The "ural" dance ensemble will look for young talents. Concert of the Ural dance ensemble in Chelyabinsk

For the first time I got acquainted with the state dance ensemble "Ural" when I just moved to Chelyabinsk and entered the first year of the university. It was a choreographic parable "Arkaim". Stunning and one of a kind. Then, at seventeen, I still poorly understood all the mythologemes, archetypes and philosophical depths that this dance performance contained, and perceived the action on the stage only at the level of emotions.

Years later, I watch artists perform again. Only not in the Philharmonic hall, but on the computer screen. And all the same - goosebumps. Much is revealed in a new way - meaning, plot, meaning. I look and ask myself the question: why? What is the secret of this team? Why for over 20 years touring activities, for which the ensemble has attended more than two dozen different countries, - exclusively delight and admiration of the public?

Before reviewing the recordings of the Ural concerts, I came across a video with the performance of the folk dance ensemble named after V.I. Igor Moiseev. This is also a unique team. And also mesmerizing. And you are also amazed looking at the perfected technique, inhuman plasticity and speed of movement. And I personally don't have goosebumps ...

Moments in history

The press wrote a lot about the dance ensemble "Ural". And yet I will remind you of his story. It all began in 1971, when the Uralskaya Skomoroshina family dance ensemble appeared at the Chelyabinsk Philharmonic Society. The backbone was a whole dynasty - brothers Victor, Vladimir, Vyacheslav, Gennady, Ivan and Leonid Karachintsevs. The collective developed in the genre of folk dance, turned in its work to the very foundations and roots folk art... True, the time was then such that it was necessary to literally look for dancers all over the country, there were not enough Chelyabinsk dancers. And it was not too much a paid business - art. As, however, today ...

1980 year. The Ural Skomoroshina is undergoing a rebirth and acquires a new look - it turns into the Ural folk dance ensemble. Basic artistic principle saved - appeal to folk origins... However, the team is changing: a new creative concept is being formed, new genre trends appear - modern dance, modern. The repertoire is expanding, and now, in addition to folk dance, the program of performances includes the choreographic parable "Arkaim", the musical "Kirovka", the opera-drawing "Thumbelina", dance performances on the theme of the Great Patriotic War, children's performances.

Cultural brand

Now, in order to get into the collective of the ensemble, you need to go through a real casting. The requirements for applicants are high. To become an artist of the "Ural", you need to meet high level professionalism of the team. This is the dream of graduates of the folk department of choreographic schools, the Chelyabinsk State Institute of Culture. But not all of them pass the aptitude test. In 2008, a forge of young personnel appeared - the children's studio of the dance ensemble "Ural". Many people want to give their child here. But here, too, the selection criteria are no less stringent. Moreover, even if a young dancer casting will take place, this does not mean that he will remain in the team.

- In the learning process, there is a certain dropout, because not all children cope with the loads, - says chief choreographer of the "Ural" dance ensemble Svetlana Lukina... - Then we invite them to switch to any other amateur team... Some take it calmly and understand that better child to be the first in amateur performances than the last with us.

Some, but not all. Sometimes those wishing to become a part of the collective of the dance ensemble "Ural" do it not so much for the sake of art, but because of the prestige of the collective. And the fact that Ural is a brand South Urals, certainly not in doubt.

Art above politics

This is confirmed by the fact that the team has long stepped over the level when it is necessary to take part in competitions-shows in order to receive an invitation to one or another foreign festival. "Ural" abroad is known and expected. Europe, China, and even more distant countries invite the South Ural collective not only to perform at local events, but also to tour in different cities. Often the dance ensemble "Ural" became a pioneer and performed where others "did not step" Russian artists.

“We were the first and only band to give a concert at the Dag Hammarskjold UN Library in New York,” recalls director of the "Ural" ensemble Vladimir Karachintsev... - The stage there is absolutely not adapted for such performances. But, since they themselves invited us, the organizers had to make unimaginable concessions for them - to dismantle the table in front of the stage in order to expand the platform for the performance. This has not happened in the entire history of this hall.

