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Download "Творческая встреча с Эльке Шеперс и Филипом Тейлором, репетиторами-постановщиками балета «Свадебка»"

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"videoThumbnail Творческая встреча с Эльке Шеперс и Филипом Тейлором, репетиторами-постановщиками балета «Свадебка»
Table of contents
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Table of contents

0:32
Миссия репетиторов-постановщиков
10:00
Возобновление балета "Свадебка"
17:35
Изменения в исполнении артистов
25:36
Востребованность балетов Килиана
29:07
Обсуждение балета "Свадебка"
35:15
Влияние других хореографов на стиль Килиана
41:42
Ретроспектива творчества Килиана
51:50
Сочетание "Свадебки" и Форсайта в одной программе
52:37
Разговор о хореографах
59:12
Работа с Иржи Килианом
1:00:07
Сравнение с другими хореографами
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opera
ballet
music
theatre
dance
Perm
Пермь
Театр
опера
балет
музыка
Perm Opera and Ballet Theatre
Пермский театр оперы и балета
Свадебка
Иржи Килиан
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  • ruRussian
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00:00:11
Good evening I am glad to welcome you to the
00:00:14
laboratory of the modern spectator, today
00:00:16
the guests of the laboratory are where the
00:00:19
ballet directors wedding erzhakiyan
00:00:23
elke scheppers and Philip Taylor
00:00:26
[applause]
00:00:32
ka Philip a question for both of you at once
00:00:38
How do you formulate for yourself your
00:00:42
task as teachers
00:00:44
in any way teachers as tutors
00:00:47
directors in what is the mission of your
00:00:50
profession How do you explain
00:00:52
your work to yourself the task your task is
00:00:55
facing you throughout
00:01:04
[music] [music] [music] [
00:01:33
music]
00:02:14
[music] It
00:02:18
seems to me that it is important to pay tribute to the
00:02:23
essence of the work to the soul of the work to try in
00:02:27
any work which we are working with
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on the staging of the wedding so that they
00:02:32
achieve their best result and the
00:02:35
staging does not have to
00:02:37
look everywhere identical from the corpses of
00:02:40
the tube the concept must be completely
00:02:43
preserved but nevertheless the dancers
00:02:47
who perform it they must
00:02:49
feel sincerity when sincerely
00:02:52
when they perform it hurts and
00:02:54
accordingly just imagine this
00:02:57
ballet
00:02:59
Loyalty also to your tradition of your
00:03:02
school, including but at the same time maintaining the
00:03:04
concept of the production
00:03:09
[music]
00:03:25
[music]
00:03:50
[music]
00:04:25
Well, I actually agree with everything that
00:04:29
the film said, ballet is a living art and
00:04:33
at the moment we are restoring a
00:04:35
ballet that was originally staged in
00:04:38
1982 and now 2022 quite a
00:04:42
large number of years have passed,
00:04:45
the choreography has not changed so much from
00:04:48
that time, but we must always
00:04:50
take into account that we work with living
00:04:52
people, each person is an individual and
00:04:55
And we always need to try to
00:05:00
see Where we can to give them space to give
00:05:04
freedom, namely to preserve their personality
00:05:07
and show it in the production, it is
00:05:09
necessary for the dancers to feel
00:05:12
freedom and also to show themselves and their
00:05:15
personality Well, nevertheless, every time we
00:05:18
start with the structure that we
00:05:21
convey to the dancers, the movement, all the
00:05:24
changes, the
00:05:25
style of the entire ballet, which is for them before
00:05:29
this, the score and, of course, musicality were unknown,
00:05:33
and only after
00:05:35
all this was established then can we give
00:05:38
them some kind of freedom so that they
00:05:41
try to express themselves in the same way? You
00:05:45
actually already answered indirectly in the answer to my first
00:05:48
question to the
00:05:51
next couple of questions because I wanted to
00:05:53
ask you just about what is before your
00:05:56
eyes. You have a certain ideal, that is, the
