Ballerina Olga Gaiko is a proud Carmen, a romantic Odette, a charming Scheherazade and a loving Esmeralda. Conversation on pointe

Have you ever wondered whether your chosen profession is right for you? In our experiment, three superprofessionals and three applicants take a career guidance test. Is this what they chose in life? Why do people need to know not only their interests, but also the characteristics of memory, attention, and performance? The results are in the TUT.BY test.

The success of the selected pros can hardly be disputed. This is the country's chief transplantologist, general director of the Belarusian division of EPAM Systems, leading ballerina of the National Academic Bolshoi Opera and Ballet Theater.

Applicants were selected at random. Medalist and professional athlete from Grodno. A girl from the village. And a guy from a high school in Minsk. All of them have practically decided where they will enroll this year. Is the choice correct?

Each of the heroes spent about three hours at the Republican Center for Human Problems at the Belarusian State University: that much time was spent on computer diagnostics and consultation with a psychologist.

During the first half of testing, the heroes “extinguished” the triangles, caught up with the joystick to a point, clapped their hands, memorized the figures, listened simultaneously in both ears to a series of words in order to later recognize them among those proposed, and so on. Everything at speed! Thus, the test assessed psychophysiological data: features of the functioning of the cerebral hemispheres, the level of development of RAM for words and numbers, performance, balance, speed of information processing, switching of attention, analytical abilities, and so on.

The meaning of the manipulations is difficult to discern right away. It is impossible to predict or adjust the outcome of the tests. It's more like a game that gets really boring by the end. And so, when all the characters’ heads became “cast iron,” the participants were asked to quickly determine the evenness or oddness of the sum of numbers. The center says that this is how mental performance is determined.

The second half of the testing determined professional preferences - in general and at the moment. Among the questions are “Do you like to conduct experiments?”, “Do you like to repair equipment?” Everything is more banal here. Each of the heroes did these kinds of questionnaire tests more than once in their lives. The results can be manipulated if desired. Our brave souls assured that they were as frank as possible.

Olga Gaiko, 35 years old, People's Artist of Belarus

Olga Gaiko is a prima ballerina of the National Academic Bolshoi Opera and Ballet Theater. It is she who in the role of Odette-Odile from Tchaikovsky’s ballet “Swan Lake” is depicted on gold and silver commemorative coins “Belarusian Ballet. 2013", released for the 80th anniversary of the theater.

Olga was guided with her profession by her mother, who worked all her life in Minsk at a factory. The woman sent her daughter to rhythmic gymnastics at the age of five. At the same time, the girl went to the “Dream” ensemble, whose director advised her to try to enter a choreographic school.

“In dance you can freely express your feelings,” explains the prima. And sport instilled determination and responsibility.

The workload at the school was constantly very high. Grandma saw how hard it was to study in ballet class, how much effort it took, and told Olya: “Why do you need this?!” She replied that she would still be a ballerina.

“When you madly love the work you do, then difficulties and stress are a pleasure,” Olga explains.

When did you realize that you were superior to others in something?

“In college I heard that I was one of the best students... Ballet and theater are mine, 100%,” Olga Gaiko sums up.

The artist of the Bolshoi Opera and Ballet Theater believes that she still has an inclination towards psychology and pedagogy. Shall we check?

“Mom’s choice was right”

Olga was not so quick at adding and subtracting while completing assignments. But the test showed a highly developed imagination and perseverance. She is a creative emotional person with a visual-figurative type of thinking. In addition, Olga is always results-oriented. It was precisely these qualities that allowed her to achieve success in the “artist” profession, which is expected to be on the list of the main recommended ones.

The work of an architect and restorer is alien to Olga.

- Of course, I like to look at beautiful things. But doing this is not my thing. But design, primarily interior design, yes, it’s interesting to try,” she comments on the outcome of career guidance testing.

Olga Gaiko could well have become passionate about literature if she had delved deeper into it in her time. At least she loved writing essays at school. The ballerina considers her work not extreme: she manages to tune in, immerse herself in the character and not be distracted by the audience. According to Olga, thanks to the test she will not be so fixated on her profession (“there are a lot of passionately dedicated people in the theater”). And the result confirmed: my mother’s choice was correct.

Oleg Rummo, 45 years old, professor-transplantologist, Honored Doctor of Belarus

He was the first in the country to perform liver, pancreas and kidney transplants. At the age of 40, he headed the Republican Scientific and Practical Center for Organ and Tissue Transplantation, which he still heads today. From a dynasty of doctors: mom and dad are doctors, grandmother is a nurse, sister, wife and her parents are from medicine. He graduated with honors from the Minsk State Medical Institute with a degree in general medicine in 1993 and the Academy of Management under the President of the Republic of Belarus in 2010.

— I am an excellent student in life. All items went equally well. And all this talk about dreams and daydreams... I had no dreams,” says Oleg Rummo.

Oleg Rummo's father was a surgeon, deputy chief physician of the Slutsk central regional hospital.

- Mom is also a doctor. So there wasn't much choice. My parents actively pushed me, and my decision was to please them. But this did not cause any rejection, says the doctor of medical sciences.

Oleg Rummo believes that success was achieved thanks to the ability to quickly grasp useful and interesting material.

— There is a head on the shoulders to accumulate knowledge. Of course, manual skills (produced by hands) are also very important. Therefore, I spent a lot of time in the clinic.

Everything also came about because Rummo was interested in everything related to the profession and what was happening around it.

“It’s like a life’s work; if a person finds it, he devotes himself entirely, and then quickly gains experience.

In the life of a surgeon, everything was not so simple, but the opportunity turned up to realize what he wanted.

“There were people who were ready to help simply because they liked you and could do what needed to be done anyway, and there was no one more suitable nearby. In addition, there are state interests and a desire to see Belarus as an advanced republic,” explains the head of the transplant center.

In 2008, declared the Year of Health, it was necessary to “shoot” with something.

“There were some guys, and I was one of them, who took it and did it (meaning the first liver transplant in Belarus. - TUT.BY). And the president provided all possible support.

Rummo is a perfectionist. “Either don’t do it, or do it well.” Let not all things. The surgeon lists work and family as important things to do thoroughly.

It is also important to understand whether you feel satisfied.

- If it’s “buzz” to live with this woman, then great, but if not, you’ll have to get a divorce. It’s the same at work.

The surgeon experiences pleasure from the fact that he “owns” a person for 2–10 hours. He works for his own satisfaction, but believes that a doctor for whom the patient ceases to exist should be driven out of medicine.

There was no thought about whether the profession was chosen even after college, when the future professor received a salary of only 6 dollars.

