1月31日付のインタビュー記事ですΣ（・□・；）さりげなく、今の教え子、ShreinerとYulia、特にYuliaを教えることになった過程ですが、もっと詳細な事情があるように思いました。また、過去の教え娘スミちゃんに対するコメントも面白すぎる～、かなり抑えた行間に相当な言語外情報が満載されているかと…、あとはみなさまの想像力と妄想とで「隠された事実」にどれだけ近づけるか～？？？：
http://portal-kultura.ru/articles/balet/231625-marina-kondrateva-traditsii-bolshogo-ne-mogut-ischeznut/
以下、ほんの抜粋ですがかなり長いです、現役ダンサーや関係者の話です、あまりに興味深い内容ですので全部の和訳を試みますが、少し時間をくださいませ～(⌒∇⌒)：
「culture: Who are your female students now?
Kondratieva: Rita Schreiner, a very interesting ballerina, you should follow her. She is a good boy, she has made tremendous progress, we have prepared several performances, among them Don Quixote, Coppelia, Nutcracker, Carmen Suite. Dancing Rita is clean, neat and very professional. I am grateful to Mahar Khasanovich (M. Kh. Vaziev - the head of the ballet troupe. - “Culture” ) for approving our work approvingly and “pulling” Rita from the corps de ballet to the soloist.
Yulya Stepanova came to me from Luda Semenyaka. She just asked if it was possible to work with me, I did not ask about the reasons for the transition. The first performance we rehearsed was “Bayadere”, she was already dancing him. I advised her not so much by profession - twist your heels, do not sit on your hip, - but in the image, role, manners. Glad to have a good performance. Now we have started for Aegina. When I was looking for tapes to show Yule, I unexpectedly found a record of twenty years ago with Masha Bylova and Sasha Vetrov. I remembered that then I had the feeling that the whole ballet was performed by myself. I really learned the whole role - rehearsals with Masha became a serious work that Yury Grigorovich entrusted to me as a teacher.
I think that Julia will be a good Aegina, she just felt the image and works with insane desire. For some reason, she was first entrusted to Phrygia. I went to Mahar Khasanovich: “She may be in the soul of Phrygia, but externally and in temperament — Aegina, and what else!” He looked closer and agreed — Julia was already put on the poster. I also rehearse for Ana Turazashvili and the girls from the corps de ballet - we are preparing various variations with them.
Culture: Why don't you say anything about your pride - amazing Olga Smirnova?
Kondratieva: Olya is now working with Maria Allash. While I don’t have Oli, I don’t know what will happen next.
Culture: Is the transition from teacher to teacher a normal full-time position? In my opinion, before such situations testified to the conflict and were the exception rather than the rule.
Kondratieva: We have a constant fermentation. Dasha Khokhlova a few years ago left Lyudmila Semenyaka, now she has returned to her. Previously, this was difficult to implement. The artistic director appointed teachers. An artist comes to the troupe, and he is determined by the mentor and class, where he will be engaged. This law began to gradually erode, the artists themselves began to decide with whom to rehearse them, and now there are permanent transitions and leapfrog.
I sometimes complain about being too soft, I always communicate calmly with my girls. I get even a little angry when the teacher shouts at the rehearsal or humiliates the student. I encourage artists to think together, we look at the recordings, I show examples of different interpretations and trust their choice. That is, we work together, and not only on the correctness of the text - it is clear that this is a requirement of our profession, but on the beauty of the posture, body position, hand movements, and, of course, on the meaning - why did you go on stage and what do you want to say.
Photo: Alexander Konkov / TASS photo chronicleculture: Abandoned teachers are offended by the artists and the new mentor?
Kondratieva: Try not to be offended. My age is already such that I do not hold anyone against anyone and do not quarrel with anyone. If a person does not want to work with me - what to do? It is unpleasant, of course, that Olga left, but Julia appeared, and I understood how much I can give. Understand that a student’s transition does not mean that one teacher is good, another is not very good. Everyone who has come a long way in the profession has his own vision and his own views. It happens that this begins to not coincide with the maturing ballerina, and she ceases to understand the teacher. Only the process in which people who are tuned to one wave, when the younger ones want to absorb the experience of their elders, is productive and interesting.
Culture: You upset me - I thought that Olya was such a devotee, from some old times, when you were proud of your teacher and first spoke about him, and then about yourself.
