Of course, the tense atmosphere in the Bolshoi will not defuse in one day. An investigation is underway, the results of which either will or will not be made public; Owl will return, who will go to work with bodyguards. But some steps towards “calming down” need to be taken.
Special Representative of the President of the Russian Federation for International Cultural Cooperation Mikhail Shvydkoy sees only one way out - work hard!
Mikhail Efimovich, of course, you see this ongoing exchange of barbs between Tsiskaridze and Iksanov - how long?
This kind of situation can only be resolved at work. What should we be talking about now? About preserving the creative atmosphere at the Bolshoi. Because everything that happened was not the result of banal “intratheater showdowns.” And someone has a direct desire to destabilize the work of BT. And against this background, Owl, oddly enough, was a key figure.
What I mean? Well, not with Sinaisky ( chief conductor) sort things out. Neither with Makvala Kasrashvili (manager opera troupe). No. The blow was dealt to the very bright character from the leadership of BT, the most public one... this is a bad reputation for both the Bolshoi and the country: because it smelled of something decadent from the century before; in all this there is some kind of demonstrative theatricality, bad provincialism.
- But, thank God, Filin is on the mend...
The fact that he is getting better has calmed many passions. I hope that Sergei will remain outwardly handsome, but even without this it is clear that he will return to work. Now regarding the Tsiskaridze-Bolshoi conflict. I emphasize: this is not a conflict between Tsiskaridze - Filin, Tsiskaridze - Iksanov. I treat Nikolai Maksimovich as a dancer with great reverence. I understand that the creative age is short, and a dancer of such scale and success as Tsiskaridze cannot help but think about his future. As Vladimir Viktorovich Vasiliev thought, he got what Nikolai Maksimovich is seeking.
- In my opinion, there were some “alternative” proposals to Nikolai, or at least they were hinted at...
I'm starting from a simple point. To become an artistic director at the Bolshoi Theater, you need to go through some kind of training and gain experience. I (when I was a minister) had an idea for Nikolai Maksimovich to become the artistic director of the Academy of Choreography; Alexander Avdeev had the idea for Tsiskaridze to head the ballet of the Novosibirsk Theater. In the end, Currentzis went to lead the orchestra, first to Novosibirsk, then to Perm...
Before Vasiliev came to lead the Bolshoi, he had independent productions behind him (besides, I don’t want to compare, but if Nikolai Tsiskaridze is an outstanding dancer, then Vasiliev was a real dance genius!). And Filin was invited after, for example, he worked at the Stanislavsky and Nemirovich-Danchenko Theater. I’m not saying now who loves whom, but if you appoint Tsiskaridze as the artistic director of the ballet, I don’t think that this will happen for the artists great joy. So, I am sure that such an appointment would not be correct.
- Especially in an atmosphere of permanent scandal...
But there simply must be normal corporate ethics. But Nikolai Maksimovich has been vilifying the theater for so many years: it started long before the opening of the Main Stage. Tsiskaridze constantly said that everything is bad at BT, and only he knows how good it is. And, we must pay tribute to the leadership of the Bolshoi, they remained tolerant of this (I would like to especially emphasize this). I’m not sure that the Metropolitan or the Grand Opera would have tolerated this for as long as it is still tolerated at the Bolshoi. Which created, from my point of view, an atmosphere of impunity.
- Nikolai refers to the law: they say, he cannot be fired.
Anyone can be fired. I know this and how former director VGTRK (when, alas, a lot of people had to be fired), and as Minister of Culture. If I were the director of the Bolshoi, I would have done this a long time ago: I wouldn’t have such a nervous reserve as Iksanov. But now there is an investigation into the assassination attempt on Filin, and it is legally and ethically incorrect to fire Tsiskaridze during the investigation. Although Nikolai Maksimovich himself has long forgotten about correctness in relation to the team in which he works. But in principle, the idea that he cannot be fired is very doubtful.
- But they talk about the influential people who stand behind him...
I'll say this. It is clear who is behind him, who supports him. Yes it influential people. But there are about a dozen or so influential people of this level in Russia. And if only two of these two dozen support him, this, apparently, is not enough. Moreover, from my point of view, they support it for personal reasons. Nikolai Maksimovich is charming in friendship, probably...
- We don’t name names?
Not necessary. But this is definitely not Vladimir Vladimirovich Putin or Dmitry Anatolyevich Medvedev. And the rest are all less influential people. Sorry. But let’s return to the Bolshoi: the most important thing today is for all creative forces to gather around professional and competent leadership and release a number of premieres, including ballet ones. This is the only salvation for BT, for its reputation.
- So it doesn’t make sense to remove Iksanov now?
I consider Iksanov one of the most experienced theater managers in Russia. If not the most experienced (without detracting from the merits of either Urin or Gergiev, with a completely different style of leadership, for Gergiev is not only an outstanding conductor, but also a unique manager of his talent). Iksanov, demonstrating a lack of creative ambitions, returned BT to the “major league” in 7–8 years opera houses a world where there is La Scala, the Metropolitan, the Grand Opera, and then all the rest come.