“Cosmetology, dentistry? I wouldn’t go into medicine!”

— It turns out that in order not to burn out, I have to work in the pharmaceutical field, cosmetology, dentistry and physical therapy. I would never have gone into medicine in my life if I had worked as a dentist or cosmetologist.

The doctor of medical sciences agrees that an extreme work schedule is not the best option for him.

- I'm afraid to take risks - that's true. I have no right to take any risks with transplantation. Human life? Did you want yours to be risked? And I carefully prepare for dangerous situations, making every action automatic.

Rummo found another way to stay in medicine and not burn out as a surgeon. Now he spends most of his time (approximately 70%) as a “supervisor” and operates several times a week.

“Maybe I’m even more capable of organizing, uniting, commuting,” Oleg Rummo assesses himself as a leader. “But I get pleasure from both management and operations.

Oleg Rummo really loves consistency and looks for logical connections everywhere.

— I spend a crazy amount of time and money on English, despite the fact that I have a very good (and the test confirms this. - TUT.BY) memory. Why? Yes, because foreign languages ​​are pure rote learning, there are no logical connections, and I have a completely different type of thinking.

— Defectology, speech therapy? Well, what kind of speech therapist am I? Re-rya-ryu... I would die.

Rummo already saw himself in the role of a teacher. He worked at the medical university at the department of surgical diseases. And now he is a professor at the Department of Transplantation of the Belarusian Medical University of Postgraduate Education.

— I like teaching too, it’s a normal job.

The surgeon treats the administration proposed testing well.

— Yes, I can quickly get the documents in order.

But he “hates” activities with military specifics.

— I get rid of weapons by any means. I've been given legal pistols as gifts, but they don't evoke any feelings in me. I prefer beautiful watches and suits.

Sergei Divin, 43 years old, CEO of the Belarusian division of EPAM Systems

Has three higher educations: legal (Belarusian Institute of Law), economics (BSEU), management in the field of public relations (Institute for Advanced Studies). Believes that his current profession is manager. And the tasks before the manager are constantly different - from any field of activity.

— Right now, for example, my functions are in many ways similar to the work of a construction foreman. The Estonian general contractor failed the plans, and in the absence of normal design documentation, I need to complete the building with a huge number of defects. Every day I understand one or another construction problem,” says Sergey Divin.

The first profession that the CEO of EPAM Systems received was “energetics” (power supply for industrial enterprises and installations).

— I graduated from school No. 20 in Bobruisk. Nearby there was a mechanical and technological college where my brother studied. My brother was pleased with the preparation, and so I went straight to the nearest institution and then for four years I counted the trolleybuses passing along Minskaya Street opposite the technical school.

Then there was service in the border troops, and I had to spend a lot of time on night patrols. The Bobruisk resident was left alone with himself and could think for a long time about who he was and what he liked most.

“This was the most useful period in terms of career guidance,” says Sergei. — Immediately after the army I went to law school. There I found myself. I enjoyed practicing law.

I liked working at MTBank, then at a manufacturing holding company, where Divin headed the legal service.

“What had always been hidden began to appear in the bank—organizational abilities.” I think I’m good at understanding people and understanding them.

Having joined EPAM as the head of the legal department, he gradually took up administrative work. And now Divin has been a director for almost 14 years. But he still continues to search and analyze what is closer to him.

— 14 years at EPAM flew by in a flash. Every year, every day is a new challenge, and there is no time to think about what was inherent in you from the very beginning. What if I'm an artist?

“Almost all the given professions are what I do in life”

— Law, management and teaching fall within my inclinations. This coincides with what you have to do in life,” Sergei Divin comments on the test results. - What did you learn for yourself? I'm on the right path: I was in jurisprudence, now I'm in management, and teaching is ahead :).

“In high school, such a test would be useful for both me and my parents,” says the manager. — The test itself is interesting from the point of view of identifying psychophysiological characteristics, but in terms of identifying specialties, it is somewhat outdated. In my opinion, the qualifications of the early 90s are taken as a basis there. Now the “landscape of professions” has changed, and it is impossible to use cliches like “lawyers” and “programmers”. Within each of these terms, dozens of specializations have emerged that require different skills. For example, “business analysis” and “testing”, “UX design” - all these terms hide the popular “programmer” behind them. In general, the questionnaire should be improved to take into account new professions.

Margarita Meshchanskaya, going to Grodno State University named after. Ya. Kupala

Margarita Meshchanskaya, 11th grade, gymnasium No. 10, Grodno. She is going for a gold medal, she is equally good at all subjects, and it is difficult for her to single out any one. He will most likely choose a technical specialty, because he mainly likes mathematics and physics. In addition, the girl is focused on more lucrative professions.

Today, her priority is the profile “programmer-economist” and the specialty “information systems in economics”, which can be obtained at the Grodno State University. Ya. Kupala. The specialty was recommended by my mother, who once graduated from the Faculty of Mathematics.

Margarita is a professional volleyball player, plays for the Grodno team “Neman-GrSU” and as a member of the youth national team of Belarus.

“I have very little time to prepare for centralized testing (due to sports. - TUT.BY), I go to bed late and get up early,” says Margarita.

Sport is already Margarita’s profession. What specialty will the test suggest?

“There will be an opportunity to choose a creative specialization”

The case of Margarita is very interesting. For psychologists consulting at the Republican Center for Human Problems, offering her a profession was not an easy task. The girl’s interests (sports, programming, mathematics) had to be combined with a predisposition to think figuratively. To this were added recommendations to work with people, but avoiding extreme conditions (which, in general, is almost incompatible with professional sports).

According to the testing results, the ideal option for her is programming with a creative bias (but not an economic one. - TUT.BY).

“I just want to create something new in programming,” the girl comments. — It would be interesting to make websites. Where I go, there is an opportunity to choose a specialization later.

Margarita agrees that she has good imaginative thinking, and she has already thought about becoming an architect.

“But architects are not so in demand in Grodno,” she explains why she stopped thinking about this specialty.

As for sports, she really does not enjoy hard workloads.

— I have only one day off during the week. Yes, I'm tired.

Marketing, journalism? “No, not mine,” says Margarita. And in order to study music, you need a special education, which the graduate does not have.

Margarita Meshchanskaya has already taken career guidance testing at school. There was, just like in the center, a questionnaire on interests. But psychophysiological characteristics were not identified. And this turned out to be useful for the applicant: to know not only what you want to do, but also what you can do.

