pointe shoes are not produced in Belarus, they are made in the USA, China, Russia.

Photo pixabay.com

For a year, a ballerina wears out 5-10 pairs of pointe shoes, depending on the load. Some artists have their own pads - volume copies of feet made by masters, according to which pointe shoes are made to individual order.

10. Dancing pays well

Hearing: Artists earn a lot.

Truth: Everything is relative. The salaries of ballet dancers depend on the position in the troupe: leading stage master, soloist or corps de ballet dancer. The number of scenes worked in productions also affects. For each exit, points are awarded, which are kept by a special theater worker. The value of points for each dance is different, standard for all artists, it depends on the complexity and duration of the performance. The amount of points received affects the award. So, the salary of a corps de ballet artist is around 120 rubles, and the bonus accrued for performances may exceed it several times.

Photo by Sergey Balay

On March 17, the great Russian dancer Rudolf Nureyev would have turned 78 years old. The ballet classic Roland Petit called Nureyev dangerous, the press a frantic Tatar, rock stars and royalty confessed his love to him. ELLE is about “ballet Russians” who have achieved success in the West.

Sarah Bernhardt considered Nijinsky the greatest actor in the world, the press - no less than the eighth wonder of the world. A native of Kiev, a dancer at the Mariinsky Theater, Nijinsky took place in Paris, where he amazed the audience and critics with his phenomenal technique, plasticity and taste. Most striking is that his career as a dancer lasted only ten years. In 1917, he took the stage for the last time, and until his death in 1950 he struggled with schizophrenia, moving through psychiatric clinics. It is difficult to overestimate the influence of Nijinsky on world ballet, and his diaries are still deciphered and interpreted by specialists in different ways.

One of the main stars of Russian ballet in the world, Nureyev was a real pop star, bright and scandalous. A heavy, quarrelsome character, arrogance, a stormy personal life and a tendency to outrageous did not overshadow the main thing - the incredible talent of Nureyev, who managed to combine ballet traditions and current, as they say now, trends. A native of Ufa, a long-awaited son who did not live up to the hopes of his military father, who contemptuously called Rudolph "ballerina", made his most famous leap not on stage, but in the control zone of the Paris airport. In 1961, the Soviet dancer Nuriev unexpectedly gave a fight with 30 francs in his pocket, asking for political asylum. This is how Nureyev's ascent to the world ballet Olympus began. Fame, money, luxury, parties at Studio 54, gold, brocade, rumors of romance with Freddie Mercury, Yves Saint Laurent, Elton John - and the best roles in the Royal Ballet in London, directorship of the ballet group of the Parisian Grand Opera. The completely ill Nuriev spent the last hundred days of his life in his beloved Paris. There he is buried.

Another famous representative of the ballet, who can be safely called a pop star, is in many ways similar to Nureyev: childhood in the Soviet province (if you count Riga as a province, it’s still not Moscow or Leningrad), complete misunderstanding on the part of his father and a real artistic take-off outside THE USSR. Remaining in the West in 1974, Baryshnikov quickly established himself at the top: first he headed the legendary New York City Ballet, then for nine years, from 1980 to 1989, he headed the equally famous American Ballet Theater. Also actively and quite successfully, albeit unevenly, he acted in films, became a socialite, met with Hollywood beauties - Jessica Lange and Liza Minnelli. And to the new public, far from ballet (and, by the way, from Joseph Brodsky, with whom Baryshnikov had a real friendship), this incredible man became known thanks to his small but noticeable role in the TV series Sex and the City. Sarah Jessica Parker, his big fan. called Mikhail Baryshnikov tough boy - "tough guy". Who would argue.

Vladimir Vasiliev is a symbol of the Bolshoi Theater and the entire Russian ballet of the second half of the 20th century. Due to the fact that Vasiliev lived in the Soviet Union, his popularity in the West is much inferior to the glory of the same Baryshnikov, although art connoisseurs, of course, know and appreciate him. Vasiliev worked mainly in Europe, gradually changing his profession to a choreographer-director. Kazan and Paris, Rome and Perm, Vilnius and Rio - the geography of Vasiliev's creative movements asserts and confirms his cosmopolitanism.

