The word "ballet" sounds magical. Closing your eyes, you immediately imagine burning lights, chilling music, the rustle of tutus and the light click of pointe shoes on the parquet. This spectacle is inimitably beautiful, it can be safely called a great achievement of man in the pursuit of beauty.
The audience freezes, staring at the stage. The ballet divas amaze with their lightness and flexibility, apparently performing complex steps with ease.
The history of this art form is quite deep. The prerequisites for the emergence of ballet appeared in the 16th century. And already from the 19th century, people saw real masterpieces of this art. But what would ballet be without famous ballerinas who made him famous? Our story will be about these most famous dancers.
Marie Ramberg (1888-1982). Future star born in Poland, into a Jewish family. Her real name is Sivia Rambam, but it was later changed for political reasons. The girl fell in love with dancing from an early age, giving herself over to her passion. Marie takes lessons from dancers from the Parisian opera, and soon Diaghilev himself notices her talent. In 1912-1913, the girl danced with the Russian Ballet, taking part in the main productions. Since 1914, Marie moved to England, where she continued to study dance. In 1918, Marie got married. She herself wrote that it was more for fun. However, the marriage turned out to be happy and lasted 41 years. Ramberg was only 22 years old when she opened her own ballet school in London, the first in the city. The success was so stunning that Maria first organized her own company (1926), and then the first permanent ballet troupe in Great Britain (1930). Her performances become a real sensation, because Ramberg attracts the most talented composers, artists, dancers. The ballerina took an active part in the creation of the national ballet in England. And the name Marie Ramberg forever entered the history of art.
Anna Pavlova (1881-1931). Anna was born in St. Petersburg, her father was a railway contractor, and her mother worked as a simple laundress. However, the girl was able to enter the theater school. After graduating, she entered the Mariinsky Theater in 1899. There she received parts in classical productions - “La Bayadère”, “Giselle”, “The Nutcracker”. Pavlova had excellent natural abilities, and she constantly honed her skills. In 1906, she was already the leading ballerina of the theater, but real fame came to Anna in 1907, when she shines in the miniature “The Dying Swan”. Pavlova was supposed to perform at a charity concert, but her partner fell ill. Literally overnight, choreographer Mikhail Fokin staged a new miniature for the ballerina to the music of San-Saens. Since 1910, Pavlova began touring. The ballerina gains worldwide fame after participating in the Russian seasons in Paris. In 1913 she last time performs within the walls Mariinsky Theater. Pavlova gathers her own troupe and moves to London. Together with her charges, Anna tours the world with classical ballets by Glazunov and Tchaikovsky. The dancer became a legend during her lifetime, having died on tour in The Hague.
Matilda Kshesinskaya (1872-1971). Despite her Polish name, the ballerina was born near St. Petersburg and has always been considered a Russian dancer. About Us early childhood declared her desire to dance, no one in her family even thought of stopping her from this desire. Matilda brilliantly graduated from the Imperial Theater School, joining the ballet troupe of the Mariinsky Theater. There she became famous for her brilliant performances of the parts of “The Nutcracker”, “Mlada”, and other performances. Kshesinskaya was distinguished by her signature Russian plastic art, into which notes of the Italian school were wedged. It was Matilda who became the favorite of the choreographer Fokine, who used her in his works “Butterflies”, “Eros”, “Eunice”. The role of Esmeralda in the ballet of the same name in 1899 sparked new star on the stage. Since 1904, Kshesinskaya has been touring Europe. she is called the first ballerina of Russia and is honored as the “Generalissimo of Russian ballet.” They say that Kshesinskaya was the favorite of Emperor Nicholas II himself. Historians claim that in addition to talent, the ballerina had an iron character and a strong position. It is she who is credited with the dismissal of the director of the Imperial Theaters, Prince Volkonsky. The revolution had a hard impact on the ballerina; in 1920 she left the exhausted country. Kshesinskaya moved to Venice, but continued to do what she loved. At 64, she was still performing in London's Covent Garden. And the legendary ballerina was buried in Paris.
Agrippina Vaganova (1879-1951). Agrippina's father was a theater conductor at the Mariinsky Theater. However, he was only able to enroll the youngest of his three daughters in ballet school. Soon Yakov Vaganov died, the family had only hope for a future dancer. At school, Agrippina showed herself to be mischievous, constantly receiving bad grades for her behavior. After completing her studies, Vaganova began her career as a ballerina. She was given many third-rate roles in the theater, but they did not satisfy her. The ballerina was spared solo parts, and her appearance was not particularly attractive. Critics wrote that they simply did not see her in the roles of fragile beauties. The makeup didn't help either. The ballerina herself suffered greatly about this. But through hard work, Vaganova achieved supporting roles, and newspapers began to occasionally write about her. Agrippina then took a sharp turn in her fortunes. She got married and gave birth. Returning to ballet, she seemed to rise in the eyes of her superiors. Although Vaganova continued to perform second roles, she achieved mastery in these variations. The ballerina managed to rediscover images that seemed to have been erased by generations of previous dancers. Only in 1911 did Vaganova receive her first solo part. At the age of 36, the ballerina was sent into retirement. She never became famous, but she achieved a lot given her data. In 1921, a choreography school was opened in Leningrad, where Vaganova was invited as one of the teachers. The profession of a choreographer became her main one until the end of her life. In 1934, Vaganova published the book “Fundamentals classical dance"The ballerina devoted the second half of her life to the choreographic school. Nowadays it is the Academy of Dance, named in her honor. Agrippina Vaganova did not become a great ballerina, but her name will forever go down in the history of this art.