Vyacheslav Artemov, enters BSU

Vyacheslav Artemov, 18 years old, school No. 161 in Minsk. Enters the Faculty of Law of BSU. He will go to study to become a lawyer because upon admission he will have to take his favorite subjects - for example, social studies. And you won't have to take a math test.

Relatives also advised so that Slava could pass the test in the best possible way. The demand for the profession in the labor market also played a role.

“I will develop perseverance”

Vyacheslav has an absolute contradiction between his chosen specialty and his psychophysiological characteristics. The young man is going to be a lawyer. And the test shows that the graduate has non-standard thinking. It is difficult to succeed in this profession with non-standard logic, the psychologist notes. So Slava will be more suited to specialties where he can show his original perception of reality. In a good way, Vyacheslav should choose from the proposed professions. Moreover, the guy is fascinated by history and philosophy.

The test results are very close to reality, says Vyacheslav.

- I recognize myself in them. And just where I knew I could fail, the test showed my weaknesses.

Despite all the recommendations to refuse to enroll in law school, Slava is not going to change anything in his plans; he believes that philosophy can be studied on one’s own. At this stage, Vyacheslav considers it important to do not what is interesting, but what is most needed in life.

“I will develop perseverance,” he answers the question whether studying will be boring.

Slava doesn’t want to be a historian at school. But an interesting fact emerges: in case of failure to enroll in the Faculty of Law, the applicant’s plan B is the Faculty of Philosophy. So we wish Slava (forgive me) to enroll in philosophy.

The applicant plans to use his non-standard thinking outside the profession - in creativity. As it turned out, it was not for nothing that the test suggested that the graduate study literature. The student loves to write essays.

- Myself. Nowadays, few people write themselves. A lot of people “slide”.

A year ago, Slava wrote on the website his thoughts about the character Sherlock Holmes. So the professions of screenwriter and critic are close to him:

— In these areas it is possible to develop outside of any institutions. If a person wants to write, he will, even if he is an electrician.

Slava did not think about the professions of a draftsman, geologist, topographer, or meteorologist. Such activities interest him. But I don’t want to plunge my head into them.

About web design:

“About three years ago I was playing around, trying to understand programs. To be honest, I didn't care.

I found this test useful not so much for career guidance, but for assessing the strengths and weaknesses of my brain.

If Slava suddenly decides to change his profession in the future, he will definitely look at the test results.

Marina Golovacheva, enters the Academy of the Ministry of Internal Affairs

Marina Golovacheva, 11th grade of the educational and pedagogical complex kindergarten - secondary school in the village of Staroye Selo, Minsk region. Enters the investigative and expert faculty of the Academy of the Ministry of Internal Affairs.

Since childhood, the girl dreams of wearing a uniform. Considers himself a fighter.

- I'm always with the boys. There are seven boys and only two girls in my class. And for seven years I was the only one. Yes, we fought,” Marina smiles.

And recently representatives of the Investigative Committee came to the school and campaigned. The director said that he could only recommend Marina for admission. That's how we decided.

By the way, even if Marina doesn’t get in, she plans to get a job in the police or security when she turns 18.

“We will act according to plan”

The test results were commented on by Marina’s mother Lyudmila Nikolaevna.

— In fifth grade, such a test is a godsend. I see: I could put a little pressure on Marina with her studies, because the diagnostics showed good psychophysiological characteristics (for example, she remembered numbers well).

— Who knows, maybe she will work in a notary office.

The family also thought about the job at customs offered by the test.

The girl and her mother also agree that Marina needs breaks from work. It’s already difficult for her to sit through a lesson - she needs to run, sing, dance, play sports...

The applicant will take the test results for a medical examination and psychophysiological examination, which must be passed for admission to the Ministry of Internal Affairs.

* Passing career guidance testing at the Republican Center for Human Problems at BSU costs 400 thousand Belarusian rubles.

Dance is her life. It seems that she could not choose a different path, because she had dreamed of the stage of the Bolshoi Theater since childhood. She didn’t just dream, but day after day she walked towards her goal - through the trials that fate presented to her. She is often compared to the legendary Maya Plisetskaya, although she herself never had any idols. Thousands of fans admire her and always watch her flight with aspiration, without even imagining what lies behind this airy lightness. When she talks about the scene, she gets goosebumps. It seems that it is impossible to love dance more. She is the prima ballerina of the Bolshoi Theater of Belarus Olga GAYKO.

– How does the day begin for the People’s Artist of Belarus?

– It doesn’t matter whether there is a performance that day or not, I get up at 8 in the morning. A sip of tea or coffee, a light breakfast - and I’m off to a classical dance lesson. Despite the fact that I have been in the profession for about 30 years, it is very difficult for me to get up so early: after all, I am a night owl. It’s funny, but during class I can practice at the ballet barre... half asleep. Therefore, I’m trying to quickly tone myself up so that my muscles work and my body doesn’t become relaxed. Sometimes I even persuade myself: “Olya, we need it!” (Smiles.) But by 12 o'clock in the afternoon I'm already like a cucumber!

– Does anything change in this standard morning if there is a performance in the evening?

- Undoubtedly! From the very morning there is a certain mood and internal concentration. All thoughts are about the performance, movements, emotions, spectators. I’m trying to put myself together into a single whole to create a full-blooded image. On this day, of course, you can approach me, but I’m not sure that I react to those around me. Because I turn into a kind of lump. And it’s as if I’m behind a closed door. I guess it's not just me. This applies to any artist. Such concentration is important for everyone, you want to not lose anything, not miss anything, collect everything - and throw it out on stage, in front of the public...

– But all performances are held differently.

- Yes, there is such an interesting point. Sometimes you are dissatisfied with yourself, but the public receives you surprisingly warmly. And vice versa: it seems that you gave your all 100%, but the audience did not understand you. But I’ll say one thing for sure: the viewer feels everything, you can’t deceive him - you can’t fake it in front of him. In dance, sincerity, openness, and the artist’s emotions are important, because our most important task is to fill a person’s soul with light and beauty.

– You very often say that the desire to be a ballerina was born with you.

– Of course, the first impulse here is given by the parents. My mother, even if she is not connected with the world of art, always loved to dance and participated in amateur performances. At the age of 4 I was sent to rhythmic gymnastics, and then also to the dance ensemble “Rovesnik”. I loved movement, choreography, physical activity. And when at the age of 8 we had to make a choice between dancing and sports, we were advised to try to enter a choreographic school (now a gymnasium-college).

