>

Perm Ballet of Evgeniy Panfilov. Creation of the Panfilov Theater. About the theater "Ballet of Evgeniy Panfilov"

Created in 1979 by Evgeny Panfilov as the plastic dance theater "Impulse". In 1987 it was renamed the modern dance theater "Experiment", in 1992 it was reorganized into the private theater "Ballet of Evgeniy Panfilov". Laureate of international and Russian festivals and competitions modern ballet. In 1994, Panfilov organized the Tolstoy Ballet troupe, whose artists take part in joint projects with the Evgeny Panfilov Ballet. In 2000 it received the status of a state cultural institution; the name of the choreographer was retained in its name. Awarded the Grand Prix at the "Magic Backstage" festival (2001), the "Golden Mask" award ("Women. Year 1945", nomination "Novation", 2001). In 2001, theater artist S. Raynik was awarded a diploma and a prize named after. S.P.Dyagileva. In July 2001, E. Panfilov was awarded the Russian Government Prize named after. Fedora Volkova ("For outstanding contribution to the development theatrical arts Russia"), in 2002 - received the main prize for best number modern choreography competition of ballet dancers "Arabesque" in Perm. On July 13, 2002, Evgeniy Alekseevich Panfilov died tragically. Winner of the "Golden Mask" award ("The Parrot Cage", choreographer E. Panfilov, nomination " Best Performance in modern dance", 2006).

Creation of the Panfilov Theater

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

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

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

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

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

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

Dymkovo toy

Zhostovo painting

It is advisable to have in front of you samples of products made by Zhostovo craftsmen. But since we do not have an authentic sample, we are forced to rely on reproductions. Observing the basic laws of composition (style unity...

Sound as an element of creation artistic image

How do we perceive space with the help of hearing, and how can knowledge about this be used, for example, to artificially imitate space? The fact is undeniable...

Repin's painting "The Ceremonial Meeting of the State Council" as historical source

I.E. Repin is considered one of the most brilliant and consistent representatives of realistic painting, in which ideological plan must firmly rely on the most accurate, adequate reproduction of reality in all its richness...

Color in painting

The image of the ideal person of the peoples of Scandinavia

Almighty God first created the heavens and the earth, and everything that relates to them, and last he created two people, Adam and Eve, from whom all nations came. And their descendants multiplied and spread throughout the world...

Features of the spiritual culture of the European Middle Ages

European medieval society was very religious and the power of the clergy over the minds was extremely great. The teaching of the church was the starting point of all thinking, all sciences - jurisprudence, natural science, philosophy...

Hairdressing art

Subject environment in the theory of William Morris

morris artist corporation synthesis William Morris could say with good reason that he lives to work, and does not work to live. His physical and mental energy seemed inexhaustible. He was not yet twenty-two years old...

Development of American cinema

Almost a hundred years ago, at the beginning of 1908, the first American film producers moved from the cradle of the national film industry - New York to the West Coast, to California. This is how Hollywood appeared - the great “dream factory” and the capital of illusions...

Development and implementation of makeup for an ethnic mask on the theme: " Cultural heritage African peoples"

The first step is to apply the tone. It should be even and smooth. Using a sponge, I applied brown face painting with light circular movements, distributing it evenly over the entire face. The important thing here is not to apply the paint in long, straight strokes...

Creating an animated clip on musical composition

We decided to choose an exclusively European style, something like Germany or Switzerland, in particular the landscape environment, the view of the village, the character’s clothing, since this is a work of a more romantic direction...

Creating an artistic image of a "theater doll" for children's performance

Stimulating the innovative activity of library staff

The main condition for development in the professional library field is to raise the prestige and authority of the librarian profession in society, which in turn...

Funding for culture in Italy

Competition " Golden mask", but also a new wonderful breath in Russian culture, a troupe beloved by the audience and the great work of the prematurely departed Master. Let's take a closer look at this phenomenon.

About the theater "Ballet of Evgeniy Panfilov"

The brainchild of E. Panfilov is a unique union of three choreographic troupes with completely different dance aesthetics, which are connected by just one element - the unique author's style of their creator. The theater includes:

  • actually, "Ballet of Evgeny Panfilov";
  • dance team “Fight Club” (male amateur dance group);
  • "The Fat Ballet by E. Panfilov" (grotesque performances with the participation of fat ladies).

The private theater was created by the director in 1994 in Perm. In 2000, it was declared a State Cultural Institution. At the Golden Mask the ballet was represented by hometown 11 times - 9 times he was awarded personal awards, 4 times he became a laureate of this landmark national theater award. The honorary title was given to him by "Women. 1945" ("Fat Ballet"), "The Parrot Cage", "Casting-off" / "Rejection". These and many other awards, both Russian and foreign, have long made the Evgeni Panfilov Ballet not a provincial treasure, but a national Russian pride.

Concerning artistic value productions, then this is something that should be seen once - an incredible and enchanting whirlpool of Dyagelev traditions, world classics, Russian avant-garde and surrealism. It combines experimentalism and psychologism, an exciting extravaganza and a peaceful atmosphere.