Yvette Chauvire (born 1917). This ballerina is a truly sophisticated Parisian. At the age of 10 she began to seriously study dancing at the Grand Opera. Yvette's talent and performance were noted by directors. In 1941, she already became prima of the Opera Garnier. Her debut performances brought her truly worldwide fame. After this, Chauvire began to receive invitations to perform in various theaters, including the Italian La Scala. The ballerina became famous for her role as the Shadow in Henri Sauguet's allegory; she performed many roles choreographed by Serge Lifar. Among the classical performances, the role in “Giselle” stands out, which is considered the main one for Chauvire. Yvette demonstrated true drama on stage, without losing all her girlish tenderness. The ballerina literally lived the life of each of her heroines, expressing all emotions on stage. At the same time, Shovireh was very attentive to every little detail, rehearsing and rehearsing again. In the 1960s, the ballerina headed the school where she once studied. And Yvette’s last appearance on stage took place in 1972. At the same time, a prize named after her was established. The ballerina repeatedly went on tour to the USSR, where she was loved by the audience. her partner was repeatedly Rudolf Nureyev himself after his flight from our country. The ballerina's services to the country were rewarded with the Order of the Legion of Honor.
Galina Ulanova (1910-1998). This ballerina was also born in St. Petersburg. At the age of 9 she became a student at the choreographic school, which she graduated in 1928. Immediately after the graduation performance, Ulanova joined the troupe of the Opera and Ballet Theater in Leningrad. The young ballerina’s very first performances attracted the attention of connoisseurs of this art. Already at the age of 19, Ulanova danced the leading role in Swan Lake. Until 1944, the ballerina danced at the Kirov Theater. Here she became famous for her roles in “Giselle”, “The Nutcracker”, “The Fountain of Bakhchisarai”. But her role in Romeo and Juliet became the most famous. From 1944 to 1960, Ulanova was a leading ballerina Bolshoi Theater. It is believed that the peak of her creativity was the scene of madness in Giselle. Ulanova visited London in 1956 on a tour of the Bolshoi. They said that such success had not happened since the days of Anna Pavlova. Ulanova's stage activity officially ended in 1962. But for the rest of her life, Galina worked as a choreographer at the Bolshoi Theater. She received many awards for her work - she became the People's Artist of the USSR, received the Lenin and Stalin Prizes, became a twice Hero of Socialist Labor and a laureate of numerous awards. The great ballerina died in Moscow, she was buried on Novodevichy Cemetery. her apartment became a museum, and a monument was erected in Ulanova’s native St. Petersburg.
Alicia Alonso (born 1920). This ballerina was born in Havana, Cuba. She began studying the art of dance at the age of 10. At that time there was only one private ballet school on the island, headed by Russian specialist Nikolai Yavorsky. Alicia then continued her studies in the USA. Debut on big stage took place on Broadway in 1938 in musical comedies. Alonso then works at the Ballet Theater in New York. There she gets acquainted with the choreography of the world's leading directors. Alicia and her partner Igor Yushkevich decided to develop ballet in Cuba. In 1947 she danced there in Swan Lake and Apollo Musagete. However, at that time in Cuba there were no traditions of ballet or stage. And the people did not understand such art. Therefore, the task of creating the National Ballet in the country was very difficult. In 1948, the first performance of "Ballet of Alicia Alonso" took place. It was ruled by enthusiasts who staged their own numbers. Two years later, the ballerina opened her own ballet school. After the 1959 revolution, the authorities turned their attention to ballet. Alicia's company evolved into the coveted National Ballet of Cuba. The ballerina performed a lot in theaters and even squares, went on tour, and was shown on television. One of the most bright way Alonso - the role of Carmen in the ballet of the same name in 1967. The ballerina was so jealous of this role that she even forbade staging this ballet with other performers. Alonso has traveled all over the world, receiving many awards. And in 1999, she received the Pablo Picasso Medal from UNESCO for her outstanding contribution to the art of dance.
Maya Plisetskaya (born 1925). It is difficult to dispute the fact that she is the most famous Russian ballerina. And her career turned out to be record long. Maya absorbed her love for ballet as a child, because her uncle and aunt were also famous dancers. At the age of 9, the talented girl entered the Moscow Choreographic School, and in 1943, the young graduate entered the Bolshoi Theater. There the famous Agrippina Vaganova became her teacher. In just a couple of years, Plisetskaya went from corps de ballet to soloist. A landmark for her was the production of “Cinderella” and the role of the Autumn Fairy in 1945. Then there were the classic productions of “Raymonda”, “The Sleeping Beauty”, “Don Quixote”, “Giselle”, “The Little Humpbacked Horse”. Plisetskaya shone in “The Fountain of Bakhchisaray”, where she was able to demonstrate her rare gift - literally hanging in a jump for some moments. The ballerina took part in three productions of Khachaturian's Spartacus, performing the roles of Aegina and Phrygia. In 1959, Plisetskaya became People's Artist of the USSR. In the 60s, it was believed that Maya was the first dancer of the Bolshoi Theater. The ballerina had enough roles, but creative dissatisfaction accumulated. The solution was “Carmen Suite”, one of the main milestones in the dancer’s biography. In 1971, Plisetskaya also established herself as a dramatic actress, playing in Anna Karenina. A ballet was written based on this novel, which premiered in 1972. Here Maya tries herself in a new role - a choreographer, which becomes her new profession. Since 1983, Plisetskaya has worked at the Rome Opera, and since 1987 in Spain. There she leads troupes and stages her ballets. Plisetskaya's last performance took place in 1990. The great ballerina was showered with many awards not only in her homeland, but also in Spain, France, and Lithuania. In 1994, she organized an international competition, giving it her name. Now “Maya” gives young talents the opportunity to break through.
