Vaganova Then And Now | How has it changed?! Years 91,96,98. Lopatkina, Zakharova, Borchenko.
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- Опубликовано: 29 сен 2024
- Hello Everyone!
A lot of you requested I do this video so here it is! It was super fun to make. Originally when I recorded it, it was 1 hour 30 minutes! I have broken it up into 3 videos hence the different outros :-)
It's really fascinating going through the years and above anything else, I feel like the exercises are more technically "fancy" not necessarily harder but just fancier and the extrmre purity of Vaganova has also changed. Again not necessarily for the worst but as the time has changed so have the dancers. What's mot obvious is the ethical demands and exaggerated use of upper body as we progress through. Have a watch!
Let me know your thoughts in the comments below in a respectful way and please subscribe!
I don't own these videos and they are for educational purposes only. They belong to the rightful owners
Enjoy! Like and subscribe!
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It’s interesting how the “treatment” of swayback legs has changed, I was never a full time ballet student, but I did take class on Saturdays at a vocational school in the UK from 95 to 97. I literally never heard a single comment about swayback legs or how to manage them, it was simply known that they were a nice feature, especially in the working leg (I was always considered to have a good line in arabesque for this reason), there was also an awareness that many people with these body features seemed more prone to injury, but no awareness of why or how to avoid.
Now we have people on RUclips younger than me who are old enough to reflect on their training. I recall Kathryn Morgan saying that at SAB she was taught how to place her feet to accommodate swayback legs. I’m not sure there is a consensus yet in the dance world on how they really should be handled, outside the dance world there seems to be a strong leaning to not hyperextending and learning where “straight” is, but it gets tiring in everyday life that every time you stand you are supposed to find the position that looks straight to everyone else and hold it.
In the field of classical dance by Vaganova graduate dancers, that Nikolay Tsiskaridze took the position of director was considered, to put it politely, unacceptable.
Young graduates of the academy also do not have the best comments.
Vishneva had reacted very strictly when this fact was announced.
Now, after several years from 2014 until today, if I'm not mistaken, he has left the mark of his work. Tsiskaridze has graduated from the Bolshoi academy, which has a different logic and other needs, the dancers have to work later on the huge stage of the Bolshoi theater, everything must be very impressive dynamically, let's not forget that it is in Moscow, where it is the center of power so everything is more explosive.
The Vaganova Academy, as it developed over time, had other advantages. Purity, controlled dynamism, deepening of artistic quality.
The main thing that classical dance suffers from these days is extroversion, that is to say that the show is very boring, sometimes making it look like a circus, how will the dancer lift her feet, how many big jumps where the symbolism of the art of ballet is lost, especially Tsiskaritzde is unfit to bring out spirituality, this is true.
Well, have you ever watched Tsiskaridze’s interviews or him dancing?
@@gretapetenberg2525
Of course I have seen him!
A talented dancer with great natural abilities, I would say that he lacks finesse, but that does not take away from his talent.
His interviews show an intelligent person, with a strong negative I would say his ego!
I have watched him take several rehearsals in the week up to the graduation performances in 2015. While there is a harsher way of speaking to dancers in rehearsal than in the west, he took it to a new level. I understand Russian, but you did not need to- he was just nasty and ugly for no point. Most of the other teachers got more “excited”, not ugly, but he was personally unkind to no real end (for example, making fun of a dancer’s height…bit of a stupid comment as he couldn’t exactly grow right there in rehearsal…). I did walk out of one rehearsal that was lovely otherwise (Shakirova rehearsing for her Aurora- she was lovely in rehearsal- and luckily the leading dancers all had their personal teachers there to sort of “protect” them a bit and give loads of personal corrections. Tsiskaridze was just so interested in screaming one wondered if he was drunk. His corrections made little sense; it was mostly just variations on “you are AWFUL” and was constantly starting and stopping to berate them- bit weird when the performance was that week and it was very clear everyone was dancing to their very, very best. I also saw him essentially shove over Kovalova as she took Anastasia Lukina for a private rehearsal with for Rose Adagio one morning- she and Shakirova shared the role. Again, he gave corrections that were not of particular use, just basically “you’re rubbish”. He also presents a very unprofessional and dramatic appearance that does not blend into the grace and decorum that the other pedagogues as students show.. Again, he is not the only one to raise his voice; BUT there is a marked difference between the purpose and point of what he says and the other teachers. This was quite soon after he took over- hopefully he’s calmed down since then. But I was certainly not convinced of any prowess as a teacher or mentor given what I heard during that week.