Kondratieva: I thought so too. Seven years of daily work are connected with Olya, I gave her all my soul, I really wanted her to become a ballerina, she deserved this position - so capable and unusually beautiful. Recently I saw the last act of Olya “Bayadere”. She danced very well - she remembers everything that I told her. We were very close, we met not only in the theater, we went to the dacha, we talked a lot about personal things. Apparently, this was not necessary.
Culture: Why do you celebrate your anniversary with “Don Quixote” - a performance that you did not dance?
Kondratieva: Kitri is not my party, but now there are such students who can perform one act of "Don Quixote". Rita is gorgeous in the first - dancing on a huge jump, boldly, confidently. In the second Olya Smirnova will appear, and Yulya Stepanova will become the Master of the Dryads. I didn’t ask Olya — she went to the head of the troupe herself. In the street dancer party will be Ana Turazashvili. On the third act, my Kitri, Natasha Osipova, will arrive.
culture: Natasha's arrival on your holiday just does not surprise me - she always remembers you with such tenderness and gratitude.
Kondratieva: We were friends with Natasha, she trusted me, understood perfectly well, felt me. The girl is incredibly capable, and not only because she has a unique leap and a rare spin, she is an individual, with a special inner world. On stage - incredible energy and violent temperament. In life, Natasha is a kind, sympathetic, vulnerable girl.
Once at the graduation, I saw her only in Adagio Aurora with four cavaliers, and, why hide, I was not impressed. Then she came to my class and modestly stood on the side machine. I looked at her and realized that there would be a lot of work, but then I didn’t know that it would bring me so much pleasure. We did many performances with Natasha - “Pharaoh's Daughter” and “Bayadere”, “Giselle” and “Sylphide”, “Corsair”, “Flame of Paris” and, of course, “Don Quixote”, after which the morning London newspapers wrote in huge letters : "The ballerina was born."
It terribly annoyed me that everyone emphasized her shortcomings - she, of course, was hampered by the sporting past, but the girl made unique progress, went up from the play to the play: poses, arabesques, attitudes - everything is beautiful.
Culture: Is it important to you?
Kondratieva: I like beauty to live on stage. I called Marina Timofeevna a sculptor. She comes up, presses a spatula with her finger and says: "This is how you need to stand." I look in the mirror - really, a completely different position - beautiful. So the sculptor cuts off the extra layer, and Semenova polished our poses with the touch of a hand. I also tried to work with Natasha - she also appreciated beauty and grasped all the comments with ease. Now no one will say that she has flaws.」
http://portal-kultura.ru/articles/balet/231625-marina-kondrateva-traditsii-bolshogo-ne-mogut-ischeznut/
以下、ほんの抜粋ですがかなり長いです、現役ダンサーや関係者の話です、あまりに興味深い内容ですので全部の和訳を試みますが、少し時間をくださいませ～(⌒∇⌒)：
「culture: Who are your female students now?
Kondratieva: Rita Schreiner, a very interesting ballerina, you should follow her. She is a good boy, she has made tremendous progress, we have prepared several performances, among them Don Quixote, Coppelia, Nutcracker, Carmen Suite. Dancing Rita is clean, neat and very professional. I am grateful to Mahar Khasanovich (M. Kh. Vaziev - the head of the ballet troupe. - “Culture” ) for approving our work approvingly and “pulling” Rita from the corps de ballet to the soloist.
Yulya Stepanova came to me from Luda Semenyaka. She just asked if it was possible to work with me, I did not ask about the reasons for the transition. The first performance we rehearsed was “Bayadere”, she was already dancing him. I advised her not so much by profession - twist your heels, do not sit on your hip, - but in the image, role, manners. Glad to have a good performance. Now we have started for Aegina. When I was looking for tapes to show Yule, I unexpectedly found a record of twenty years ago with Masha Bylova and Sasha Vetrov. I remembered that then I had the feeling that the whole ballet was performed by myself. I really learned the whole role - rehearsals with Masha became a serious work that Yury Grigorovich entrusted to me as a teacher.
I think that Julia will be a good Aegina, she just felt the image and works with insane desire. For some reason, she was first entrusted to Phrygia. I went to Mahar Khasanovich: “She may be in the soul of Phrygia, but externally and in temperament — Aegina, and what else!” He looked closer and agreed — Julia was already put on the poster. I also rehearse for Ana Turazashvili and the girls from the corps de ballet - we are preparing various variations with them.
Culture: Why don't you say anything about your pride - amazing Olga Smirnova?