00:06:00
performance of the corpses of this ballet under the
00:06:04
control of the Shakille himself. And when you
00:06:08
move the wedding to other stages,
00:06:13
each group in one way or another brings
00:06:16
its own accent one way or another, the
00:06:19
performance gives its character. So, do you
00:06:22
maintain a compromise, strive for it,
00:06:24
or do you still try to pull the
00:06:26
artists
00:06:27
towards this certain ideal, but as I understood from the
00:06:31
answer, the film
00:06:58
[music]
00:07:05
[music]
00:07:28
[music]
00:07:56
[music]
00:08:15
[music]
00:09:14
[music]
00:09:54
in fact it’s more of a mixture of
00:09:58
both 9 years ago when
00:10:01
the wedding was first presented in
00:10:04
Russia I
00:10:07
just even thought that the wedding
00:10:09
was coming home and the ballet was
00:10:13
created in the Netherlands but this is not the native
00:10:18
place for this ballet because things
00:10:21
that are reflected in the ballet, a huge
00:10:24
number of them
00:10:26
originate here in Russian
00:10:28
culture and they are also reflected in
00:10:33
the design of the scenery, so I’m not trying to
00:10:36
transfer what happened in ntt
00:10:39
’82 here to Russia, I’m trying to make
00:10:44
the wedding that would be interesting in
00:10:47
Perm I want those people who
00:10:49
perform and those people who watch it in the
00:10:52
hall to be filled with this feeling
00:10:55
and be able to compare themselves with the ballet
00:10:58
and the emotions that it evokes.
00:11:00
I think that what happened in Holland, what was
00:11:04
staged in Holland is
00:11:06
there and is happening but what is happening
00:11:09
here is here and now This is completely
00:11:12
different Therefore we need to not just
00:11:16
move This here I think it would not
00:11:19
work and for me as well it
00:11:21
would be simply wrong Especially for
00:11:24
this ballet for this production because it is
00:11:27
based on all that all these
00:11:31
roots that were actually
00:11:32
transferred from Russia and the production was
00:11:36
created in the Netherlands but its
00:11:38
roots go back to Russia,
00:11:39
respectively. Why try to
00:11:42
exactly transfer what happened to children
00:11:50
in English
00:11:55
[music]
00:12:39
everything will work out
00:12:50
First time when 9 years ago we heard
00:12:54
music for a wedding performed live, we had
00:12:58
simply never heard such a
00:13:00
quality of performance, especially the female choir,
00:13:03
the text that was heard never even
00:13:07
thought that it could
00:13:09
be performed exactly like that, that is, they the choir shouted
00:13:13
or even recited it all
00:13:15
but this was also a certain
00:13:19
character present in the entire
00:13:21
performance And we had never
00:13:23
heard this work
00:13:25
performed like this before, it was just an amazing
00:13:27
reading and it can’t be said, we did
00:13:32
n’t think We didn’t compare it with what
00:13:33
sounded let’s say in England or Germany
00:13:36
before that we just enjoyed by what
00:13:39
we listened to here and I think what is here is
00:13:43
that in music it is
00:13:45
proportionate and in the sense of how we
00:13:50
carry the
00:13:54
Elks you add something I
00:14:06
Come to play Looking
00:14:44
[music]
00:15:17
[music]
00:15:20
add also because Philips first
00:15:24
said when we
00:15:27
carry out casting for and recruiting
00:15:31
dancers, we still look for
00:15:34
certain qualities in the
00:15:36
dancers, we look at their personalities,
00:15:40
their
00:15:41
quality is different, and in a wedding there are
00:15:45
several roles, this is the groom, the bride,
00:15:47
Matchmakers and matchmakers, moms and dads, they are exactly the same
00:15:51
and we call them for the bride, the bride should
00:15:54
to be a strong enough Personality
00:15:57
Strong woman but at the same time they must be
00:16:00
present These beautiful lyrical
00:16:02
notes when we were choosing the
00:16:06
first matchmaker who
00:16:09
was actually set by Philip
00:16:11
there we look more at some technical
00:16:14
data because it requires both a jump and
