ANDREY MERKURIEV. CONFESSION. Moscow

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The Russian capital is full of cultural events that happen every day in various locations, but there is one that no ballet and music lover should miss – CONFESSION of Andrey Merkuriev that will take place on February 22 at the Novaya Opera Theatre of Moscow. It will be the first evening of a series of meetings  that unite ballet, symphonic music, poetry, drama and visual arts. It is meant to become a platform for artistic experiments of all kinds, search for new languages and methods of expression.

Maestro Andrey Merkuriev has created the event in collaboration with Madam Alevtina Ioffe, its Main Conductor and Musical Director. The audience will see the premier of one act ballet  “W.Oda”, music by a  well known composer-minimalist Philip Glass. One of the most prominent modern composers turned 80 this January. It was a long time dream of Andrey Merkuriev to combine his choreography with Glass’s plastic and “sentimental” music and Andrey is happy to be able to make this premier a special birthday gift for the great composer.

The second premier is one act ballet to the music “VerklarteNacht” by Arnold Shöenberg written in 1899. Shöenberg was  the founder of expressionism in music but ironically the recognition was brought to him by this very romantic string sestet. The idea of creating a ballet for such “non ballet” type of music belongs to Teodor Currentzis, another musical rebel. The ballet choreographed by Andrey Merkuriev has received an exceptional standing ovation in Perm and it will be performed in Moscow for the first time.

Both premieres are inspired by the theme of love and Andrey Merkuriev underlines how important it is for him to express it to his audience: “I hope that the public will feel our love because this event is actually a Declaration of Love made by the dancers to the audience and vice versa. It is also my personal declaration of love to my partners  – dancers and solists of the Bolshoi Theatre those who agreed to support me and participate in  this new project. Many of them have done it despite their huge amount of work, even canceling tours and other appointments. I am extremely happy and grateful about that!”

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50933″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50934″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50935″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_column_text]Special thanks to Andrey Merkuriev.

Photos by ©Elena Pushkina, Anna Pavlova Network 2017. All rights reserved[/vc_column_text][/vc_column][/vc_row]

LUCA DI BARTOLO. Danza/Quadri di Luci Exhibition

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Questa mostra offre alcune fotografie che riassumono il senso della mia ‘scoperta’ umana sul tema del corpo che danza, durante gli ultimi 10 anni di ricerca.

This exhibition represents some of the results of my ten years research on the theme of a dancing human body.

Non è esaustiva ma presenta alcuni momenti ‘singolari’ di questo percorso.

Partendo da un quadro tratto da “Dialoghi sulla Deposizione” di Virgilio Sieni con la compagnia del MaggioDanza nel 2006, per arrivare ad una delle ultime esperienza a Palermo nell’agosto del 2016, assieme al Corpo di Ballo del Teatro Massimo.

It is not too detailed but it includes some of the most significant moments of my way in photography, from the “Dialogs on Deposition” of Virgiloio Sieni with MaggioDanza company in 2006 to one of my ultimate experiences in Palermo in August 2016 with the corps de ballet of Teatro Massimo.

Personalmente non trovo motivazione nella pura ricerca della perfezione nel fotografare il gesto tecnico, quanto più nella sua forza umana ed espressiva, se infatti dovessi definire il mio approccio alla danza e al palco in generale, parlerei di ‘pura umanità’.

Personally, I don’t find a lot of inspiration in pure technics but in the human power and expressiveness. Actually if I had to define my approach to dance and stage in general, I would talk about “pure humanity”.

Non sempre il punto di maggiore espressività in fotografia coincide naturalmente con l’apice di un movimento o di un’azione. Quando mi avvicino alla storia che si sviluppa di fronte a me vivo di un fluire senza soluzione di continuità fatto di parole e gesti fisici.

Not always the moments of maximum expression in photography coincide  with the most acute movements and actions in dance. When I get close to a magical story that swiveling in front of me I begin going with its flow without waiting for special or most significant moments.  

 

Si tratta di raccogliere le emozioni che scaturiscono ed inseguirle. Sento il mio sguardo simile all’aria che circonda i danzatori, plasmarsi sui loro 

movimenti, spostarsi assieme a loro, argilla pronta a modellarsi ogni attimo. L’atto fotografico diventa fisico nel momento in cui lo vivo. E un toccare attraverso lo sguardo.

