Like all ballet dancers of the world, the Bolshoi dancers start their day with a morning exercises class. It must be very boring indeed to follow the same routine for 20 years of your life on stage. The same order of movements — from easy to more difficult ones. An hour a day. Day in, day out. Naturally, while some dancers enjoy their morning routine, others think it is real torture. The only person who can never afford to be lazy or bored in class is the teacher. He is largely responsible for his students' mood and physique. When you see how artistically and gracefully Bolshoi teacher and former renowned dancer Boris Akimov, is doing these morning exercises, you can't imagine that someone may dislike his morning class.
Among Boris Akimov's students were Galina Stepanenko, Dmitri Gudanov, Yelena Andriyenko, Dmitri Belogolovtsev, etc.

Photo from Leonid Zhdanov's archive.
 

This film is an exciting story of a distinguished photo artist Leonid Zhdanov about his artistic creed, tastes and principles. Zhdanov appears as a fine artist and an intelligent and witty person. The photographer seems as diverse as his works shown in the film. They cover a period of some50 years, from the late 1950s to the present day. Among them we see portraits of teachers and artists of the Bolshoi company, such as Galina Ulanova, Maurice Bejart, Rolan Petit, Yuri Grigorovich, Maya Plisetskaya, Galina Kekisheva, Irina Kolpakova, Vladimir Vasiliev, Ekaterina Maximova, Natalia Bessmertnova, Mikhail Lavrovski, Maris Liepa, Natalia Bolshakova, Vadim Gulyayev, Natalia Spitsina, Galina Mezentseva, Konstantin Zaklinski, Ludmila Semenyaka, Mikhail Baryshnikov, Alexander Godunov, Yuri Fateyev, Uliana Lopatkina, Diana Vishneva, Nikolai Tsiskaridze, Dmitri Gudanov, Maria Alexandrova, and Victoria Tereshkina.

Leonid Zhdanov has an innate sense of movement. He can grasp both the beauty of the form and the psychology of the character, and reveal the dancer’s individuality.

Photos from Leonid Zhdanov’s archive

The idea for this film was inspired by a unique photo shoot that Zhdanov did at the Bolshoi Theatre in 1962-63, when the young dancer Vladimir Vasiliev was preparing to dance the part of Basil in the ballet "Don Quixote," with help from his outstanding teacher-coach Alexei Ermolaev. These pictures were seen by Vasiliev for the first time in 2011, at the time the movie was being filmed. His direct, sincere story is not only an engrossing reminiscence and memory, but also a brilliant mini-play in which he vividly reveals his amazing gift for acting.

The science of dance has always been transmitted, so to speak, “from foot to foot.” It is due to a teacher’s personality that his or her talent is so highly regarded in the world of ballet. Without an educator there is no school, and without a school there is no artist. This is the theme on which, subtly and inspiringly, ballet dancer, teacher and choreographer Natalia Voskresenskaya speaks in this film. Voskresenskaya was one of the last students of Elizabeth Pavlovna Gerdt (1891-1975). At the beginning of her teaching career, Gerdt came to Moscow, but her dancing career would reach its peak in St. Petersburg at the Mariinsky Theatre. Elizabeth Gerdt was the daughter of Pavel Gerdt, famous dancer, teacher, and Ballet Soloist of His Imperial Majesty. Among his pupils were A. Vaganova, A.Pavlova, T.Karsavina, M.Fokin, S. Legat, V. Tikhomirov, to name but a few. It was from him that Elizabeth gained the knowledge and understanding of her profession, the special fluidity of her arms, beautiful poses, and uniquely sophisticated way of performing movements. The special value of this film lies in the fact that, when listening to Voskresenskaya talking excitedly about her teacher, she shows how it was done, and explains moments which, although seemingly simple, are nonetheless critical and integral to the dance. It is these moments which transform a set of movements and music into art. Without these moments, there could be no ballet.
This film is only a small part of the large amount of material available in our archive.

Human memory is far from perfect, especially when it comes to days long past. It is even less perfect when it comes to ballet. And even less so when it comes to dancing from a text. Perhaps this is a true statement. But as we all know, every rule has exceptions. And anyone looking for an exception needs only to watch this film with the magnificent Marianne Bogolyubskaya. It is known that in 1907 the choreographer Mikhail Fokine composed the famous thumbnail “The Swan" for the great ballerina Anna Pavlova, to the music of C. Saint-Saens. Later, the number was re-titled "The Dying Swan." In Pavlova’s footsteps followed a dazzling array of world ballet stars, and each ballerina, bringing their own unique tone and nuance, changed the choreographic text. But did you know that Fokine also created a second original version of "The Swan" for his wife, the dancer Vera Fokine? Watch and listen to "The Dying Swan," performed by M. Bogolyubskaya.
This film is only a small part of the large amount of material available in our archive.