As soon as I stood at the ballet barre, I immediately realized who I wanted to be, what I had to achieve and what I had to do for this. I didn’t just dream about the stage of the Bolshoi Theater, but I understood: I would only dance the main roles as a leading soloist! I don’t know how to explain it, but I felt it all in my gut, moreover, I saw it. I remember these thoughts very well when I was 9 years old. Of course, sport instilled in me the qualities and character of a leader, and day after day I persistently walked towards my goal - to be the first. It was unacceptable for me to do something half-heartedly, fully, in my profession I gave my best. I set myself a goal - to be a ballerina, and I went towards it. There was no other way for me - only dance.

– Was it hard?

– Honestly, I don’t understand when they fret over children at a ballet school and say: oh, how poor they are!.. If you love it, that’s normal! There were 10 girls in our class, and we simply enjoyed sitting in school from morning to night - studying classics and folk dances, going to specialties. Yes, we were tired, but it never occurred to us: that’s it, I’m leaving school! It was a thrill of fatigue! Yes, they put us in positions and arched our legs, but it was natural. It wasn't difficult for me. It’s not hard for me even now. Yes, physically you get tired, but on the other hand you receive colossal compensation - from the role, the dance, the stage, the audience... Why even go to a choreography school if you don’t like ballet? If it’s hard, you can always find something easier to do...

– Do you remember your first performance?

– In our second year of study, we were going to go to Germany with concerts. This was my very first tour, so, of course, I was worried. And I had to prepare a variation of the Fairy of Dolls. Until now, every day I thank my wonderful teacher - a teacher from God, Irina Nikolaevna Savelyeva - for her magnificent St. Petersburg ballet school, which she passed on to me and my fellow students Marina Vezhnovets and Irina Eromkina.

For a 10-year-old girl, the Fairy Doll variation is quite complex. But everything worked out thanks to Irina Nikolaevna, she was able to convey and present everything so well that there were no movements that I could not cope with. This is my first serious work, and I still remember the order of the dance.

– Who would you like to be like in your profession?

“My classmates and I often went to the theater to see performances in which Ekaterina Fadeeva danced. For us, she was a Ballerina with a capital B. We gave her flowers, we admired her, standing behind the scenes, we took autographs from her. We really liked her. But, you know, the word “idol” always scares me, I’ve never had one. I always tried to create something out of myself. Yes, of course, there were reference points - strong personalities, professionals. I watched recordings of their performances and read their biographies. I remember as a child, when my mother and I admired Andris Liepa and Nina Ananiashvili, it never occurred to me that one day I would be able to touch them, hug them, work next to them. My tender love was Maya Plisetskaya. I find inspiration in these people. I don’t copy, I don’t try to be like - thanks to them I set myself on a certain path.

– Surely, one of the people you trust, who is an authority for you, is your mother?

– Mommy is my tuning fork! She is always very reserved in her praise. And it has always been like this, since childhood. Is she proud of me? I suppose so. But we never talk to her about such topics. She does not perceive the fact that her daughter is a ballerina and people's artist as a miracle or something supernatural. Although those around her are trying to prove the opposite to her. (Smiles.) She knows how dedicated I am to my profession and that it has always been this way. When I came home after training and collapsed, it was she who supported me - both physically and mentally. Probably only she knows how hard it can be for me...

– Having just entered the choreographic school, did you already dream of the stage of the Bolshoi Theater of Belarus?

– For the last three years of college, I was eager to go to the theater with all my heart, all I could think about was: faster, faster, faster! When she came to the Bolshoi, she was in the corps de ballet for a couple of years, but it was just a formality, because she very quickly began to prepare solo parts. Of course, I will never forget the moment when I was offered to dance the third, so-called “black” act of “Swan Lake”: I would not have been able to cope with the entire performance at once. Now I understand that they gave me the part of Odile in advance, because I was 18 years old! I was worried - crazy, but I also passionately wanted to dance. I was just burning with this desire! I didn’t understand what level a ballerina must be in order to approach and touch this role... But now I am very grateful that I had this chance.

– Have you had star fever?

– I love watching people, and I’ve experienced a lot myself, so I can say for sure that almost everyone goes through this period. I don’t know what kind of disease this is - stellar or lunar . (Smiles.) At a certain stage, you achieve something, take off, and consider yourself practically a celestial being. But this does not last long, because life has its own sense of humor. As soon as you decide that your head is about to hit the clouds, you fall, and you fall very painfully.

– You can often hear that ballerinas sacrifice a lot to their profession...

– My profession is my life, dance is the air I breathe. I don’t make any sacrifices on the altar of ballet. I love what I do because ballet is my work and my inspiration.

– Is it difficult to be a People’s Artist?

– You know, dancing is much simpler and easier when you are not burdened with any titles or statuses. When the burden of responsibility hangs on you, you understand: you simply do not have the right to let them down. But you are a living person - and anything can happen. But I never perceived the title as something global. When they say to me: “You’re a people’s artist!”, I answer: “So what?..”. I am a fairly open and simple person. Although at some point it became difficult for me to carry this load, it began to put pressure on me. And then I realized: you just need to enjoy your profession and not prove anything to anyone. Yes, there are successful and less successful performances, but we are not machines, not robots. On stage you can only live by emotions and feelings; technique should not be a priority. It is ideal if everything in you is harmoniously combined and this balance is maintained. But if a dancer is highly technical but has a cold air about him, for me he is not an artist.

– One of the most unpleasant aspects of being a dancer is injuries. And, unfortunately, you know this first-hand.

– When you live by your profession, a serious injury is simply a disaster. In my case, I suffered from pain in my knee for a year and a half, and they couldn’t figure out what was wrong with me. Until one day the ligaments ruptured. A complex operation followed, but the most difficult thing was the rehabilitation process. I deliberately kept my photographs after the operation. To never forget how it happens when everything inside you turns upside down, breaks down, but you try to rebuild yourself and your thoughts, to understand how to live on without what you love... When you wake up after anesthesia and don’t understand whether you can walk normally. And you can only dream about dancing or putting on pointe shoes... At such a moment, priorities change. Everything that seemed important to you: career, success, your importance - turns into dust.

Theater is a huge mechanism, a conveyor belt. And the performances must go on. For which I am very grateful to the Big One - for the fact that they were waiting for me here. They supported me and said: calmly get into shape and come back.

– You had the operation in February 2016, and in September you slowly began going to theater classes.

– After the operation, I spent a whole month at home. You know, while day after day you are tormented by your thoughts and cry into your pillow, there comes a time when you begin to dream about the simplest things: going out and having coffee with someone, taking a walk around the city. It's a very strange state when you try to put yourself back together after being broken into pieces. Perhaps these powers to become a different person are given to you only from God.