About Evgeny Panfilov

Evgeniy Alekseevich Panfilov (1955-2002) - Russian figure culture, choreographer and director. During his lifetime, he was not only an artistic director, but also an artist in his creations.

Evgeniy Alekseevich studied not only at the Institute of Arts in Perm, but also at GITIS, at the US choreographic school. In addition to the "Ballet of Evgeny Panfilov", he also organized the "Perm City Ballet of E. Panfilov", the Russian Seduction project. He was a teacher at the Perm Choreographic School and Institute of Arts.

Throughout his life, Evgeny Panfilov staged 150 miniatures and 85 full-act ballets. Was a laureate national award RF "For contribution to the development of the theater", had the recognized title of "Master", and was nominated for the "Golden Mask" more than once, as we have already mentioned.

The Master's life ended quickly, accidentally, tragically. In July 2002, he was killed in his own apartment. A random friend, in the midst of a quarrel, hit Evgeniy Panfilov 13 stab wounds, and later robbed the choreographer’s apartment.

"Ballet by Evgeny Panfilov"

Today the artistic director is Sergei Raynik, and the classical theater troupe delights audiences with the following productions:

  • one-act production "Son of Pierrot from Vinci";
  • one-act "Black Square";
  • Russian Seduction show program;
  • concert in memory of the creator and leader Evgeny Panfilov;
  • mini-ballet "The Overcoat";
  • one-act production "Anxious Sky";
  • mini-ballet "Genesis";
  • one-act "Salome";
  • one-act ballet performance"Sacred spring";
  • one-act Lux Aeterna;
  • one-act ballet production dedicated to the 290th anniversary of Perm;
  • creative project The Swan ("Swan");
  • folk dance performance "Beyond the Edge";
  • a one-act ballet based on compositions by Shostakovich and Soviet songs "BlokAda";
  • one-act "Surrender";
  • one-act choreographic performance"Parrot Cage";
  • one-act production "Through the Eyes of a Clown";
  • three-act ballet "Romeo and Juliet";
  • one-act production “Rejection”, etc.

Performances of the "Fat Ballet"

In the performance of "Ballet of the Fat Evgeniy Panfilov" you can see:

  • parody show Russian Seduction;
  • one-act production "Song";
  • folk one-act ballet "Involvement";
  • a one-act comic fantasy ballet “Chickens, Cupids, Swan Plus”;
  • ballet dedicated to the Victory in the Great Patriotic War "Baba. 1945";
  • one-act ballet production to the music of Vivaldi “The Seasons”, etc.

"Fight Club" performances

Let's imagine the repertoire of the third element of the theater:

  • show program “Take me like this...”;
  • a one-act ballet using German military marches and Jewish songs, "Anticyclone";
  • one-act ballet ESC;
  • the slapstick "Hoochie Coochie";
  • one-act ballet production "Prison".

Composition of Evgeny Panfilov's troupe

Soloists of "Evgeniy Panfilov's Ballet":

  • Sergey Raynik;
  • Elena Kondakova;
  • Maria Tikhonova;
  • Marina Kuznetsova;
  • Alexey Rastorguev;
  • Elizaveta Chernova;
  • Pavel Vaskin;
  • Alexey Kolbin;
  • Ksenia Kiryanova, as well as a team of ballet dancers.

Composition of "Fight Club":

  • Ilya Belousov;
  • Pavel Dormidontov;
  • Timur Belavkin;
  • Victor Plusin;
  • Mikhail Shabalin;
  • Oleg Dorozhevets;
  • Andrey Seleznev;
  • Maxim Parshakov;
  • Ilya Mezentsev.

Composition of "The Fat Ballet by Evgeniy Panfilov" (Perm):

  • Valery Afanasyev;
  • Ekaterina Yurkova;
  • Ekaterina Yarantseva;
  • Valentina Trofimova;
  • Anna Spitsyna;
  • Svetlana Chazova;
  • Valeria Teploukhova;
  • Evgenia Meteleva;
  • Marina Vissarionova;
  • Elena Nikonova;
  • Marina Kormshchikova;
  • Alexandra Buzorina;
  • Victoria Vaskina;
  • Elvira Valieva.

According to viewers

Spectators who were lucky enough to attend the performances of the Evgeni Panfilov Ballet Theater note the following:

  • entertainment - the performance is watched in one breath;
  • high-quality modern productions;
  • interesting, ambiguous numbers;
  • emotional, expressive acting and “live” dance;
  • unusual standard.

"Panfilov's Ballet" - wonderful modern phenomenon Russian cultural reality. Although the Master has been dead for 15 years, his followers continue his work with dignity, and the performances continue to give bright and unusual emotions to the spectators who came.

Irreparably early, at the age of 47, the earthly path of Evgeny Panfilov, a wonderful choreographer, a man of amazing destiny, was cut short. It is still impossible to comprehend this loss. A month before the tragedy, the Panfilov Theater participated in the Moscow international festival modern dance. For the first time, metropolitan audiences saw Panfilov's version of The Nutcracker.