When Iksanov took over the enterprise, the Bolshoi had a brand, but no theater. Now he has filled the title with sparkling content (this is the success of La Traviata, a long collaboration with Francesca Zambello; a grandiose galaxy of directors from Fokine and Sturua to Lyubimov and Nyakrosius; all the outstanding Russian conductors at the helm, including Pletnev; the same Vedernikov, who greatly raised the orchestra; involvement of Grigorovich). And at this stage it is wrong to change management.
Iksanov has the most important feature: he understands the need not only to preserve traditions, but also to develop - he allows experimentation...
- Why do many people criticize him so vigorously?
Right. But without new living art - nowhere. It is clear that Iksanov has his shortcomings. But he (as an administrator without creative ambitions) has fewer shortcomings than an artist who theoretically could lead Grand Theatre.
Let me explain: oddly enough, the Bolshoi Theater was successful NOT when it was led by major artists who dreamed of making the theater “their own.” Vasiliev just wanted the theater to express his creative aspirations, but this did not benefit BT. Or, on the contrary, the theater was “destroyed” by weak administrators, because the struggle of clans immediately manifested itself. Today there is no clanism in the Big One.
Of course, when you have 200 people in the ballet, it’s hard to say that this is a group of like-minded people. But there is no conflict. Nikolai Maksimovich creates conflict. And people, naturally, look: “Oh, he’s not afraid to say that the director is a scoundrel and stole the chandeliers? And yet they haven’t touched him for so many years? Yeah, that means someone is behind him, that means he has the right...” - the same logic usually occurs. But to conduct a discussion with Tsiskaridze in this vein: “it was stolen - it was not stolen” is not to respect yourself. And in general, to have a discussion with him is not to respect yourself.
- However, how many cultural figures put their signatures for him in that ugly story with the letter...
I was the first to write on my blog that the artists acted, to put it mildly, badly. But Nikolai Maksimovich himself misled them! And what, after this Iksanov should love him very much? So, after this, Tsiskaridze can easily continue to work in the theater? No, strictly speaking? And still go through all the channels and newspapers with the air of an offended child? Well, these are simple things, at the level kindergarten: How can we continue to work together?
I wish Nikolai Maksimovich that he finds himself and his place in life. But I am firmly convinced that this is not the place of the director of the Bolshoi Theater or the place of the artistic director of the Bolshoi Ballet. I speak quite objectively. I understand that Tsiskaridze, an ambitious and temperamental person, is trying to find himself at the moment of transition from one quality to another. I sincerely sympathize with him. How everyone worried and twitched when he had such a severe injury and he passed this test with honor. I see how he suffers, but internal breakdown recent years It is also connected with the fact that he chose the wrong path.
As for the Bolshoi in general, you have to work hard! This will bring relief to Owl, the team, and the public. After all, it’s happier to talk about new successes and swear about failures than to study the reports of the Ministry of Internal Affairs.
Julia Vysotskaya: I was surprised to learn that you are a real Tbilisi Georgian. I thought you were a Moscow Georgian.
Nikolai Tsiskaridze: I just come from a very good family, and my parents gave me the correct Russian language.
Yu.V.: I didn’t live in Tbilisi for long, only two years – from ’85 to ’87.
N.Ts.: You've found the best time!
Yu.V.: Yes, it was wonderful!
N.Ts.: Tbilisi is Rublevka of that area.
Yu.V.: Yes. And there you feel the atmosphere of incredible culture. I will never forget these women in black stockings and black dresses, even in summer. This style is crazy in everything, such elegance!
N.Ts.: What area did you live in?
Yu.V.: In Alisubani, near Mount Mahad. We lived on Mahad, and were taken to school in Tbilisi. And you?
N.Ts.: I grew up in a very cultural part of the city, we lived in Saburtalo, my mother worked in Vake, in one of the most important schools. This area is not just Rublyovka or Zhukovka, it’s worse than Nikolina Gora. This is Gorki 1. The children of the elite studied at this school - those princes who managed to survive in Soviet time. Mom was also very good home. And her social circle consisted of either representatives of ancient families, or rich Jews and Armenians. These were completely different people - they spoke many languages. Nobody made a cult out of it, they just lived like that. Many were in one way or another connected with bohemia - some were actors, some were directors, some National artist, so my mother went everywhere and took me with her. But no one oriented me towards art; they took me there simply to show the world.
Yu.V.: That is, no one thought that all this would end with such a turn of fate?
N.Ts.: Yes, no one counted on this. We just went to the theater because it was customary to go, it was a way of life. My memory of this period is very interesting. I think you have it too: I have never seen women sitting cross-legged. And before I came to Moscow, I had never seen men not in suits and men not standing up when a woman rises from the table, I had never seen women interrupting men. The rules of good manners were observed there.
Yu.V.: This is wonderful! Do you still have any culinary associations with home, with Tbilisi?
