we confidently step into a new day and do it to the music of our own, the music that sounds inside each of us, it is everywhere, in the sun,

in timid movements, at the tips of our fingers. music inspires, makes us think and opens up thousands of roads for us. music can change the world because it can change us. music is inside each of us.

all my life i live in the moment that i don’t believe in what’s happening, i still don’t believe that i... probably from birth, that i was born, that i ended up in minsk, that i am here i learned that there were no prerequisites at all for me to go in this direction, there were no prerequisites for me to end up in st. petersburg, there were no prerequisites for me to end up here, now just the other day the premiere took place, in which i don’t really believe it either, but i’m one of those

people who are ready to be surprised, surprise themselves first of all, for me this is a very important point, otherwise i don’t see any sense in existence at all and... the key thing is to surprise yourself if diaghilev was surprise me, then i surprise myself, because without interest, without fantasizing, without living any illusions in my life, it, well, why then, what is ballet, i learned quite by accident, unconsciously, most likely, because as a child i had a dream that i was standing on stage in white tights, although... there couldn’t have been any harbingers, something, at that time, after literally a couple of months there, my girlfriend took me to the choreographic school in pinsk, where i was born, so i didn’t stay there for long, because there was always a shortage of guys in ballet, and literally within a week my life changed according to

for one simple reason that my dad brought me in a kamaz to opposite the theater, then the school was on laiza pashkevich street corner, now i look every day... from the office is the very building where it all began, and thus, in exactly a week, life changed , in a stupor , he was the artistic director of the school of yuri antonovich. and thus somehow it was he, it seems to me, who gave the direction of my path, my life was not connected with ballet for a long time, even at that moment when i was already a student, because i really wanted to go home, i am home child, literally every weekend my parents came to me, trying to somehow set me up, because in principle they themselves did not understand what ballet was, my parents had ordinary professions, my father was a driver, my mother was the head of a canteen all her life, so how the way i found myself: here at that moment, i can’t explain to myself, probably someone somewhere saw something and

led me further, there was probably no support as such in a professional sense, but of course there was family support, because every holidays, when i left minsk for my place in pinsk, i understood that i wanted to stay at home, and my parents could help me and support me only in the format of large bags of food, that is, i always left pinsk with huge bags. i was hardly pushed into the train and jammed cookies, a cake was always baked, but professionally this did not happen, with the exception of those teachers who taught me at school for 6 years. as a child, i did not make any decisions professionally, but i already made some decisions in your life. my first and only competition was in st. petersburg, it had a huge influence on me, later i realized that i would not like to go to competitions because... not because i was not a competitive child, but because

the theatrical atmosphere that surrounded me at that time, and these wonderful dancers, like igor zelensky, farukh ruzimatov, created a certain kind of creative atmosphere and competition, that is, in a good way , i actually ended up in the theater after the competition, on the first day of the winter holidays i received a call from the theater, it was yuri antonovich troyan, who offered me an internship. i agreed without hesitation, the very next morning in january i came to the theater, where i was shown my place with the leading stage masters, at that time it was rimashevsky, furman, and alexey ovechkin, i was the fourth in this grimumornaya for six months uh, i did an internship and it so happened that i even danced quite a lot, as it seems to me , for a student of both benvoly and mirkutsev in the performances of valentin nikolaevich lezarev and...

i had a desire to move from city to city, so gradually, gradually, through traumas, happiness and unhappiness and ups and downs, i served at the marininsky theater for about 26 years, until i received two offers from two large theaters, which made me think, today i understand that everything... is by chance, probably my presence here, now as the chief ballitmester, is also a kind of continuation

and development of what was once laid in pinsk, then in minsk, life gave me this way there are many opportunities for self-realization, and opportunities to allow the thought into my head that i will never quit the business that i am interested in doing. the best way is to remember to spend time and arrange a short trip for yourself. this was the center of the principality; there were a lot of antiques here. and the city, you saw, has been preserved; it is called the belarusian suzda. the most famous olefonari in belarus is located in brest, but... our zhinskaya olefonari is the longest. with us you will visit the most

interesting sights. and we also have there is a unique exhibition called the cabinet of a soviet scientist. you can now experience the era of that time. here, under a layer of plaster in 2003, when renovation work began, the savior of the face of christ not made by hands was discovered. what does it mean? he showed himself. and also get unforgettable emotions, even if the iron is still hot, you know the proverb, you see, it’s cooling down, that’s why the proverb doesn’t sound special.

