The main highlight is the ballet master Vyacheslav Samodurov himself, who discovered a gift that seems to be mandatory but in fact is really rare – the ability to think in dance and while dancing, create both very simple and very complicated dance routines.
Ekran i scena
Artistic director of the Ekaterinburg Ballet.
Having graduated from the Vaganova Ballet Academy (class of the legendary coach Gennady Selutsky) Viacheslav Samodurov had a great start at the Mariinsky theatre. In 1998 he was promoted to the principal dancer. Having decided to try absolutely different choreographic style, in 2000 he joined the Dutch National Ballet where he was also promoted to a principal.
2010 was highly successful year for Samodurov as a choreographer: his performance Trip Trac was included in the program of the New Works by young choreographers, meanwhile in Russia his ballet In a Minor Key (St Petersburg, Mikhailovsky Theater) staged to Domenico Scarlatti’s music was nominated for the Moscow “Golden Mask” Theater Award.
In 2011 Samodurov took over the Ekaterinburg ballet company. This change entered upon a new phase not only in the history of the theater company that was given a new look when he came. His artistic career shifted as well: from an independent artist to a leader bearing responsibility for a huge team.
Critics unanimously claim that under the leadership of Viacheslav Samodurov the Ural theater became “a center that produces innovative ideas in contemporary choreography”. “Fortunately combining perception of beauty as a fragile category and having a sense of proportion cultivated by classical arts” (N. Kuryumova), Samodurov is easily recognizable for his creative style. Movements of his rhythmic patterns are always “speaking”. The audience appreciates his productions for somewhat rapid and reckless manners, expressive and choleric dance routine and reserved “English” style of acting.
Upon becoming the artistic director, Samodurov has been deep in thought not only to foster “sophisticated” audience but to nurture the new generation of choreographers and ballet-masters. Due to his initiative in 2012 the unique project intended to support young choreographers “Dance Platform” was launched in Ekaterinburg. Contestants from various ballet companies not only from Moscow and StPetersburg but also from different countries all over the world long for being part of this creative laboratory. The project has already discovered new talents who are destined to make a claim about themselves in the near future.
For three times Viacheslav Samodurov was the winner of the “Golden Mask” Theatre Award (Best ballet master/Best choreographer nomination: Salieri Variations, 2014, Colordelic, 2015, Romeo and Juliet, 2016).
Generally speaking it is rather difficult to be a human.
As a rule the way to high quality lies through the head, and it is quite a twisted maze.
Of course, the «Golden Mask» Theater Award is an explicit responsibility, but it seems to me that this Award is interesting, pleasant and important at this period of time. But tomorrow it ends up and we start to work, and there is no time to think of the «Golden Mask».
For some period of time it was shameful to stage according to the classical style manner, everything was supposed to be shifted somewhere to the side and upward. Nowadays the revaluation has taken place: the vertical line gets back, and you need to know how to play with it, you may break it, bring to balance and turn back. At the moment I’m experiencing the new perception of the classical dance language. I’m eager to reassemble it as if I’m trying to complete Rubik’s Cube.
Things are not necessarily good or bad — they are just different. We are doing our best to train spectators by means of our programs to learn to recognize the diversity.
I want to reduce the plot to the utmost simplicity so that on the one hand to get it more simple and on the other hand to get it more global. I’m doing this because the plot is the skeleton, but the main thing is about the dance construction.
In my opinion dance and art of acting are kind of two adjoined vessels, and one form should pass from one state into another. Nowadays we conceive the information in a mosaic and mish-mash way. It seems to me that the mish-mash, generally speaking, is the most actual way of thinking. To tell the truth this mode of thought does not confuse me at all, time and again I use it deliberately, but it is quite important to realize what for you are doing this.
Music for me is the key point about the ballet, meanwhile dance is a communication mode.
The main thing is to move forward — to the theater in general, to the dancers.
You go to the studio with an idea and vector of development. Anyway the first movement is invented to give a new impulse. Before now I had a prepared and finished text, but now I’m more interested in spontaneous search in the studio: it becomes more unpredictable and depends on dancers who are supposed to react faster to the suggested ideas. Sometimes the result surprises me, sometimes I’m disappointed. But this process is more vivid.