The theater "Evgeniy Panfilov's Ballet" was created as a unique theatrical association, consisting of three choreographic troupes: "Evgeniy Panfilov's Ballet", "Evgeniy Panfilov's Tolstoy Ballet" (created in 1994) and "Evgeniy Panfilov's Fight Club" (2001) with various dance aesthetics, united by a single author's style of the choreographer-winner of the All-Union and international competitions, the Russian Government Prize named after. Fyodor Volkov, winner of national theater awards " Golden Mask» Evgenia Panfilova (1955-2002).

Evgeny Panfilov was born on August 10, 1955 in the village of Kopachevo, Kholmogorsky district, Arkhangelsk region, in the family of a rural teacher. As a student at the Perm State Institute of Arts and Culture, in 1979 Evgeny Panfilov created the Impulse plastic dance theater in Perm. Many years later, having seen Panfilov's performance in Moscow, a prominent music critic Alexey Parin called him “a genius nugget from Perm.”

Panfilov tirelessly moved forward along the path of complicating his choreographic skills, but since there were no schools in Russia modern choreography, he relied on dancers who had gone through a good choreographic school classical ballet. In 1987, the theater was reorganized into the first private ballet in Russia, the Evgeni Panfilov Ballet.

In 2000, the private theater was awarded a new status: State regional cultural institution “Evgeniy Panfilov Ballet Theatre”. The name of the choreographer is enshrined in the name of the state theater as a sign of exceptional merits and achievements in the development of modern choreography in Russia. Panfilov was not only a choreographer, but also a director of all his performances, created sketches of costumes, and invariably stunned the audience with eccentric scenographic inventions.

The Evgeniy Panfilov Ballet Theater was honored to represent Perm at the National theater festival and the Golden Mask Award 9 times. These are ballets: “8 Russian Songs”, “Romeo and Juliet”, “BlokAda” and many others. The first time the “Golden Mask” was received by our already famous, unprofessional in terms of choreographic preparation, “Tolstoy’s Ballet” for the performance “Women. Year 1945” On April 17, 2006, at the XII ceremony of presenting the National Theater Award “Golden Mask” in the “Modern Dance” category, the prize was awarded to the theater’s performance “The Parrot Cage”. The one-act choreographic fantasy “The Parrot Cage” to the music of J. Bizet and R. Shchedrin “Carmen Suite” was first presented to the public in 1992. The remake premiered on May 18, 2005 at the Diaghilev Seasons. The author of the libretto, choreographer, director, and set designer of the ballet was Evgeny Panfilov. He was also the first performer of the role of one of the parrots.

Grand Master created in Perm and left for Russia not only his unique theater, but also a school of truly modern choreography. Now the theater is headed by Natalya Khristoforovna Lenskikh, who was invited to this position by Evgeny Panfilov himself.

The theater has long outgrown the confines of a provincial landmark; many times it has defended the glory of Perm as the cultural capital of the Urals both in Russia and abroad. Unique artistic heritage Evgenia Panfilova was and remains the main criterion creative activity theater The performances of Evgeny Panfilov continue to arouse the constant interest of the public far beyond the borders of the Perm region and Russia, which is confirmed by annual invitations to prestigious all-Russian and international festivals and worthy awards.

Ballet by Evgeniy Panfilov

Tolstoy's ballet

Irreparably early, at the age of 47, the earthly path of Evgeniy Panfilov, a wonderful choreographer and human being, was cut short. amazing fate. 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 suffering, 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 conversational genre” (although he had an excellent command of words), understanding that art does not need declarations, that the result of the artist’s mental expenditure is in 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 answered, smiling: “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. "No hopeless situations, you must 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 the five sons of a large family living in a tiny village in the Arkhangelsk region, through the profession of a tractor driver and military service, he became 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 contemporary dance to be alternative to classical ballet, nor did he destroy established canons by erecting the building of his theater. It is no coincidence that in 1994 Evgeny Panfilov and artistic director Perm Choreographic School, recognized master of the classics Lyudmila Sakharova, is implementing the tandem project “Metamorphoses”, in which avant-garde and classics coexisted in complete harmony. On the legendary stage Mariinsky Theater Panfilov staged the ballet “The Rite of Spring”.

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 amateurishness, 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 that. Demanding from them an extreme commitment 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 reminiscent 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 huge amount 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 holder 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 delicate taste! He liked to slightly shock the public 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! - no 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 of them. 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 breakdowns 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 the entire dance world were shaken by a feeling of irreparable disaster: 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

Creation of the Panfilov Theater

In 1987, the Theater was reorganized into Russia's first private theater, the Evgeniy Panfilov Ballet. In the same year, the artistic director of 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” with German director Alex Novak (Munich, Germany). In 1997, on the famous stage of the 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 Private theater“Evgeniy Panfilov’s Ballet has been awarded a new status: now it is the Perm State Theater “Evgeniy Panfilov Ballet”. The name of the choreographer is enshrined in the name of the state theater as a sign of exceptional merit and achievements in the development of modern choreography in Russia. The theater opened the season in a 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 outstanding contribution to development theatrical arts 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 a Diploma and Prize to the choreographer “For best number modern choreography" ("Figur") of the VII open competition of Russian ballet dancers "Arabesque-2002". (Russia, Perm) In 2003 E. Panfilov was awarded the prize of the Ministry of Culture of the 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.