00:16:17
speed of execution therefore
00:16:20
Here we also have it used but now
00:16:25
when we have We have chosen several
00:16:27
compositions, there are two of them complete and you will see that
00:16:31
let's say 1 and 2 composition of the bride they are
00:16:34
different they are
00:16:36
both girls they represent the Qualities
00:16:41
that we were looking for but they perform and
00:16:43
show themselves in their own way a little bit that is
00:16:50
in this in this resumption we will see
00:16:53
some artists in the same roles as
00:16:57
9 years ago, for example, the bride in one
00:17:00
composition will be
00:17:06
Alexander, just like 9 years ago, did
00:17:13
you find any changes in the
00:17:17
character in the performance of these artists or did
00:17:21
everything remain at the same
00:17:24
high level which was years ago, it’s
00:19:08
surprising in fact because both
00:19:11
Anna Pushkintseva and Alexander they look
00:19:14
exactly the same as they looked 9 years
00:19:17
ago I say Philip 9 years ago
00:19:25
How old were they 9 years ago they
00:19:27
were probably quite young, but
00:19:30
I understood from the quality of their movements that I saw them
00:19:34
that now children and having children in a
00:19:40
positive way, a
00:19:43
strong executive
00:19:47
still brings this role from start
00:19:51
to finish and if you saw that 9 years
00:19:55
later
00:19:57
she was not chosen for the first cast but she
00:20:01
still
00:20:02
continues to dance as she danced 9
00:20:05
years ago
00:20:06
question hypothesis
00:20:10
If I'm wrong, of course,
00:20:13
correct me. Questions in the following You each
00:20:16
of you danced not the leading part, that
00:20:18
is, not the parts of the bride and groom in this
00:20:21
performance, the first Matchmaker's
00:20:25
hypothesis is that it seems to me that the
00:20:30
supporting actors are somehow
00:20:34
more complex and better at remembering performance
00:20:38
as a whole, therefore, more tutors appear from among them,
00:20:43
ballet tutors appear more often, what do you
00:20:47
think about this, is there any grain of
00:20:50
truth
00:21:23
[music]
00:22:06
[music]
00:22:34
No, I don’t agree at all. And when Ir
00:22:39
chooses, he appoints, you can say those
00:22:43
dancers who are in in the future they will
00:22:46
restore and transfer
00:22:48
certain palettes, he looks more at the
00:22:53
person and is absolutely not
00:22:56
decisive what role the person played in
00:22:58
the production and also I think that he
00:23:01
looks at how the characters
00:23:04
interact with each other,
00:23:06
how they complement each other because
00:23:09
that's what I’m not very good
00:23:13
at complementing me in this elke and vice versa,
00:23:15
it’s always a combination and here it does
00:23:19
n’t depend at all on whether you were the leading
00:23:21
dancer or a supporting dancer, you
00:23:23
just need to understand the form of
00:23:25
the production you need to understand to fully
00:23:28
understand and feel its spirit and It does
00:23:32
n’t depend at all on what role did
00:23:35
you play
00:23:44
[music]
00:23:51
[music]
00:24:23
[music]
00:24:32
yes And also at Cape Philip in this
00:24:37
ballet we were not the leading dancers, but
00:24:40
there were other ballets that we also
00:24:42
go to and will leave in which we performed
00:24:46
leading roles, so here it is absolutely
00:24:49
unimportant And in general, in endity there
00:24:53
is no such hierarchy as there is
00:24:56
in the corpses of classical ballet. We
00:25:00
did not have leading soloists of soloists and ballet,
00:25:03
we were all more equal and here, of course,
00:25:09
we were all equal, but someone in the corpse was
00:25:11
younger, someone was more experienced But this is
00:25:15
the only thing that answers for us,
00:25:21
which is
00:25:23
not staged often now because you
00:25:27
yourself consider it already,
00:25:30
as it turned out
00:25:32
this year
00:25:34
[music]
00:25:36
in your opinion on your experience What
00:25:40
performances of what period Killer
00:25:43
Kilian’s work is now in use
00:25:46
what performances are in demand in different parts of