so far, such a ring composition really happened, in which i am a boy from pinsk, never forgetting that i am a boy from pinsk, throughout this whole, this whole ring, and st. petersburg and novgorod. now it’s minsk again, i always remembered, appreciated and knew where i came from, this was the main point, on my way to feel proud of myself, i didn’t have such a feeling, but i always had surprise at myself at this stage i again i still live, i live this moment when i look at myself with interest, i’m surprised

that they see so much in me, much more than myself, i never... i believe my the next step, i don’t define it purely fantasy, even, i never had aspirations, i want this, this never happened, there has always been some kind of message from someone in my life, interest on my part, yes, yes or no , no, that’s why even when i came to minsk, i didn’t understand very clearly what would happen next. you shouldn’t treat the plot of the illusion of love as some kind of rules for behavior, but rather as rules for thinking, including with yourself, because during the production process i very often analyzed the situations in which i

was forced to be an actor, for me a ballet dancer is , first of all, an actor, i believe that... there should be as many dramatically structured plots as possible so that the artists and you live certain moments here in the reaction hall, in order for the audience to go on stage, there must be a different reaction, i accept any, it is worse when there is no reaction at all, so i am for controversial situations rather than for some kind of evenness in everything, relationships, conversations, judgments. there should be heated debates in principle, probably, maybe i managed to do this, if already at the performance there are such, i would say, debates about what is possible or impossible, at the moment of arriving at the bolshoi theater of belarus, the first idea was to do a small fragment, well, that is, a kind of one-act performance, then i approached this topic from the other side, when i expanded

their relationship into several pairs, but when the question arose in principle... i need to finally become a choreographer, i realized that then they must be some kind of tall frames so that i myself could still reach the frame that i would set for myself, bars, frames, and thus i realized that there had to be something created from scratch, the form of the librett was gradually built up, i asked for help, we we were in constant contact with alexander vasilyevich efremov, our wonderful director, and elena balabanovich also helped me in this , who... without interest on the part of the artists, which gave me the opportunity to move, including doing my work much more confidently when i had already seen a slight break in the bodies, in

consciousness and realized that i was on the right path, but now i went inspired by people, i can’t help but be inspired by people, that is, to a greater extent , everything that was conceived in my head was born thanks to the artists, this is female psychologism, this is the relationship between a man and a woman, this and... some experience that you already have throughout my life, these are my observations, the opportunity to analyze situations that happened before my eyes and with me, this is partly somewhere maybe something from my life, so we we are talking about illusions, so the state of falling in love, it must be present in everyone’s life, i am very often fascinated by people, i... am surprised at people, not only in a bad way, at one time i rode minibuses in st. petersburg, until i was driving, and i was very fascinated by this, because

you hear about something , maybe in an undertone, but you can’t, i’ve never walked with headphones, you can’t turn off your hearing, and you watch how a person behaves, who’s tired, who’s visible against the backdrop of the crowd, in which it is clear that they are in love, this some kind of mesanoscene sketches , which have become partly what is today the illusion of love, it ’s like love, it’s like an illusion, it’s like a meeting, it’s like parting, it’s like from beginning to end, but at the same time, life will never end, because the next generations will fall in love just like us. illusions are necessary in our lives, since we see everything differently than everyone else, even now... we are trying to talk about this topic, no matter what happens, i am only for the illusory the perception of what is happening, since any problem, it is always hope, as