N.Ts.: In our house, we ate traditional Georgian food only on holidays - either religious or Soviet. My nanny was Ukrainian, so at home there was mostly only Ukrainian cuisine - potato pancakes, dumplings, dumplings. And life was also Ukrainian, because she herself knitted, sewed, and so on. She came to us when I was 13 days old and she was 70 years old. She was a very experienced person and managed to do absolutely everything - wash, clean, cook.
Yu.V.: And watch the child!
N.Ts.: From childhood I remember very well how they celebrated New Year. Tbilisi is such a hospitable city - the whole yard brought food to each other, it was customary. If you lent someone a saucepan, they never returned it to you empty. These were the customs. I was born on December 31st, and children born on New Year's Eve and Christmas are considered God's, especially since I am a late child. And Georgians have such a tradition - they care who is the first to cross the threshold of the house after the chimes. I was usually loaded with a large tray of change and candy, I had to go to the neighbors, cross their threshold, throw money and candy so that they would have luck, money and so that the year would be sweet. And in every house I was treated to something special, traditional Georgian food. At that time, the most favorite, of course, were cakes with custard.
Yu.V.: Indeed, cakes cannot be made better anywhere!
N.Ts.: Yes, they bake wonderfully in the Caucasus! It probably depends on the milk and water.
Yu.V.: And what kind of biscuits are there! Once I found myself in a Georgian house, where the hostess made everything in front of my eyes in a small aluminum saucepan, but she turned out such a tender and soft sponge cake, I have never eaten tastier baked goods.
N.Ts.: Yes. By the way, about custard. We didn’t bake eclairs, but made small cakes - shu. They were prepared according to the same principle as eclairs, and the cream inside is something incredible!
Yu.V.: Back in Tbilisi they were called “pati shu”.
N.Ts.: Exactly! That is, from my childhood I remember sweets well from Georgian food. One neighbor was making a layer cake with custard and fresh strawberries inside. It’s something fabulous, I miss it sometimes.
Yu.V.: I think you also miss the sun in Moscow.
N.Ts.: No, I was not a resident of Tbilisi in this regard, and for the sake of the sun I did not want to stay there. I have always liked Moscow more. It is amazing! Probably because my mother lived in Moscow throughout her pregnancy, but decided to give birth in Tbilisi. But she didn’t like Moscow; she was evacuated from here in 1943. When the war ended, she was already a thinking girl and decided that she did not want to go to Moscow. She loved Georgia more. Even at that time, she was disgusted by the excessive speed of metropolitan life. She liked the calm, measured, imposing Georgian life.
Yu.V.: Do you have the opposite feelings?
N.Ts.: Yes, absolutely. Usually we came to Moscow exclusively for the holidays. And every time I was getting ready to go home, I asked my mother: “Why are we going there? There are more theaters here, more museums, but what are we going to do there?”
Yu.V.: Do you have a love for Georgian food? Or did it go away when you moved to Moscow? I can’t say about myself that I love just one thing, I’m an omnivore. But at the same time, I can afford to eat everything, but you have to limit yourself.
N.Ts.: In the summer, my mother always organized trips to visit relatives who lived in the village. My mother’s grandmother, for example, was from an ancient Georgian family. The village in which Vladimir Mayakovsky was born, and this forest in which his father worked as a forester, were the dowry of his mother’s grandmother. When we visited them, their house had already become one of the poorest and most dilapidated. But it was very interesting in terms of cuisine. My mother’s grandmother had a passion for healing. She had a huge garden with a rose garden and various herbs. And next to it is a whole alley of figs different varieties. And the fruits were incredibly delicious! By the 80s of the 20th century, the trees had become gigantic, and it was impossible to eat the crop. I also remember making khachapuri. This is an amazing thing! The village is on the border of Imereti and Guria. Housewives took two clay bowls, greased them with a certain homemade oil and covered them with khachapuri, and this structure was put into the fire, into the stove. I was fascinated by the hands of my mother’s aunts who made khachapuri - they did everything so quickly and easily! In translation, khachapuri means bread with cottage cheese. That is, in fact, this is a cottage cheese dish, but the cottage cheese here is fresh, young cheese. And the taste from this clay, from this fire, from this cheese - I have never eaten anything tastier anywhere in my life.
Yu.V.: What a delicious story you have!
N.Ts.: I also remember an interesting Georgian tradition: you cannot eat an animal, fish or bird killed by a woman’s hand. Was funny incident. There was no one else male at home, but several chickens had to be slaughtered. The women knew that they could not do this and that they had to give the ax to the child and do it with his hand. They tried to persuade me to slaughter one turkey and several chickens, convincing me that the bird would run without a head. And they bought me for it. And when the first one ran, I was so delighted that I gladly did everything else and even asked: “Let’s do more!” This is understandable: I was only five years old.
Yu.V.: What cunning women! What did mom cook?
