Despite the fact that Musical theatre of a name of Stanislavsky and Nemirovich-Danchenko, as well as other Russian theaters closed, many artists continue to work. About how this is happening, and will the ballet after the pandemic and whether the audience wear masks, Maria Sidelnikova talked with the artistic Director of the ballet troupe of musical theater by Laurent Hilaire.— France is gradually emerging from quarantine. How do you spend it?— I returned to France, when Moscow imposed a quarantine and ballet dancers are unable to go to work. He wanted to be closer to family, and now two months I’m here. During this period, as probably many, I’ve had a few stages. From confusion when you go restless and don’t know where to begin because nothing no confidence, to acceptance — you learn to live with this time. Time from you all the same depends nothing, what is there to be nervous about. But I will not sit idly by. The work continues.— What’s it like to lead a company thousands of miles away?— Today there is a big difference, I located three kilometers from the theatre or three thousand, anyway, all communication by phone and computer. Every day we are in touch with the CEO (Musical theatre of a name of Stanislavsky and Nemirovich-Danchenko.— “B”), Anton Getman. We do not know when to resume performances, we have no specific dates, but have a plan a, B, C, and we will adapt depending on the situation, the decisions of the authorities. That is, we work on the future, but don’t know when it will occur. And all that now remains is to get ready to end the quarantine as soon as possible to return to work. What is the schedule of the artists of the musical theater? Is there a class or they are left to themselves?— Yes, they have class, and I try to look to him in Zoom. Video, of course, a great tool, today it is a real salvation. It’s very important to keep in touch with them, and I hope it is also important to know that I’m around. The class is adapted to home conditions, especially with regard to middle and jumps, but they do it longer than usual — an hour and a half instead of an hour. Now it is time. Given to all linoleum, this is especially important for ballerinas to home they could do on Pointe. When such an unprecedented situation and you don’t know when I’ll be able to get back on stage, to work on a daily basis — not an obvious idea. Why? If dancing is not necessary. They could not do. But most keep the rhythm of work and every day to do the class. And many additionally do yoga and Pilates, open something new for your body. They are great, their self-discipline I admire!— And you do? Maybe class artists give?— Class given by teachers. I spent a few times open lessons in the theater, but it was a one-time lessons. I have the same quarantined finally made time for Pilates. I have long wanted to try, but still didn’t work out. Do with my daughter (Juliette Hilaire, the artist of the Paris Opera.— “B”) video, she’s a great teacher. The way I see it, and form support.— Can you compare the current period in the career of dancers from maternity leave or, for example, with the recovery time after injury? I think not. This is an exceptional situation. Absolutely other conditions. Maternity leave is a natural, normal course of life. Trauma — Yes, this is something sudden, this incident. And you’re trying to understand why it happened, why you, why now. In a situation with the coronavirus after all, you know you are not alone in their trouble. Witnessing the science-fiction scenario, and we are all actors. In my career the longest period without a scene lasted four to five months. And I was thinking if I can after the injury to return to the stage, if I can dance at 100%. Today all are asking another question: “can we dance” and “when can we dance.”— So, the fear that after the quarantine, the company will not collect, you do not?— It seems to me that they lack the theater, they miss the stage, in the rehearsal halls. On the first day, when we get back to the theater, we’ll celebrate it. I have no doubt that the artists will return to one and all very quickly join in the work. Moreover, I am confident that they will return even more motivated, will get great pleasure from rehearsals and even more from the scene.— Do you plan to adapt the season, based on the complexity of the ballets? To start with, for example, a one-act troychatok and gradually move to the great classics?— To dance the big classical ballets are not more complex than one act. For choreography Kylian or Ekman requires the same sort of good form, like “Swan lake”. There probably need to consider another criterion is the expectations of the audience.— And the audience will surely miss the classics. The season stopped right in front of Swan lake, 60 years ago, in a version by Vladimir Burmeister was first shown at Paris Opera. For Theatre of Stanislavsky and Nemirovich-Danchenko this version of the Burmeister remains canonical until now. What is its value, including for you?