Этточно)). "Двигатель прогресса". Дождались, наконец. А то совсем погрязли в этой своей "русской классической школе"...уж так её, бедную утюжат со всех сторон все, кому ни лень. Китри в БТ днём с огнём не сыщешь, да и О-О страх и ужас...так нет, недостаточно прогресса...
Слава всем богам, что хоть Вишнева есть...
Спасение на за горами.
Намерения вполне прозрачны. Такой лозунговый вброс. Прям "июньские тезисы")).
Вот так и хочется вспомнить не профессиональные заслуги балерины, на сцене доказывающей свою состоятельность, а "нужный" круг знакомств, позволяющий спонсировать длящуюся с 2013 года атаку "танцующего бренда номер 1" на Москву...

Господи, да минует  БТ чаша сия! Боюсь, что такого испытания театру не выдюжить...

https://www.nytimes.com/2017/06/20/arts … dance.html

Diana Vishneva taking a moment just before the curtain rises for a performance of “Onegin” at the Metropolitan Opera House. Ms. Vishneva will dance for the last time as a principal with American Ballet Theater on Friday. Credit Damon Winter/The New York Times
Diana Vishneva is not leaving American Ballet Theater without a plan. She’s leaving Ballet Theater because she has too many plans. What doesn’t she have? Time.

When Ms. Vishneva performs “Onegin” on Friday night for her Ballet Theater farewell, she will leave behind an imprint of dance memories. A passionate, soulful ballerina, Ms. Vishneva burst on the New York scene as if from another world — though, technically, she is from St. Petersburg, Russia. In an early New York appearance, she performed George Balanchine’s “Rubies” like a ballerina on fire.

After she danced as a guest artist in “Romeo and Juliet” in 2003, Kevin McKenzie, Ballet Theater’s artistic director, offered Ms. Vishneva, then a principal with the Kirov Ballet — now known as the Mariinsky — a contract. She became a Ballet Theater principal in 2005. But Ms. Vishneva also embraced life as a guest artist, dancing with many companies over the years, including the Bolshoi Ballet, the Paris Opera Ballet and Berlin State Ballet.

Ms. Vishneva, 40, won’t stop dancing, but she is searching for new ways to perform. In August, she will open a studio in St. Petersburg where, along with classical ballet training, she’ll offer yoga and gymnastics for both professionals and nonprofessionals.

Diana Vishneva to Leave American Ballet Theater in June SEPT. 15, 2016
She’ll also use the space to help cultivate new choreographers, which will expand on her work with Context, a dance festival she initiated five years ago that will be in Moscow and St. Petersburg this November. She welcomed the Martha Graham Company in 2011 (its first time in Russia) and hopes to bring Ballet Theater this year. Ms. Vishneva, who recently spoke about her career in her dressing room, may need an infusion of New York City by then.

Following are edited excerpts from the interview.

Credit Damon Winter/The New York Times
Why are you stepping down from Ballet Theater?

My generation has already left, and at some point, you understand that this might be the time where you have to start a new page of your life. I love it here, but it’s time-consuming and energy-drawing, so I decided at this point, when time is not waiting, I’d rather spend it on new projects.

Do you have a base? Where did you live?

On a plane. [Laughs.] Depending on projects, my schedule varies. Sometimes it’s more in America. Sometimes it’s more in Europe or back home. When you stay at the same place, you get used to the routine, and it becomes boring, so when you move to a different company or country, you’re getting this shot of adrenaline. You are restarting somehow.

Do you like that?

It’s very important to find either a new style or new choreography or a new production that I haven’t done before. So I became a guest everywhere! [Laughs.] I don’t get deep into what’s happening at a specific company; by moving around, I feel freedom for artistic development.

Is it also so that you don’t get caught up in company politics?

Yes. When something starts to get, not messy but to touch me, I can say, “I’m done here.” [Laughs.]

I have earned this status and position. I didn’t just get it because I’m a great talker. I got it because of all the work I put into it and what I showed onstage. I have this from my childhood, being trained in Russia. Unfortunately, in the new generation, not everybody has this diligence.

Why not?

Maybe because, in my generation, we had something to go for, to reach. Maybe it was competition. It was very hard to get somewhere on a professional level because you were surrounded with unbelievably strong dancers. I didn’t want to be just a dancer, I wanted to own and use the language of art.

You agree to receive occasional updates and special offers for The New York Times's products and services.

What do you think of ballet training today?

The world is different, life is different, and kids are different. When I go to see my own teacher, I am shocked with the fact that nowadays the teacher has to repeat [instructions] over and over — 10 times, 20 times.

In my generation, you were told once. We would try over and over; now, they just stand there looking. I don’t know what they have in their heads. We were afraid of our teachers, yet we thought they were gods and we loved them. Now we have this feeling that teachers depend on students.