This film is unique in all its facets, just as unique as the personality of Marianne Bogolyubskaya, a wonderful dancer and actress. She graduated from the Bolshoi Ballet School in 1937 (class of Elizabeth Gerdt) and was admitted to the Bolshoi Theatre, where she served for 22 years. A performer of many of the major roles in the classical repertoire, a contemporary of M.Semenova and G.Ulanova, Bogolyubskaya always responded to innovation in different ways. Perhaps because her talents weren’t limited to ballet, she wasn’t confined to the theatre. She was seriously engaged in sculpture, teaching, playing music, and writing poems. Bogolyubskaya prepared a gift for herself for her 90th birthday by memorizing three poems of A. Brodskiy! This may be why it is especially interesting to listen to and watch her story of "Chopiniana.” This is her personal concept and understanding of a ballet that has become recognized as the self-revelation of a true artist.
This film is only a small part of the large amount of material available in our archive.

One of the most mysterious and attractive things about art is the moment an idea is born, and “Yaroslav Sekh on the ballet Paganini" is dedicated to discussing precisely this moment. In 1951 Sekh graduated from the Bolshoi Ballet School (class of N.Tarasov). Sekh was accepted into the Bolshoi Theatre, where he performed until 1974. A brilliant, extraordinary actor, he played a variety of roles. However, the crowning glory of his work was as Paganini in the ballet of the same name, choreographed by Leonid Lavrovsky, staged in 1960. Remembering the history of this ballet, Sekh, a leading educator in the choreography department of the Russian Academy of Theatre Arts, talks about the theatre of the time, his personal life, and of course, Lavrovsky, whose name and talent have been undeservingly belittled.
This film is only a small part of the large amount of material available in our archive.

This film is about the great Russian ballerina and teacher Marina Semenova (1908-2010), the favorite pupil of Agrippina Vaganova, about whom much has been written and said. People called her a classical goddess, miraculous, a sublime dancer who created the great classical ballet style of the 20th century. However, this film - a monologue by Nikolai Tsiskaridze, a soloist at the Bolshoi Theater, one of Semenova’s last students and simply someone who was very close to her – is especially exceptional. It is very personal, precise, and vivid in its appraisals, humor and tone. You can not only understand, but easily imagine how Semenova worked with her students, what she was interested in, and exactly the sort of character she had, about which there are still so many legends! In a word, there appears in front of you a completely unfamiliar Semenova - sometimes angry, then silly, and then touchingly innocent. But, at the same time…. Infinitely talented and totally unique.
This film is only a small part of the large amount of material available in our archive.

Nikita Dolgushin (1938-2012) was one of the most brilliant and prominent figures in the history of the Russian ballet of the second half of the XXth century. An outstanding dancer and original choreographer, an expert in the old-school ballet and a man of high style and esthetic taste he was the embodiment of the best traditions of the St.Petersburg school of dance. He devoted all his life to art. He did not work at the theatre – he served there loyally and selflessly until the end of his days. The name of Nikita Dolgushina is forever linked to the brightest pages in the history of the Kirov (Mariinsky) Theatre, the Theatre house in Novosibirsk, the Maly Opera and Ballet Theatre in St. Petersburg (Mikhailovsky Theatre), the ballet group of the St. Petersburg Conservatory, etc. He was quite reticent and yet longed to find people who would share his views. Fortunately enough, he often found them. Irina Kirsanova, a dancer at the Leningrad Maly Opera and Ballet Theatre (Mikhailovsky Theatre) is one of such special people. Her memories, admirable and priceless as they are, are not just any historical record – they offer a subtle, emotional, and complete in its form monologue about the Artist and Teacher told in love, tenderness and sorrow.
This film is a part of a larger project filmed in St. Petersburg in 2012.

Now and then, the fate offers us all gifts whose value is but priceless. It must have been such a gift of fate when Irina Kirsanova, one of the most stylish dancers at the Maly Opera and Ballet Theatre (Mikhailovsky Theatre), met the legendary Alla Shelest (1919-1998). It all happened in 1995 as if by chance. Alla Shelest then lived a life of solitude, seemingly forgotten by everyone, while Kirsanova wanted to dance Giselle and was looking for a ballet mistress who would help her with the part. That was how they met to become partners and friends. The wonderful film you are about to watch is a monologue by Irina Kirsanova telling us not so much about her part of Giselle, but about the great Alla Shelest herself. Alla Shelest, a student of E. Gerdt and A. Vaganova, graduated from the Leningrad Ballet School in 1937 and was accepted to the Kirov (Mariinsky) Theatre. At the time the stage of the theater was ruled by Natalia Dudinskaia, but even her great talent could not hold back Alla Shelest for long. Shelest was truly unique, a brilliant dancer and actress, she elevated the dance to the heights of the tragedies of antiquity. Her contemporaries spoke of her as of a genius dancer. Choreographers including L. Yakobson and Y. Grigorovich staged ballets for her. Yet, her career of a ballerina was not easy. She had to pay a good price for her independence. Alla Shelest had to leave the stage in 1963 …
This film is a part of a larger interview given by Irina Kirsanova in St. Petersburg in 2012.