The blonde giant, the star of the Bolshoi, Godunov in August 1979, while on tour in the States, decided not to return home. A terrible drama ensued, in which not only the artist himself and his wife, ballerina Lyudmila Vlasova, were involved, but also Joseph Brodsky, the FBI, and even the leaders of the United States and the Soviet Union. Remaining in the States, Godunov became a member of the famous American Ballet Theater, which he eventually left after a quarrel with his best friend Mikhail Baryshnikov. Then there was work within the framework of his own project "Godunov and Friends", success, an affair with actress Jacqueline Bisset and a sharp retirement from the profession. Bisset persuaded Alexander to start a career in cinema, and he partly succeeded: "The Witness" with Harrison Ford and especially "Die Hard" made yesterday's ballet dancer five minutes less a Hollywood star. However, Godunov himself did not like being on the sidelines, although those who were not even interested in ballet before learned about "this Russian".

He never returned to dancing, and in 1995 he died at the age of 45. “I believe that he did not take root and died of loneliness,” said Joseph Brodsky, who took an active part in his fate as a “defector”.

The myths about only female parts in dance have long gone into oblivion. Today men rightfully occupy the leading roles, without them we cannot imagine modern ballet.

Top - 5 most famous ballet dancers

Vaclav Fomich Nijinsky

The founder of the male ballet of the 20th century. Born into a family of dancers in 1890. After graduating from college in 1907, he began performing with the Mariinsky Theater, almost immediately playing the main roles. Nijinsky had a technique that was unique at that time, especially inconspicuous in life, he completely reincarnated into his hero. His jumping-flying birds were inimitable. Nijinsky's innovations and experiments were not always successful, he seemed to be ahead of his time and the public did not understand him. In 1919, the artist's last performance took place. Later, the ballet adopted his expressionist style and completely new plastic movements. Despite the short period of creativity (10 years), he was and remains an idol.

Vasiliev Vladimir Viktorovich

Born in 1940 in a working class family. In 1947, for the company, I went to a dance club with a friend. And after 2 years in 1949 he was admitted to the choreographic school, where he amazed his teachers with skill and virtuosity. After college, in 1958 he was invited to the Bolshoi Theater ballet troupe, where, almost immediately, he began to play the main roles. The most enchanting was the game of Spartacus, after which Vasiliev was nicknamed "the god of dance". With his movements, he conveyed the slightest accents in the music, merging with it into a single whole. Vasiliev was awarded several awards, became a laureate of many competitions, having won first prizes and gold medals.

Gorskiy Alexander Alekseevich

In 1889 he began dancing in the corps de ballet, 11 years later he became the premier of the troupe. Author of the Stepanov dance movement system tutorial. Dance theory teacher at the ballet school. Gorsky is a ballet reformer. He introduced the laws of drama and a sense of the authenticity of what is happening to the ballet. His production of Don Quixote is still staged in theaters, although at that time it did not cause delight among critics. As a choreographer, Gorsky made a great contribution to the development and improvement. Many famous ballets, staged by Gorsky in their own interpretation, began to live a new life.

Ermolaev Alexey Nikolaevich

As a 16-year-old graduate of the school, Ermolaev plays the god of the wind - his first role in the ballet Talisman. The ballet master of the theater immediately saw the unbridled energy and strength of the guy and created images for his character. A fan of ballet, he rebuilt all the parts for himself, rehearsing at night by candlelight. Yermolai changed the usual image of the male role in ballet, his virtuoso movements - triple rounds in the air, double revoltads, dancers still cannot repeat.

Fokin Mikhail Mikhailovich

Italian, born into a family of ballet dancers in 1850. Studied at the Florentine Dance Academy of J. Lepri. From 1870 he performed at the Teatro alla Scala. Master of facial expressions and pas de deux. The author of the methodology for the development of dance technique of ballet.

Alonso Alicia(b. 1921), Cuban prima ballerina. A dancer of a romantic nature, she was especially magnificent in "Giselle". In 1948 she founded the Alicia Alonso Ballet in Cuba, later called the National Ballet of Cuba. The stage life of Alonso herself was very long, she stopped performing at the age of sixty-odd years.

Andreyanova Elena Ivanovna(1819-1857), Russian ballerina, the largest representative of the romantic ballet. The first performer of the title roles in the ballets Giselle and Paquita. Many choreographers created roles in their ballets especially for Andreyanova.