Is that true only in Russia?

No, it’s everywhere.

This season at Ballet Theater, there aren’t the usual international stars. How do you feel about that?

Obviously, there is a chance for dancers in the company to experience growth and to land parts that they would not necessarily have. But there has to be a balance between local and invited. It gives a new touch, a new potential to the ballets.

A major focus for you in the future will be your festival. What was the dance climate like when you started it?

[Smiles.] It was a little controversial. I am from the classical world and I am doing something contemporary, and I created a festival and why is she doing this? For what reason? She is classical! Now it’s absolutely interconnected, but before they were parallel. Nobody remembers why it was controversial. [Laughs.]

What will you miss about your frequent Ballet Theater partner Marcelo Gomes?

It’s not possible to miss Marcelo. We will continue. It’s very rare that it happens with a partner — this unbelievable connection, this chemistry.

I don’t have the feeling that I am saying goodbye to A.B.T. I know that I have to break and leave the system. When someone says, “I’m tired,” I say: “Well, you never worked at A.B.T. Try going there.”

New York is a hard town, isn’t it?

Yes. [Laughs.] And mentally, psychologically, emotionally, not everyone can withstand these conditions. So when you are standing there in front of the audience — the grateful, wonderful audience thanking you for your performance — you’ve gone through rehearsing and felt all the pressure. The feeling of standing in front of this grateful audience is mind-blowing. You almost feel like you’ve done an amazing deed. The gratitude that you get from the audience is so much different in America.

How so?

Here, people are so open. And this openness and gratitude gives you an unbelievable freedom to open up to them. But you don’t feel it anywhere else. You only feel it here.

Ну, до нашего дорогого ректора госпоже Вишнёвой ещё ой, как далеко.
Опять же не надо забывать, что мировое балетное сообщество по-рaзному относится к Вишнёвой и к Цискаридзе. Как, впрочем, и наши герои по-разному относятся к своим коллегам.
Отвлекаясь от перепалки с Цискаридзе, скажем, что Вишнёва не была замечена в поливании коллег грязью, а о коллегах в АБТ вообще говорит только хорошее. Да и в Мариинском никого никогда не унижала. Так что можно, конечно, их сравнивать.
Можно и критиковать "Кармен" и "Болеро" Вишнёвой. Что не изменит ровным счётом ничего по факту её выдающихся качеств уникальной танцовщицы.
Пожелаем ей успехов на новых дорогах. И большого личного счастья.

Дорогой Privet, если не затруднит, пожалуйста, переведите основные положения из статьи поста 127. Самое главное и интересное.
По поводу Цискаридзе Вы имеете в виду их "старую перепалку"?
Хотела бы сказать, что мне ближе классика, но это её дело, в конце концов, чем заниматься. Трудно сказать (у нас нет доказательств, мы в голову к ней не влезем), почему она выбрала современное направление: из коньюнктурных соображений или её это действительно интересует на данном этапе. Я не вижу ничего плохого в том, что о ней кто-то написал хвалебную статью. А характера ей, конечно, не занимать: иначе она бы не стала тем, кем стала. Только с железным характером можно достичь высот.
С Цискаридзе их можно сравнить в одном: оба необыкновенно талантливы, умны, целеустремлённы, добиваются своего. Николай Максимович пошуметь любит, а Диана делает всё, похоже, тихой сапой. Но силы поддержки у них, на мой взгляд, всё-таки неравные. У Николая Максимовича они значительно круче.
И почему-то все репшили, что Диана непременно хочет руководить чем-то стационарным? Она уже нашла себе место для руководства. Фестиваль. Он может существовать годами. Было бы финансирование.

Полагаю, что да. Какие её годы. Вот Ферри отдохнула пару лет и опять танцует.

http://www.dancemagazine.com/vishnevas- … 31390.html


https://www.youtube.com/watch?v=FW_uSxVpVD4

https://www.youtube.com/watch?v=IzZFTcRLYtc

Вот так трогательно прощалась  Диана со сценой  АБТ- Гомес ,все примы АБТ , Ратманский, Ирина  Колпакова и т. д.

В сентябре на острове Новая Голландия, в здании Бутылки открывается Студия Дианы Вишнёвой «Context Pro» Балет. Современный танец. Йога.
•••
Студия станет новым проектом Фонда Дианы Вишнёвой.
'Context Pro' открыта для всех: профессионалов и любителей, детей и взрослых.
В своей идее Студия продолжает ценности, заложенные на фестивале CONTEXT Diana Vishneva - предоставление площадки для экспериментов и репетиций молодым хореографам.
❗️В преддверии открытия в рамках Студии каждый понедельник, среду и пятницу на понтоне во внутренней акватории острова Новая Голландия проходят занятия йогой от лучших педагогов❗️
Полный график занятий, мастер-классов, лекций и встреч будет объявлен в августе.
Приглашаем каждого стать частью студии Context. Pro, понять свое тело и найти свое движение!