00:25:50
the world
00:25:52
like Universities
00:25:55
somewhere interview wedding from not State of
00:26:04
you my Touch Killer pisas she More and
00:26:19
I I dance floor
00:26:33
[music]
00:26:41
[music]
00:26:49
[music]
00:27:03
[music]
00:27:28
Yes, there are corpses that in their
00:27:31
repertoire there are a huge number of
00:27:33
productions by Kilian and it turns out that
00:27:36
the more productions they have in their
00:27:40
repertoire, the more
00:27:41
ballets from a later period of production
00:27:45
they can perform in the future now,
00:27:49
however,
00:27:52
Kilian has a series of black and white ballets,
00:27:56
which are still in great demand, but the
00:28:00
fact is that
00:28:02
after
00:28:04
10 years
00:28:07
Again he rethought his work, his
00:28:11
style, and he began to stage more complex
00:28:14
productions, those productions in which
00:28:17
music, for example, is very important, but at the
00:28:20
same time, the music for ballets was created
00:28:23
after the production, written specifically for
00:28:25
certain movements, and of course,
00:28:28
these more complex works are given to a
00:28:32
corpse which is enough already experienced in
00:28:36
performing the repertoire
00:29:39
Well, you also need to think about the practical
00:29:42
side of the issue - a wedding, for example. This is a
00:29:45
very expensive ballet to stage
00:29:48
simply because there is a live orchestra.
00:29:53
And if there is no orchestra in the company, here
00:29:57
in the theater there is an orchestra and a ballet
00:29:59
group, but there are those companies which
00:30:01
simply need to buy the rights
00:30:04
to play the recording of the wedding parties and
00:30:07
also the decorations that were created and
00:30:10
they were also created by the
00:30:14
famous set designer
00:30:16
John McFarlane. And this is also a
00:30:20
fairly large part of the financial
00:30:22
costs
00:30:23
and a lot of such financial aspects
00:30:27
that, when summed up, give out
00:30:30
quite a large large amount and not
00:30:33
only this, in fact, you also
00:30:35
need to think about where you will
00:30:39
perform, let’s say it is very strongly
00:30:43
connected with Russia, so here, of
00:30:46
course, there is
00:30:48
such a moment. But nevertheless, financially and,
00:30:51
in general, under other aspects
00:30:54
each group needs to just watch and
00:30:57
evaluate how possible it is to perform
00:31:00
one or another ballet.
00:31:06
By the way, you know why Kilian
00:31:08
left
00:31:10
the transliterary, he simply left the
00:31:12
transliteration
00:31:13
of the Russian title and did not use,
00:31:16
for example, the French of
00:31:19
Starovinsky’s musical work,
00:31:21
or why he did not translate the title into English;
00:31:26
in the
00:31:28
English version, the wedding is spelled that way
00:31:31
wedding only in Latin
00:31:34
is there an answer to this question known to
00:31:38
you sweetie
00:32:04
I'm here showing
00:32:22
[music]
00:32:32
[music]
00:32:41
maybe because it's a
00:32:45
wedding and just when it's written in the
00:32:49
score there's a wedding at the bottom also in the
00:32:51
text a
00:32:53
little crazy Wedding maybe
00:32:55
Here there is some kind of connection Well,
00:32:59
besides, several productions had already been created before him
00:33:01
that had
00:33:03
a name
00:33:32
that did not stage a wedding, but
00:33:35
nevertheless their style was also absorbed by
00:33:39
this ballet of these Kilian’s choreography
00:33:43
in relation to in relation to the
00:33:45
previous Yes in relation to Nezhinsky,
00:33:49
what did Killian think and how did he behave? And
00:33:54
then, in general, how would you describe his
00:33:57
author’s style, taking into account these
00:34:00
inclusions of
00:34:03
other authors
00:35:06
[music]
00:35:45
[music]
00:36:13
[music]
00:36:50
[music]
00:36:59
[music]
00:37:12
Well, I’m actually my personal opinion I
00:37:15
wouldn’t say that this particular
00:37:17
production shows the influence of
00:37:20
Greo or Bausch, but it seems to me that there
00:37:24
are references to the original production.