We are talking about emotions that sparkle and I just follow them. I feel my stare unite with the air around the dancers, sticking to their movements, floundering together with them and always ready to catch every moment. It is like touching with the eyes.

 Il corpo è capace di esprimere una forza interiore molto potente e attraente: forza che si è persa nel vivere di ogni giorno, dove la parola prima  e ora l’immagine, hanno vinto oramai sul linguaggio più arcaico del corpo.

La fotografia come calco di un’azione fisica ed emotiva in cui la luce cristallizza, a scatto avvenuto, l’azione.

The body can express its inner force, very powerful and attractive. The force that we do not notice in everyday actions, in our everyday life where images and words always go first and dominate over movements.  Photography can catch the mix of physical action and  emotions, when a single shot crystallizes  the light and the movement.

 Lo ‘scatto’ diviene più un sentire, al punto che una fotografia nasce come realtà visibile solo dopo la sua riscoperta ad azione conclusa.

Questo indica come allora sia il ‘sentire’ e non la coscienza a priori di un movimento già noto, a portarci ai quadri di luce.

A “photo shot” become a special way of feeling, to the point where photography is born only after being rediscovered together with the motion.

This means that the “feeling” is what creates  the pictures of light and not simple noticing and registering the movements seen on stage.

(Luca Di Bartolo)

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50927″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_column_text]©Luca Di Bartolo photography. Anna Pavlova Network, 2017. All rights reserved[/vc_column_text][/vc_column][/vc_row]

Taylor-Ferné Morris Photography

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You started doing ballet very early in your childhood and your whole life is connected with dance. Please tell us about the “routs” of this relation. Are you coming from a “ballet” family? Was there someone who inspired you and supported in your decisions?

– No, I didn’t come from a “ballet family”. My parents really didn’t know anything about the art form when they took me to my first ballet class. However I come from a very arts based and hard working family and from day one they have supported me 100% with both my career choices in ballet and photography. My parents were very dedicated to supporting my ballet. They would drive me all over the country so that I could attend the best ballet schools in Australian. They even travelled to the UK so I could attend the Royal Ballet School’s Summer program at 12 years of age. Then again at 15 so that I could audition for the senior school, spending all their savings to do so. To see their dedication and their support of me was, and still is, a huge motivation and inspiration to me. Another huge and significant inspiration throughout my time in ballet were my teachers. I was lucky enough to have some of the most amazing, dedicated and hard working teachers a young ballet student could ask for. All of them shaped me into not only the dancer I became but also the photographer I am now. Three of them in particular: one was my very first ballet teacher, she saw my potential in that very first class and supported me till my very last day as a dancer. She was kind and sweet, yet tough, and was the reason I fell in love with ballet. Second was my level 5 teacher at the Australian Ballet School; she was Russian and her passion for her students was absolutely inspiring. But most of all she gave me the passion to keep going after a hard time with an ankle injury. She still supports me to this day with my career as a photographer. Finally, my very last teacher before I changed careers, was a huge inspiration. She had just moved from China to teach at the Australian Ballet School and was in her 70s, yet her age didn’t stop her. Her energy would fill the classroom every time she entered it. She was tough and expected your full dedication in not only every class but every step. I became the dancer I had always dreamed of becoming under her guidance and training, and I couldn’t have asked for more.

How did you “switch” to photography? Did you shoot ballet from the beginning of your career in photography?

– I switched to photography after a career ending injury at 18 years old. I had received a camera that year for my birthday and had been playing with it throughout my time off in rehabilitation for my injury. I would walk past a photography collage every day to get to ballet and found myself applying for it one day after releasing it was time to leave ballet behind. I was lucky enough to be accepted into the collage.
I spent most of my years as a photography student focusing on fashion and commercial photography, wanting to leave the ballet world behind to try something new. I ended up majoring in commercial photography and graduated at the top of my class. However not long after graduating I found myself drawn to the ballet world once more and have been photographing ballet ever since and absolutely love it! It’s my way of still being a part of the ballet world without dancing.

 

What is your secret to successful collaboration with dancers as models?

Trust!!! It’s what is most imported to my photography. Having the dancer’s trust is the difference between a good photo and having a mesmerising, beautiful piece of artwork. Trust is something that comes with time. So having a good relationship with the dancer is immensely important to me.