N.Ts.: My mother didn't know how to cook at all. For her, even frying potatoes was something supernatural. She was of a different class; there was always someone in our house who cooked. But she always made Georgian dishes - satsivi, lobio, chakhokhbili - herself. I couldn’t explain how exactly. But it turned out very tasty. She couldn’t cook borscht or pasta, but she cooked Georgian food perfectly. Nature was at work.
Yu.V.: How did you feel in Moscow? It seems to me that a person who is accustomed to that food, to those tomatoes, herbs, cheese, feels bad here at first.
N.Ts.: I only yearn for water. When I was in Tbilisi, I went to visit. They offered me a variety of juices, and I told them: “Are you crazy! Tap water, urgently!” I only drank tap water. She's amazing there.
Yu.V.: The water there is very good, it's true. Tell me, do you follow any diet?
N.Ts.: Certainly! In the summer I tried Pierre Dukan's method and realized that it was the most effective remedy. It also helps me separate meals. Until I was 30, I didn’t know what a diet was. Then some processes begin in the human body - whether you like it or not, you gain weight.
Yu.V.: Separate meals are so boring, but what to do if necessary.
N.Ts.: I know one thing: the moment the dancing stops, no one will convince me to lose weight. Nothing will force me, not even love!
Yu.V.: And rightly so! Do you cook yourself?
N.Ts.: No, but I can. As a child, my nanny taught me everything: to cook, to sew, to iron, to wash, to plan, and to paint, and to use a drill. That's how it was supposed to be. main character film “Roman Holiday” said: “They taught me everything, I just don’t have to use it.” Besides, I don’t like to cook. After all, cooking is a sacred act, and if a person does not have some kind of extrasensory perception in this regard, then even simple pasta will not work out.
Yu.V.: Do you have any preferences during the day? For example, a morning cup of coffee?
N.Ts.: No, but there is one main thing in life: I am a meat eater. And from some point on, also, by the way, from the age of 30, I fell in love with strong drinks. I used to be unable to process alcohol, and I didn’t drink beer until I was twenty-five. I actually thought that beer was used to curl hair, remember that?
Yu.V.: Certainly! (Laughs.)
N.Ts.: I associated the smell of beer with my hair. And I couldn’t imagine how you could drink vodka, it’s poison. And suddenly one winter, when it was very cold, I was driving and thought: “How I want vodka!” So I began to calmly drink both whiskey and vodka. True, in the summer, of course, I can’t. Another important thing for Georgians is that boys are seated at the table with early childhood and give new wine. We had such a tradition in our house. In the afternoon, after the first course, I was always given a small glass of red wine. There were several goals: good for the blood and for the child to sleep well after lunch. And the third goal is to deprive children of the forbidden fruit. There is no urge to try it somewhere in the entrance.
Yu.V.: Great tradition! Do you still have forbidden fruit? What will you eat when you don't have to lose weight?
N.Ts.: My favorite food is fried potatoes with white bread. In the 90s, when there was nothing in Moscow, my mother would get a tenderloin from somewhere and make cutlets out of it, I would push it aside and say that I wanted fried potatoes. And I was 16–17 years old, my body needed meat. And my mother said: “Nikochka, you understand, potatoes are starch. But starch only makes your collars worth it.”
Yu.V.: Brilliant!
N.Ts.: I remembered that in primary school There was such a subject - natural history. And once they told us about scurvy. The picture showed a child with no teeth and covered in acne. We were told that this happens to children in the North because they don’t have enough greenery. Since then I just love greens!
Yu.V.: Great! How are you limiting yourself now?
N.Ts.: I just don't eat in the evenings. As Maya Mikhailovna Plisetskaya said, to lose weight, you just need to not eat. In the summer I try not to eat after four in the afternoon, because I get bloated from water and fruit. By the way, I spend my entire summer vacation in the south of France to protect myself from Moscow temptations.
Yu.V.: Wow! Don't you like croissants?
N.Ts.: No.
Yu.V.: What kind of person are you happy man! What a score.
N.Ts.: But I can’t pass up mille-feuille or tiramisu!
Yu.V.: Or just bread and butter? French bread with French butter is incredible! That's where the temptations are!
N.Ts.: Yes, and it’s delicious everywhere, in any eatery. I can eat tons of this. You come to the simplest eatery to eat tartare, and they put this basket of bread in front of you - and that’s it, you’re lost.
Yu.V.: I love foodie talk! Do you know what the French or Italians do? They sit down at the table and say what they are going to eat now, while eating they talk about what else they ate on a similar topic, and at the end they plan where they will go to eat next time.
N.Ts.: Since my paternal grandmother is French, French cuisine is very close to me.
Yu.V.: By the way, about travel. Where is your favorite place to eat?
N.Ts.: Because of my tour, I've traveled to a lot of places and I try to eat local food everywhere I go.
Yu.V.: And what places captivated you forever?