00:37:27
But this is also due to the fact that
00:37:30
when you stage a work that has
00:37:34
already been used for production
00:37:36
once before, you always look back
00:37:40
on it and maybe use
00:37:43
some fragments of moments from
00:37:45
previous versions in order to feel a
00:37:49
connection with the future Well, in the same way, feel a
00:37:52
connection
00:37:54
with the past, just as well feel a connection with the
00:37:57
future, that is, do not ignore the past,
00:38:00
learn from it and simply develop it further
00:38:03
here in this production
00:38:07
has certain references to Nezhinskaya,
00:38:09
for example, the direction of the head,
00:38:12
how mothers especially, for example, and
00:38:15
girls also tilt their heads in dance,
00:38:18
but it seems to me that when
00:38:21
describing Kilian’s style, we can say that
00:38:24
if you dream of Stravinsky’s music in a dream,
00:38:27
then perhaps it’s in your
00:38:31
dream this music will be danced in this way
00:38:35
in the style of Kilian. What you hear in the
00:38:39
music is completely reflected on the stage,
00:38:43
but at the same time you never feel that
00:38:46
you never know what exactly you
00:38:48
will see on stage next second, that
00:38:51
is, when the
00:38:52
musical text and dance text are
00:38:56
combined together and from this Union
00:38:59
something completely magical arises.
00:39:01
I think this is how you can describe
00:39:04
the style
00:39:28
[music]
00:39:46
[music]
00:40:07
this is
00:40:09
the typical
00:40:10
typical style of killion. He is
00:40:14
about musicality and kilian always
00:40:18
came to class when staging,
00:40:21
fully prepared, he knew the
00:40:23
musical text inside and out. at the same time,
00:40:26
as the film said, he could accurately
00:40:31
convey the musical text of the dance
00:40:34
movements, and it seems to me that Kilia is one of the
00:40:38
best choreographers who
00:40:40
manages to best transfer music into
00:40:43
movement;
00:40:45
typical indicators of his style are very
00:40:49
strong hands that at the same time remain
00:40:51
quite lyrical and hands that
00:40:55
come from body arms separately from the
00:40:58
body never do anything body
00:41:01
back and arms This is one single whole
00:41:09
constantly being in the process of
00:41:11
looking for new combinations of movements
00:41:17
What Kilian is doing now
00:41:20
as it was described by her current state
00:41:32
binations and
00:41:48
Black
00:42:13
[music] [
00:42:53
music]
00:43:54
[music]
00:44:13
[music ]
00:45:10
[music]
00:45:16
yes
00:45:24
[music]
00:45:53
[music]
00:46:00
[music]
00:46:07
[music]
00:46:23
[music]
00:46:53
[music]
00:47:16
[music]
00:47:19
creativity kilen And when we
00:47:23
talk about some kind of perspective, we can
00:47:26
compare it with other types of
00:47:28
art
00:47:29
because let’s say if we talk about
00:47:32
Picas or Modrian, first before he
00:47:37
painted pictures with red yellow
00:47:41
squares on black, he painted
00:47:44
landscapes and landscapes; Picasso had a
00:47:49
blue period, a lot of them, we
00:47:53
can name periods that reflected the
00:47:56
development of some artist or artist from the
00:48:00
very beginning, yes, we can say that from the
00:48:03
very beginning it was visible here is a work
00:48:05
that, according to the floor, is very characteristic
00:48:08
of March, we play
00:48:10
Well, those Yes hands about which Elke
00:48:13
said that come from the body are also,
00:48:15
of course, warm then, during the creation of
00:48:20
the wedding, he was engaged in staging
00:48:24
large orchestral works that
00:48:26
also included the choir and the voice of the
00:48:29
soloist Then he moved on to more
00:48:33
chamber works, he already began to put
00:48:35
on some quartets or clients.