I am grateful to life for the people it gives me, people who understand me and my problems. Doctor Alexander Pipkin performed a real miracle, because I don’t understand how you can perform a knee operation so skillfully so that you can go dancing again. And my rehabilitation therapist Svetlana Skakun worked with me every day - she helped me feel new. Of course, close friends supported, came, called, but you can’t cry and say how bad you feel, and thereby burden your family forever. Essentially, in such a situation you are left alone with the world and your problems. You learn to do everything from scratch, including opening up and trusting people.

Now for me every day is a miracle. After the operation, I could not walk and dragged my leg, it did not obey me, and now I am practicing at the ballet barre, dancing and jumping... I went on stage - and for me there is no greater happiness!.. Yes, you can fly very high, but do not forget that there are falls. And these tests are necessary in order to realize oneself as a person, analyze one’s actions, work on oneself, fight one’s shortcomings and climb higher and higher on the spiritual ladder.

– You were able to go on stage after such a long break.

– And it was great! I just flew to this stage, I most of all wanted to return there, because I knew: they were waiting for me! And I couldn’t betray this trust. I went out and enjoyed every minute, every sound of the music, working with my partner in a duet, and the applause of the audience. Now I’m talking - and my skin is crawling... Previously, before the injury, I could say: “I’m tired, it’s hard, I want to rest.” Now I don’t understand: why should I rest? I enjoy everything! And I can sincerely say: I am a happy person. It is happiness to live and be in constant search for harmony between yourself and the world around you. But how much time and work it took me to understand this!

Elena BALABANOVICH

Photo from the personal archive of Olga GAYKO

She is the undisputed prima of modern Belarusian ballet. A tall, graceful beauty with bright eyes and a quiet voice. Her performances on the stage of the Belarusian Bolshoi Theater are eagerly awaited by true balletomanes and enthusiastic fans. Odette-Odile, Carmen, Giselle, Sylphide, Esmeralda, Zarema, Tamar, Rogneda - she has dozens of roles and roles. We met Olga Gaiko immediately after her recent tour in France.

- Olga, a few words about your recent tour: what kind of performance, what kind of heroine?

Choreographer from St. Petersburg Nadezhda Kalinina presented the play “Bolero” based on the biography of ballerina Ida Rubinstein - a lively, dynamic, bright, emotional ballet, which turned out to be very close to me in terms of plasticity and energy. I haven’t felt this way in a performance for a long time - in order to perform the part of the legendary Ida, I had to turn my soul inside out and transform into a passionate, inspired woman in love with dance.

The performance features amazing music from various composers. The production is strong in terms of dramaturgy, so I literally lived through each of its ten performances. The audience, mostly French, received it very well. Both in Paris and in other cities we went out to bow three or four times.

- Theatergoers and balletomanes remember you in the cult ballets “Spartacus”, “Romeo and Juliet”, “Till Eulenspiegel”.

I actually performed the part of Phrygia in Spartacus - I love these Greek and Roman themes, this atmosphere, plasticity, hairstyles. But she danced this part a little; Phrygia seemed to me not at all quiet and weak, but, on the contrary, heroic, with character, with a core to support her man. Just like Nele from “Til”, into whose image I tried to bring my own individuality.

One of my favorite roles was once Juliet - in our play this image is very well revealed, the path from a girl to a woman, which is interesting to show in terms of acting and drama. Valentin Nikolaevich Elizariev taught me to deeply understand the role and immerse myself in the character, and helped to reveal my potential. There were other roles.

The turning point for me was the image of Abby in the ballet “Love under the Elms”, which was staged by Yuri Puzakov. I had to overcome myself, creating this ambiguous and strong acting image. The heroine, of course, is cunning, but unhappy.

- On the Belarusian stage you worked with iconic modern choreographers...

I thank fate for bringing me together with such amazing masters. With Nikita Aleksandrovich Dolgushin we prepared the ballets “Esmeralda” and “La Sylphide”; unfortunately, we did not have time to do “Giselle”. And Alexandra Tikhomirova, then Nikita Alexandrovich’s assistant, worked with me on every step, nuance, and movement in “Esmeralda.”

I received enormous inspiration from the very presence of the Master in the hall, a professional of the highest class, representing the old Leningrad school, from his presentation of the material, from his attitude towards the soloists, towards the ballerinas, from working with him - a very intelligent, kind person. I ran and flew to every rehearsal, I was in awe of the fact that I had the opportunity to simply look at the legend, at the great man.

During rehearsals with him, I never felt that I couldn’t do something, there was no doubt about my individuality, because he constantly tried to open up each dancer, to convince us that we can do anything. I really doubted whether I was suitable for the ballet “La Sylphide” in terms of height (I’m a bit tall), image, and style. But I fell in love with this ballet, the rehearsals inspired me every day, and I realized that I wanted and could try something new. Nikita Alexandrovich gave this confidence.

Working with Andris Liepa was also a real discovery for me, a breath of fresh air. Before meeting him, I always associated myself with a classical dancer, because I mostly danced classics - tender, airy, sublime. But at some point you want to try to reveal yourself in a new way, try something different. It was working with Andris on the performances “Scheherazade” and “Tamar” that helped me discover some other acting and plastic facets in myself.

The role of Zobeide, the wife of the Sultan and the beloved of the Golden Slave, in “Scheherazade” was very difficult at first, I didn’t feel the plasticity, so it took a lot of internal work. I watched a huge number of videos with different ballerinas, studied many theatrical sketches and texts... And at some point I realized what my heroine should be like. I also realized that first of all I had to get my personality, and then color it, as required by the choreographer.

ballet "Bakhchisarai Fountain"

- After the role of Zarema in The Fountain of Bakhchisarai, the oriental theme should be very familiar to you.

I am really close to oriental images, but in the performances of the era of the “Russian Seasons” of the beginning of the last century, which Andris Liepa reconstructed on our stage, the plasticity is very specific. In these ballets, the classical dancer needs to liberate her body, shoulders, arms, neck, and hips.

Are you close to the Spanish heroine in the ballet “Laurencia”, which was staged on our stage by world ballet star Nina Ananiashvili?

There is also a lot of passion in the Spanish theme. I am an emotional person, so expressive, temperamental Spanish dances are very close to me. As for Nina Ananiashvili, I grew up listening to her recordings. My mother was in love with her as a ballerina and always told me: “Look, Olya, what kind of hands she has, how she moves, how she dances!”

I can say that Nina was my idol, whom I looked up to. Therefore, when she came to our rehearsal hall for the first time, I was completely delighted and did not immediately believe that I would have the happiness of working with a great ballerina.