N.Ts.: My first country is Japan. I got there when I was 16 years old, in 1990. Of course, there was already a Japanese restaurant in Moscow at that time, but not for us, not for ordinary people. And in Japan, for the first time I tried sashimi, sukiyaki, shabu-shabu. Thanks to my profession, I was taken to the most important sushi masters, to the most serious restaurants, to those chefs who cook for the imperial family. Moreover, they allowed me to make sushi with them. I have a special love for this kitchen.
Yu.V.: Do you have a favorite place in Europe?
N.Ts.: Since I love meat, I am close to simple German food - sausages, sausages. And all this with a local sauerkraut. But for me the main cuisine is Ukrainian.
Yu.V.: Thanks to the nanny, of course.
N.Ts.: Kyiv is one of my favorite cities. I love everything related to simple Ukrainian cuisine. The blood sausage is wonderful, and the boletus soup served in bread! Belarusian and Lithuanian cuisines are almost the same, that’s why I love them too.
Yu.V.: Yes, you can eat your mind, as they say.
N.Ts.: On my travels I have visited many Michelin-starred restaurants. I can’t say that it shocked me, except in one place. In Paris, on the Place de la Madeleine there is a small restaurant where you need to make an appointment. There I ate one of the most delicious French delicacies - something incredibly tender with chanterelles.
Yu.V.: How do you relax?
N.Ts.: The most beautiful thing - I think this is true for all people who work a lot - is to be able to go where you want at that second, and not live according to a schedule.
Yu.V.: This probably rarely happens?
N.Ts.: Yes.
Yu.V.: And thank God!
N.Ts.: On the one hand, being in demand is a necessary thing, but on the other hand, when you look around, you always think: what is life?
Yu.V.: Anton Pavlovich Chekhov once wrote to his wife: “You ask me what life is, and I ask you what a carrot is. A carrot is a carrot, and life is life.”
N.Ts.: How simple and how precise!
The most interesting people are strong people. Those who go forward despite any obstacles and intrigues, those who constantly work on themselves, honing their skills. And like this most interesting person is Nikolai Tsiskaridze, who at a meeting in the Central House of Journalists in the project "One on one" famous TV presenter Vladimir Glazunov told about himself, about some secrets behind the scenes, about journalists, about many things.
01.
Nikolai Tsiskaridze“I promised my teacher Pyotr Antonovich Pestov, it was June 5, 1992, I was awarded a diploma, and I promised him that I would dance for 21 years. And suddenly, exactly 21 years later, I come up to the schedule and see that they staged a play for me, and it was the last one under the contract. I saw that it was June 5th. I was happy because I knew that was it. I have never advertised this much anywhere. And when I danced the performance, I said to the make-up artist: “I’m done!” She didn't believe me. But I kept my promise and I no longer do this in the role in which I usually went out to entertain the public."
02. Nikolai Tsiskaridze and Vladimir Glazunov 
"Grandfather was talking to someone. But my mother was such an active woman, big and in charge of everything. And when grandfather came, she became very soft and unnoticeable. This amazed me as a child, because it was impossible to talk to her. Usually when I I behaved badly, she said: “Nika, we need to talk.” I went into the bathroom and had to sit and wait for her. She could have come in right away, she could have come in in an hour. Still, the conversation could have ended badly for her. me. And once she was talking, and grandfather, he was a very tall man, and she interrupted him and said: “Daddy, it seems to me...” He said without turning his head: “Lamara, who asked you anyway?” opinion. A woman’s place is in the kitchen." And just like that, my mother disappeared. I thought: “How good!” And over time, when I began to earn money, I told my mother: “Darling, now everything has changed
03.
“I had to enter a choreographic school, but my mother had the documents. Can you imagine how hard it was to get them? She didn’t consider it a profession. Like, on stage in tights. Mom didn’t understand this. She loved going to ballet, she loved going to ballet theater, but she, of course, did not perceive it as a profession for her child.”
04.
“My nanny was a simple Ukrainian woman. She didn’t have higher education. She spoke excellent Russian, but when we were alone, she spoke Surzhik. All this happened with the mother. In general, that's what she thought. And, naturally, I talked the same way. I spoke Russian, but with a strong Ukrainian accent and sometimes switched to just Ukrainian. She was a great cook. For me, the most delicious thing is everything from Ukrainian cuisine, everything that was made by the nanny."
05.
About Stalin: “He wrote good poetry. Joseph Vissarionovich Stalin was a child prodigy. They began to publish him when he was 15 years old. Ilya Chavchavadze was looking for young poets. He chose Joseph Dzhugashvili, who was at that moment a student at the Gori Seminary. And thanks to this grant, he was transferred to Tiflis Seminary Only children of clergy and princely families could study there. An exception was made for Stalin, because he was an outstanding child, and we still study Joseph Dzhugashvili’s poems in school there. at school because he was recognized before he became chief."