 

Tell us about your preferences as a photographer. Studios or outdoors, colour or black and white, strict planning or improvisation?
– I love working in the studio. I am a bit of a control freak when it comes to technique and lighting (the ballet dancer coming out in me) plus I love creating something out of nothing. The studio is a blank canvas and I can create anything I want to. I can create a set full of things if I wish or just work with the lighting and the dancer’s body; I just love it! However I am currently on a mission to find beautiful locations for an upcoming series, which I am very excited about.
I enjoy both colour and black and white; it all comes down to the dancer and feel of the shoot. I always plan a shoot however only on a basic level. I believe it’s really important to have the freedom to see what happens on the day and be inspired by the dancer and their personality to create the powerful images. Each dancer is always very different from the last and I love that. I always feel that strict over-planning stifles you from the magic that can happen on set. It’s also important to work with the dancer’s ideas and what they see for themselves.

 

If you could chose any figure in the world of dance (even from the past) who would you like to work with?
– There are too many! I love working with dancers from all walks of life. However if I was to combine my ballet hero with my photography, one dancer that stands out to me would be Alessandra Ferri. She was my idol from a very young age and I have adored her ever since. She is such an inspiration and to do a full editorial series with her and to collaborate with her would be a dream come true! She amazes me. Plus those feet!!!!!

 

Your advice for young photographers who are thinking of working with dancers
– Once again I will say build trust with your dancer, it’s most important. Also technique is very important to dancers, so not only must you be on top of your photography technique, your understanding of ballet technique is just as important!! It’s a combination of all these things that creates beautiful ballet photography. Also work fast, listen to your dancer and light well!![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50910″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50911″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50913″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50915″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50916″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50917″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50918″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_column_text]Dancers: Richard House, Kristy Lee Denovan, Alexander Baden Bryce, Saranja Crowe, Sophie Rose Zoričić, Nathan Scicluna

All photographs by ©Taylor-Ferné Morris. Anna Pavlova Network 2017, all rights reserved[/vc_column_text][/vc_column][/vc_row]

Zorán Varga Photography. Hungary

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Tell us how your interest in photographing dancers was born? Was there something that influenced your decision?

Since I was little, I always had an interest in contemporary dance, ballet and rhythmic gymnastics.

The contour of the human body in movement excited me the most. And when these dynamic forms were fused with music, well that was the real deal. 🙂

As I preferred outdoor shootings I wanted to bring together two of my favourite things, the location of my home town and dancing figures. This is how one of my series ‘Dance for me Budapest’ was born in 2014.

When shooting dancers, what is the most important thing a photographer must know to have good results?

– For me, it is light. It is essential to know how it works and how the model moves with it. Bringing these two together is the key to have good results.

Also knowing the rules of light and controlling it on the body’s surface is necessary to express emotions through anatomy.

The next important thing is the teamwork with the models. Their mobility, flexibility and personality are essentials when it comes to collaborating.

When you prepare for a dance photo session do you plan everything in advance? Or do you improvise more?

– I like both planning and improvising at the same time for the sessions. Preparations involve reaseraching inspirations, locations, outfits but I let myself go with the flow and creating new plans on set.

I believe in happy accidents. 🙂

Please tell us how your collaborations with dancers are born. Who are your favorite models?

– My career in dance photography started about 10 years ago, when I was only 19, I had an opportunity to work with a contemporary dance company.

They asked me to take photos for their branding and they used my pictures as posters for their upcoming shows. I felt so lucky, as back then I was a newbie to photography.

The pictures turned out very well and it gave me the confidence to carry on dance photography.

I like working with a model whose mind think alike. Synergy is important for my work.

The first stage of shooting is discovering the models’s character and it reveals soon if the dancer feels my vision after a few instructions.

If it happens, words are unnecessary towards the end of the shoot.

You work a lot both in studios and outside. What are the rules that you follow while shooting outdoors and what are your special “tricks” for your most effective studio work?

– When it comes to outdoor shooting I like to use props, for example to bring airy textiles to the concept. It is beautiful how it flows in the wind and capable to dance around the model’s body.

Also the balance of the composition ‘light-background-movement’ is exciting and gives me many ideas through the shooting.

Studio work is a bit more challenging because it gives lack of variability. However it is more suitable to create unnatural or even supernatural images. I like exploring these kind of otherwordly visions in my work.

And of course retouch is essential for both indoor and outdoor photography to enhance the results.

Please reveal your artistic goal for the future, in the field of dance photography

– I would  love to continue shooting with talented dancers, and expressing emotions via their art.

I’d also like to transition from shooting to directing videos.