Ulyana Lopatkina (born 1973). The world-famous ballerina was born in Kerch. As a child, she did a lot of not only dancing, but also gymnastics. At the age of 10, on the advice of her mother, Ulyana entered the Vaganova Academy of Russian Ballet in Leningrad. There Natalia Dudinskaya became her teacher. At the age of 17, Lopatkina won the All-Russian competition named after Vaganova. In 1991, the ballerina graduated from the academy and was accepted into the Mariinsky Theater. Ulyana quickly achieved solo parts for herself. She danced in Don Quixote, The Sleeping Beauty, The Bakhchisarai Fountain, and Swan Lake. The talent was so obvious that in 1995 Lopatkina became the prima of her theater. Each of her new role delights both viewers and critics. At the same time, the ballerina herself is interested not only in classical roles, but also in the modern repertoire. Thus, one of Ulyana’s favorite roles is the part of Banu in “The Legend of Love” directed by Yuri Grigorovich. The ballerina works best in the roles of mysterious heroines. Its distinctive feature is its refined movements, its inherent drama and high jump. The audience believes the dancer, because she is absolutely sincere on stage. Lopatkina is the winner of numerous domestic and international awards. She is a People's Artist of Russia.
Anastasia Volochkova (born 1976). The ballerina remembers that her future profession she identified it already at the age of 5, which she told her mother about. Volochkova also graduated from the Vaganova Academy. Natalia Dudinskaya also became her teacher. Already in her last year of study, Volochkova made her debut at the Mariinsky and Bolshoi theaters. From 1994 to 1998, the ballerina's repertoire included leading roles in "Giselle", "Firebird", "Sleeping Beauty", "The Nutcracker", "Don Quixote", "La Bayadère" and other performances. Volochkova traveled halfway around the world with the Mariinsky troupe. At the same time, the ballerina is not afraid to perform solo, building a career parallel to the theater. In 1998, the ballerina received an invitation to the Bolshoi Theater. There she brilliantly performs the role of the Swan Princess in new production Vladimir Vasiliev "Swan Lake". In the main theater of the country, Anastasia receives the main roles in “La Bayadère”, “Don Quixote”, “Raymonda”, “Giselle”. Choreographer Dean creates especially for her new batch Fairy Carabosse in Sleeping Beauty. At the same time, Volochkova is not afraid to perform modern repertoire. It is worth noting her role as the Tsar-Maiden in The Little Humpbacked Horse. Since 1998, Volochkova has been actively touring the world. She receives the Golden Lion prize as the most talented ballerina in Europe. Since 2000, Volochkova has left the Bolshoi Theater. She begins performing in London, where she conquered the British. Volochkova returned to the Bolshoi for a short time. Despite the success and popularity, the theater administration refused to renew the contract for the usual year. Since 2005, Volochkova has been performing in her own dance projects. her name is constantly heard, she is the heroine of gossip columns. The talented ballerina recently began to sing, and her popularity grew even more after Volochkova published her nude photos.
On March 17, the great Russian dancer Rudolf Nureyev would have turned 78 years old. Ballet classic Roland Petit called Nuriev dangerous, the press called him a frantic Tatar, and rock stars and royalty confessed their love to him.
VACLAV NIJINSKY
Sarah Bernhardt believed Nijinsky greatest actor the world, the press - no less than the eighth wonder of the world. A native of Kyiv, a dancer at the Mariinsky Theater, Nijinsky made his debut in Paris, where he amazed audiences and critics with his phenomenal technique, plasticity and taste. And the most amazing thing is that his career as a dancer lasted only ten years. In 1917, he appeared on stage for the last time, and until his death in 1950, he struggled with schizophrenia, moving between psychiatric clinics. Nijinsky’s influence on world ballet is difficult to overestimate, and his diaries are still deciphered and interpreted differently by specialists.
RUDOLF NURIEV One of the main stars of Russian ballet in the world, Nureyev was a real pop star, bright and scandalous. A difficult, quarrelsome character, arrogance, stormy personal life and a tendency to shocking did not obscure the main thing - the incredible talent of Nuriev, who managed to combine together the traditions of ballet and current, as they say now, trends. A native of Ufa, the long-awaited son, who did not live up to the hopes of his military father, who contemptuously called Rudolf “ballerina,” made his most famous jump not on stage, but in the control zone of the Paris airport. In 1961, the Soviet dancer Nureyev suddenly ran away with 30 francs in his pocket, asking for political asylum. Thus began Nuriev’s ascent to the world ballet Olympus. Fame, money, luxury, parties at Studio 54, gold, brocade, rumors of affairs with Freddie Mercury, Yves Saint Laurent, Elton John - and the best roles in the London Royal Ballet, directorship in the ballet group of the Paris Grand Opera. A completely ill Nuriev spent the last hundred days of his life in his beloved Paris. He is buried there.
MIKHAIL BARYSHNIKOV Another famous representative of ballet, who can safely be called a pop star, Mikhail Baryshnikov is in many ways similar to Nureyev: childhood in a Soviet province (if we consider Riga as a province - still not Moscow or Leningrad), complete misunderstanding on the part of his father and a real artistic rise outside the USSR. Remaining in the West in 1974, Baryshnikov quickly gained a foothold at the top: first he headed the legendary New York City Ballet, then for nine years, from 1980 to 1989, he directed the no less famous American Ballet Theater. He also actively and quite successfully, although unevenly, acted in films, became a socialite, and met with Hollywood beauties Jessica Lange and Liza Minnelli. And for the new public, far from ballet (and, by the way, from Joseph Brodsky, with whom Baryshnikov had a real friendship), this incredible person became famous thanks to a small but noticeable role in the TV series Sex and the City. Sarah Jessica Parker is his biggest fan. called Mikhail Baryshnikov a tough boy. Who would argue.