Ashton Frederick(1904-1988), English choreographer and director of the Royal Ballet of Great Britain from 1963-1970. Several generations of English ballet dancers have grown up in the performances he staged. Ashton's style defined the characteristics of the English ballet school.

Balanchine George(Georgy Melitonovich Balanchivadze, 1904-1983), an outstanding Russian-American choreographer of the 20th century, an innovator. He was convinced that dance did not need the help of a literary plot, scenery and costumes, and most importantly, the interaction of music and dance. Balanchine's influence on world ballet can hardly be overestimated. His legacy includes over 400 works.

Baryshnikov Mikhail Nikolaevich(b. 1948), dancer of the Russian school. Virtuoso classical technique and purity of style made Baryshnikov one of the most famous representatives of male dance in the 20th century. After graduating from the Leningrad Choreographic School, Baryshnikov was accepted into the ballet troupe of the Kirov Opera and Ballet Theater and soon performed the leading classical roles. In June 1974, during a tour with the Bolshoi Theater troupe in Toronto, Baryshnikov refused to return to the USSR. In 1978 he joined J. Balanchine's New York City Ballet troupe, and in 1980 became the artistic director of the American Ballet Theater and remained in this position until 1989. In 1990 Baryshnikov and choreographer Mark Morris founded the White Oak Dance Project, which over time has grown into a large traveling troupe with a contemporary repertoire. Among Baryshnikov's awards are gold medals at international ballet competitions.

Bejart Maurice(b. 1927), French choreographer, was born in Marseille. He founded the "Twentieth Century Ballet" troupe and became one of the most popular and influential choreographers in Europe. In 1987 he transferred his troupe to Lausanne (Switzerland) and changed its name to "Bejart Ballet in Lausanne".

Blasis Karlo(1797-1878), Italian dancer, choreographer and teacher. He directed the dance school at the Teatro alla Scala in Milan. Author of two famous works on classical dance: Treatise on Dance and Code of Terpsichore. In the 1860s he worked in Moscow, at the Bolshoi Theater and a ballet school.

Bournonville August(1805-1879), Danish teacher and choreographer, was born in Copenhagen, where his father worked as a choreographer. In 1830 he headed the Royal Theater Ballet and staged many performances. They have been carefully preserved by many generations of Danish artists.

Vasiliev Vladimir Viktorovich(b. 1940), Russian dancer and choreographer. After graduating from the Moscow School of Choreography, he worked in the troupe of the Bolshoi Theater. Possessing a rare gift of plastic transformation, he had an unusually wide range of creativity. His performing style is noble and courageous. Winner of many international awards and prizes. He was repeatedly named the best dancer of the era. His name is associated with the highest achievements in the field of male dance. Constant partner E. Maksimova.

Vestris Auguste(1760-1842), French dancer. His creative life at the Paris Opera was extremely successful until the revolution of 1789. He then emigrated to London. He is also famous as a teacher: among his students are J. Perrot, A. Bournonville, Maria Taglioni. Vestris, the greatest dancer of his era, who owned a virtuoso technique and a big jump, had the title of "god of dance".

Geltser Ekaterina Vasilievna(1876-1962), Russian dancer. She was the first of the ballet dancers to be awarded the title of People's Artist of the RSFSR. A bright representative of the Russian school of classical dance. In her performance she combined lightness and swiftness with breadth and softness of movements.

Goleizovsky Kasyan Yaroslavovich(1892-1970), Russian ballet master. Participant in the innovative experiments of Fokine and Gorsky. Musicality and rich imagination determined the originality of his art. In his work, he achieved the modern sound of classical dance.

Gorskiy Alexander Alekseevich(1871-1924), Russian choreographer and teacher, ballet reformer. He strove to overcome the conventions of academic ballet, replaced pantomime with dance, and achieved the historical accuracy of the performance design. The ballet "Don Quixote" in his production, which to this day is in the repertoire of ballet theaters all over the world, became a significant phenomenon.