Today the dance ensemble "Ural" can afford to choose its tour routes and dictate the terms. So, two years ago, the media eagerly pounced on the message that the dance group "Ural" refused to tour abroad in protest against the sanctions. At that time the “Urals” preferred the Crimea to Spain and Italy, where, of course, the artists were expected and greeted with special feelings.

Due to the political situation, the team with some concern went on a European tour, which took place in July 2016. The situation there was really tense, as the cultural attaché of the Russian Embassy in Bulgaria informed the artists even before going on stage. However, during the speeches, the unshakable truth was confirmed: art is above politics.

- Political relations between Russia and Europe are really difficult, it is felt abroad, - Svetlana Lukina shares her observations. - But on residents European states, the viewers who came to our performances were not affected in any way. Everywhere we were greeted very emotionally and warmly. They shouted "Russia number one" Approx. ed.), gave a standing ovation.

Team with soul

So what is the secret, I'm not afraid of this word, world love and recognition? For myself, I answered this question in the following way: in sincerity and total dedication to my favorite work, which is both work and inspiration. I find confirmation of my conclusions in the answer of Svetlana Lukina, who, after thinking for a few minutes, answers the question of how she would describe the Ural dance ensemble:

- The team is emotional, open, kind, sympathetic, friendly, talented ... And with a soul. All these epithets are applicable to both artists on stage and to them in ordinary life.

But, perhaps, it would be more correct to give everyone the opportunity to judge for himself what is the secret of the popularity and attractive power of "Ural" and whether there are any secrets here at all. True, the nearest opportunity for this will not appear very soon for the residents of South Urals. Large solo concert folk dance virtuosos will give on September 30th.

Difficult birth

Vladimir Petrovich, is it true that for a long time Moscow did not want to recognize the Ural dance ensemble, which today is known not only in Russia, but also in the world?

Truth. The ensemble was created in 1981, and was accepted by the Moscow commission only in 1984. For three years Moscow did not want to recognize us! It was the most difficult period, the team wanted to disperse several times.

- Why?

Because quite often creative people are poorly versed in administrative matters. They think they have created a team, and tomorrow it will go on tour. Choreographer Viktor Kopylov promised the artists, when he invited them to Ural, that they would see the whole world. He was an excellent choreographer, but not an administrator. The fact is that Moscow offered to keep the Chelyabinsk brand "Uralskaya Skomoroshina", just to expand the team. Because everyone knew the Ural Skomoroshina, the collective was already in the plans of Soyuzkontsert, Rosconcert. And there would be no problem. But Viktor Fedorovich Kopylov insisted on the name "Ural", and Moscow replied: created and do this team yourself. We even quarreled over this with Kopylov, and for some time I did not work in a team. We recruited the ensemble together, I went to Orenburg for this. Finding professional dancers was not so easy, because there was no base for this - housing, rates. There was only the initiative and decision of the Department of Culture.

- How is this initiative explained?

You can understand the director of the philharmonic society, then it was Pyotr Semenovich Kram, at that time there was no philharmonic society at all, it was a rental office - they brought in guest performers and that's it. And he decided to restore what was before the 60s - strong creative teams.

- And, in the end, the dance ensemble "Ural" got a start in life.

Yes, with light hand Iosif Ilyich Slutsker, head of the choreographic department of the Russian Ministry of Culture. My wife Valentina and I then made sure that the Moscow commission came to watch the collective in Chelyabinsk. The Ural was received at the Railway Workers' Palace and the whole thing was almost overwhelmed. An artist from St. Petersburg came to us then to make sketches, to make sketches of this artist in Chelyabinsk came artistic director Orenburg choir Raikov. And I had the imprudence to invite her for analysis. And there she spoke to the commission: “Why is there a second such team in the Urals? There is the Orenburg choir and enough. " I went cold - did not expect this! Next came a representative of the ministry, who said that without a strong choreographer, Kopylov then did not work in the "Ural", there could be creative development... But then Slutsker spoke out with the words: "Such a huge industrial region as the Chelyabinsk region should have such a dance ensemble!" And he insisted on his own. Moscow approved us, Ural was put on the schedule of Rosconcert and Soyuzconcert. And we started skating around the Union - we traveled all over the country. We were well received, because Viktor Kopylov's program was truly concert. And then there were trips not only around the country, but to the USA, Canada, Sweden, Bulgaria ...