Nikolai Tsiskaridze reads a poem by Stalin
“I immediately became a very respected student like this. Pestov staged an aria from Don Carlos and said: “Now it’s important for me that you don’t say what it is. It's clear that you don't know this. But at least you can determine the nationality of the composer. Is this German opera or this Italian opera. What period is this? 19th century or 18th century?" The aria ended. He said: "Well, who can say?" And he had favorites. And I was new to the class. Everyone was talking about some kind of heresy. And when I realized that it was already no one will answer, I raise my hand so quietly. He says: Well, can you tell me, Tsytsadrytsa? I tell him: “Verdi. “Don Carlos.” Princess Aria.” And he simply falls and says: “Sit down, Tsitsadrytsa. Five!” And from that moment on, I was a favorite student, because I knew opera." In general, I was the Guinea Little Guinea, the Tsarochka, everything that starts with C."
06.
About the Bolshoi Theater: “It was very difficult for many people to get over the fact that a lady at a respectable age chooses a boy and begins to work with him. And in fact, the last two or three years Ulanova had bad relationship at the Bolshoi Theater. Her survival was very serious. All the ballerinas with whom I danced were students of Ulanova. Here we need to make a reservation. The Bolshoi Theater is wonderful, I adore it. But this place is difficult. It's all in the plague cemetery. There are many undercurrents there. Galina Sergeevna survived. And they survived very brutally. She was not allowed to work. She came all the time, asking for new students. and then it turned out that one of my teachers died, and the other ended up in the hospital. I had no one to rehearse with. And we just started talking to her in the corridor. I say that so and so. She told me: “Kolya, let me help you.” Imagine, the door opened and the Lord God says to you: “Let me help you.” I say: "Let's go." I started taking rehearsals. But to spoil things for us, they gave us rehearsals at the most inconvenient times for Ulanova. She was an authoritarian lady and had been accustomed to living in certain conditions for many years. She mostly had rehearsals at twelve. And they gave her rehearsals in four or five days. This was not normal for her. And they did this to us all the time. And she came. And many could not come to terms with it. How's that? He was lucky again. Not only have my legs grown so much, Ulanova is also coming. I only worked with her for two seasons."
07.
“Now, when I cross the threshold of the Bolshoi Theater, I don’t experience any sensations. For me, it was a farewell to the theater when it was demolished in 2005. Now it has nothing to do with the Bolshoi Theater. You dance, but you don’t recognize anything. Not a smell, no aura. Unfortunately. It’s very sad to say, but it’s a fact. And I think all the old artists will say this.”
08.
“You can become the Minister of Culture, but who can explain to me what to do with this position? This is a very difficult position. If I were the rector, I would perish.”
09.
About the program "Bolshoi Ballet" and the TV channel "Culture""I don't watch the show" Bolshoi Ballet"on the TV channel "Culture". I refused to participate in this. I immediately said, either I will be the host of this program or I will not play any role. They told me that they did not want to see me as a host. But I cannot give an assessment, because that I will tell the truth. I knew who would win before the program. Because they signed everything. I’m not ashamed of it. There is a program called “Dancing with the Stars.” dedicated specifically to culture. And this is the channel "Culture". And this is a conversation about my profession, to which I gave my life. Let everyone think how I served in this profession, but I served honestly. the favorite of the one who already paid her the first place, that baby, you are so heavenly good, the way you danced, I immediately saw the Leningrad back in you. I don’t want this and I will never say the first thing I say, baby, to you. It should be a shame to enter this hall. You shouldn’t go on stage in a tutu, you have crooked legs. I'll say it. After this, everyone will say that I am a bastard, a vile and that I hate young people. Therefore, I deliberately refused this. When the first broadcast was made, Angelina and Denis were supposed to be filmed, they were supposed to represent the Bolshoi Theater. But, because there was a favorite of a certain person, they were thrown out. I don't understand such things. This is very unpleasant for me, because the Kultura TV channel should not make the show. He must be responsible for those he shows. But I enjoy participating in the show. I'll play whatever you want there."
10.
About journalists: “Gentlemen, when I read articles, I learn so many new things about myself. I am very often amazed at the tactlessness of people who represent this profession, because they distort the facts regularly. But when they attribute their mistakes to the person they write about, then this It’s also very unpleasant. Many people saw the film “Big Babylon.” They tried to persuade me to star in this film for a very long time. I set the condition that until I watched my material, I would not allow myself to be inserted. I set this condition after they approached me. several people who are related to the political elite of our country. This film was political from the very beginning. Now the authors of this film are giving interviews and saying that this is supposedly not. political history. So I want everyone not to believe in this. Because if people related to politics approached me, then politics was involved in this matter. I set the condition that I would talk about the Bolshoi Theater as a phenomenon, and I didn’t want to talk about any scandals. I finished all this rubbish, I don’t want to remember it. All the same, phrases were inserted there, they were so cut up that it became politically charged all the time. And I forbade them to use it. They inserted me anyway, pulling me from various other interviews. It's on their conscience. But now the authors who give interviews say that this and that happened. This is so untrue, it’s all so unpleasant for one simple reason: because when the author himself says at the beginning in an interview that the film is without politics, that it was made about theater people. And there are some flabby fat people sitting there, whom no one knows, who do not serve in the theater as artists, nor singers, nor choir workers, nor workers in the artistic and production department and give comments on what is happening in the theater and then he says that They filmed an interview with Grigorovich and they didn’t include it. Do you understand? They had room for this flabby man in an hour and a half film, but they didn’t have room for Grigorovich’s interview, even for thirty seconds. When he immediately says that an interview was filmed with a woman who has been working in the art and production department for 52 years and it also didn’t fit. Then what kind of people are we talking about? That’s why all this dirt is so unpleasant to me, I’m unpleasant about how it’s presented because in fact, Lately my native home I was overwhelmed by some kind of utter muck and monstrosity. But it has nothing to do with what I served and what my teachers and my senior colleagues served. We served in another Bolshoi Theater. We belonged to a different culture. We built our lives differently."