— “Swan lake” Burmeister nearly thirty years was in the repertoire of the Paris Opera. This is a unique version, very clean, intelligent and special in their concepts, mainly in the third act, which spelled out the plot logic. In front of Siegfried, a Black Swan appears and disappears, hence his doubts. Burmeister-choreographer distinguished by the elegance and gentleness. But the most simple things, as you know, the most difficult to fulfill. As for me, you know that in 1985, Rudolf Nureyev ��have esnecil me’etoile for the role of Siegfried in version Burmeister, so I keep about this ballet are the best memories.— When Nureyev was announced that will put his version of Swan lake, many artists of the Paris Opera took it with hostility, it came almost to strike.— I remember Nureyev staged his own version, and the company had disagreements and grievances on this occasion. Then he returned to the repertoire, “Swan” Burmeister, he had no other choice.— So you are to go on strike did not?— This time passed me by. Then Nureyev pushed us Isabelle guérin at the first international ballet competition in Paris. Preparing us for a pas de Deux of the Black Swan, already from his performance. We worked very hard, rehearsing without stopping — he otherwise would not be.— Why Nureyev had not appointed an Etoile in her “Swan”?— Don’t know, I never asked this question and didn’t ask him. If you look at the situation from “the Swan” is broader, of course, as soon as it comes to the new artistic Director with his own ideas, always appear dissatisfied. Time changes and with it the dance, and technology. Version Burmeister is very good, and for me it never gets old, but Nureyev was another look. What once seemed a stranger, thirty years later, is already considered a classic. This is a normal cycle. In Russia, I feel that people especially value the ballet heritage. Take the Nutcracker Vainonen. This version look generation after generation, come to the show families. But I still think that ballet needs to change, it’s important. Now many are trying to guess how to change the theater after the pandemic. What do you think?— The most important is the desire of the audience back into the hall. It seems to me that in Russia the tradition of the theater of life, theater outputs are especially strong. It’s a big part of culture, it is in the genetics of Russian. So I guess the audience return to the theatre as soon as possible, and quickly.— Faster than the French?— I think it is. But this is only my feeling. And again, it all depends on the conditions. If halls will be opened as usual, this is one scenario. If you will be introduced sanitary restrictions, social distance, I don’t know how people will react.— In France there were different proposals: two chairs between the audience, mandatory masks in the hall, half a meter between the artists… is it Real?— On stage keep your distance impossible, except in a one man show, and in the pas de Deux which one and a half meters? What kind of love happens? And the orchestra? Musicians sitting shoulder to shoulder, in some of the productions in the orchestra pit about fifty people. Besides, if masks are mandatory in the hall, they should be on stage. Perhaps, for the audience something that can be arranged, but for artists and music andtov is unreal.— The former stars of the Paris Opera today, led by companies all over the world — you, Nicolas Le riche, Manuel legree, Eleanor Abbagnato. Do you communicate, share whether experience?— Sometimes I do, but the situation varies from country to country, so a generic method could not be. Everyone has their own experience, and everyone will go back to work. A month ago we with Anton Getman worked quite differently. We had hoped that the performances can be resumed much earlier. The situation is changing every day. What do you think of resignation after allegations of discrimination, George Lucas, for many years led the ballet Opera national de Lyon (more information in “Kommersant” of February 21)? Do you feel that the new time dictates new rules of communication with the artists?— I don’t know the details of the situation to Lucas, so did not want to talk about it. I can only say that between the way to communicate in the ballet world thirty years ago and today, of course, there is a big difference. This evolution was necessary because communication should be based on mutual respect. Today, some words are impossible. It is a question of generations. I had never used, but what we did not hear in his address. No one thought that this is normal, just as it was taken. Today, thanks to various social movements much has fallen into place, is the attitude with which nobody will accept. But you have to know moderation, can not go to the extreme. If in rehearsal you three make the same remark, and then you are accused of emotional harassment, so we can’t do any work. Our profession requires not only discipline, but also self-discipline. You have to be strict with myself and only rely on themselves, because every play needs to be better than the last. And I very much hope that the forced isolation will allow us to take another look at things that seemed ordinary. After quarantine we’ll be back with the awareness of what is happiness and chance to live a normal life — to go on stage, to come to the theatre. I artists say so. Maybe corny, but it certainly does not hurt.