VLADIMIR VASILIEV Vladimir Vasiliev is a symbol of the Bolshoi Theater and all 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 choreographer. Kazan and Paris, Rome and Perm, Vilnius and Rio - the geography of Vasiliev’s creative movements affirms and confirms his cosmopolitanism.
ALEXANDER GODUNOV The blond giant, Bolshoi star, Godunov, in August 1979, while on tour in the States, decided not to return home. A terrible drama unfolded, 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 joined 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 an abrupt departure from the profession. Bisset persuaded Alexander to start a film career, and he partially succeeded: “Witness” with Harrison Ford and especially “Die Hard” made yesterday’s ballet dancer a Hollywood star. However, Godunov himself did not like being on the sidelines, although those who had not even been interested in ballet had now learned about “this Russian.”
If there is art that can conquer everyone’s heart without exception, penetrate the soul, fill it with joy, empathy, make it rejoice or cry, while capturing the whole auditorium- then this is the art of ballet.
Classical Russian ballet is not only famous ballerinas, dancers, but also composers who wrote specifically for Russian ballet. To this day, all over the world, Russian ballerinas are considered the best, the most slender, hardy, and efficient.
Ulyana Lopatkina is a famous prima ballerina of the Mariinsky Theater. Inspired by the work of G. Ulanova and M. Plisetskaya, she forever connected her life with ballet and entered the choreographic school. However, upon admission she was given a very modest assessment. She fully revealed herself in the pre-graduation class. Everyone saw in her dance not only impeccable technical mastery of dance, but also character, grace, and zest. Talent or the fruits of a lot of work? Later, in one of her interviews, she admits: “Stars are not born!” This means, after all, hard work and will determine success. This is actually true. Ulyana Lopatkina is a very hardworking student, only this ability allowed her to become a real virtuoso in ballet.
Ulyana Lopatkina is a stately ballerina with an individual performance style and a certain attitude towards the hero, the audience, and herself. Maybe that’s why she now has Maria Taglioni’s medallion, which was in the custody of the great Galina Ulanova and given to Ulyana Lopatkina, according to her will.
Much has been said and written about the beauty and grace of Maya Plisetskaya.
The whole world admires Maya Plisetskaya. Often the movements of her flexible arms and body are compared to the flutter of the wings of a swimming swan, the transformation of a girl into a bird. Odetta, performed by Maya Plisetskaya, eventually became a world legend. A critic of the Parisian newspaper Le Figaro assured that her hands in Swan Lake move “not humanly” and that “when Plisetskaya begins the wave-like movements of her hands, you no longer know whether these are hands or wings, or whether her hands turn into the movement of the waves along which the swan floats away.”
Vladimir Vasiliev can rightfully be considered a legend of the Russian Ballet. The only ballet dancer who was awarded the title “Best Dancer of the World” by the Paris Academy of Dance and who was declared by critics to be “the god of dance,” “a miracle of art,” and “perfection.” At one time he introduced a new technique, which, combined with his characteristic deep artistry of its execution, is still considered the standard of male dance.
Ekaterina Maksimova is a famous Soviet ballerina, whose work has taken its rightful place among the masterpieces of this art. Her images had an amazing quality: they combined childlike inspiration, purity and the actions of an adult personality. This feature was achieved by the extraordinary lightness and grace of Maximova’s choreography, whose design was characterized by tones of light and joy. Each dancer's appearance on stage was an ode to lyricism and youth. Thanks to the teacher of the choreographic school, E.P. Gerdt, Ekaterina Maksimova focused not only on the impeccable performance of the dance, but also on conveying the whole range of feelings that excite her heroine. Inner world the created images were conveyed by special facial expressions and special acting talent.
Natalya Bessmertnova is the most romantic ballerina of the twentieth century.
A master of lyricism, she captivated not with the technical “collapse” of thirty-two fouettes, but with the atmosphere (now they will say - the aura) of the dance. Her art is the strongest impression that will last a lifetime. The ability to take the viewer for several hours into a world where there is nothing mortal, this is precisely why her fans and admirers adored her.
The dancing abilities and artistry of Lyudmila Semenyaka first appeared in the choreographic circle of the Zhdanov Palace of Pioneers.
At the age of 10 she entered the Leningrad Academic Choreographic School. Vaganova, at 12 - made her debut on the stage of the Kirov Opera and Ballet Theater in the solo role of little Marie in the ballet “The Nutcracker”.
In 1969, she was awarded III prize at the First International Ballet Competition in Moscow.
From 1970 to 1972 she worked at the Kirov Opera and Ballet Theater. She continued to study under the guidance of Irina Kolpakova.
In 1972, Yuri Grigorovich invited her to the Bolshoi Theater. In the same year, the artist successfully debuted in the Bolshoi Theater play Swan Lake.
In 1976 she won 1st prize and gold medal I International Ballet Competition in Tokyo, and in Paris Serge Lifar presents her with the Anna Pavlova Prize of the Paris Academy of Dance.
Svetlana Zakharova was born in Lutsk on June 10, 1979. In 1989 she entered the Kiev Choreographic School. After studying there for six years, she took part in the Vaganova-Prix competition for young dancers in St. Petersburg. Received second prize and an offer to switch to graduate course to the Academy of Russian Ballet named after A. Ya. Vaganova. In 1996, Zakharova graduated from the academy, being among the first graduates of Elena Evteeva, a former famous ballerina of the Mariinsky Theater. That same year she was accepted into the Mariinsky Theater troupe and already in the next season she took the position of soloist.
In April 2008, Svetlana Zakharova was recognized as the star of the famous Milan theater La Scala.