11.
Question from the beautiful atlanta_s - I voiced the ballerina of the Bolshoi Theater, since she had a performance at that time and she could not come to the meeting: “Nikolai Maksimovich, you graduated from the Moscow choreographic school - the Moscow school. Now you are the rector of the St. Petersburg school. It has always been believed that the Moscow and St. Petersburg school are different, one might even say they are antagonists. Which school do you consider yourself to be a member of at the moment?
12.
Nikolai Tsiskaridze": “Good! All my teachers who taught me, they are all Leningraders. Since 1934, the whole country has studied from one book by Vaganova: “Fundamentals classical dance. The program we use to this day. No difference. There is a difference in the moment of delivery."
Answer from Nikolai Tsiskaridze about the difference between St. Petersburg and Moscow ballet schools.
"A ballet dancer must have the consciousness of a killer, because the performance creates a stir. No matter how prepared you are, your body is in adrenaline. If you don’t know how to cope with it, then you won’t do everything that needs to be done. Therefore, if you don’t If you calmly approach the fouette, you’ll just fall face down on the floor. Because you’re tired, you’re suffocated. You have to keep everything in one place.”
13.
About the 1991 coup"In 1991, during the coup, we were in the USA. We were immediately offered American citizenship. We sat locked in the hotel for 24 hours. We wake up, and the hotel is surrounded by correspondents. There was just a legion of correspondents, who were all trying to get into the hotel to find out something from us And we don’t even know what happened there. If Golovkina found out, she was told that there was a coup in Russia, then no one even told us. in English. We turn on the TV, they show the Kremlin. What's going on in the Kremlin? How do we know? It was a terrible day. They didn't let us go anywhere. We wanted to go to the pool, we wanted to take a walk, but we were sitting in the building. Then we were all put on a bus, taken to Denver, from Denver immediately to New York, from New York to a plane. And we got on the plane, and then Panam was flying. The plane was huge. There were about fifty of us and no one else. The entire plane was empty. And the flight attendants, realizing that they were taking us to prison, fed us. They gave us all a bag of Coca-Cola and chips. And they almost kissed us. They say that this is the end, that’s it, go to jail. We landed and there were tanks standing next to the runway. We go out, there is no one in Sheremetyevo. Tanks and no one. And only uncle Gena Khazanov stands, because Alisa was my classmate and he met my daughter. They gave us our suitcases in a second. We get on the bus and go. No one on Leningradka. The city is quiet. We were brought to Frunzenskaya on this bus. A police car was driving in front of us. When we saw our parents on Frunzenskaya, we then found out what happened."
14. Vladimir Glazunov reads Kipling’s poem “If” translated by S. Marshak
Bukhtoyarov's method:
31.12.1973
7
-6\13997
6
9
7
-6\13--7
6
33-55; 25-77
; 29-41
Unexpectedly weak energy and, most importantly, psyche. The man was lucky that he started studying ballet and developed centers.
But the code is armor-piercing. Well, first of all, the upper channel is open by gender, a ancestral gift, and now it is doubled from 30 years to 45. Extrasensory abilities, provided that the intellect. the outline was untwisted by a man. Prenatal DNA mutations. It seems his mother worked in Obninsk in some laboratory. She was a nuclear physicist and even her first husband died in an unsuccessful experiment, she grabbed an atom, hence the child developed a mutation, but it was not harmful, but gave an advantage in ballet. He doesn’t feel pain, the muscles and ligaments stretch well.
In Manipur, the block is not the least bit selfish person, a boss for others, anahata leading. First of all, he thinks about others and tries for the common good.
At 30 +-2 years old, a double karmic blow hits, two 9s that I really could not have survived, a knee injury and a torn ligament, then an infection - staphylococcus, I almost lost my leg. It seemed like he was developing his talent, but the 9s still hit. It was difficult to survive psychologically. there was a double blow to the psyche and was intensified by a double karmic blow.
High vibration old soul, from here he perfectly understands the prerequisites for human actions and is a good intriguer. Usually such people are in bosses, which is what we see. In general, his entire career is a continuous use of his ancestral gift; it is unrealistic to enroll, advance in his profession, get into the Bolshoi Theater and be a premier there for 20 years, without witchcraft and psychic abilities.