Grigorovich Yuri Nikolaevich(b. 1927), Russian choreographer. For many years he was the chief choreographer of the Bolshoi Theater, where he staged the ballets Spartacus, Ivan the Terrible and The Golden Age, as well as his own versions of ballets of the classical heritage. His wife, Natalia Bessmertnova, performed in many of them. He made a great contribution to the development of Russian ballet.

Grisie Carlotta(1819-1899), Italian ballerina, the first performer of the role of Giselle. Has appeared in all European capitals and at the St. Petersburg Mariinsky Theater. Distinguished by her extraordinary beauty, she was equally passionate about Fanny Elsler and the lightness of Maria Taglioni.

Danilova Alexandra Dionisievna(1904-1997), Russian-American ballerina. In 1924 she left Russia together with J. Balanchine. She was a ballerina in the Diaghilev troupe until his death, then she danced in the Russian Ballet of Monte Carlo troupe. She did a lot for the development of classical ballet in the West.

De Valois Ninet(b. 1898), English dancer, choreographer. In 1931 she founded the Vic Wells Ballet, which later became the Royal Ballet.

Didlo Charles Louis(1767-1837), French choreographer and teacher. For a long time he worked in St. Petersburg, where he staged more than 40 ballets. His work in Russia helped to promote Russian ballet to one of the first places in Europe.

Joffrey Robert(1930-1988), American dancer, choreographer. In 1956 he founded the Joffrey Balle troupe.

Duncan Isadora(1877-1927), American dancer. One of the founders of modern dance. Duncan put forward the slogan: "Freedom of body and spirit gives rise to creative thought." She sharply opposed the school of classical dance and promoted the development of mass schools, where children in dance would learn the beauty of the natural movements of the human body. Ancient Greek frescoes and sculptures served as an ideal for Duncan. She replaced the traditional ballet costume with a light Greek tunic and danced without shoes. Hence the name "sandals dance" originated. Duncan improvised talentedly, her plasticity consisted of walking, running on half-toes, light jumps and expressive gestures. At the beginning of the 20th century, the dancer was very popular. In 1922 she married poet S. Yesenin and took Soviet citizenship. However, in 1924 she left the USSR. Duncan's art has undoubtedly influenced contemporary choreography.

Diaghilev Sergey Pavlovich(1872-1929), Russian theatrical figure, ballet impresario, director of the famous Russian Ballet. In an effort to acquaint Western Europe with Russian art, Diaghilev organized an exhibition of Russian painting and a series of concerts in Paris in 1907, and the next season staged a number of Russian operas. In 1909 he assembled a troupe, consisting of dancers from the Imperial Theaters, and during the summer vacation took it to Paris, where he spent the first "Russian season", in which such dancers as A.P. Pavlova, T.P. Karsavina, M.M. Fokin, V.F. Nijinsky. The "Season", which passed with great success and stunned the audience with its novelty, became a real triumph for Russian ballet and undoubtedly had a huge impact on the subsequent development of world choreography. In 1911, Diaghilev created the permanent troupe "Russian Ballet of Diaghilev", which existed until 1929. He chose ballet as a conductor of new ideas in art and saw in it a synthesis of contemporary music, painting and choreography. Diaghilev was the inspiration for the creation of new masterpieces and a skillful discoverer of talents.

Ermolaev Alexey Nikolaevich(1910-1975), dancer, choreographer, teacher. One of the brightest representatives of the Russian ballet school in the 1920s and 1940s. Ermolaev destroyed the stereotype of a courteous and gallant dancer-gentleman, changed the idea of ​​the possibilities of male dance and brought it to a new level of virtuosity. His performance of the parts of the classical repertoire was unexpected and deep, and the very manner of dancing was unusually expressive. As a teacher, he has trained many outstanding dancers.

Ivanov Lev Ivanovich(1834-1901), Russian choreographer, ballet master of the Mariinsky Theater. Together with M. Petipa he staged the ballet "Swan Lake", the author of "swan" acts - the second and fourth. The genius of his production has stood the test of time: almost all choreographers who turn to Swan Lake leave the Swan Acts intact.