She performed in Moscow, St. Petersburg, London, Berlin, Paris, Vienna, Milan, Madrid, Tokyo, Baku, New York, Amsterdam, etc.
About M. V. Kondratieva
“If Terpsichore existed in reality, Marina Kondratieva would be her embodiment. You don’t know and can’t catch when it falls to the ground. Either you see only her eyes, then her light graceful legs, then only her expressive hands. Together they tell wonderful stories in compelling language. But then a barely noticeable turn of the shoulder - and she’s gone... and it seems like she wasn’t there at all. She, like an early pink cloud, appears and then melts before our eyes.”
Kasyan Goleizovsky, ballet dancer, outstanding Russian choreographer
“Her dance evoked in me associations with Japanese painting, with the finest and most expressive strokes, with transparent strokes of watercolor paints.”
Lyudmila Semenyaka, People's Artist of the USSR
“Kondratieva’s highest professionalism is admired not only in her solo performances, but also in duets and ensembles with other soloists. Being a reliable partner is also an art. And how to achieve it remains a secret for many.”
Maris Liepa, National artist USSR
“Purity and lightness were inherent not only in her dance, but also in her soul. Of course, this was the real Muse.
Yaroslav Sekh, dancer of the Bolshoi Theater
There are special, “star” people in art, endowed, in addition to talent, hard work, charm and creative power, with some kind of light and flight. About Maris Liepa: he is in flight, in jumps, long, as if protracted, across the entire space of the stage. Like a straightened spring. On the day of the performance, in the morning, it was compressed like a spring, and it was important not to lose this state, the spring was activated when the curtain rose.
A thirteen-year-old serious Riga boy: first participation in a competition in Moscow. The first pas de deux from The Nutcracker. First success. Only from that moment did he decide that ballet was his destiny
He was passionate, passionate in every form. . Liepa skips to class with his students, light, indistinguishable from the young ones in the crowd. And he also teaches easily and passionately, falling to his knees, lighting himself up and praising, praising uncontrollably, because he knows: ballet is a gigantic work.
He lived his life like a torch or a star - it flashed and went out. He probably wouldn’t be able to survive, to fade away. He knew how and wanted only to live. “I feel like a race car driver, I’m flying and flying and I can’t stop.” "When I leave the Bolshoi, I will die." The Bolshoi was his only theater. He was a maximalist, a romantic. And ballet was his only destiny.
Of course, these are not all the stars of Russian ballet who have shone and are now shining on many stages around the world. But it’s impossible to talk about them all at once in one message. Thank you for attention.
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
Vaslav Fomich Nijinsky
The founder of male ballet of the 20th century. Born into a family of dancers in 1890. In 1907, after graduating from college, he began performing with the Mariinsky Theater, almost immediately playing leading roles. Nijinsky had a technique that was unique at that time, especially inconspicuous in life, he completely transformed into his hero. His bird-like jumps and flights 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. The artist's last performance was in 1919. 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 into a working-class family. In 1947, for company, I went to a dance club with a friend. And 2 years later, in 1949, he was admitted to the choreographic school, where he amazed his teachers with his skill and virtuosity. After college, in 1958 he was invited to join the Bolshoi Theater ballet troupe, where, almost immediately, he began playing leading roles. The most enchanting part was the part of Spartak, after which Vasilyev 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 and became a laureate of many competitions, winning first prizes and gold medals.
Gorsky Alexander Alekseevich
In 1889 he began dancing in the corps de ballet, and 11 years later he became the premier of the troupe. Author teaching aid systems dance moves Stepanova. Dance theory teacher at a ballet school. Gorsky is a ballet reformer. He introduced the laws of drama and a sense of authenticity into 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 according to his own interpretation, began to live a new life.
Ermolaev Alexey Nikolaevich
As a 16-year-old college graduate, Ermolaev plays the god of the wind - his first role in the ballet “Talisman”. The theater's choreographer immediately saw the guy's unbridled energy and strength and created images to suit his character. A fan of ballet, he rearranged all the parts to suit himself, rehearsing at night by candlelight. Ermolai changed the usual image of the male role in ballet; his virtuosic movements - triple rounds in the air, double revolts - are still not being repeated by dancers.
Fokin Mikhail Mikhailovich
Italian, born into a family of ballet dancers in 1850. Studied at the Florentine Dance Academy G. Lepri. Since 1870 he performed on the stage of La Scala. Master of facial expressions and pas de deux. Author of the methodology for developing ballet dance technique.
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, which later became known as the National Ballet of Cuba. Stage life Alonso herself had a very long career; she stopped performing at the age of over sixty.
Andreyanova Elena Ivanovna(1819-1857), Russian ballerina, the largest representative of 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 in 1963-1970. Several generations of English ballet dancers grew up on the performances he staged. Ashton's style determined the characteristics of the English ballet school.
Balanchine George(Georgy Melitonovich Balanchivadze, 1904-1983), outstanding Russian-American choreographer of the 20th century, innovator. He was convinced that dance needed no help literary plot, scenery and costumes, and most importantly - the interaction of music and dance. Balanchine's influence on world ballet is difficult to overestimate. His legacy includes more than 400 works.
Baryshnikov Mikhail Nikolaevich(b. 1948), dancer of the Russian school. Masterly 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 S.M. Kirov Opera and Ballet Theater and soon performed leading classical roles. In June 1974, while on 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 he became artistic director 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 grew into a large traveling troupe with a modern repertoire. Among Baryshnikov's awards are gold medals at international ballet competitions.
Bejar Maurice(b. 1927), French choreographer, born in Marseille. He founded the troupe "Ballet of the 20th Century" and became one of the most popular and influential choreographers in Europe. In 1987, he moved his troupe to Lausanne (Switzerland) and changed its name to “Béjart Ballet in Lausanne”.