00:48:38
Well, then when he moved on to his
00:48:42
black and white period, it
00:48:44
was actually not a period not about Black and White, it
00:48:47
was the study of that gray area that
00:48:49
lies between one and for others and so
00:48:53
let’s say he gave
00:48:55
me please sunshine
00:49:05
terrible child
00:49:08
[music]
00:49:15
Well, continue I’m worthy now
00:49:19
also well then he’s
00:49:22
for you magic child child magic
00:49:26
and then he also moved on to Japanese
00:49:30
fairy tales like glahome and let’s say
00:49:35
he has a production called
00:49:37
dance floor this is a production about some
00:49:41
crazy ballet school, a
00:49:43
dance school,
00:49:46
and at that moment he staged just such
00:49:49
large works
00:49:51
and then he moved on to more chamber,
00:49:54
more intimate moments when he began to
00:49:57
stage in his black and white period,
00:50:01
but if we look at how
00:50:04
artists work and how they move
00:50:07
from one of their periods to another, we
00:50:09
can always notice that And between
00:50:11
periods there is some year or two of
00:50:13
unsuccessful work, and here we are too. I
00:50:18
really like watching how
00:50:19
Kilian’s style changed. But he
00:50:23
also always had some -those were completely
00:50:25
unsuccessful productions after which a
00:50:27
new round and a new stage began in his
00:50:31
productions and in fact it
00:50:35
was very interesting to watch how it
00:50:37
all transformed first from
00:50:39
large works with costumes and scenery
00:50:42
and gradually the costumes and
00:50:45
scenery and the music he
00:50:48
used were simplified but in any of his productions,
00:50:51
somehow you can always see
00:50:53
his
00:50:55
characteristic handwriting after
00:50:58
this black and white period passed.
00:51:01
It is even possible to say that Kilian
00:51:03
stopped setting to music, he began
00:51:05
to build more on the dance
00:51:07
movements for which he had already been composed, and
00:51:11
later the music was created and further
00:51:15
Now, perhaps for the last 10 years, He has
00:51:17
also been very actively using
00:51:21
cinematography and filming, and
00:51:26
perhaps this is exactly what helps him
00:51:29
get rid of everything unnecessary
00:51:39
[music]
00:51:50
finally, the last question
00:51:53
in Perm, the ballet wedding will be shown in
00:51:58
one evening
00:52:00
of foresight according to your taste do not combine
00:52:04
with each other in one program, how
00:52:07
can they be, some kind of energy arises between them, a
00:52:09
special one that creates
00:52:12
some special effect
00:52:45
[music]
00:52:55
[music]
00:53:25
[music] [music] [music] [music] [
00:55:11
music]
00:55:33
[music ]
00:55:38
today
00:56:24
[music]
00:57:10
in fact
00:57:13
he saves them they can be called brothers
00:57:17
in the
00:57:18
era in which they created when
00:57:21
Kilia's
00:57:24
career began to develop in Holland
00:57:27
Forsyth at that moment staged
00:57:29
French ballet and these two choreographers
00:57:33
their styles were
00:57:34
more
00:57:36
different Perhaps they could not have done so at all
00:57:40
be but that moment when they started
00:57:43
staging an interesting time there was still an
00:57:46
absolutely huge number of other
00:57:49
choreographers Motsak and others staged and
00:57:52
they each had a
00:57:54
clearly formulated style and now I
00:57:58
might say something politically incorrect
00:58:00
if I’m sorry, but it seems to me
00:58:02
that the comparison was
00:58:08