- The legends of the Belarusian ballet Lyudmila Brzhozovskaya and Irina Savelyeva also became your teachers.

Lyudmila Genrikhovna and I have come a very long way in the theater. I would say that we grew up together: she as a teacher, I as her student. For me, she is the standard of a real woman, a real person, a very subtle, spiritual personality. This is a person close to me.

Irina Nikolaevna Savelyeva taught classical dance at our choreographic school. She was a famous ballerina in her time, a representative of the amazing Leningrad ballet school. Together with me, Marina Vezhnovets and Irina Eromkina studied with Irina Nikolaevna. We are all very different, because our teacher was able to make each of us an individual.

She shaped our lives and our careers. Teachers provide not only professional knowledge. Irina Nikolaevna always wanted us to have the right human qualities: justice, honesty, perseverance. They achieved success due to their strong character, but not through meanness. Today Irina Nikolaevna no longer teaches, but we always try to be in contact with her, come to visit, share our joys with her and more.

Yes, I was surrounded by amazing masters, thanks to whom I took place on stage. Without false modesty, I don't feel like I let them down.

Is it true that in ballet the winner is the one who knows how to overcome laziness, resentment, “I don’t want to” and achieve his goal?

At the choreographic school, we looked into the teacher’s mouth - she was a goddess for us. And there was no talk of any grievances, there were no unnecessary emotions. There was only one goal in my head: to become a ballerina. We went towards this every day, absorbing every word. What grievances? Just gratitude.

You came to the theater and almost immediately became a soloist, starting to dance the leading roles, including the most difficult one - Odette-Odile in Swan Lake.

I came to the theater in 1997, and today, from the height of the years I have lived on stage, I can say that I was given a chance to prove myself in advance, for which I am very grateful to both Valentin Nikolaevich Elizariev and Yuri Antonovich Troyan. You still need to grow into this role. It was very difficult for me, honestly. At 18 years old it is too early both in terms of technique and emotions.

ballet "Scheherazade"

- Why can’t every ballerina dance the Swan? What data is needed for this batch?

I can say that in our time Odette-Odile is danced by different ballerinas. But before there were quite strict canons. In order for the audience to believe and almost see the wings, the swan neck, the ballerina must have certain physical characteristics, external texture: plastic, long, flexible arms, a thin swan neck. But, on the other hand, today every dancer can try to reveal herself by making her own Swan.

The image of Odette-Odile accompanies you throughout your entire creative career. Do you know everything about him? Who is closer to you: White Swan or Black?

Yes, this party is always nearby. But, despite the fact that I have been dancing it for many years, I still think through the image every time. Creative comprehension of a work is an endless process, and we also grow up, improve, and become wiser. To be honest, both heroines are equally close to me. Sometimes I like Odile even more. She is a free woman: strong, bright, passionate, tempting.

And the black tutu and feathers in the suit add magnetism, mystery, and mystery to the image. Dancing in contrast is always interesting. The coin has two sides: sometimes you don’t understand where you are acting and where you are already real, where is this line separating the image you create and your individuality, which you put into it and complement it.

You always want to not just perceive what is happening on stage - white or black, but to somehow color it, give depth, nuances, shades. Every year I become more and more convinced that you need to immerse yourself in emotions in dance and strive to touch the subtle strings of the soul, so that the viewer feels it, so that he is hooked.

- How do you understand that you have touched and captivated the audience? Is there a “fourth wall” between the audience and the stage?

I can feel it. This is very difficult to explain, but I am sure that there is this connection - between the stage and the viewer.

There are 36 roles in your repertoire, judging by the information on the theater website. Among them, the absolute majority are positive heroines, much less negative, and there are several contradictory characters.

I don't actually remember how many roles I have. But there is a strong feeling that I didn’t say something, that I have a lot to do. All the roles are really very different. In each game you have to transform yourself depending on the image, era, style, costume - and this is very interesting. To look for something and get it out of yourself.

Attitudes towards the party change at different periods of life. Sometimes you strive to express yourself in some complex, characteristic, passionate roles, and sometimes you want peace, positive heroines and emotions.

- Do you feel so sorry for your heroines? What do negative roles give you?

Yes it's true. I feel sorry for them. Negative roles have always been interesting to me. Because in contrast you can test yourself as an actor, for this you try to make each role as convincing as possible, your own.

-Which of your current heroines is close and understandable to you? Isolde, Carmen, Jadwiga, Dark Angel?

Carmen is just a woman, she is understandable. It seems to me that there are many such women in our time, and at all times. She is like the wind, changeable, ambiguous, both cold and hot, elusive. I love Isolde very much (ballet "Tristan and Isolde" - Note ed.) and the role of Beloved in the ballet “The Little Prince”, because it is interesting to be not only some kind of fatal, passionate heroine, but also lyrical and dramatic.

I am also very close to Balanchine's style and the small role of the Dark Angel in his ballet Serenade. I love neoclassicism, this Balanchine style, this plasticity, when you dance just music, without a plot.

- What about comic roles?

I didn't have such roles. Yes, I don’t feel the need for them. I always need to show nerve, drama. Although it might be interesting.

-Have you ever refused roles?

There were games in which I felt uncomfortable, and it was absolutely not my thing. She went out maybe once, and that was the end of it. But this is a normal situation.

- Is it true that sometimes artists feel more comfortable on stage than in life?

It’s interesting that from my very first performances, back in school, as soon as I crossed the stage, I became a different person. I had no boundaries, no particular embarrassment, I opened up - both for myself and for the audience. Although I was quite shy at school.

- Is the artist embarrassed?..

Perhaps it depends on your upbringing.

- You are workaholic?

I can say that if I had not been a workaholic and even a fanatic to some extent, I would not have reached my goal. Of course, everyone has moments when you are lazy, when you don’t want to do something. But without certain character qualities there would be no success.

- Does a woman sacrifice anything for the sake of being a ballerina?

I've been asked this question many times. But I don't understand what is meant. It may seem from the outside that we are sacrificing a lot, but to what?

- Free time, for example...

There are no victims here, there is a conscious choice of each person. If you choose the path of a leading ballerina, this is your choice, you go for it, you don’t sacrifice anything, you like everything. This means that you concentrate on this, you have a goal, I would even say pathetically, a mission, to tell something, to convey something to people. If you want to get married, you get married. If you want, you combine it all.

You danced in theaters in France and Italy, Germany and Spain, Holland, China and other countries. Have you been invited to work abroad?

Yes, of course, there were opportunities and good offers. But I can’t imagine myself outside the walls of this theater. I am a fan of this theater and Belarusian art. There was a temptation to leave a couple of times, but Minsk and Belarus prevailed.