- Can we say today that Ural is in its prime?

Perhaps. I am not ashamed when an ensemble performs at festivals where dance leaders gather. The guys are dancing with good dedication, with good mood, are experiencing a real thrill from work. In the most difficult time, when the team began to vacillate, when there was no State Concert or Rosconcert, we went to France. This helped to keep the team. Since then, we have been trying to go on tour, to festivals every year. Because it allows artists to see perspective.

Brothers Karachintsev

- Vladimir Petrovich, what is the age of a dancer on stage?

20 years. The same as that of a ballet dancer. But not everyone can stand it, because there are incurable injuries. There are examples when artists can no longer dance after surgery. This is a risky profession in terms of health, you can remain disabled as well - it is impossible to restore the ligaments.

- How long have you danced on stage?

At least 35 years old. But I started with the stage, for 10 years I danced in a variety group. Then there were the "Brothers Karachintsevs" from 1970 to 1980. Before that, the brothers also danced in professional groups: the elder brother Gennady - for more than 10 years danced in the Sverdlovsk Musical Comedy, even under the famous director Kurochkin. Ivan danced in the Ural choir, Victor - in the ensemble "Kantele" (Petrozavodsk), Leonid - in Cheboksary, and younger brother Slava was the only amateur among us, we had to tighten it up when they created the "Karachintsev Brothers", the load was enormous. And the schools were different, I had to look closely at each other. There were six brothers and two dancers - my wife and Gennady.

- Were you immediately recognized in Russia?

Immediately, because they knew the older brothers for a long time. We toured a lot, worked with the stars of cinema, stage, theater in stadiums - then it was fashionable. The huge stadiums were full of people!

- Have you struck up a friendship with any of the stars?

They were friends with Evgeny Matveyev, with Claudia Ivanovna Shulzhenko, with the actors of the Romen Theater and with Nikolai Slichenko himself. Then we often worked - one branch "Romen", the other - we. Moscow immediately recognized us as well. Soon we went on a big tour to St. Petersburg, where we worked with Edita Piekha for 42 concerts. Then on a huge concert venue in "Yubileiny" they worked with the Krasnoyarsk Dance Ensemble, with Mahmud Esambaev. There were concerts at the Variety Theater and at other large venues in Moscow.

- Were you the only truly fraternal collective?

As Mikhail Semenovich Godenko said, there was no such thing in history dance Russia... We were considered a unique team. Godenko called us a "miracle".

- This can only be found in the circus?

Yes, because the children of circus performers grow up in the arena and it has long been family tradition... By the way, our older sister Valentina also danced and worked in the circus, in ballet. Although she was not a professional dancer, her main job was in the locomotive depot, she is an accountant with us. It all started with her, Gena went to dance in the Lenin club on Svoboda Street, there was good amateur performance, dancing, young people were eager to go there. Then Gennady went to Natalya Nikolaevna Kartashova at ChTZ. And I started with the Lenin club, I came there in 1951.

- Which senior are you among the brothers?

I'm in the middle. Before me - Valentina, Gennady, Ivan, Tamara, I am the fifth, and after me there are four: Yura, Victor, Slava, Lenya. Only the seventh brother did not dance with us - the smartest. (Laughs)

- Did everyone go through the team of Natalia Kartashova?

Everything except Glory. Yesterday they gave me a book - memories of Natalya Nikolaevna Kartashova. There is my statement, and in the photographs I am, still small. We then went to Hungary in 1957. This collective became our universities, then there was no cultural institute yet. It was the base. Then many of him went to professional teams... Gennady began with a military Trans-Baikal ensemble, then danced in the UralVO and from there he was invited to comedy music. And Ivan was a laureate of the second All-Union contest of pop artists, together with Mahmud Esambaev.

- Did any of your brothers dance like you, 35 years old?

It so happened that I am a champion.

- How do you explain this?

Maybe because I started dancing very early.