here it’s also appropriate because some
00:58:12
choreographers are based on the
00:58:15
emotional, while others are based on some more
00:58:18
scientific approach and of course science can
00:58:22
turn into emotion, of course, but it
00:58:26
seems to me that’s why I danced from
00:58:29
Killian’s corpse and not in Frankfurt because
00:58:32
it’s still an emotional
00:58:34
component and Keely set aside exactly
00:58:38
as if for the soul or for the soul of a person,
00:58:41
but it’s still forced, it’s still performances for the
00:58:43
brain, let’s say
00:58:46
both
00:58:48
both with the periods of the choreographer and their
00:58:52
staging of them. Of course, they’re all absolutely
00:58:54
valuable, but here it just depends on
00:58:57
how you feel
00:58:58
your connection with art, what do you
00:59:03
like best, I chose just some kind of
00:59:07
emotional, spiritual, they
00:59:10
are imprinted, but
00:59:13
I actually liked that when you
00:59:16
the meaning of the game worked, it wasn’t like I was
00:59:20
just reproducing those movements that were
00:59:23
told to me, but I had the feeling that
00:59:25
I how Philip could also bring something to
00:59:29
these productions, or at that moment he
00:59:31
gave us freedom for this and
00:59:35
some space for these
00:59:38
personal investments of ours, and therefore here not
00:59:43
just
00:59:44
your physical qualities as a dancer
00:59:47
were important, but also your
00:59:51
emotionality and sincerity, for example,
00:59:54
when they left me I was a very
00:59:58
tall and fast dancer, and those
01:00:02
parts that were choreographed for me,
01:00:04
they were all always very dynamic and
01:00:07
fast, but I actually really
01:00:09
like to think not only in the physical
01:00:12
quality of the movement in front of me. only in
01:00:16
this I contributed something, but also
01:00:19
some characteristic features from
01:00:23
me were also brought into some
01:00:25
roles that Keely choreographed for me,
01:00:30
but in general, Kilian is about the soul,
01:00:34
it’s about the heart, it’s about emotions
01:00:38
stole and
01:00:42
warm, they still seem to me like these
01:00:46
comparisons are very good, they
01:00:50
can also be used if we
01:00:53
contrast Kilian and Forsythe
01:01:02
[music]
01:01:05
Thank you very much for this conversation
01:01:08
which

Description:

В октябре в нашем театре вновь состоятся показы балета «Свадебка» — спектакля, где принимают участие не только артисты оркестра, но и солисты оперы, а также хора театра. Если вы еще не видели этот спектакль, рекомендуем посмотреть запись встречи с репетиторами-постановщиками балета Эльке Шеперс и Филипом Тейлором. Они рассказали, что отличает Иржи Килиана от других хореографов, почему его культовая постановка вызывает такой интерес в мире, но редко исполняется, и как они проводили кастинг в Перми. 00:00:32 Миссия репетиторов-постановщиков 00:10:00 Возобновление балета "Свадебка" 00:17:35 Изменения в исполнении артистов 00:25:36 Востребованность балетов Килиана 00:29:07 Обсуждение балета "Свадебка" 00:35:15 Влияние других хореографов на стиль Килиана 00:41:42 Ретроспектива творчества Килиана 00:51:50 Сочетание "Свадебки" и Форсайта в одной программе 00:52:37 Разговор о хореографах 00:59:12 Работа с Иржи Килианом 01:00:07 Сравнение с другими хореографами __ Сайт: https://permopera.ru/ Поддержать театр: https://fund.permopera.ru/donate/ Telegram: https://t.me/permopera Вконтакте: https://vk.com/permopera

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