Movement into motion would be a whole new and exciting world for me. 🙂

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50899″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50900″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50901″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50902″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50903″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50904″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50905″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50906″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_column_text]©Zorán Vagra Photography, Anna Pavlova Network. All rights reserved.[/vc_column_text][/vc_column][/vc_row]

Giselle – Accademia Ucraina del Balletto

LKV_Sharing per Anna Pavlova Network

Giselle – Accademia Ucraina del Balletto al Teatro degli Arcimboldi di Milano

L’Accademia ucraina di balletto come ogni anno porta sul palco del grande Teatro degli Arcimboldi di Milano il suo spettacolo in un fine settimana in cui la scuola si concentra su questo importante evento.

The Ukrainian Ballet Academy brings its spectacle on stage of the Arcimboldi Theatre of Milan, as it does every year in this weekend of total concentration of the school  and all of its students and teachers on this important event.

Uno spettacolo degno di figurare in cartellone di Compagnie di Danza e Balletto di alto livello, senza dubbio, che infatti utilizza tale palco prestigioso per portare al pubblico quello che sommariamente è lo spettacolo degli allievi dell’Accademia ma che può tranquillamente essere portato in qualunque sede.

This performance deserves being present in the programs of the best dance companies of the highest level and being brought on stage of such a prestigious theatre. Even if it is actually the Academy students’ spectacle, the level of it was high enough for the most serious locations.

Un plauso alle scenografie, ai costumi molto ben fatti e alle luci sempre precise, oltre alla evidente disciplina che si intravede osservando questa “Giselle” soprattutto quando in scena entrano gli allievi più piccoli.  Un grande lavoro insomma a cui sono stato contento di assistere che testimonia l’impegno portato avanti dalla Scuola con sede all’Istituto Marcelline di Milano.

The scenography and the costumes are very well made , so as the lights that were very precise during the whole performance. Very strict discipline and enormous responsibility of the students were more than evident while they were performing this “Giselle”, especially when the smallest ones entered the stage. It was a pleasure for me to witness the results of great work done by the school’s branch in Milan, situated at the Marcelline Institute. 

Molto bravi i primi ballerini  Ievgen Lagunov (che è stato anche Primo Ballerino del Teatro dell’Opera di Kiev), e Nadejda Scepaciova, prima ballerina del Teatro dell’Opera della Moldavia e del Saint-Petersburg Classical Ballet of Andrei Batalov, che guidano quest’opera classica che si rivede sempre volentieri. Una bella esperienza senz’altro per tutti gli iscritti all’Accademia che porta loro un bagaglio di esperienze importanti.

Wonderful performance was made by the principles Ievgen Lagunov who is also a Kiev Opera Theatre principle,  Nadejda Scepaciova, prima ballerina of Moldavia Opera Theatre, and Andrei Batalov of Saint Petersburg Classical Ballet who lead this classic of all times, always great to see and enjoy one more time. It was with no doubt an important and unforgettable experience for all the students of the Academy!

( scritto / written by Luca Vantusso )

Torna, come ormai ogni anno, l’appuntamento degli allievi dell’Accademia Ucraina di Balletto al TEATRO ARCIMBOLDI.
Dopo Don Quixote, Lago dei Cigni e La Bella Addormentata, balletti per eccellenza del repertorio classico, l’Accademia Ucraina di Balletto vi porta a scoprire altri due balletti “fulcro” della tradizione classica.

Ad aprire le danze sarà Giselle, in scena Venerdì 3 febbraio e sabato 4 febbraio ore 21.00, con due grandi nomi della danza internazionale, il Solista del Teatro dell’Opera di Budapest (Ungheria) IEVGEN LAGUNOV e NADEJDA SCEPACIOVA. Accanto a loro, come sempre, tutti gli allievi della Scuola, con la partecipazione di alcuni studenti già diplomati. Il balletto Giselle, nato dall’idea del romanziere francese Théophile Gautier e musicato da Adolphe-Charles Adam, narra la storia di una contadina bella e solare, che suscita la curiosità e l’amore di un principe, Albrecht. Quest’ultimo la seduce fingendosi un popolano pur essendo promesso ad un’altra. La giovane scopre l’inganno dopo l’intervento di un suo invidioso spasimante, e dal dolore impazzisce e muore. La giovane si paleserà di nuovo ad Albrecht, disperato e in preda al rimorso, sotto le sembianze di una villi, spirito di donna morta non ancora sposata. Le altre villi, solidali con la compagna, cercano di sfinire Albrecht facendolo danzare ma Giselle, lo salverà, sostenendolo fino all’alba.