Blasis Karlo(1797-1878), Italian dancer, choreographer and teacher. Led dance school at the La Scala theater in Milan. Author of two famous works on classical dance: “Treatise on Dance” and “Code Terpsichore”. In the 1860s he worked in Moscow, at the Bolshoi Theater and 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 ballet of the Royal Theater and staged many performances. They are carefully preserved by many generations of Danish artists.
Vasiliev Vladimir Viktorovich(b. 1940), Russian dancer and choreographer. After graduating from the Moscow Choreographic School, he worked in the Bolshoi Theater troupe. 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. Permanent partner of E. Maksimova.
Vestris Auguste(1760-1842), French dancer. His creative life was extremely successful at the Paris Opera until the revolution of 1789. He then emigrated to London. He is also famous as a teacher: among his students are J. Perrault, A. Bournonville, Maria Taglioni. Vestris, the greatest dancer of his era, possessed a virtuoso technique and a large jump, had the title "god of dance."
Geltser Ekaterina Vasilievna(1876-1962), Russian dancer. She was the first ballet dancer to be awarded the title "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 choreographer. Participant in the innovative experiments of Fokin and Gorsky. Musicality and rich imagination determined the originality of his art. In his work he sought a modern sound of classical dance.
Gorsky Alexander Alekseevich(1871-1924), Russian choreographer and teacher, ballet reformer. Tried to overcome conventions academic ballet, replaced pantomime with dance, and achieved historical accuracy in the design of the performance. A significant phenomenon was the ballet "Don Quixote" in its production, which to this day is in the repertoire of ballet theaters around the world.
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 editions of ballets from the classical heritage. His wife, Natalia Bessmertnova, performed in many of them. He made a great contribution to the development of Russian ballet.
Grisi Carlotta(1819-1899), Italian ballerina, first performer of the role of Giselle. She performed in all European capitals and at the St. Petersburg Mariinsky Theater. Distinguished by her extraordinary beauty, she possessed in equal measure the passion of Fanny Elsler and the lightness of Maria Taglioni.
Danilova Alexandra Dionisevna(1904-1997), Russian-American ballerina. In 1924 she left Russia with J. Balanchine. She was a ballerina in Diaghilev's troupe until his death, then 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 troupe, which later became known as the Royal Ballet.
Didelot 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 activities in Russia helped propel Russian ballet to one of the first places in Europe.
Geoffrey Robert(1930-1988), American dancer, choreographer. In 1956 he founded the Joffrey Ballet 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 advocated the development of mass schools where children would learn through dance the beauty of the natural movements of the human body. Duncan's ideal was ancient Greek frescoes and sculpture. She replaced the traditional ballet costume with a light Greek tunic and danced without shoes. This is where the name "barefoot dance" comes from. Duncan improvised talentedly; her movements 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 accepted Soviet citizenship. However, in 1924 she left the USSR. Duncan's art has undoubtedly influenced modern choreography.
Diaghilev Sergei Pavlovich(1872-1929), Russian theater figure, ballet impresario, director of the famous Russian Ballet. In an effort to introduce Russian art Western Europe, Diaghilev organized an exhibition of Russian painting and a series of concerts in Paris in 1907, and the following season, the production of a number of Russian operas. In 1909, he assembled a troupe consisting of dancers from the Imperial Theaters, and during the summer vacation he took it to Paris, where he held the first “Russian Season”, in which such dancers as A.P. participated. Pavlova, T.P. Karsavina, M.M. Fokin, V.F. Nijinsky. "The Season", which was a huge success and stunned the public with its novelty, became a real triumph of Russian ballet and, of course, had a huge influence on the subsequent development of world choreography. In 1911, Diaghilev created a permanent troupe, Diaghilev's Russian Ballet, which existed until 1929. He chose ballet as a vehicle for new ideas in art and saw in it a synthesis of modern music, painting and choreography. Diaghilev was an inspiration for the creation of new masterpieces and a skillful discoverer of talent.
Ermolaev Alexey Nikolaevich(1910-1975), dancer, choreographer, teacher. One of the most prominent representatives of the Russian ballet school of the 20-40s of the twentieth century. Ermolaev destroyed the stereotype of a courteous and gallant gentleman dancer, changed the idea of the possibilities of male dance and brought him to new level virtuosity. His performance of parts of the classical repertoire was unexpected and profound, and his style of dancing itself was unusually expressive. As a teacher, he trained many outstanding dancers.
Ivanov Lev Ivanovich(1834-1901), Russian choreographer, choreographer of the Mariinsky Theater. Together with M. Petipa he staged the ballet "Swan Lake", the author of the "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 Ilyinichna(1799-1848), leading dancer of the St. Petersburg Ballet. She had rare stage charm, grace, and virtuoso dance technique. In 1830, due to a leg illness, she switched to mime roles, and in 1836 she left the stage. Pushkin in “Eugene Onegin” has lines dedicated to her:
Brilliant, half-airy,
I obey the magic bow,
Surrounded by a crowd of nymphs,
Worth Istomin; she,
One foot touching the floor,
The other slowly circles,
And suddenly he jumps, and suddenly he flies,
Flies like feathers from the lips of Aeolus;
Either the camp will sow, then it will develop
And with a quick foot he hits the leg.
Camargo Marie(1710-1770), French ballerina. She became famous for her virtuoso dance while performing at the Paris Opera. The first of the women began to perform cabriole and entrechat, which were previously considered a part of the technique of exclusively male dance. She also shortened her skirts to allow her to move more freely.
Karsavina Tamara Platonovna(1885-1978), leading ballerina of the St. Petersburg Imperial Ballet. She performed in Diaghilev's troupe from the first performances and was often Vaslav Nijinsky's partner. The first performer in many of Fokine's ballets.