What do you think contributes to longevity on stage? Perhaps for this you need to rationally spend your strength or, on the contrary, not allow yourself to relax?

It all depends on the physical data of the person. And of course healthy image life never hurts. (Laughs) In front of my eyes, the artists were drunk, and the touring life of many was very exhausting. Now there is no such tour, and earlier we traveled around the Union for eight or nine months with our brothers. They also managed to give birth to children. (Laughs)

- Did you take your wives with you on tour?

My wife Valentina, as I said, danced in an ensemble. But I did not always go on tour, when the family had three children, someone had to deal with them. The three brothers, when they started working together, were still single. And three are married. But their wives were also artists - Ivan's wife worked as a vocalist Ural Choir, for Gennady Galina was a strong dancer, for Natalya Nikolaevna Kartashova she was number one.

- Did all the brothers have strong families?

Yes, except for Ivan's family. Although, when wives and husbands work in the same team, there is a danger of getting bored with each other. All the time together: both at home and at work. But somehow we didn’t get tired of each other. Yes, the families turned out to be strong. Glory has now big family, he built a house for the family, and a bathhouse, and his garden is amazing ...

- Do all the brothers have many children?

No, only I have three, I have the most children.

Director

- What time is the artist dance ensemble have to rehearse daily?

Four hours, no more, you can injure muscles and ligaments. Everything should be in moderation. This and folk dance, and the classics, which are the foundation of any dancer. First one of the leading dancers of the Chelyabinsk ballet, Alexander Klekovkin, studied with our guys, and now the lessons are taught by Alexander Tsvariani, the leading ballet dancer. Without this it is categorically impossible. In addition, our guys are engaged in acrobatics.

- What load are you giving yourself today?

Every morning - exercises, then we go for a walk with the dog, I do not stand still, we run with her. In any weather. This is a must, otherwise you will not feel the way you should. As soon as a person drops everything, refuses physical activity, he quickly begins to age. You can't throw anything abruptly, especially for ballet dancers - everyone immediately starts to get sick internal organs and all injuries affect. The loads should be daily, taking into account the age, of course. We used to live on st. Russian, and I ran from home to the children's railway and then to the water station through the Gagarin park, that is, to the north-west, there I did exercises and ran back. Here is such a load. But even then I listened to my own body, how it responds, I shouldn't get too carried away. IN friendly companies I tried not to be often, because often, when ballet dancers gather, it is not just a conversation, it is a conversation with alcohol.

- Why did you become the director of the Ural dance ensemble, and not someone else from the Karachintsev brothers?

I never dreamed of becoming a director. The fact is that my wife is too proactive. (Laughs) When the idea of ​​bringing the Karachintsev brothers together came up, I was wary of it. You understand what it means to pull people off their homes. All brothers had good job, housing: Gennady and Ivan lived in the center of Yekaterinburg, with Victor good flat I was in Petrozavodsk ... And I was careful in this matter, but the director of the philharmonic society Kram was like that - if he was hooked on an idea, he would not back down. And my wife is by nature an adventurer, she was a supporter of the director and urged me on. So they brought all the brothers together, Viktor Kopylov was invited as a choreographer. But with the brothers, I was not an administrator; Davidovich was our director. And since I was assembling the dance ensemble "Ural", it was assumed that I would do the administrative work. It was necessary to create conditions for the guys, to solve the problem with Moscow, which did not want to recognize us ... so I became the director of the ensemble.

- What is the current role of the director of the ensemble?

I solve almost all the questions about the band's trips on tour, but I gave part of the work to the concert department of the Philharmonic Society - people work there are young, literate. Actually, I shouldn't be doing concert work, but they keep calling me all the time, because everyone knows me. You can't give up on it.

You've always added up a good relationship with the leadership of the Philharmonic?

If you work in this organization, then why create conflict situations?

- Are you brothers Karachintsev - generally not conflicting people?

Creative disagreements between us often were and they were even necessary in creativity, but family conflicts It was never. Having gathered, we initially agreed not to quarrel, knowing what conflicts there are in circus families, in the families of figure skaters ... creative process, nerves at the limit, plus constant touring - this is also not a very favorable factor. And everything human is present in the team: discontent, envy, greed ... You can't foresee everything in life, but we agreed and kept our word.