Kondratieva: Olya is now working with Maria Allash. While I don’t have Oli, I don’t know what will happen next.
Culture: Is the transition from teacher to teacher a normal full-time position? In my opinion, before such situations testified to the conflict and were the exception rather than the rule.
Kondratieva: We have a constant fermentation. Dasha Khokhlova a few years ago left Lyudmila Semenyaka, now she has returned to her. Previously, this was difficult to implement. The artistic director appointed teachers. An artist comes to the troupe, and he is determined by the mentor and class, where he will be engaged. This law began to gradually erode, the artists themselves began to decide with whom to rehearse them, and now there are permanent transitions and leapfrog.
I sometimes complain about being too soft, I always communicate calmly with my girls. I get even a little angry when the teacher shouts at the rehearsal or humiliates the student. I encourage artists to think together, we look at the recordings, I show examples of different interpretations and trust their choice. That is, we work together, and not only on the correctness of the text - it is clear that this is a requirement of our profession, but on the beauty of the posture, body position, hand movements, and, of course, on the meaning - why did you go on stage and what do you want to say.
Photo: Alexander Konkov / TASS photo chronicleculture: Abandoned teachers are offended by the artists and the new mentor?
Kondratieva: Try not to be offended. My age is already such that I do not hold anyone against anyone and do not quarrel with anyone. If a person does not want to work with me - what to do? It is unpleasant, of course, that Olga left, but Julia appeared, and I understood how much I can give. Understand that a student’s transition does not mean that one teacher is good, another is not very good. Everyone who has come a long way in the profession has his own vision and his own views. It happens that this begins to not coincide with the maturing ballerina, and she ceases to understand the teacher. Only the process in which people who are tuned to one wave, when the younger ones want to absorb the experience of their elders, is productive and interesting.
Culture: You upset me - I thought that Olya was such a devotee, from some old times, when you were proud of your teacher and first spoke about him, and then about yourself.
Kondratieva: I thought so too. Seven years of daily work are connected with Olya, I gave her all my soul, I really wanted her to become a ballerina, she deserved this position - so capable and unusually beautiful. Recently I saw the last act of Olya “Bayadere”. She danced very well - she remembers everything that I told her. We were very close, we met not only in the theater, we went to the dacha, we talked a lot about personal things. Apparently, this was not necessary.
Culture: Why do you celebrate your anniversary with “Don Quixote” - a performance that you did not dance?
Kondratieva: Kitri is not my party, but now there are such students who can perform one act of "Don Quixote". Rita is gorgeous in the first - dancing on a huge jump, boldly, confidently. In the second Olya Smirnova will appear, and Yulya Stepanova will become the Master of the Dryads. I didn’t ask Olya — she went to the head of the troupe herself. In the street dancer party will be Ana Turazashvili. On the third act, my Kitri, Natasha Osipova, will arrive.
culture: Natasha's arrival on your holiday just does not surprise me - she always remembers you with such tenderness and gratitude.
Kondratieva: We were friends with Natasha, she trusted me, understood perfectly well, felt me. The girl is incredibly capable, and not only because she has a unique leap and a rare spin, she is an individual, with a special inner world. On stage - incredible energy and violent temperament. In life, Natasha is a kind, sympathetic, vulnerable girl.
Once at the graduation, I saw her only in Adagio Aurora with four cavaliers, and, why hide, I was not impressed. Then she came to my class and modestly stood on the side machine. I looked at her and realized that there would be a lot of work, but then I didn’t know that it would bring me so much pleasure. We did many performances with Natasha - “Pharaoh's Daughter” and “Bayadere”, “Giselle” and “Sylphide”, “Corsair”, “Flame of Paris” and, of course, “Don Quixote”, after which the morning London newspapers wrote in huge letters : "The ballerina was born."
It terribly annoyed me that everyone emphasized her shortcomings - she, of course, was hampered by the sporting past, but the girl made unique progress, went up from the play to the play: poses, arabesques, attitudes - everything is beautiful.
Culture: Is it important to you?
Kondratieva: I like beauty to live on stage. I called Marina Timofeevna a sculptor. She comes up, presses a spatula with her finger and says: "This is how you need to stand." I look in the mirror - really, a completely different position - beautiful. So the sculptor cuts off the extra layer, and Semenova polished our poses with the touch of a hand. I also tried to work with Natasha - she also appreciated beauty and grasped all the comments with ease. Now no one will say that she has flaws.」