Kirkland Gelsey(b. 1952), American ballerina. Extremely gifted, as a teenager she received leading roles from J. Balanchine. 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 performed his first productions, and since 1978 he has been the director of the Dutch Ballet dance theater", which thanks to him gained worldwide fame. His ballets are staged in all countries of the world; they are distinguished by a special style based mainly on adagio and emotionally rich sculptural structures. The influence of his work on modern ballet is very great.
Kolpakova Irina Aleksandrovna(b. 1933), Russian ballerina. She danced at the Opera and Ballet Theater. CM. Kirov. Classic ballerina, one of the best performers of the role of Aurora in The Sleeping Beauty. In 1989, at the invitation of Baryshnikov, she became a teacher at the American Ball Theater.
Cranko John(1927-1973), English choreographer of South African origin. His productions of multi-act narrative ballets became very famous. 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. Shovir and M. Fontaine, took lessons from Kshesinskaya.
Lepeshinskaya Olga Vasilievna(b. 1916), Russian dancer. In 1933-1963 she worked at the Bolshoi Theater. She had sparkling technique. Her performance was distinguished by its temperament, emotional richness, and precision 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, and sculptural design. The thoughtfulness of all the details of the role and the bright theatricality made him one of the most interesting “dancing actors” of the ballet theater. Best role Liepa was the part of Crassus in the ballet “Spartacus” by A. Khachaturian, for which he received the Lenin Prize.
Makarova Natalia Romanovna(b. 1940), dancer. In 1959-1970 - artist of the Opera and Ballet Theater. CM. Kirov. Unique plastic abilities, perfect skill, external grace and internal passion - all this is characteristic of her dance. Since 1970, the ballerina has lived and worked abroad. Makarova’s work increased the glory of the Russian school and influenced the development of foreign choreography.
McMillan 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 more freestyle, flexible and acrobatic one, which was developed in Europe.
Maksimova Ekaterina Sergeevna(b. 1939), Russian ballerina. She joined the Bolshoi Theater troupe in 1958, where Galina Ulanova rehearsed with her, and soon began playing leading roles. He has great stage charm, filigree precision and purity of dance, grace, elegance of plasticity. She has equal access to comedic colors, subtle lyricism and drama.
Markova Alicia(b. 1910), English ballerina. As a teenager she danced in Diaghilev's troupe. One of the most famous performers of the role of Giselle, she was distinguished by her exceptional ease of dance.
Messerer Asaf Mikhailovich(1903-1992), Russian dancer, choreographer, teacher. He started studying at 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 introduced energy, athletic strength and passion into them. On stage he seemed like a flying athlete. At the same time, he had a bright comedic gift and a unique 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 Sulamif Mikhailovna(b. 1908), Russian dancer, teacher. Sister of A. M. Messerer. In 1926-1950 - artist of the Bolshoi Theater. A dancer of an unusually wide repertoire, she performed roles from lyrical to dramatic and tragic. Since 1980 he has lived abroad and taught in different countries.
Moiseev Igor Alexandrovich(b. 1906), Russian choreographer. 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. He studied at the Moscow Imperial Ballet School. In 1914 he joined the ballet troupe of S.P. Diaghilev and made his debut in “Russian Seasons”. Massine's talent as a choreographer and character dancer developed rapidly, and the dancer soon gained worldwide fame. After Diaghilev's death, Massine became head of the Russian Ballet of Monte Carlo.
Nijinsky Vaslav Fomich(1889-1950), outstanding Russian dancer and choreographer. At the age of 18 he performed leading 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 public enthusiastically greeted the brilliant dancer with his exotic appearance and amazing technique. Nijinsky then returned to the Mariinsky Theater, but was soon fired (he appeared in a too revealing costume in the play "Giselle", which was attended by the Dowager Empress) and became a permanent member of Diaghilev's troupe. Soon he tried his hand as a choreographer and replaced Fokine in this post. Nijinsky was an idol throughout Europe. His dance combined strength and lightness, and he amazed the audience with his breathtaking leaps. It seemed to many that the dancer was freezing in the air. He had a wonderful gift of transformation and extraordinary facial abilities. On stage, Nijinsky emanated powerful magnetism, although Everyday life he was timid and silent. Mental illness prevented the full development of his talent (since 1917 he was under medical supervision).
Nijinska Bronislava Fominichna(1891-1972), Russian dancer and choreographer, sister of Vaslav Nijinsky. She was an artist of Diaghilev's troupe, and from 1921 she was a choreographer. Her productions, modern in theme and choreography, are currently considered classics of ballet art.
Nover Jean Georges(1727-1810), French choreographer and dance theorist. In the famous “Letters on Dance and Ballets” he outlined his views on ballet as an independent performance with a plot and developed action. Nover introduced serious dramatic content into the ballet and established new laws of stage action. Unofficially 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. CM. Kirov. In 1961, while on tour with the theater in Paris, Nureyev asked to be provided with political refuge. In 1962, he performed in the London Royal Ballet's "Giselle" in a duet with Margot Fonteyn. Nureyev and Fonteyn are the most famous ballet couple of the 1960s. In the late 1970s, Nureyev turned to modern dance and acted in films. From 1983 to 1989 he was the director of the Paris Opera ballet troupe.
