Biography of Alan Kokaeva

To share a young dancer and choreographer, actor of the Moscow Theater "School of Dramatic Art" Ossetian Alan Kokaev in a good way ambitious. He loves to do everything perfectly and on the first attempt. If you participate in the competition, then be sure to win, as in the Baletmasters contest "Maria". If you enter the role, then sound in it as with the party of Bars in Mtsyri. If you put the performance yourself, then the scale of Spartak or Don Quixote.

The desire to maintain high samples of national dance art and create deep modern stylizations is also very ambitious, requires a lot of work and a dignity of a serious creator. How did you meet with this unusual theater body? But I was invited to participate in the play "Mtsyri" for the role of Bars. There was a quick two -week input, during which I managed to make my own adjustments to the role - now there is a national beginning in Barca.

By nature, a conservative, at first I did not really accept the modern interpretation of Lermontov’s poem director Konstantin Mishin. But quickly he got down, and I liked it. Then I began to like my party, then it became whole, collected, and I entered the family of the performance. Alan Kokaev in the play "Mtsyri", director Konstantin Mishin. Photo: Masha Enatskaya, then Konstantin, had the idea of ​​Antigons, in the process of preparing which I was offered to conduct a choreographic training, and I became an assistant to the director.

At the training he gave national choreography, synthesized the most different characteristic plastic. I myself distinguish between national dance features very good, I am writing about this now a dissertation in GITIS - “General and distinctive properties in the dancing of the peoples of the North Caucasus”, but this is not necessary to train dramatic actors.

The characteristic plastic was connected with the techniques of contact improvisation proposed by Mishin - come to see the result, which is always in the process. In my opinion, it turned out to be a mathematical performance, solved as a rebus, including because several people play the main roles. Alan Kokaev in the play "Antigon", director Konstantin Mishin. Photo: Masha Enatskaya is the main thing that I have taken out of my work in Shdi today is that this theater is very useful for the future choreographer, for the future director.

This theater breaks my conservative habits, but in a good way. The ice must be crushed to catch the fish. It is very useful for me. Moreover, since the creation of this theater has been engaged in modern, but deep rethinking of authentic material, but I am interested. Also, it seems, a wonderful platform for solving such problems. When you leave far from your small homeland, you immediately feel the need for your national culture, including dance.

This is necessary in order to save yourself in a big city. The school was my earnings, and a creative amateur process, since the school was for lovers, for everyone, which does not involve the solution of great artistic problems. We tried to speak Ossetian, I asked the children who studied dancing, to teach the poems of Costa Khetagurov. I have been teaching for a long time, from my 12th years I helped my father in Little Dzhigita.

I released as the teacher two compositions of the ensemble, these are my children ... I like to teach, but I do not plan to deal with non -professionals. This may not be a very long good deed, moment of education, earnings. Are you familiar? We are in a very warm relationship. She constantly calls me to the Bolshoi Theater, I am familiar with her students. But I have no goal of being a classic dancer.

I am developing a director in myself. Although I do not exclude that he could go out in the "Polovtsian dances" smiles. Are there any ideas of performances? In order to realize this, I am now enriching creatively, communicate a lot, continue to study. The magazine "Ballet" recently wrote that contest students show too much bad modern choreography, that the folk dance is seemed to be forgotten ...

What, in your opinion, is needed: museumification? Healthy development of traditions by means of modern stylization, personal and deep? Do you see high samples of the development of national art? Would you like to do it yourself? In the first year, I myself showed the national, the second and third - stylized and national. How in today's choreographic hierarchy how? At the top of the classic, somewhere nearby modern, and national art is considered the second, or something, variety.

I believe that this concept should not be, ballet, modern, national choreography - these are all self -value arts that are not subject to hierarchies. On the set of the musical and artistic film "Foreign Bosom." Director: Sultan Khazhiroko - agree that the best examples of the world modern dance are with the national basis: Akram Khan Indian Kathak, Aakash Odida Sufi circles.

If they were not masters of their national dance, they would not have created such a diverse, such relevant modern dance art. Well, then let's move everything to Arbu, how the true Ossetians smiles.There are moments that cannot be touched, there are sacred things - for example, the Ossetian dance of SIMD. This is a business card of Ossetian choreography. SIMD does not need to be reinvented.

But he can be given a new decision. This can be a plot new solution or rethinking of choreography details, but it is not necessary to redo it. SIMD is a round dance dance, cartules - a paired wedding dance at an average pace, and the Dagestan Lezginka is performed at a fast pace with movements that are not similar to a SIMD or cartuli. There is no finger technique in SIMD, fingers appear in it only in the insertion dance “Hong Kaft” when a man stands on his fingers, and the girl floats around him like a swan.

Simed on his fingers does not dance on his own. There is not a single movement on the fingers in the cardi. And in the Dagestan Lezginka there is no men's dance on the fingers. This is a dance exclusively on the fingers that the guy dances near his girlfriend. He wants to stretch out, become larger, higher, more powerful, stronger. Over time, the fingers turned into a technical moment.

Other dances took their fingers from the Hong Katta and they became just technology. Tricks were added, which finally turned the Lezginka into a temporal dance. A man jumps up on his fingers and cries “Assa! Many can argue with me, this is exclusively my vision, but it, in my opinion, is logical. Lezginka has always been popular. I'm not talking about dancing on the street, but about dance culture.

Lezginka is a very cultural dance. This popularity has a lot of faces - on the one hand, many people will profan the tradition and do it unknown what, calling it a lezginka. But they also benefit, work in their own way for tradition. On the other hand, you, as a professional who wants to popularize high modern samples, before creating them, should study everything that already exists in order to improvise in this knowledge.

You can distinguish this: high creativity should be on stage. And any creativity can be everywhere. And now any creativity can be on stage, and the viewer often does not understand this. Not every former dancer can be a director. And therefore, many no longer know how it should be. Ossetian dance is mixed with Georgian elements, with Chechen - this alloy looks like, but often obscures the tongue of genuine Ossetian dance.

There are genuine Ossetian dances. For example, southern Ossetians adopted the Georgian velvet color of music. This is not bad, I think, a successful fusion of national “votes”. But in general, we must remember that where and when it joins, it is necessary that someone describes and notice these influences. The quality of the synthesis depends on who connects the ingredients.

The boy grew up and years later won the first place at the competition named after his idol. Alan Kokaev with the legendary dancer Mahmud Esambaev - does the mountain origin interfere with or helps to live in his homeland and in Moscow? I am blue -eyed, fair -haired, white -skinned, quite high - everything is smiling in the Code of the Alansky honor.

I know what good manners are, what is it to help a friend. I try not to fail.

In this, my mountain education only helps and never interferes. If the attitude is found: “Ah, he is from the Caucasus,” this person is not just uninteresting to me - he is a bad person. It is not worth determining the national affiliation of a person. Yes, their associations are connected with each nationality. But you always need an individual approach. Most Ossetians are Orthodox, and my fellow countrymen often call their children Russian names.

My grandmothers are called Olga and Avdotya. Ossetian Olychka and Avdoshka.