Istomina Avdotya Ilinichna(1799-1848), leading dancer of the Petersburg Ballet. She possessed a rare stage charm, grace, virtuoso dance technique. In 1830, due to a leg disease, she switched to mimic parts, and in 1836 she left the stage. In Eugene Onegin, Pushkin has lines dedicated to her:

Brilliant, semi-airy,
I am obedient to the magic bow,
A crowd of nymphs is surrounded,
Istomin stands; she,
One foot touching the floor
The other is slowly circling
And suddenly a jump, and suddenly it flies,
Flies like fluff from the mouth of Aeolus;
The camp will advise, then it will develop
And he hits the leg with a quick foot.

Camargo Marie(1710-1770), French ballerina. She became famous for her virtuoso dance, performing at the Paris Opera. The first of the women began to perform cabrioles and antrasha, which were previously considered to be a technique of exclusively male dance. She also shortened her skirts to be able to move more freely.

Karsavina Tamara Platonovna(1885-1978), leading ballerina of the St. Petersburg Imperial Ballet. She performed in the troupe of Diaghilev from the first performances and was often a partner of Vaslav Nijinsky. First performer in many of Fokine's ballets.

Kirkland Gelsey(b. 1952), American ballerina. Extremely gifted, she received leading roles from J. Balanchine as a teenager. In 1975, at the invitation of Mikhail Baryshnikov, she joined the American Ballet Theater troupe. She was considered the best performer of the role of Giselle in the United States.

Kilian Jiri(b. 1947), Czech dancer and choreographer. Since 1970 he danced in the troupe of the Stuttgart Ballet, where he carried out his first performances, since 1978 - the head of the "Netherlands Dance Theater", which thanks to him won world fame. His ballets are staged in all countries of the world, they are distinguished by a special style, based mainly on adagios and emotionally rich sculptural constructions. The influence of his work on modern ballet is very great.

Kolpakova Irina Alexandrovna(b. 1933), Russian ballerina. She danced at the Theater of Opera and Ballet. CM. Kirov. Ballerina of classical style, one of the best performers of the role of Aurora in "Sleeping Beauty". In 1989, at the invitation of Baryshnikov, she became a teacher at the American Ball Theater.

Cranco John(1927-1973), English choreographer of South African descent. His productions of multi-act narrative ballets are well known. From 1961 until the end of his life he directed the Stuttgart Ballet.

Kshesinskaya Matilda Feliksovna(1872-1971), Russian artist, teacher. She had a bright artistic personality. Her dance was distinguished by bravura, cheerfulness, flirtatiousness and at the same time classical completeness. In 1929 she opened her studio in Paris. Prominent foreign dancers, including I. Shovire and M. Fontaine, took lessons from Kshesinskaya.

Olga Lepeshinskaya(born 1916), Russian dancer. In 1933-1963 she worked at the Bolshoi Theater. She possessed a sparkling technique. Her performance was distinguished by temperament, emotional richness, and engraving of movements.

Liepa Maris Eduardovich(1936-1989), Russian dancer. Liepa's dance stood out for its courageous, confident manner, breadth and strength of movements, clarity, sculptural design. Reasonableness of all the details of the role and bright theatricality made him one of the most interesting "dancing actors" in the ballet theater. The best role of Liepa was the part of Crassus in the ballet "Spartacus" by A. Khachaturian, for which he received the Lenin Prize.

Makarova Natalia Romanovna(born 1940), dancer. In 1959-1970 she was an artist of the Theater of Opera and Ballet named after I. CM. Kirov. Unique plastic data, perfect craftsmanship, external grace and internal passion - all this is characteristic of her dance. Since 1970, the ballerina has lived and worked abroad. Makarova's creativity increased the glory of the Russian school and influenced the development of foreign choreography.

Macmillan Kenneth(1929-1992), English dancer and choreographer. After the death of F. Ashton, he was recognized as the most influential choreographer in England. Macmillan's style is a combination of the classical school with a freer, flexible and acrobatic school that developed in Europe.

Maksimova Ekaterina Sergeevna(b. 1939), Russian ballerina. She joined the troupe of the Bolshoi Theater in 1958, where Galina Ulanova rehearsed with her, and soon began to play leading roles. Possesses great stage charm, filigree perfection and purity of dance, grace, grace of plastic. Comedy colors, subtle lyricism and drama are equally accessible to her.

Markova Alicia(b. 1910), English ballerina. As a teenager, she danced in the troupe of Diaghilev. One of the most famous performers of the role of Giselle, she was distinguished by the exceptional ease of dance.