- It looks like you are a fan of the profession, the theater.

Yes, this theater and this profession.

- How do you feel about criticism?

Over the years, everything gets easier. Naturally, I need criticism from people whom I respect, whom I trust unconditionally, who are my authority. These are both my teachers and people from outside the profession. Of course, this is my mother. But I have my own extensive professional experience and my own opinion.

Previously, I took criticism painfully. She was such a daring, emotional, maximalist: I can do everything, I can do everything. When you are young, you consider yourself simply a genius. Not now. I hope for wisdom, for experience.

Who inspires you? Once, fashion historian Alexander Vasiliev, who made costume sketches for Laurencia, said that Olga Gaiko could play Maya Plisetskaya in the film...

Maya Plisetskaya was the standard for me. Once I even saw her in Sheremetyevo, but I didn’t have the courage to approach her, now I regret it. I am inspired by bright individuals, personalities, strong characters with a core.

Several years ago, a commemorative coin dedicated to the 80th anniversary of the Bolshoi Theater was issued with the image of People's Artist of Belarus Olga Gaiko. How did you feel?

This is an honor for me, and these are not just pretentious words.

- How does your mother feel about your awards and regalia?

Absolutely calm. I know that she is proud of me, but we do not outwardly express strong emotions at home.

- How do you relax after the performance?

I sleep, go to the cinema, drink coffee. I love painting, I enjoy contemplating paintings - when possible, I visit museums when traveling. I like reading, especially the classics. I love beautiful perfumes. On stage, of course, perfume smells interfere with breathing, and they manifest themselves in a completely different way, but outside the theater I don’t like calm, floral, fresh smells, I like more oriental, slightly sweet ones.

- Do they match the character?

I have eastern roots.

What flowers do you like? Administrators in the theater lobby tell stories about fans coming to Gaiko's performances with armfuls of roses.

This happened, and it was very nice. I used to like roses. But now I have a different attitude towards everything - I just love flowers.

- What clothes do you wear every day? Always on parade?

When every other day you put on makeup for the stage, do your hair, “get emotional,” and disturb your nervous system, then most often during the day or in the morning you don’t want to put on makeup or dress up especially. Of course, I try to appear at special events in all my glory, but in everyday life everything is very simple: jeans, a sweater, a minimum of cosmetics.

I don't have any complexes about this. It’s just that you have to try on so many images that outside the theater you just want to be yourself.

- Are nervousness and stress part of the acting profession?

I think yes. Everything is connected with our inner state, with the subtle facets of the soul. You are reincarnated, you worry - that’s the profession.

-Where are you heading? What is your life path today?

This is the most difficult question you can ask me. Now I am again in search of the truth, myself - it is difficult to answer unequivocally. I am trying to comprehend my life and professional experience, to enrich myself spiritually. And I rely only on what has been tested by time.

Interviewed by Olga Savitskaya

Photo: Slava Potalakh, Mikhail Nesterov, Vasily Mayseenok, from the archives of the National Academic Bolshoi Opera and Ballet Theater

High. Thin. Huge eyes. A smile is like a bright flash. In this young woman live the passionate Carmen, the proud Rogneda, the exotic Scheherazade, and the romantic Aurora. Where and how?.. The biography does not provide answers to such questions. Olga Gaiko was born in Minsk. At the age of five she joined the rhythmic gymnastics section, then joined the dance ensemble “Rovesnik”. After graduating from the choreographic school, he worked at the Bolshoi Opera and Ballet Theater of Belarus, dancing in almost all of its productions.
No, he doesn’t dance, he flies. She knows the laws of levitation, and the audience is afraid to sigh when Gaiko hangs in the splits almost one and a half meters above the stage.
- What is the thought beating at this time?
— There is no specific thought. There is a concentration of physical and emotional forces. You focus on the image and think about the precision of every movement, living on stage with strong sensations. The soul breaks out of the body, and you begin to feel the hall, it supports you. And gives strength to soar.
— On the first day of October, you received a medal and a certificate of People’s Artist from the hands of the Head of State. Do you feel chosen?

Olga Gaiko is the youngest People's Artist of the country.

- I dont think about it. I just feel responsible for the work I do.
— Ballet people are a caste. They live in the theater, or rather, in the theater, and marry their own people. The lifestyle is looped: home - work - home. This is true?
- There is no need to generalize. Everyone makes their own choice about how to live and how to live. I always had a goal that I strived for. And to achieve it, to achieve success, dedication is required. Yes, the ballet schedule takes over all my time, but this does not mean that I deny myself communication with good people, my friends not from the ballet world.
-Are you getting up?..
— At eight in the morning. But after a difficult performance, I allow myself to get up later.
— How can you relieve nervous and mental stress after a performance?
- It’s better not to take it off, otherwise you’ll get used to it, and this is fraught... You need to be able to quickly switch to something else.
— Do you have a housekeeper?
- No, we manage somehow ourselves, mom helps. Household responsibilities in the family are distributed harmoniously. We always feel when we need to lend a shoulder to each other.
- What do you love, what do you hate?
“I think about this very often, I reflect on the psychology of people. I came to the conclusion that everyone needs to work with themselves and not show their “untidy” nature in all its glory...
What I love? Family. This is the most important thing, the core in life. I always speak about my mother, Elena Vladimirovna Gaiko, with reverence. This is a woman who dedicated her life to her children, put her soul into us, and put us on our feet. She lives for me and my brother. Perhaps in me she realized her unfulfilled dreams. Mom has a keen sense of plasticity, music...
— Where do you go on tour in your free time?
— Usually there is no free time there; we see the country from the bus window. But if I have a moment, I go to the museum. I was impressed by Prado. And to visit the Louvre, you need to come not on tour, but simply to Paris. I really love painting. Impressionists. I also like to wander the streets and soak in the atmosphere
cities…
— Do books fuel you?
- Yes. I mostly read books electronically. Now I’m re-reading “The Idiot” by Dostoevsky, rediscovering it for myself, it gives an understanding of the nature of people. Nature... I travel outside the city in any weather. I walk through the forest for an hour, breathe, and return refreshed.
— What flowers are your favorite?
— Belarusian roses. They smell.
— Do domestic fans differ from foreigners?
- Yes. Our viewers are open, grateful, but somewhat restrained in showing emotions.
— What is the biggest fear of a ballerina?
- Fear of not being in demand. Fear of major injury.
- They say that you are all broken, with torn tendons, with myositis...
- Is it true. And so am I. But we don’t dramatize our illnesses, unless, of course, you’re off stage for a year due to an injury. I’m used to the pain, I don’t feel it, and eventually the disease goes into the chronic phase, which is already bad. And yet, physical pain is part of our profession.
— Does time destroy a ballerina?
- It helps me. The body as an instrument becomes more experienced, and the brain also develops.
— What about a pension at 40?
— Yes, the ballet age is short, and therefore it is very important to receive public and government support and recognition in a timely manner.
— Are you at the machine every day?
- Every.
- And on vacation?
- No. On vacation we relax. And then we'll catch up. We have a month and a half vacation. This summer I was on the Mediterranean Sea.
— I don’t see a tan.
- I hate sunbathing. Tanning is harmful for my skin type.
— You have a bright appearance, you are temperamental. Were you not invited to act in films?
- No. Apparently, you need to take the first step yourself. I would like to try myself in TV series.
- Well, yes, you are a lyrical heroine...
- It seems to you. I'm different.
- For example, when you are driving and you get cut off, you get out and tell the person something that makes him ready to fall into the ground!
- Exactly so! (Laughs.)
- Let's debunk the myth that ballerinas eat only cabbage leaves.
- Let's. This came from Volochkova - about spinach leaves. She's actually eating fine. Personally, I love well-cooked meat, I prefer Italian cuisine, for example I like pizza.
— Do you eat at night?
- Happens. During the performance, such an amount of energy is expended that the appetite is brutal.
— Excuse me, what is your height and weight?
- 174 and 53. This is normal. When you go on stage in tights and an open tutu, the stage itself adds several kilograms to your weight.
—Can you refuse to dance with a partner if he is new to the stage? Suddenly, while performing support, he drops...
- In no case! We will work with him in the gym until we achieve a good result.
— Have theaters in other countries lured you?
- They called me. Unsuccessfully. I have mutual love with the Bolshoi Theater of Belarus.
This can be seen in my performance on stage.
— What would People’s Artist of Belarus Olga Gaiko wish for five-year-old Olechka Gaiko, who is running to her rhythmic gymnastics classes and does not yet know her future?
- More courage and self-confidence.
You need to believe in children and raise their self-esteem. Dear adults, say kind words to them, give them praise in advance. Children will not be spoiled by this. They will simply grow wings.
— To float above the stage?
- And for this too.