It is not that easy to meet Irina Kolpakova in St. Petersburg nowadays as for many years now she and her husband Vladlen Semenov have been living and working in New York. Today, Irina Kolpakova is a ballet mistress with the American Ballet Theatre; and yet, whenever she has a chance, Kolpakova comes home and speaks with a good degree of pride of the Mariinsky Theatre, “our ballet”, “our school”, “our dancers”. Irina Kolpakova was one of Agrippina Vaganova’s favorites in her very last class and now she seems to incarnate the St. Petersburg school of classical dance at its very best. Irina Kolpakova was accepted to the Kirov (Mariinsky) Theatre in 1951 where her dancing career took flight. A superb dancer of the classical repertoire she also proved to be an ideal match for many parts in ballets staged by modern choreographers such as Y. Grigorovich, I. Belskiy, N. Kasatkina, V. Vasilyev and others. The film you are about to see is a captivating narrative of the dawn of a dancing career told by the ballerina herself. Irina Kolpakova speaks about her fist steps in the science and art of ballet and remembers her teacher Agrippina Vaganova and her teaching methods. Irina Kolpakova shows and much as tells her story. The beautiful plasticity of her arms and hands as if submerges the spectator into the world of ballet, which in itself is an act of true art.
This film is a part of a larger project filmed in St. Petersburg in 2012.

Presently Vladlen Semenov, a renowned dancer of choreographer ? from St. Petersburg, is living and working in New York. Semenov is a fine expert of classical dance who is named by many a custodian of traditions of the classical ballet. Fortunately enough Semenov’s skills and experience are in high demand today. After graduating from the Leningrad Ballet School in the class of the famous V. Ponomarev, Vladlen Semenov joined the Kirov (Mariinsky) Theatre in 1950 where he then brilliantly danced the entire classical repertoire for more than twenty years. While going on a tour with the theatre troupe then and having now worked for a long while abroad with dancers representing a variety of ballet schools, Semenov not only have accumulated the deepest knowledge of the male classical dance but also as a ballet master can see and understand all the current trends. This short film represents an interesting essay about the male dance. While an ardent supporter of the classical style, as a true professional, Vladlen Semenov is open to all new that is meaningful and beautiful. Answering the question “Do you approve of the urge of the modern dancers to achieve virtuosity?” he said “yes” without hesitation. Semenov however believes that “a male dancer must first and foremost be a Man upon the stage” which has unfortunately as of late become a rarity …

What could be more fascinating than listening to a story told by a clever, keen and observant person about himself? It is especially true when the narrator is a person of art, such as Vladlen Semenov, a soloist of the Kirov (Mariinsky) Theatre, a ballet master and an expert in the classical dance. Semenov, usually so reserved, in this film reveals himself to be an eloquent and emotional person. His story told so sincerely and vividly leads into the world of theatre and ballet and submerges you in the atmosphere of the famous Leninrad Ballet School. You will learn about the dancer’s childhood, evacuation to Perm and enrolment to the ballet school. Vladlen Semenov speaks of the people he met in his dancing career: his teacher V. Ponomarev, dancers and choreographers Konstantin M. Sergeev, P.Gusev, V.Chabukiani. Vladlen Semenov had an honor of dancing with the most prominent ballerinas of the Kirov (Mariinsky) Theatre of the second half of the XXth century from T. Vecheslova to I. Kolpakova. He also found very special words to talk about Alla Shelest, a great dancer, whose true talent remains little understood by contemporaries.

This film shows a rare occasion when both teachers of the Bolshoi leading dancer Dmitri Gudanov happened to attend his rehearsal. Leonid Zhdanov used to teach him at the Bolshoi ballet Academy, while Yuri Vladimirov, a former Bolshoi ballet star, is his present day tutor at the Bolshoi Company. On the day of the shooting Dmitri Gudanov was getting ready for a gala-concert at Covent Garden marking the Ballets Russes centenary.

The film features fragments from ballets staged for Sergei Diaghilev's non-repertory company, such as Mikhail Fokine's "Spectre de la Rose" and Leonide Massin's "The Three Cornered Hat". Photos from Leonid Zhdanov's archive.