Messerer Asaf Mikhailovich(1903-1992), Russian dancer, choreographer, teacher. He began to study at the ballet school at the age of sixteen. Very soon he became a classical virtuoso dancer of an unusual style. Constantly increasing the complexity of the movements, he brought energy, athletic strength and excitement into them. On stage, he seemed to be a flying athlete. At the same time, he had a bright comedic gift and a kind of artistic humor. He became especially famous as a teacher, since 1946 he taught a class for leading dancers and ballerinas at the Bolshoi Theater.

Messerer Sulamith Mikhailovna(born 1908), Russian dancer, teacher. Sister of A.M. Messerer. In 1926-1950 she was an artist of the Bolshoi Theater. A dancer of an unusually wide repertoire, she performed parts from lyric to dramatic and tragic. Since 1980 he has been living abroad, teaching in different countries.

Moiseev Igor Alexandrovich(born 1906), Russian ballet master. In 1937 he created the USSR Folk Dance Ensemble, which became an outstanding phenomenon in the history of world dance culture. The choreographic suites he staged are real examples of folk dance. Moiseev is an honorary member of the Academy of Dance in Paris.

Myasin Leonid Fedorovich(1895-1979), Russian choreographer and dancer. Studied at the Moscow Imperial Ballet School. In 1914 he entered the ballet troupe of SP Diaghilev and made his debut in Russian Seasons. Massine's talent - a choreographer and character dancer - developed rapidly, and soon the dancer became world famous. After Diaghilev's death, Massine became the head of the Russian Ballet of Monte Carlo troupe.

Nijinsky Vaclav Fomich(1889-1950), an outstanding Russian dancer and choreographer. At the age of 18 he performed the main roles at the Mariinsky Theater. In 1908, Nijinsky met S. P. Diaghilev, who invited him as a leading dancer to participate in the "Russian Ballet Season" of 1909. The Parisian audience enthusiastically welcomed the brilliant dancer with his exotic appearance and amazing technique. Then Nijinsky returned to the Mariinsky Theater, but was soon dismissed (he appeared in an overly revealing costume in the play "Giselle", which was attended by the Dowager Empress) and became a permanent member of the Diaghilev troupe. Soon he tried his hand as a choreographer and replaced Fokine in this post. Nijinsky was the idol of all Europe. His dance combined strength and lightness, he amazed the audience with his breathtaking leaps. It seemed to many that the dancer freezes in the air. He had a wonderful gift for reincarnation and extraordinary facial expressions. On the stage, powerful magnetism emanated from Nijinsky, although in everyday life he was shy and silent. The full disclosure of his talent was prevented by mental illness (since 1917 he was under the supervision of doctors).

Nijinska Bronislava Fominichna(1891-1972), Russian dancer and choreographer, sister of Vaslav Nijinsky. She was an artist of the Diaghilev troupe, and from 1921 she was a choreographer. Her productions, contemporary in theme and choreography, are now considered classics of ballet art.

Novers Jean Georges(1727-1810), French choreographer and dance theorist. In his famous "Letters on Dance and Ballets" he presented his views on ballet as an independent performance with a plot and developed action. Nover introduced a serious dramatic content to the ballet and established new laws of stage action. Behind the scenes, he is considered the "father" of modern ballet.

Nureyev Rudolf Khametovich(also Nuriev, 1938-1993), dancer. After graduating from the Leningrad Choreographic School, he became the leading soloist of the ballet troupe of the Opera and Ballet Theater named after I. CM. Kirov. In 1961, while on tour with the theater in Paris, Nureyev asked for political asylum. In 1962 he appeared in Giselle at London's Royal Ballet with Margot Fontaine. Nureyev and Fontaine are the most famous ballet couple of the 1960s. In the late 1970s, Nureyev turned to contemporary dance and starred in films. From 1983 to 1989, he was director of the Paris Opera ballet company.