Pair of pigeons
“Ballet shoes are a characteristic. She gives an idea of ​​both the theater and the ballerina,” says Olga Gaiko
—Your feet are very small, judging by your pointe shoes... By the way, how long do they last?
“I’ve been dancing in these for almost six months now.”
- Whose production?
— American, handmade. They are durable and washable. You can see there is soft plastic inserted into the sock here. These pointe shoes meet the world standard.
Shows off satin pointe shoes that you want to pet like pigeons.
— For work I need not one pair, but several. Need shoes with different insoles...
- Is such a miracle worth it...
— 100-110 dollars per pair. The theater helps - it takes on the financial burden.

06.10.2012 - 21:10

One of the heroes of the week is not an official, not a combine operator, or the leader of a political party. But the heroine of the party in the ballet. And Carmen, and Juliet, and Esmeralda. And now she is also a People's Artist of Belarus. Ballerina Olga Gaiko is among those to whom the country's president presented state awards at the beginning of the week.

At the age of five, my mother brought little Olya to the rhythmic gymnastics section so that she could be flexible and graceful. And already at nine, the gifted girl decided to devote herself to ballet.

After graduating from the choreographic college, Olga was almost immediately accepted into the Bolshoi corps de ballet and given the role of Odette-Odile in Swan Lake.

Four years later, in 2001, Olga Gaiko became a laureate of the prestigious international Debut Prize. From that moment on, the ballerina's career took off rapidly. And today in the repertoire of the leading stage master of the Bolshoi there are only the main roles: proud Carmen, romantic Odette, enchanting Scheherazade and loving Esmeralda. Despite such diversity, all of Olga’s images are her favorites.

The spotlights and the stage are the ceremonial side of the artist’s work. Olga wears chic shiny tutus only to the performance. For more than 20 years, every morning of the Bolshoi prima ballerina begins in the same way as a schoolgirl ballerina - with a set of classical ballet exercises. Classes are held daily.

After an hour's warm-up - four hours of rehearsals. There is no time to relax - in three weeks the troupe must prepare the premiere of the neoclassical ballet “Serenade”. Olga has one of the key roles. Therefore, the People's Artist, despite her experience and merits, listens carefully to the comments of the famous French choreographer Nanette Glushak.

At two o'clock there is a long-awaited break for lunch. Contrary to popular belief about strict diets of ballerinas, Olga loves to eat tastefully.

Another weakness of the artist is shopping. Olga can go shopping for hours.

Before the performance, the ballerina carefully combs her hair and applies makeup. It is very bright so that spectators even from the farthest rows of the stalls can see the prima’s face.

Saturday evening and on the stage of the Bolshoi - the long-awaited premiere of the ballet “Serenade”. In it, Olga Gaiko will appear in two new roles at once - the heroine of the play and now the People's Artist of Belarus. The judges will remain the same - the spectators.

News on the topic

On June 25, the ballet “Anastasia” will be shown at the Bolshoi Theater

News of Belarus. The “Ballet Summer at the Bolshoi” marathon started simultaneously with the 2nd European Games, as reported in the “Capital Details” program on STV.

According to the plan, this will give fans the opportunity to be filled spiritually after the intense sports passions in the stands. Festival premieres are shown here all week. June 25 is the ballet “Anastasia” by Vyacheslav Kuznetsov, staged by Yuri Troyan.

The plot is based on the fate of the Belarusian princess Anastasia Slutskaya. Leading ballet dancers of the Bolshoi Theater are involved in the production. The story is complex and confusing, and for the theater stage this is just interesting.

Yuri Troyan, artistic director of the ballet of the Bolshoi Opera and Ballet Theater of Belarus:
We always try to show our new works and premiere performances at this festival. But the most important thing is that the viewer empathizes and worries. As an author, I see both the advantages and disadvantages of the performance. But it seems to me that he found a way to the viewer’s heart. It is most important.

Vladimir Gridyushko, General Director of the Bolshoi Opera and Ballet Theater of Belarus:
The program, as always, includes the presence of invited theaters. Mariinsky Theater together with the project of People's Artist of Russia Igor Kolb Dance. Dance. Dance. And the Kyiv Modern Ballet Theater devotes two evenings to us and the Belarusian audience» .

The festival will end on Friday, June 28, with a gala concert with the participation of world ballet stars. Primas and premieres of the world's leading theaters will appear on stage.

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