Family lessons

- Did your parents teach you such family relationships?

Such relations in our family were natural, because we lived in very difficult conditions: 11 people in two rooms. At that time, however, everyone lived hard. Our father worked for railroad and my mother was a housewife.

- What parenting lessons do you remember?

Yes, there were no instructions. Mom had so much work to do! She got up early and walked for water one and a half kilometers away, but we were still little, one less than the other, and we constantly saw her hard work, helped as much as we could. We had a vegetable garden, because of it, my father refused three-room apartment in the house on Revolution Square, because in the military town, where the cinema "Aurora" is now, we had our own land, 15 acres, and a vegetable garden opposite. If we left for new apartment, then the father would not have to feed us. And we stayed with this land, everyone worked in the garden.

- Now, probably, you don't even have a garden, did you work out in childhood?

There is a garden, but agriculture I do not study, although there is no problem for me - to dig up the earth, to plant something. I think this work brought us, brothers and sisters, together, we were not spoiled. They asked my mother all the time: they are so well-fed, what do you feed them? “Potatoes and carrots,” my mother answered. If the father sells the cards and brings something - a great holiday! People at that time fought for a piece of bread. In our house, I remember, the neighbors were dying of hunger. And we survived.

- And at the same time did not become punks.

Blimey. Although the area was very difficult in this regard. There were urks, and tweezers, and other "cheerful" audience all around ... But we did not follow this part. (Laughs) We all went dancing.

- No one of your three children followed in your footsteps?

On the contrary, everyone went. (Laughs) His son danced in ballet, graduated from the Perm Choreographic School, trained in Leningrad, began working at the Sverdlovsk Opera and Ballet Theater, then danced in Vilnius. And when did it start Hard times, left to work in Poland, then moved to Germany, at first he was a soloist of the Opera and Ballet Theater, then a teacher-tutor at ballet troupe Dresden. He already has two children. Our daughter Larisa danced in the Urals, got married while on tour in Europe, and now lives in Luxembourg. And her daughter Vera remained in Chelyabinsk, she also graduated from the choreographic school and our academy, danced in the Ural, but was injured and now works in business.

You knew that choreography is associated with trauma, that the work is hellish and you don't pay so much for it, why didn't you forbid children to do just that?

Prohibition can be harmful. If then your child does not find himself in this life, then who will be to blame?

- If it's not a secret, have you ever regretted choosing this profession?

Life is so difficult that it is not worth asking why it is so, and not in another way. Hence, fate was a foregone conclusion. Me Natasha Rikker (Chelyabinsk journalist. - Approx. ) once asked: “Why don't you leave for Europe, to see the children?” And what will I do there? The children are calling, and even my wife has already left there, she lives in Belgium. I only visit them. Recently I visited my son in Dresden, then I went to see my wife - I got up in the morning, went out onto the lawn and then what? Of course, you can travel around the world, see, but this does not appeal to me. When I participate in some action, I live, I am needed. And being a simple tourist is an empty place.

About future

I know that for 70 years many guests have come to you - and former artists ensemble, and friends. In order to preserve all these connections, they must be constantly maintained. When do you find the time?

This is also part of my job. I communicate with all the leading bands in the country, except for Moscow ones, they have their own caste there. We meet at the festivals, talk on the phone. Friendship is a great thing.

- How will you celebrate 75 years?

I have not thought about it yet. We have many anniversaries this year, I am the same age as the Philharmonic. (Laughs) And the ensemble of Igor Moiseev.

- Tell us about the upcoming trips and tours of the Ural ensemble.