@@gretapetenberg2525
@@GiselleKlara Misogyny
My ballet teacher once said “if you want to see contortionism, go to the circus”, kinda mean, but resonated a lot with me.
You're making it into a series, yes! Looking forward to more ☺
Gorgeous, thank you!!! ❤❤
I ❤the long sleeves. And tutus
Low backs for coolness.
It wouldbe nice if you could identify the important ballerinas with their name on the screen while they perform
Oh sure! Usually speaking they are always central in the barre and the groups. I will endeavour to pointe their spot out specifically next time ❤
Thank you so much for presenting this , I loved watching it, so beautiful
Thank you so much!!!❤❤❤
Wonder if the staff had an idea during Lopatkina's exam that she would become the best ballerina of her time, and still thought of by many as the most lyrical.
Loptkina has something one cannot touch … I find zahkarova extension a bit vulgar 😮 almost like rhythmic gymnastics
I think Zakharova is exquisite and amazing. If she is vulgar sign me up! Gorgeous lines!
I feel Nikolai is unkind; everything in classical ballet is “strict”, and we all know that, but also we must remember students are still teens, children even. I would never ever never not in a million years yell at them like he does. Idk, we all have our opinions, I would love to read some personal experiences from his students.
А я вот тоже чувствую - пиво без водки, деньги на ветер.
Hi Isabella - I’m one of the girls in this video, in Zakharova’s class. The higher extensions were not introduced to Vaganova by Zakharova. Svetlana joined Vaganova only for the graduating year and had to quickly adapt to the existing emphasis on higher extensions. Obviously, with her incredible talent, she did so beautifully.
That’s amazing! I think because she has soo much facility it has come across more extreme. I know high legs have always been apart of the school and as time has passed they have gotten higher. With svetlana and her range even if there for just one year it definitely made impact! you are all so beautiful!! ❤️
You're right, higher extensions was something happening in many places of the world almost simultaneously.
Way before Zakharova, Sylvie Guillem already had the leg to her head, and I think some Balanchine dancers also had really high extensions.
@@juanjosefarinawe agree they have always been at Vaganova. I was just saying Zakharovas legs are noticeably flexible to a huge degree in this class and as she went on to be a legend of ballet it definitely made impact. I grew up watching her and always wanted legs like her.
How interesting. Where did Zakharova train if not at Vaganova?
Kiev, for 6 or 7 years.
Wow I didn't know the story of Lopatkina feeling uncomfortable in rehearsals with younger, trickier dancers around her. That's so unfair considering she had been called the top ballerina in all of Russia for years. Her intepretations of Swan Lake, Dying Swan and Raymonda are all legendary. If, with all those accomplishments, she still have to compete and prove herself, then ballet is really a cutthroat world.
Top ballerina of the world. Your comment sounds as if you are denigrating excellence. Ballet is a competitive profession and always will be, just as reaching the corner-suite of a larger company is a competitive process - in both cases still competitive to stay on top, as young equally accomplished or more accomplished knock on the door. That is the world. That is how innovation and excellence happens.
@@normamimosa5991 I know but to be fair I thought the Mariinsky ballet master would've demanded less physical trickery from Lopatkina at that point (in her forties). Older dancers might not be as strong as their juniors, but they have other invaluable qualities to make up for it: performance experience, deep understanding and interpretation of roles, etc. To demand stamina and tricks from a senior ballerina like Lopatkina is like demanding Meryl Streep to do risky stunts in an action movie.
@@TwanWu The Mariinsky didn't demand anything more from Lopatikna. She, herself, felt the competition (if that is true). I have never seen her stating that. That always happens in ballet companies. Lopatkina was still strong and amazing when she retired, known throughout the world for her incredible lyricism. Fouetté, turns and jumps were never her strong point, as they often are not for very tall and lyrical dancers (Oksana Skorik, both steely strong and lyrical, an example of an exception). Lopatkina was known for body interpretation.
Let's not get confused. Double and triple turns, higher jumps, higher legs, etc. are not tricks. They are impeccable technique that has progressed to the next level, making ballet more and more difficult, and more and more competitive. The competition so fierce today, that dancers today without ideal and conducive bodies and ability to perform that advanced technique will have a difficult time. But always, technique comes first, then the artistry. Without the technique there is no true ballet artistry - so much of ballet artistry is in the movement of the body - Swan Lake being a prime example.