#contextpro_studio #dianavishneva – mit Diana Vishneva, CONTEXT Diana Vishneva und Студия Дианы Вишнёвой «Context Pro» – hier: Новая Голландия Остров.

https://www.facebook.com/dianavishnevao … mp;theater

https://www.facebook.com/events/259790634530280/?acontext={"ref":"3","ref_newsfeed_story_type":"regular","feed_story_type":"17","action_history":"null"}

Details
В преддверии открытия Студии Дианы Вишнёвой Context Pro, которое запланировано на 20 сентября, пройдёт день современного танца Израиля. Событие организовано в сотрудничестве с Международным фестивалем современной хореографии CONTEXT. Diana Vishneva и благодаря поддержке руководства Новой Голландии.
О том, что существует феномен израильского contemporary dance, стало понятно с конца 1990 х годов, когда вслед за Охадом Наарином, создавшим самую известную израильскую труппу Batsheva Dance Company, на международную танцевальную сцену начали выходить один за другим молодые израильские хореографы.
Поэтому день начнется с мастер – класса Владимира Варнавы, победителя конкурса молодых хореографов международного фестиваля современной хореографии CONTEXT. Diana Vishneva. Часовой тренинг на музыку современных израильских композиторов познакомит участников с различными техниками contemporary dance.
Тем, кого интересуют ответы на вопросы: почему современный танец пережил такой расцвет в Израиле, что послужило истоками для его развития, кто сегодня является главным трендсеттером, стоит пойти на лекцию «Танец как коллективное сознательное. Как в маленьком Израиле вырос большой современный танец и почему израильтяне высоко котируются в этой сфере», балетного критика Лейлы Гучмазовой. Слушателям расскажут о двух главных фольклорных источниках — йеменских танцах и хасидских плясках, о том, какие работы Хофеш Шехтер ставит сегодня в Великобритании, Эммануэль Гат и Юваль Пик — во Франции, Ицик Галили — в Голландии и о многом другом.

Но главным событием дня, несомненно, станет показ фильма Mr. Gaga, режиссёра Томера Хейманна. Документально – художественное кино о жизни и творчестве одного из самых изобретательных, ярких и непредсказуемых хореографов нашего времени Охада Наарина. Фильм участник программы IV Международного фестиваля современной хореографии CONTEXT. Diana Vishneva, завоевал значительное количество наград на самых престижных кинофестивалях по всему миру. Картина захватывает неуловимую красоту современного танца и погружает зрителя в творческий процесс создания уникальных спектаклей труппы Батшева. Показывая сцены репетиций, редчайшие архивные материалы и съёмки потрясающих танцевальных номеров, режиссер Томер Хейманн ("Бумажные куклы", "Я застрелил свою любовь") рассказывает захватывающую историю художественного гения, который заново открыл язык современного танца
Вход на все события дня свободный.

Программа дня:

17:00 - 18.00 Мастер-класс хореографа Владимира Варнавы
Место: сцена Бутылки
Вход свободный по предварительной регистрации: https://contextprostudio.timepad.ru/event/562999/

18:00 - 19:30 Лекция балетного критика Лейлы Гучмазовой «Танец как коллективное сознательное. Как в маленьком Израиле вырос большой современный танец и почему израильтяне высоко котируются в этой сфере».
Место: павильон лектория. Вход свободный по предварительной регистрации: https://contextprostudio.timepad.ru/event/562995/

20:00 - 22:00 Показ фильма Mr. Gaga, режиссёра Томера Хейманна Место: большая сцена Новой Голландии
Вступительное слово: Лейла Гучмазова
Вход свободный

Программа фестиваля "Context. Diana Vishneva"

http://contextfest.com/events

"Bпервые в истории CONTEXT Diana Vishneva представляет собственную постановку.
Испанский хореограф Гойо Монтеро на 4 недели приезжает в Пермь, чтобы вместе с исполнителями Perm Opera and Ballet Theatre создать новую работу - Asunder.
Как проходили репетиции и почему постановка получила название «На части» - смотрите в нашем фильме.
Премьера работы состоится 13 и 14 ноября в Москве, 19 ноября - Петербурге. "

‘The Sleeping Beauty’ with David Hallberg
Choreography by Kevin McKenzie after Marius Petipa

https://wwd.com/eye/people/diana-vishne … 202762649/

Ballerina Diana Vishneva Sets Sights on Next Stage
The dancer will return to the stage for the first time since the birth of her son, for the Paris Opera Ballet's gala opening night.

When Diana Vishneva took her final bow as a principal dancer with American Ballet Theatre last summer, after 13 years, she didn’t permanently vanish into the wings.