We have just returned from the XXV festival "Orenburg downy shawl". And at the closing of the festival, the director of the Orenburg Philharmonic Society Igor Golikov said that he had not seen the performances of our ensemble for a long time and it was a revelation for him that Ural had grown so creatively. On the next year we are promised a tour of the Orenburg region and in Orenburg itself. We were invited to the Day of the Railwayman, which will be held at the Lokomotiv stadium in Chelyabinsk. There are a lot of offers. Now we are leaving for the Days of Friendship of Kazakhstan and Russia in Kostanay, where our joint concert with the Kazakh collective "Carnival" will take place. The next trip in April is to Moscow, to celebrate the 100th anniversary of Natalya Nikolaevna Kartashova. We will work on the stage of the Tchaikovsky Concert Hall in the same program with the Igor Moiseyev Dance Ensemble, with "Berezka", the Pyatnitsky Choir. It was decided to mark this date both in the Chelyabinsk region and in Moscow. Summer is also all at work - concerts, performances. And in mid-October we are going on tour to China.

- How many artists are there today?

16 couples - ballet and eight musicians in the orchestra.

- Are there enough dancers?

No. The workload on artists today is enormous. When there are concerts, I never sit in the hall, I am always behind the scenes and see how hard it is for them, they barely have time to change costumes between numbers. Few people. But to increase the team, staff are needed, and this is now a shortage.

- That is, the children's studio at the Ural dance ensemble did not arise by chance?

Of course, but everything will depend on the desire of the guys to devote themselves to this profession. Now the main task- create for a children's studio good conditions So, I wrote a letter to the Minister of Culture, because the parents are unhappy with our conditions. And I can't argue with them. Moreover, they all want children to study in our studio. Because not only wonderful teachers work with them, but children are constantly busy in performances, concerts, performed well at a festival in Europe ... (Smiles). There is only one way out - to build a new concert hall in Chelyabinsk. We hope that it will be so.

On August 29 and 30 in Chelyabinsk, the next enrollment of students will take place in the children's studio at State ensemble dance "Ural". Children aged five and over are welcome. This year, everyone will have to pass the selection in two stages.

Like anyone creative team, the dance ensemble "Ural" periodically needs updating. Until 2008, the leaders of the ensemble had to look for new dancers in educational institutions cities. Since 2008, the ensemble has acquired its own "personnel reserve" - ​​a children's choreographic studio, where Chelyabinsk children who are keen on the art of dance are engaged. Over the nine years of its existence, seven people have joined the main cast of "Ural" as artists. And since 2017, the ensemble has been replenished with seven more young dancing couples- all pupils of the studio.

If before the heads of the studio were faced with the task of forming the school as such, and practically everyone was taken into the classes, now the main goal of the studio is to constantly increase the level of performance. Therefore, now the selection will become more stringent.

The first three years took almost everyone - it was necessary to strengthen, get on your feet, - says the head choreographic studio at the dance ensemble "Ural" Svetlana Lukina. - Now there is a professional selection, we are raising the level of skill, so the requirements are strict: stretching, eversion, as in classical dance... In previous years, two preparatory groups were always recruited. This year we will form only one. If a child is less than eight years old, we do not look at choreographic training, only his natural data, flexibility, musicality are important. If the child is over eight, then preparation is very desirable, at this age he should already be able to do something. IN preparatory group we recruit children from the age of five. The main team consists of children from seven to fourteen years old.

The studio has about 150 children who study classical, folk, modern, character dance, learn ensemble and concert numbers... also in educational program included lessons of acrobatics, which is famous for the composition of the dance ensemble "Ural". Classes are held 5 times a week. The teachers of the studio are artists of the current composition of the dance ensemble "Ural". Today, the children's choreographic studio has achieved successes on stage venues in Chelyabinsk and the region, outstanding performances at foreign folklore festivals (Czech Republic, China), victories at international and all-Russian competitions. Twice students of the studio became participants in a concert in the Kremlin by personal invitation People's Artist Russia Andris Liepa.

The recruitment will be carried out at the address: st. Truda, 88, in the rehearsal class of the "Ural" ensemble. Participation in the first round is mandatory for everyone. The second round is held based on the results of the first and the invitation of the commission.

from 16:30 to 18:00 ¬- I qualifying round, children from 9 to 16 years old.

from 18:00 to 20:00 - I qualifying round, children from 5 to 8 years old.

Visit the concert "Dance Ensemble URAL", which will take place in the concert hall. S.S. Prokofiev. This is the event will take place March 28 18:30. You can pre-find and order tickets with us!

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