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 on the stage of the Mariinsky Theater, where her talent quickly received recognition. She became a soloist, and in 1906 she was promoted to the highest rank - the rank of prima ballerina. In the same year, Pavlova connected her life with Baron V.E. Dandre. She participated in performances of Diaghilev's Russian Ballet in Paris and London. Last performance Pavlova's 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, distinguished by her musicality and psychological content. Her image is usually associated with the image of the dying swan in the ballet number, which was created especially for Pavlova by Mikhail Fokin, one of her first partners. Pavlova's fame is legendary. Her ascetic service to dance aroused 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 Maria Taglioni's partner 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 companies, including the Ballet of Paris, the Roland Petit Ballet 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. Greatest Choreographer 2nd half of the 19th century century, he headed the St. Petersburg Imperial Ballet Troupe, where he staged over 50 performances that became examples of the style " Bolshoi ballet", which was formed in this era in Russia. It was he who proved that composing ballet music does not in the least degrade the dignity of a serious musician. Collaboration with Tchaikovsky became a source of inspiration for Petipa, from which brilliant works were born, and above all "The Sleeping Beauty", where he achieved pinnacles of perfection.
Plisetskaya Maya Mikhailovna(b. 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 college, Plisetskaya danced solo roles at the Bolshoi Theater. Very quickly becoming famous, she created a unique style - graphic, distinguished by grace, sharpness and completeness of every gesture and pose, every individual movement and choreographic pattern as a whole. The ballerina has the rare talent of a tragic ballet actress, a phenomenal jump, expressive plasticity and a keen sense of rhythm. Her performing style is characterized by technical virtuosity, expressiveness of her hands and a strong acting temperament. Plisetskaya is the first performer of many roles in the Bolshoi Theater ballets. Since 1942 she has been dancing M. Fokine's miniature "The Dying Swan", which has become a symbol of her unique art.
As a choreographer, Plisetskaya staged ballets by R.K. Shchedrin "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 feature films as a dramatic actress. She has been awarded many international prizes, including the Anna Pavlova Prize, the French orders of Commander and Legion of Honor. She was awarded the title of Doctor of the Sorbonne. Since 1990 he has been performing with concert programs abroad, conducts master classes. Since 1994, the international competition "Maya" has been held in St. Petersburg, dedicated to creativity Plisetskaya.
Rubinstein Ida Lvovna(1885-1960), Russian dancer. She took part in “Russian Seasons” abroad, then organized her own troupe. She had expressive appearance and 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. Her dancing style, graceful and full of feeling, differed from Camargo’s technical, virtuoso performance.
Semenova Marina Timofeevna(1908-1998), dancer, teacher. Semyonova’s contribution to the history of Russian ballet theater is extremely great: it was she who made a breakthrough into the unexplored areas of classical ballet. The almost superhuman energy of her movements gave her dance a new dimension and pushed the limits of virtuosic technique. At the same time, she was feminine in every movement, every gesture. Her roles amazed with artistic brilliance, drama and depth.
Spesivtseva Olga Aleksandrovna(1895-1991), Russian dancer. She worked at the Mariinsky Theater and Diaghilev's Russian Ballet. Spesivtseva's dance was distinguished by its sharp graphic poses, perfect lines, and airy lightness. Her heroines, far from the real world, were noted for their exquisite, fragile beauty and spirituality. Her gift was most fully demonstrated 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 of the traditional romantic style. In 1937, she left the stage due to illness.
Taglioni Maria(1804-1884), 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 suit her 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 a symbol of Taglioni and all romantic ballet. Before Maria Taglioni, pretty ballerinas captivated audiences with their virtuosic dance technique and feminine charm. Taglioni, by no means a beauty, created new type ballerinas - spiritual and mysterious. In "La Sylphide" she embodied the image of an unearthly creature personifying an ideal, an unattainable dream of beauty. In a flowing white dress, soaring in light leaps and freezing on her fingertips, Taglioni became the first ballerina to use pointe shoes and make them an integral part of classical ballet. All the capitals of Europe admired her. In her old age, Maria Taglioni, lonely and impoverished, taught dance and good manners to the children of London nobles.
Tallchief Maria(b. 1925), outstanding American ballerina. She performed mainly in troupes headed by J. Balanchine. In 1980 she founded the Chicago City Ballet troupe, which she led throughout the years of its existence - until 1987.
Ulanova Galina Sergeevna(1910-1998), Russian ballerina. Her work was characterized by a rare harmony of all expressive means. She imparted spirituality to even a simple, everyday movement. Back at the very beginning creative path Ulanova's critics wrote about the complete unity in her performance of dance technique, dramatic acting and plasticity. Galina Sergeevna performed the main roles in 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 sought to get away from the generally accepted ballet costume, stereotypical gestures and routine construction of ballet numbers. He saw ballet technique not as a goal, but as a means of expression. In 1909, Diaghilev invited Fokine to become the choreographer of the Russian Season in Paris. The result of this union was world fame, which accompanied Fokin until the end of his days. He staged more than 70 ballets in the best theaters Europe and America. Fokine's productions are still being revived by leading ballet companies peace.
Fontaine Margot(1919-1991), English prima ballerina, one of the most famous dancers of the twentieth century. She started studying ballet at the age of five. She made her debut in 1934 and quickly attracted attention. Fontaine's performance as 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 sought the maximum development of dance technique. He taught at the St. Petersburg Theater School. Among his students were Anna Pavlova, Tamara Karsavina, Mikhail Fokin, Vaslav Nijinsky. His teaching method is outlined in the work “Textbook on the Theory and Practice of Classical Theater Dance.”
Elsler Fanny(1810-1884), Austrian ballerina of the Romantic era. A rival of Taglioni, she had a dramatic, passionate temperament and was a superb actress.
Finally, I would like to quote the words of our outstanding ballerina Maya Plisetskaya, which she said 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. But how exactly, in what way?” which direction he will go, it is difficult to predict with complete accuracy. 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 miracles. And what these “miracles” of the ballet of the future will turn out to be will be decided by life itself.”