The 42-year-old left the company to focus on other projects — and ended up taking a few months off from dancing while pregnant with her son, born in May. Since then, Vishneva has been easing her way back into training, with her return to the stage set for late September, when she’ll dance in the Paris Opera Ballet’s gala performance along with the company’s artistic director, Aurélie Dupont. The duo will perform Ohad Naharin’s modern piece, “B/olero,” which they premiered during the Context Dance Festival in 2016. Vishneva founded the festival in 2013.

“That’s a go — the objective has already been set, and by this date you have to be in good shape and good form, and you have to appear onstage,” says Vishneva, who has recently resumed training at Steps on Broadway with Nancy Bielski. The performance will have one notable tweak since its premiere two years ago: Chanel is a sponsor for the gala performance and Karl Lagerfeld is designing the costumes for the piece.

“The costume design has already been done, so [Lagerfeld] is just going to add something or offer some ideas,” she adds; she has yet to see the design. “I don’t know yet — maybe he will be changing the whole thing completely.”

While the Vaganova Academy of Russian Ballet-trained Vishneva will continue dancing with Mariinsky Ballet as a principal, her professional focus has pivoted to bolstering contemporary dance in Russia through her Context festival, as well as creating opportunities for adults to study ballet recreationally. She’s also been developing a collaborative multimedia dance project, “Sleeping Beauty Dreams,” which will premiere in Miami in December.

“It’s like in Anton Chekhov’s ‘The Seagull’ — at some point in your life, you start looking for a new form of expression, a new genre,” says Vishneva, sitting in a quiet corner of the discreetly swanky Lowell Hotel. Her hair is pulled back into a neat low bun, and she speaks with an eloquent thoughtfulness reflective of the je ne sais quoi that she brings to her craft as a dancer. “Being a classical ballet dancer, absolutely the heritage and the tradition of classical ballet is very important to me, but at some point I started feeling that it was like some kind of box, and I felt that it was too tight for me to stay in that space. That’s why I started looking into modern dance, and various genres and forms of dance.”

“Sleeping Beauty Dreams” represents a worldwide collaboration across different media. The piece, choreographed by Edward Clug, incorporates 3-D imaging technology, including live digital avatar projection, electronic music, and art, and explores the inner world of Aurora — a character Vishneva is well acquainted with, having danced the classical ballet many times throughout her career — while she’s asleep.

“We are taking a pretty well-known text of ‘The Sleeping Beauty,’ but what we do is we explore these blind spots where no one knows actually what is going on, what’s happening when the Sleeping Beauty is actually sleeping — what the Sleeping Beauty dreams about,” she says. “It’s a black-and-white fairy tale, but in our vision goodness and evil are embodied in one person, and they define the struggle when goodness and evil are within this very person.”

In a way, she’s highlighting the character’s relatability.

“There are some universal themes there, because Sleeping Beauty is associated with beauty, with kindness, with happiness, but right near her there is some evil that punished her,” she says. “So the Sleeping Beauty of today is someone who is experiencing inner struggle. When she falls asleep it’s one person, but when she wakes up it’s a different person — it’s a more mature person, someone who has gained a lot of inner experience over this time of sleep. Maybe the sleep was given to her in order for her to go through all the stages of maturity and wake up and be ready for her Prince Charming to come to her,” she adds.

Diana Vishneva
Diana Vishneva  Weston Wells/WWD

In addition to that project, Vishneva is working to expand the Context festival, bringing it to new locations worldwide including Tel Aviv, London, and hopefully soon New York. She’s also continuing to develop her dance and fitness studio Context Pro in St. Petersburg, which offers adult classes in ballet, yoga and gymnastics — which, while common offerings in America, are not part of the canon of extracurricular offerings in Russia.

“It’s a totally new thing for Russia because, for instance, here in the Untied States, every child — it doesn’t matter what age the child is — or an adult person, can actually come to a studio and start dancing or doing ballet classes,” she says. “But it’s quite new for Russia. Any person — they don’t need some professional background or training — can just come in and start training. We don’t have anything like that in Russia. That’s why I decided to open the door to it in Russia; to introduce Russians to it.”

The concept has been popular so far, although introducing the concept has involved addressing doubts around why a non-professional would want to start learning ballet. Vishneva has also started taking baby steps into the world of teaching ballet herself, but for now, she credits a new teacher in her life as the driving factor behind her new professional focus. “My baby teaches me, I would say, time management, to be able to move very fast, to focus on the task at hand,” she says.

“All your life long, you are your own center, you are the center of everything that is going on around you. So at the very beginning, you just don’t notice it. Later on you dislike it, then you get worried about it. But then you don’t know where to go in order to avoid it. When my son was born, I would say I got completely relieved from this feeling of being the center. My center actually shifted — now it’s on my child, because I have actually become an observer of myself,” she says. “What the outcome will be both in my life and in my creative life — well, we’ll see.”