Un ringraziamento a Silvia Arosio in veste di ufficio stampa.

All photos by Luca Vantusso di LKV Photo & Communications  – Anna Pavlova Network, all rights reserved.

 

Pierluigi Abbondanza. Legendary Spartak in Anversa, Italy

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L’evento è stato ad Anversa, e il balletto era Spartak, coreografia di Yuri Grigorovich, musica di Aram Khachaturian, con il balletto delle Fiandre. Gli ospiti erano l’etoile Ivan Vasiliev, la ballerina del Bolshoi Anastasia Stashkevich, Denis Rodkin e Aleksandr Volckov, la ballerina Ivy Amista e Jonah Cook del balletto di Monaco di Baviera, i solisti del balletto delle Fiandre Nancy Osbaldeston e Maria Seletskaja, Il primo ballerino sempre del balletto delle Fiandre Wim Vanlessen e la prima ballerina di Perm Natalia de Froberville.

The event took place in Anversa and it was Spartak performance, choreography of Yuri Grigorovich, music of Aram Khachaturian, libretto of fiandre. The guest stars were Ivan Vasiliev, Anastasia Stankhevich of Bolshoi Theatre, Denis Rodkin and Aleksandr volckov, Ivy Amista and Jnah Cook of Munchen Ballet and Fiandre Ballet soloists Nancy Osbaldeston and Maria Seletskaja, principle of the Flandre Ballet Wim Vanlessen and prima ballerina of Perm Ballet Natalia de Froberville.

 [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50854″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50855″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50856″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50857″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50858″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50859″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50860″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50861″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50862″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50863″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50864″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_column_text]All photos courtesy of Pierluigi Abbondanza, Anna Pavlova Network 2017. All rights reserved[/vc_column_text][/vc_column][/vc_row]

Simone Ghera. Dancer Inside Berlin exhibition in Rome

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After many expositions in Madrid, Berlin, Saint Petersburg, Moscow, Tel Aviv the exhibition DANCER INSIDE BERLIN by Italian photographer and architect Simone Ghera is finally back to the Eternal City, at the beautiful location of Villa Pamphilj Theatre.

The exhibition makes part of the project “Dance in the World” which ties together the art of dance, well understood all around the world and architectural locations of different countries that, on the other hand, are very diverse.

Images of ballet dancers who belong to different nations, companies and academies are photographed during their rehearsals and classes. The photographical composition takes its roots in the laws of architecture and plays with locating dancers into various architectural structures such as stairways, abandoned  houses and specific constructions not related with ballet in any way.

The photos by Simone Ghera always have a very intense feeling about them. They express dance as moments of physical and mental strain and concentration.

The exhibition will remain open until the 10th of February 2017.

For all information contact 065814176 or write promozione@teatrovillapamphilj

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50843″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50844″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50845″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50846″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50847″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50848″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50849″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50850″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_column_text]All photos courtesy of ©Simone Ghera www.simonegheraphotography.com

Anna Pavlova Network 2017, all rights reserved[/vc_column_text][/vc_column][/vc_row]

Karolina Rumyantseva by Ira Yakovleva

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– Санкт Петербург Каролины Румянцевой… Назовите, пожалуйста, ваши места силы в мировой столице балета.

Saint Petersburg of Karolina Rumyantseva…. What are your power places in the world capital of ballet?

– Меня всегда манила энергетика Исаакиевского собора. Я могу просто смотреть на это восхитительное сооружение и заряжаться его энергией, вдохновляться его историей, его красотой и величием. А вообще силы мне дают просто пешие прогулки по исторической части города.

I was always attracted by the energetics of the Isaakievskiy Cathedral.  I can just keep looking at this stunning building and become loaded with its energy, inspired by its history, its beauty and greatness. In general, I get reinforced just walking around the historic part of the city.

– Путеводная звезда и пример для подражания в мире танца.

Your guiding star and the best example figure in the world of ballet.

–  В детстве да, были кумиры на которых хотелось походить, и их было много. С возрастом приоритеты и взгляды меняются и начинаешь просто стремиться стать лучше себя самого, быть собой, а не подражать. Каждый человек уникален и я лишь могу восхищаться выдающимися танцорами, вдохновляться ими, но никак не подражать. Талантов всегда было и будет много, поэтому я не могу выделить кого-то одного, ведь у каждого есть сильные и слабые стороны.