Pavlova Anna Pavlovna(Matveevna, 1881-1931), one of the greatest ballerinas of the twentieth century. Immediately after graduating from the St. Petersburg Theater School, she made her debut at the Mariinsky Theater, where her talent quickly gained recognition. She became a soloist, and in 1906 she was transferred to the highest category - the category of prima ballerina. In the same year, Pavlova linked her life with Baron V.E. Dandre. She took part in performances of Diaghilev's "Russian Ballet" in Paris and London. Pavlova's last performance in Russia took place in 1913, then she settled in England and toured with her own troupe around the world. An outstanding actress, Pavlova was a lyrical ballerina, she was distinguished by her musicality and psychological content. Her image is usually associated with the image of a dying swan in a ballet number, which was created especially for Pavlova by Mikhail Fokin, one of her first partners. The glory of Pavlova is legendary. Her selfless service to dance awakened worldwide interest in choreography and gave impetus to the revival of foreign ballet theater.

Perrot Jules(1810-1892), French dancer and choreographer of the Romantic era. He was a partner of Maria Taglioni at the Paris Opera. In the mid-1830s he met Carlotta Grisi, for whom he staged (together with Jean Coralli) the ballet Giselle, the most famous of the romantic ballets.

Petit Roland(b. 1924), French choreographer. He headed several collectives, including the Ballet of Paris, Ballet of Roland Petit and the National Ballet of Marseille. His performances - both romantic and comedic - always bear the imprint of the author's bright personality.

Petipa Marius(1818-1910), French artist and choreographer, worked in Russia. The greatest choreographer of the second half of the 19th century, he headed the St. Petersburg Imperial Ballet Company, where he staged over 50 performances that became examples of the style of the "Bolshoi Ballet" that took shape in that era in Russia. It was he who proved that composing ballet music does not in the least demean the dignity of a serious musician. Collaboration with Tchaikovsky became for Petipa a source of inspiration, from which genius works were born, and above all "The Sleeping Beauty", where he reached the pinnacle of perfection.

Plisetskaya Maya Mikhailovna(born 1925), an outstanding dancer of the second half of the twentieth century, who went down in the history of ballet with her phenomenal creative longevity. Even before graduating from school, Plisetskaya danced solo parts at the Bolshoi Theater. Very quickly becoming famous, she created a unique style - graphic, characterized by grace, sharpness and completeness of every gesture and posture, every single movement and choreographic pattern as a whole. The ballerina has the rare talent of a tragic ballet actress, a phenomenal leap, expressive plasticity and a keen sense of rhythm. Her performing style is characterized by technical virtuosity, expressiveness of hands and a strong acting temperament. Plisetskaya is the first performer of many parts in the ballets of the Bolshoi Theater. Since 1942 she has been dancing M. Fokin's miniature "The Dying Swan", which has become a symbol of her inimitable art.

As a choreographer, Plisetskaya staged ballets by R.K. Shchedrin's Anna Karenina, The Seagull and The Lady with the Dog, playing the main roles in them. She starred in many ballet films, as well as in feature films as a dramatic actress. She was awarded many international prizes, including the Anna Pavlova Prize, French Orders of the Commander and the Legion of Honor. She was awarded the title of Doctor of the Sorbonne. Since 1990 he has been performing with concert programs abroad, conducting master classes. Since 1994, an international competition "Maya" has been held in St. Petersburg, dedicated to the work of Plisetskaya.

Rubinstein Ida Lvovna(1885-1960), Russian dancer. She took part in the "Russian Seasons" abroad, then organized her own troupe. She had expressive external data, plasticity of gesture. Several ballets were specially written for her, including "Bolero" by M. Ravel.

Salle Marie(1707-1756), French ballerina, performed at the Paris Opera. Rival Marie Camargo. The style of her dance, graceful and full of feeling, differed from the technical virtuoso manner of performing the Camargo.

Semenova Marina Timofeevna(1908-1998), dancer, teacher. Semenova's contribution to the history of Russian ballet theater is extraordinarily great: it was she who made a breakthrough into the unexplored areas of classical ballet. The almost superhuman energy of the movements gave the dance in her performance a new dimension, pushed the limits of virtuoso technique. Moreover, she was feminine in every movement, every gesture. Her roles were striking in artistic brilliance, drama and depth.