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

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

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

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

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

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

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

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

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

Panfilov's creativity is paradoxical. He never declared the alternativeness of contemporary dance in relation to classical ballet, did not destroy the established canons when erecting the building of his theater. It is no coincidence that in 1994, Evgeny Panfilov, together with the artistic director of the Perm Choreographic School, recognized master of the classics Lyudmila Sakharova, implemented the tandem project “Metamorphoses”, in which avant-garde and classics coexisted in complete harmony. Panfilov staged the ballet “The Rite of Spring” on the legendary stage of the Mariinsky Theatre.

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

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

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

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

Elena FEDORENKO,
August 2002

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

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

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

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

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

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

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

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

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

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

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

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

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

Larisa BARYKINA,
August-September 2002

Ballet art arose during the Renaissance in princely palaces Italy has repeatedly experienced crises throughout its existence. However, they were able to survive thanks to the emergence of talented choreographers who created new trends and performances that helped attract audiences. One of these devotees of Russian ballet was Evgeny Panfilov. He became a promoter of free dance in our country back in the late 70s of the last century and left behind a rich creative heritage.

Today, the Evgeni Panfilov Ballet theater operates in Perm, where you can see most of the master’s performances, many of which are considered classics of modern dance. This group also often goes on tour to the capital, Russian regions and abroad, so not only Perm residents have been able to appreciate it.

Biography of the choreographer

Back in 1979, Panfilov created his first amateur dance group, which quickly gained popularity among young residents of Perm. Later, in 1987, the choreographer presented to the public a new professional dance theater, the Experiment. The performances staged by the choreographer during this period brought him fame far beyond the borders of Perm, as they were distinguished by their novelty, which the audience had long been waiting for, tired of endless variations on the theme of the classics. In 1991, the ballet by Evgeniy Panfilov was created, which 9 years later received state status. In subsequent years, the team became laureates of the most prestigious awards more than 10 times. theater awards, which is very rare when it comes to provincial groups.

Panfilov's life was tragically interrupted at the age of 46, when he was killed in his apartment by a casual acquaintance. A month before this, the choreographer managed to present his version of the ballet “The Nutcracker”, which critics called tragic, as it shows a world devoid of illusions and inhabited by gray evil mice.

"Ballet by Evgeny Panfilov"

This dance group is today considered one of the most famous of the provincial ballet troupes our country. And this is not surprising, since he repeatedly and with great success represented Perm at many national theater competitions. Thus, in 2006, the Panfilov Ballet won the Golden Mask award for the one-act ballet “The Parrot Cage,” created by the founder of the troupe.

Shortly before his death, the choreographer staged the ballet “Life is Beautiful!” on the stage of the Berlin Tempodrom Theater. It is based on the music of Dmitry Shostakovich’s 7th Symphony and the works of Soviet songwriters of the 30s-50s. This performance was then reworked for Perm troupe and received the name “BlokAda”.

In 1993, a unique choreographic troupe was created in Perm. Its members can be women whose bodily fullness is combined with mobility and inner fire. As Evgeny Panfilov himself admitted, “The Fat Ballet” was not created at all in order to shock the audience. By choosing ladies of Rubensian physique as actresses, the choreographer simply wanted to show that plump ballerinas can have no less beautiful plasticity than thin ones.

Today, this female troupe is creating grotesque shows with the participation of curvy girls on the stage of the Evgeniy Panfilov Ballet Theater. The idea of ​​​​creating performances where the main roles involved dancers with unusual builds seemed strange at first. Many decided that this troupe would only stage comedy shows, but the team broke all stereotypes. What is the play “Women. The year is 1945,” for which the troupe received the “Golden Mask”!

“The Fat Ballet” by Evgeny Panfilov is popular far beyond the borders of our country. In particular, he has already visited 25 cities in Germany and 40 where his performances caused a real sensation.

"Fight club"

Being an indefatigable experimenter, Evgeny Panfilov always strived to create something new. So, in May 2001, the choreographer founded the “Evgeniy Panfilov Fight Club,” which included only dancers. At the same time, the premiere of the “Male Rhapsody” program took place. Next meaningful work Panfilov’s team became the show “Take Me Like This...”, and then the audience was presented with the one-act ballet “Surrender”, in which, through the means of modern dance, they show a world mired in vice, sliding into the abyss and not even realizing how close it is to its death.

Repertoire

All three groups that perform on the stage of the Panfilov Theater have an extensive and most interesting repertoire. In particular, the performances “8 Russian Songs”, “Romeo and Juliet” and “BlokAda” have been drawing full houses for many years. Despite the fact that the founder of the theater has long been dead, the traditions he laid down are carefully preserved. Those who visited the theater when Panfilov was alive note that the performances he staged still look fresh, but there is a touch of nostalgia in them. We can especially recommend watching a performance consisting of the best miniatures of the meter, dedicated to his memory. It is the winner of the Golden Mask in two categories and is always sold out.

Where is

“Ballet of Evgeniy Panfilov” (Perm) can be visited by going to the address: Petropavlovskaya street, 185. To get there, you need to get either to the Lokomotivnaya Street stop by buses No. 9, 14, 10, 15, or to the Dzerzhinsky Square stop by tram No. 3.

Now you know what the ballet created by Evgeny Panfilov is and why it is famous. We hope you will attend one of the performances at least once and get real pleasure!