I had some idols in my childhood who I admired, even a lot of them. Growing up, my priorities and views were changing and I began searching to become better than myself, be myself and not to copy. Everyone is unique and I can only admire outstanding dancers, get inspiration from them but not copy them. There were always many talents and there will always be many, that’s why I can’t identify someone as my idol in ballet, everybody has his strong and weak sides.

– Роль мечты.

Your dream role.

– Опять таки субъективно тут не ответить. Если ты танцор не только по профессии, но и по натуре, то главным становится не роль, а сам процесс. Я никогда не мечтала станцевать какую то определённую партию. Но могу сказать что меня больше тянет к современным постановкам, будь то модерн или неоклассика. Люблю балеты Бориса Эйфмана. В них бешеная энергия и невероятная музыка. Наверное любимыми становятся партии, которые подходят тебе по темпераменту, которые ты чувствуешь, а не пытаешься изобразить. Поэтому роль мечты, это роль, в которой можно показать на сцене себя настоящего с помощью пластики и своих эмоций.

It’s hard to answer this question subjectively. If you are a dancer not only by profession but also by nature the creative process and not a certain role becomes important. I never dreamed of dancing some specific part. But I definitely can say that modern and neoclassical choreography are more interesting for me. I love Boris Eifman’s ballet. There is some  crazy energy in them and the music is unbelievable. Maybe the parts that suit your temperament most of all become your favorites. Absolute favorites are those parts that make you feel and not play. That’s why dream roles let you express your real self on stage using your own plasticity and emotions.

– Существует ли Ваш особый ритуал, помогающий сосредоточиться и приготовиться к выходу на сцену?

Do you have a special ritual that helps you to get ready and concentrated before the performance?

– Особого ритуала у меня нет. Кто то крестится, кто то глубоко дышит. Я же перед ответственным выходом просто мысленно настраиваюсь, вспоминаю что мне говорил педагог, какие нюансы замечала сама. Если в номере участвую не только я, то идёт взаимная поддержка от коллег. Это очень важно.

I don’t have any special ritual. Someone crosses oneself, others use deep breathing techniques. I just concentrate mentally and emotionally, think about my teacher said to me, about the nuances that I noticed myself while rehearsing. If the performance includes participation of other dancers, mutual support is very important.

– Мариинский Театр – один из известнейших театров мира. Как бы Вы описали атмосферу, которая царит за кулисами знаменитой Мариинки?

The Mariinsky Theatre is one of the most well known theatres of the world. How would you describe the atmosphere behind the scenes of the mythic Mariinsky?

За кулисами случается всякое, все мы люди и ссоры просто неизбежны, но в любой ситуации все остаются профессионалами. Целыми днями в залах проходят репетиции. Каждый день проходят спектакли на трёх площадках. Так что театр всегда полон артистов, а это значит что он пронизан творчеством. Людей в театре очень много и работы тоже, поэтому атмосфера в за кулисами в основном рабочая и безусловно творческая.

 Surely, there are different things happening behind the scenes. We are all normal people and some conflicts are inevitable. But in every situation everybody remains professional. Rehearsals go on all days long, every day we have performances on three stages. The Theatre is always full of dancers, it is full of art and creative work. There is a lot of hard working and a lot of people inside the theatre so the atmosphere is, no doubt, very  creative.

– Любите ли Вы фотографироваться? Если бы вы могли провести фото сессию в любой точке мира, какое место Вы бы выбрали?

Do you like being photographed? If you could chose any location in the world for a photo session which place would it be?

– Фотографироваться я люблю. Думаю что подавляющее большинство девушек это любит. Какое место?.. Так сразу и не скажешь… Земля слишком большая чтобы выбрать всего одно место. Но думаю начала бы я с Лондона. Очень интересный город. Много красивых мест где можно найти стоящие кадры.

I like to be a model for photographers. I think that most girls like to be photographed. As for a location…Can’t say right away…The Earth is so big to chose just one place. But I would start with London. It is a very interesting city. A lot of beautiful places where you can make valuable shots.

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50820″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50821″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50833″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50834″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50835″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50836″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50837″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”50838″ media_width_percent=”100″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_column_text]©Yakovleva Ira Photography, Anna Pavlova Network 2017. All rights reserved[/vc_column_text][/vc_column][/vc_row]