an opportunity for the further continuation of life, the fact is that all my life i have been part of the cracking workshop in which we are now. trepidation, because it is here that the image of a particular hero begins to be born before entering the stage. in my life it so happened that the first half of my theatrical life was mainly princes, that is, this is minimal makeup, but in the second half, when such roles as korabos, matge, tebalt, sleeping bag and many characteristic ones came heroes, of course, i was in awe, because you were changed beyond recognition by the make-up artists, this... there were wigs, there were noses, chins, including the bald spot, so the transformation that came to me

was actually second life during the second half of my life in the theater, when they put make-up on you, i always felt a certain trepidation, because you are moving from the existence of igor kolub, who gradually becomes a korabos and... it all begins in you partly from part transform to create and reliably convey the party to the viewer. i didn’t think about the illusions at the exemplary performance, i didn’t plan to go on stage, for me it was such an impromptu to a greater extent, although my whole life was impromptu on stage, including, i felt, as it seemed to me, the excitement of the main character victoria trenkina, as well as nikolai.

i will help in this way, and well, it really happened that nikolai sergeevich was terribly surprised, as well as victoria, well, in principle, the audience that evening, which i was in the auditorium, there was no preparation, it was impromptu, i believe that in life there is always a place for some kind of going beyond the boundaries, why not use it if you are an actor.

the fact is that i attach great importance to mise-en-sen in performances, both as an artist and as, now a beliedmester. and once i read that igor kolp, sitting with his back to the auditorium , was so interesting that it is extremely rare to look at the back of a sitting artist. and it shocked me so much, to the core, that i didn’t think about it at that moment, that is , whether it was with my back or not. and... another review that struck me, the attitude towards the prince’s crossbow performed by the flask, created, well, definitely a certain number of directions there, then i realized that every detail in the performance is necessary and important, so in the illusions they were very important to me everyday scenes with everyday genre scenes played out, to say that i saw everything at once, no, this would not be true, because for me it was very important to create the scene...

and two people on stage, it seemed to me that at first it was a dubious pleasure, but after some time, when i changed the guys in places, the lineups, i saw a transformation of thoughts, a transformation of bodies, thanks to such an experiment, in any team ratio there should always be someone then take on a negative function and a positive function, somewhere a function motivating

movement. if you already know the people around you, the artists, or the teams for the production process, somewhere you even begin to put pressure, because the deadlines are tight, and somewhere you start, somewhere you remain silent, and somewhere you build a process in this way so that you understand what is necessary here, now, there is no other day, there is no other time, only here, now we are obliged to you do. this is also a very strange reaction for everyone: someone immediately panics and refuses, someone hears him coming, someone in such situations makes some strange leap and takes the lead, this is an absolutely amazing process of creation when you cannot there is no way to calculate it, you can make a sketch, but the coloring is already happening in an unpredictable way, as a rule, before completing any stage, either a part

in... in a performance of one kind or another, or in another capacity, using myself as an organizer, as an artistic director of various projects, i uh, in 10 days, in 2 weeks i begin to feel sad before this all happens, because my interest begins to sharply move away from what i am doing, and thus, i need to immediately have several key points in order for - consciousness to already go into different directions of interests, i ... i don’t know how to be in a performance for a long time, when it has already happened, i need to clearly understand that even if i rest, my brain gradually drills into something, that’s what i would like to do next, this is not necessarily a creative component, this is not necessarily some kind of that’s the thing, rather the interest in the mind to go somewhere, to do something, i ’m one of those people who, if you move, then you must move, if you’re sitting, then

sit, first of all... first of all, i don’t think about that i want to be remembered for something, although most likely i will be remembered for the endless amount of coffee for day and the backpack with which i walk all my life, i would like something to open up, so that artists have opportunities, so that artists stand in line at the theater, now there has been such a breakthrough, it seems to me, because to quite a lot of artists from russia began to come to us; they were just recently accepted into the ballet troupe. the couple is from brazil, so this process is gradually going on, interest in the theater is increasing, which expands the scope - and interest in us, so today i want that when tours are proposed, titles were proposed, not only in the form of swan lake.