Samodurov Vyacheslav biography

All these years, the choreographer-fucker sculpted a new to the level of technology and the degree of artistic thinking to the troupe, which ultimately came up with a new name. What was this path, says Larisa Barykin. The photo of Olga Kerelyuk at the Yekaterinburg ballet during his more than a hundred years of history, the first ballet was put in the year in the year there were two constant troubles: the lack of his own choreographic school and regular, as a change in the seasons, with the main choresters.

Outstanding artists somehow miraculously appeared in the troupe. But in terms of creative leaders and new choreography, everything was quite deplorable. To tell the truth is provincial.

The most noticeable performances that became the peaks in the history of the Sverdlovsk-Caterinburg troupe were either solid versions of the 19th century classics, or the transfer of famous premieres from the capital's scenes. Own - unequal and non -standard - the repertoire loomed with an unattainable dream. With the state of things that the opera in the Yekaterinburg Theater is a brilliant prima donna, and the ballet is a modest worker, everyone has somehow reconciled.

The appearance in Yekaterinburg in the year of the young choreographer did not portend revolutionary transformations. The ambitions and serious background in the form of a brilliant Russian and foreign career of the dancer at Glory Samodurov at that time were available. But there were no special merits to the domestic choreography for him, in baggage - only “minor sonatas” set in the Mikhailovsky Theater.

Nevertheless, he changed the situation quite quickly and abruptly. The city, already having a reputation as the capital of the Russian Contemporary Dance, unexpectedly received the glory of the new center of modern academic choreography. Capital critics and balletomans massively reached for the premieres to the premieres of the Yekaterinburg Opera Theater.

And the Samodurov, having headed the ballet troupe, almost instantly from the giving hope of a young talent, turned into an authoritative leader, one of the most creative and relevant thinking choreographers of the country, a master recognized as a professional community and the public. There was no doubt that before the status of the Russian choreographer number one was not far from him.

We have observed this transformation for all these 12 years. An exciting metamorphosis, which looks like a fabulous fabulous, was actually multi-stage. But from the very first steps in Yekaterinburg, Amore Buffo, Cantus Arcticus, it became clear that tyrants can do the most important thing for the choreographer: to invent, put into a whole new movements and create his own language.

He composes a choreography that gives the scope of imagination, abstract, but at the same time surprisingly figurative. Among the long international string of heirs and epigones of Balanchin, he is not destined to get lost. Yes, his style is far from bodily radicalism, the basis is the same pointe classic, but there are nuances and strokes that make it individual.

First of all, the pace and density of the choreographic utterance, which produces a stunning effect and requiring the highest virtuosity, like the one that the dancer of the tyrants himself owned. The choreographer loves to connect the incompatible, believing that it is paradoxicality that gives rise to images of new art. Thus, the experimental H2O performance performance in the Uraltransmash workshop in the framework of the Second Ural Biennale with a overtaking water stream brought everyone into a state of euphoria.

Photo by Elena Lekhova Samodurov resolutely instilled new ballet tastes. The Yekaterinburg public, allegedly recognizing only multi -act, densely populated plot performances, he offered an evening from three plot -melting units over and over again. Rhyme his new opuses “Curtain”, “Salieri variations” with the production of the past, made it possible to get aesthetic pleasure, making a trip to ballet eras and styles.

His main topic was gradually manifested: Samodurov always indicates that he knows, loves and appreciates the most, almost all his works - these are ballets about ballet. He shows us the wrong side and joy, the horror and happiness of this profession, this craft, this closed space and inaccessible to mere mortals in the world. He does not hide his obsession with a dance, and not to come up with the best name for one of his last ballets than “Dancing”.

In essence, about his ballet “Romeo and Juliet” Prokofiev, starting as a rehearsal. Having set his own version of one of the main ballet scores of the 20th century, Vyacheslav Samodurov showed himself to be the creator of a large -scale tre -shaking plot ballet. At the same time, he remained faithful to his topic: for him, art, theater and ballet - is always more real and powerful than life itself.

Samodurov had to put full-length ballets more than once, so the wonderful “snow queen” appeared, the impudent and brilliant “Pachita”, the unexpected “order of the king”, and the hilarious “hogbulan horse”. He made two attempts to make a complete ballet evening without telling stories, so the “colorelics” appeared in Yekaterinburg and “Undine” at the Bolshoi Theater.

Two attempts to create an intermediate form between the plot performance and a pure abstraction remained not fully understood, underestimated.Meanwhile, this format can be called software ballet like program music, and it is fraught with considerable hidden potential. But still, his soul gravitates to his favorite form-a one-act Besseznaya play, where you can speak out, concisely, as concentrated as possible.

Over the past two seasons, five new mini-ballets have been delivered to Samodurov: Dancing in the Bolshoi Theater, Ultima Thule in Perm, “Nazi ditties” at the Ballet Theater named after Jacobson and two - “Gift” and Sextus Propertius - in his Yekaterinburg troupe. All five were presented in combinations and triplets of varying degrees of conceptuality, each time the next generation choreographers showed their work each time: Pimonov, Petrov, Kaydanovsky, Sevagin ...

and each time Samodurov looked much more substantial, radical and daring than his younger colleagues. A romance with music at the choreographer is unconscious: the hackneyed records do not inspire him, but the great scores and large masters every time reveal their secrets every time. Each of them first worked for the ballet theater, this made it possible to label new performances as world premieres.

The choreographer has repeatedly set the ballets of the past, and, without the help of invited "specialists". He is not at all carried away by the charms of ballet archaic and the laurel of the reconstructor. If he looked into Harvard ballet archives, then only to clarify his understanding of the classics, its lexical and compositional features. Its goal is to give a classical dance a new life, placing a current modern context.

Photo by Olga Kerelyuk all these years by the number of 12 tyranny-fuckers sculpted a new troupe new in terms of technology and degree of artistic thinking, which ultimately came up with a new name. Each time on the premieres, the troupe looked fresh and updated, but retaining its main properties: energy and combat effectiveness. The Yekaterinburg scene, which had previously been in artistic isolation, was opened for Western artists and directors.

He composed his ballets in collaboration with European scenographs and designers by his permanent co -author - Briton Anthony Makilwein, performances were filled with fresh visual ideas. As a result, the ballet of Yekaterinburg was really built into the global context. He came up with a Dance platform, and for several years the Yekaterinburg scene served as a launching pad for Russian choreographers of the next generation.

The latest ballet project, conceived and implemented in the Ural Ballet, is a “dancer-argal”, in which Samodurov only had the role of a mentor and inspirer, he demonstrated one of his main achievements: the spirit of courageous creativity reigns in the troupe, which, supposedly, will still give fruits and real results. SEXTUS Propertius. Photo by Ivan Mokhnatkin all his term - a dozen years - the choreographer kept not only balletomaniacs in suspense.

Those who were never particularly fond of the ballet before. The Yekaterinburg troupe appeared many fans, including philanthropists represented by the Eurasia Ballet Foundation. Well, a good inheritance leaves tyrants to the Yekaterinburg ballet: an exclusive repertoire, a strong troupe with bright soloists, an atmosphere of searches and innovations, many “gold masks” and other awards.

But after all, the Urals, the Ekaterinburg city, gave the choreographer the energy of acceleration: the initial and full carte blanche, universal support and spectator love, and also recognized by everyone atmosphere of indomitable drive, striving forward and self-esteem. One of those who started on the Dance platform, choreographer Max Petrov will now be the successor to Samodurov as a Khudruk post.

We wish him good luck. And we will remember ... these 12 years. Photo by Elena Lekhova new materials and relevant news in our telegram channel. Recommended articles.