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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 could 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, Evgeniy Panfilov’s ballet was created, which 9 years later received state status. In subsequent years, the group became laureates of the most prestigious theater awards more than 10 times, 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 “Evgeny 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!

Laureate of the National Theater Award "Golden Mask"
A living legend of Perm art – paradoxical and unique
"Ballet by Evgeny Panfilov."
Carmen Suite by J.Bizet-R.Shchedrin Torero

Yesterday I watched a performance at the Evgeni Panfilov Ballet Theater:
"Parrot cage"
over all the years of its existence, it was honored to represent the city of Perm at the National Theater Festival and the Golden Mask Award 9 times. The first time the “Golden Mask” was received by our already famous, unprofessional in terms of choreographic training, “Tolstoy’s Ballet” for the performance “Women. The Year 1945.”

In 2006, the Golden Mask Prize was awarded to the Evgeni Panfilov Ballet Theater for the one-act choreographic fantasy “The Parrot Cage” to the music of J. Bizet - R. Shchedrin “Carmen – Suite”. The author of the libretto, choreographer, director, set designer, and fashion designer of the ballet was, of course, Evgeny Panfilov himself. He was also the first performer of the role of one of the parrots.

“The Golden Mask Festival is the annual peak of the theater season and, apparently, the only place where provincial theaters fully feel like an unconditional component of the Russian theater community. The Golden Mask has become a kind of measure of the highest theatrical values.

Four magnificent “Golden Masks” adorn the Evgeni Panfilov Ballet theater.

Performance - "The Parrot Cage" Winner of the National Theater Award "Golden Mask" in the category "Best performance in modern dance".

Choreographic fantasy to the music of J. Bizet - R. Shchedrin “Carmen Suite”.
Idea, choreography, staging, costumes, set design of the Laureate of the All-Union and international choreographer competitions, laureate of the National Theater Award "Golden Mask", laureate of the Fedor Volkov Government Prize of the Russian Federation, choreographer Evgeniy Panfilov. The premiere took place in 1992. The performance was restored in 2005.

Oh, the brilliant perfection of the cell - a temptation that eternally captivates a person. How good it is to be in natural captivity. The secrets, sorrows, doubts, and tears of the world are unknown to parrots. How is it with people? In general, this is life on both sides of the bars. Irony and sadness, beauty and ugliness, constraint and freedom? Is it needed at all?

“Let my free handling of music cause bewilderment, delight or protest. But the idea that unexpectedly arose in me simply cried and asked to be included in this music. And life, in which I no longer understand anything, also asked for this scene and this music And freedom, which I value very much, also asked to go into the cage, and then back, and then back into the cage... And again I don’t understand anything.
Maybe you, my dear viewers, will understand this."

With love and respect,
Evgeny Panfilov.

Soloists: Parrots - Alexey Rastorguev, Alexey Kolbin.
Rastorguev Alexey Yurievich. Theater soloist
Alexey Rastorguev graduated from the Perm State Order of the Badge of Honor choreographic school in 1996.

In the one-act choreographic fantasy “The Parrot Cage” - Winner of the National Theater Award “Golden Mask” 2005/2006 (choreography by Evgeny Panfilov) performed one of the two main roles.

Achieved a high artistic effect, demonstrating adequate stage embodiment dramaturgical and choreographic intent of the director.

Kolbin Alexey Gennadievich. Theater soloist
Alexey Kolbin graduated from the Perm State Order of the Badge of Honor choreographic school in 1994.
In the same year he was accepted into the theater troupe.
Graduate of a renowned school classical dance immediately showed himself as a purposeful ballet dancer, ready to work with complete dedication to master the specifics of the paradoxical avant-garde dance plasticity offered by the artistic director of the theater, choreographer Evgeniy Panfilov (1955-2002).
She has excellent natural abilities, the ability to quickly master any dance vocabulary offered by the choreographer, virtuoso performance, and the ability to create unforgettable stage images.

Currently, a talented dancer with a pronounced natural and stage personality, Alexey Kolbin is the leading soloist of the theater, participates in all new theater productions carried out by Russian and foreign choreographers, and is a regular participant in Russian and international festivals of modern choreography.

Program "Unknown Perm":
He came to ballet too late at the age of 24, and left it incredibly early. Evgeny Panfilov is a genius of modern dance and the creator of Russia's first private ballet theater. The story of how an ordinary guy from the Arkhangelsk outback won the Golden Mask and the World Stage.

Theater "Ballet of Evgeniy Panfilov" was created as a unique theatrical association, consisting of three choreographic troupes “Evgeniy Panfilov’s Ballet”, “Evgeniy Panfilov’s Tolstoy Ballet”, “Evgeniy Panfilov’s Fight Club” with different dance aesthetics, united by a single author’s style of the choreographer-Laureate of All-Union and international competitions, Prize Winner Government of the Russian Federation named after. Fedor Volkov, National Laureate theater awards“Golden Mask” by Evgeny Panfilov (1955-2002)