A passionate person, if he really wants something, he achieves it, there’s almost a conflict block on his throat, there is a relationship and it’s good, if not, it’s also good, in Svadhisthana it’s the norm. We have a similar code for the first part. He knows how to open the upper channel to others, now the channel is open very intensely. It seems that his mother was telling fortunes, predicting the future, well, he also needs to develop psychic abilities. Although he has constant training there on their development in the ballet environment, there is continuous intrigue and competition.
Soul formula:
Venus is in the center, attracting attention, and Uranus is the upper channel. Uranus is better accentuated by planets. Only such a combination of talent with a sorcerer's gift could advance him.
The orbit of Venus is occupied by strong Neptune, he loves clairvoyants, very sensitive women. He respects doctors and there is a lunar node of karma in the orbit of Venus. Women play a key role in his life, they promote him, a lot depends on them.
The social orbit is well populated and most importantly by the Sun (hence the popularity, fame in society), Mercury - the media, it is noticed and talked about a lot, but also Lilith, gossip, rumors and scandals. In the end, the most popular ballet dancer, the names of the rest are not even known to the general public, they dance, live in their own closed little world and quietly leave.
Jupiter surrounded by the orbit of Venus - the mighty of the world This is why they love him and surround him. They love him more for his psychic abilities, and not for his dancing, oddly enough.
A person cannot stop twisting the fouetté, it will immediately deflate.
Cycles:
Currently on cycle 8 in 2017. The most difficult year of the cycles, everything it touches is destroyed, losses, everything that begins immediately and collapses. You need to wait a year and sit quietly. But in 2018, start a new business (stir up new ballet, become the Minister of Culture, finally get married and have children, although I tried not to understand how the atom did it).
The next guest of the studio “OK in touch!” became People's Artist and Rector of the Academy of Russian Ballet named after A.Ya. Vaganova Nikolai Tsiskaridze. The artist answered questions from Odnoklassniki and talked about his attitude to the dress code, his favorite performance, how he got into ballet, and why his mother was against it.
About whether a ballet dancer needs long legs
It is important to have good proportions. In my case it was successful. Even though I am not very tall compared to my colleagues, I always seemed longer than them. On stage, everything changes due to the size of the head, the length of the arms, the length of the legs. There was a very funny incident. I had a lot of complexes during my teenage years. I studied at a choreographic school, we had such a subject - art. One day the teacher entered the class and said: “Today we will study proportions. Now we will put Tsiskaridze on a chair and prove that this happens in life.” And there was a Talmud that said that a finger should fit so many times in the hand, a face should fit so many times in the body, and so on. And I had a 99% hit rate in everything. After that I felt something special inside me.
About admission
I entered the Tbilisi Choreographic School, but my mother was categorically against it. Still, in Georgia, boys are not very active in ballet. Everyone was accepted, and my mother believed that I was accepted simply because the boy came. Before last day, until I graduated from school, she convinced me, they say, maybe we’ll quit, we’ll leave, we’ll do a normal thing. She adored the theater, she adored ballet, but as a spectator. And I didn’t want such a fate for me. I did this in spite of everyone, but from the first day I was convinced that I was somehow exceptional; no one could convince me otherwise. Rewinding, I swear to you, I don't understand why I was so sure.
About Baryshnikov
I belong to the generation that perceived that culture through television. When I graduated from school, he no longer danced. I can't say that I had a favorite artist. For one role he was one, and for another he was different. The artist was like Chomolungma for me, and if I took on this role, I wanted to jump over.
About the dress code at the Vaganova Academy
The school has a school uniform, and I am very strict about it. In general, I believe that self-discipline is the most big victory man over his character and precisely what distinguishes us from the animal world. Although the discipline there is also very serious. See flocks of birds or observe elephants. I do not accept laxity and laxity. Having served as a premier at the Bolshoi Theater for 21 years, I have never allowed myself to come to the theater sloppily or unkemptly dressed. They don't spit in their own bread.
About the results of the rectorship
It's never too late to take stock. The fish rots from the head, and it’s immediately clear when you enter the entrance what kind of owner is in this building, what kind of owner he has inner world. And if you go into the restrooms, you will understand what he is like. I am the head of everything, and I am responsible for it.
How I got to the Bolshoi Theater
I immediately said that if they don’t take me to the Bolshoi Theater, I won’t dance anywhere else. I was not interested in this profession in any other way. I was also invited abroad, to other theaters. I grew up at a time when they explained to us that leaving our homeland was wrong. And then, when such thoughts began to occur to me, I couldn’t bear to leave. I am the most titled dancer in Russia.
How to keep yourself in shape
Catastrophe. I'm constantly losing weight. I left the stage with a waist of 68 centimeters and a size 48. Now I’m already 52. When I now see my costumes at exhibitions, I can only say: “How can you fit into this?” I eat like a locomotive. I even had to limit myself and not eat after 16.