Uliana Lopatina retired at 43 years old, past the expected retirement age of 40 for most dancers.
She did not dance during the 2016-2017 season due to injury, and her retirement from the Mariinsky was announced on the company's website on 16 June 2017. She had also suffered a very severe injury early on in her career. She had to go to the US for treatment. The dance world thought she would not dance again. But she did, to continue as the best. We don't know the details of her retirement injury. Perhaps it was a recurrence of that previous injury.
Lopatkina ended her career in ballet not at all because of competition. The reason was aggravated old injuries: due to foot damage, Ulyana sometimes could not even walk, let alone dance. A complex operation performed in New York did not solve the problem.
Well that’s exactly what I mean - she was injured, isolating herself and unable to keep up. If you can walk of course you can’t be as technical either. It’s a shame ❤
I really hate watching dance, where sticking a leg next an ear, is thought to be the highlight of the performance. It seems to be a contemporary trend, where displaying this ability is thought more important than the quality of dancing.
The ones from 1991 must be around my age now. I’m 57. 1991 seems like yesterday. Time really does fly by at a frenetic pace. This was fun to watch 😊😊
Thanks for the shoutout for Renata!! My absolute favorite atm.❤❤
So interesting!! I can't wait to see the next instalment !😊
I'm. pretty sure in the 2nd clip (the Zakharova section) the dancer at the barre on the right of SV is Daria Pavlenko, a future Mariinsky prima.
Thank you!! Can’t wait to see the comparison with what it is like today!
perhaps as the time progresses the academy had simply more girls to choose from and therefore on average more flexible girls.
it is true that with a "good ballet body" everything must feel so much easier. i don't have that body, so that turnout and flexibility and heavy legs are always working against me. i often wonder how much easier ballet would feel if i had Maria Khoreva's body - not to deny how hard she works for her art!
I also had to work for it all and yeh it’s much easier if born with it. But those people have their own problems. This is not Maria’s case but I’ve seen people in the school either the most perfect bodies but lacking the desire and my teacher always said without desire it doesn’t matter if you have a perfect body. ❤
This is so enlightening. I stopped ballet in 1991 age 31 due to injury. It was so painful that i didn't look at anything untill several years ago (30 years!!!). I still cant believe what I'm seeing in terms if technique and it makes. Me feel like i was a total slob. But seeing the vaganova girls (far above my level at any rate) of 1991 makes me feel much less of a slob. Recently saw a video of makarova ( 27:44 one of my idols back in the day) in donQ and i was shocked at how poor it looked compared to current primas...heck even compared to current students! I feel a little better, that me technique was within the time period, and not just sucky!
I think they still wore tutu’s in 2003 when Alina Somova graduated. Bits of her graduation exam should be in RUclips and I remember they were doing pointe work in tutus.
Yes I remember vaguely too! I kind of love the tutus ❤
A lot of times, the more "simple" looking exercises are actually the most difficult, since they require more concentration. I know we have this in the music world as well.
Also, dumb queston, but why did they wear the tutus during the pointe work section of the video from the early 90s? Was it just the style back then, or where the judges lookng for something more specific with them wearing the tutus?
I love the studio before reformation!
Were they really strict about weight? It seems most of the Russian Ballerinas are really thin. Which doesn't bother me
Because Ive been really thin most of my life . But i was wondering if they put pressure on the ladies.
Wonderful video idea, I'm excited for the next! ❤
All the vocational schools have changed in the last few years . I graduated in 1983, so a very, very long time ago . Remember, these wooden floors and watering can .
Wow this is so great! I've seen Vaganova videos here and there but not systematically and chronologically analyzed like this and especially not by an alumnus! I'm ambivalent about the long sleeves but love the bouncy tutus! Almost feather like!
Hi, dear Isabella. Love your videos. Whats your opponion on Joy Womack? I have recently seen a move trailer - Joika. The scenes are harsh, somebody spit in her face, glass in the pointe shoes. Do you think its real?
Are they wearing demi point shoes in the 1996 clip?
I think they're just satin shoes with ribbons.
They’re not pointe shoes just canvas or satin with ribbons
There were a couple of dancers that really looked like they were when the foot was off the floor, but I’m pretty sure from how they looked on the floor that they weren’t.
This was so cool to watch and break down!
Really lovely video! Would enjoy more of this content especially from someone of your background
Can you do also a version of boys class maybe with a male dancer together?
Why do you turn in toward the barr?
Yes! Series, please!
Fascinating ! Love it !
♥️