Spesivtseva Olga Alexandrovna(1895-1991), Russian dancer. She has worked at the Mariinsky Theater and Diaghilev's Russian Ballet. Spesivtseva's dance was distinguished by sharp graphic poses, perfection of lines, and airy lightness. Her heroines, far from the real world, were marked by exquisite, fragile beauty, spirituality. Her gift was most fully manifested in the role of Giselle. The part was built on contrasts and was fundamentally different from the performance of this image by the largest ballerinas of that time. Spesivtseva was the last ballerina in the traditional romantic style. In 1937, she left the stage due to illness.

Taglioni Maria(1804-1884), a representative of the Italian ballet dynasty of the 19th century. Under the guidance of her father, Filippo, she studied dance, although her physical characteristics did not quite fit the chosen profession: her arms seemed too long, and some claimed that she was stooped. Maria first performed at the Paris Opera in 1827, but achieved success in 1832, when she performed the main role in the ballet La Sylphide staged by her father, which later became the symbol of Taglioni and the entire romantic ballet. Before Maria Taglioni, pretty ballerinas conquered the audience with their virtuoso dance technique and feminine charm. Taglioni, by no means a beauty, created a new type of ballerina - spiritualized and mysterious. In "Sylphide" she embodied the image of an unearthly creature, personifying an ideal, an unattainable dream of beauty. In a flowing white dress, taking off in light jumps and freezing at the tips of her fingers, Taglioni became the first ballerina to use pointe shoes and made them an integral part of classical ballet. All the capitals of Europe admired her. In old age, Maria Taglioni, lonely and impoverished, taught dance and good manners to the children of London nobles.

Tolchif Maria(b. 1925), an outstanding American ballerina. She performed mainly in troupes headed by J. Balanchine. In 1980, she founded the Chicago City Balle troupe, which she led all the years of its existence - until 1987.

Ulanova Galina Sergeevna(1910-1998), Russian ballerina. Her work was characterized by a rare harmony of all means of expression. She gave spirituality even to a simple, everyday movement. At the very beginning of Ulanova's career, critics wrote about the complete fusion in her performance of dance technique, dramatic play and plastics. Galina Sergeevna performed the main roles in the ballets of the traditional repertoire. Her highest achievements were the roles of Mary in the Fountain of Bakhchisarai and Juliet in Romeo and Juliet.

Fokin Mikhail Mikhailovich(1880-1942), Russian choreographer and dancer. Overcoming ballet traditions, Fokine strove to get away from the generally accepted ballet costume, stereotypical gestures and the routine construction of ballet numbers. In ballet technique, he saw not a goal, but a means of expression. In 1909, Diaghilev invited Fokine to become the choreographer of the Russian Season in Paris. The result of this union is world fame, which accompanied Fokine until the end of his days. He has staged over 70 ballets at the best theaters in Europe and America. Fokine performances are being resumed to this day by the world's leading ballet companies.

Fontaine Margot(1919-1991), English prima ballerina, one of the most famous dancers of the twentieth century. She began to practice ballet at the age of five. She made her debut in 1934 and quickly attracted attention. Fontaine's performance of the role of Aurora in The Sleeping Beauty made her famous throughout the world. In 1962, Fontaine began a successful partnership with R.H. Nureyev. The performances of this couple became a real triumph of ballet art. Since 1954, Fontaine has been President of the Royal Academy of Dance. Awarded the Order of the British Empire.

Cecchetti Enrico(1850-1928), Italian dancer and outstanding teacher. He developed his own pedagogical method, in which he achieved the maximum development of dance technique. He taught at the St. Petersburg Theater School. Among his students were Anna Pavlova, Tamara Karsavina, Mikhail Fokin, Vaclav Nijinsky. His teaching method is outlined in the textbook "Classical Theater Dance Theory and Practice".

Elsler Fanny(1810-1884), Austrian ballerina of the Romantic era. Taglioni's rival, she was distinguished by her drama, passionate temperament and was a great actress.

Finally, I would like to quote the words of our outstanding ballerina Maya Plisetskaya, said by her in one of her interviews: “I think that ballet is an art with a great and exciting future. It will certainly live, seek, develop. It will certainly change. he will go, it is difficult to predict with full accuracy. I do not know. I know one thing: all of us - both performers and choreographers - need to work very hard, seriously, not sparing ourselves. People, their faith in art, their devotion to the theater can do wonders. And what these "miracles" of the ballet of the future will turn out to be, life itself will decide. "