Vaganova. Tutors from the Academy of Russian Ballet named after

"Ballet is not a technique, it is a soul!" -Anna Pavlova.

Academy of Russian Ballet named after. Agrippina Yakovlevna Vaganova- ballet school in St. Petersburg, is one of the oldest ballet schools in the world. It was founded in May 1738 by Empress Anna Ioannovna herself as "Dance ABOUT Vale Her Imperial Majesty School" and since then the Academy has been one of the best.

The initiator and first teacher of the school was a French dance master Jean Baptiste Landais. Initially, in specially equipped rooms of the Winter Palace, his students included 12 girls and boys - children of palace employees. Of course, the ballet of those times cannot be compared with the present: Lande directed all his efforts to ensure that the students mastered ballroom dancing, which was then the basis of training. But the result was obvious: the Russian Empire had its own ballet.

Jean-Baptiste Lande

Most of the important events that influenced the entire Russian ballet took place within the walls of the current Vaganova Academy. It was there that the first Russian choreographer worked Ivan Valberkh(Lesogorov), who prepared the troupe for the arrival of the famous Frenchman Didelot. Myself Charles-Louis Didelot, the founder of the modern method of classical dance, taught at school for about 20 years - during this time he managed to ensure that Russian ballet became part of the European ballet (at that time a new system of theatrical pointe classical dance was taking shape there, which was radically different from the Russian one, close to system of ballroom and everyday dance). Didelot demanded from his students not only perfect technique, but also acting expressiveness. It should be noted that Walberg's productions were weaker than Didelot's ballets, and he understood this. In them, pantomime prevailed over dance, and the choreographic score was rather weak. In ballet Didelot demonstrated the grace of dance and the perfection of forms; Walberch advocated content and bright, lively images. While Didelot “reigned” in ballet St. Petersburg, Walberch was reorganizing the ballet school in Moscow.

Ivan Ivanovich Valberkh

Moreover, at the turn of the 18th-19th centuries, Russian ballet was superior to many foreign ones, and classical dance, which Didelot introduced, became the core of the educational program of the ballet school. The duration of the program took seven years. The principles of admission to dance training were established (constant age restrictions for admission and the requirement of special natural abilities) and certification of students (annual competitive transfer from class to class).

Outstanding Russian poets (Pushkin, Griboyedov and Derzhavin) sang in their poems the ballets of Didelot and his ballerinas. The French choreographer strengthened the role of the corduroy, the connection between dance and pantomime, and established the priority of women's dance. In the first third of the 19th century, Russian ballet reached creative maturity, a national school emerged, which became characterized by vitality, deep content, and virtuosic technique. Avdotya Istomina- a student of Didelot - was one of the first ballet dancers to use pointe shoes.

Charles-Louis Didelot

IN 1851 year, another world-famous Frenchman arrived in St. Petersburg at the invitation of the Directorate of Imperial Theaters - Jules Perrault(the largest choreographer in the era of romanticism). He worked in Russia for about 8 years.

Later he began teaching at school Marius Petipa(the period associated with him was called the “Petipa era”), Swede Christian Ioganson and Italian Enrico Cecchetti, thanks to whom interest in male dance arose, as well as many other excellent teachers.

Marius Petipa

Choreographer and pedagogical activities had a decisive influence on the development of methodology at the school. Marius Petipa, who arrived in St. Petersburg in 1847 year also at the invitation of the Directorate of the Imperial Theaters. The entire second half of the 19th century is the era of M. Petipa. The great choreographer created many original performances, preserved and enriched the ballets of his predecessors.

Each choreographer brought into Russian ballet the features of his own national school - French, Italian, Swedish. And the ballet school “absorbed” all this knowledge.

Ballet technique: French, Russian (Agrippina Vaganova), Italian (Enrico Cecchetti)

WITH 1921 year, its graduate, a student of Christian Ioganson, who left the stage of the Mariinsky Theater, began teaching at the St. Petersburg Theater School - Agrippina Vaganova. Seeing the work of brilliant masters of classical ballet, Vaganova herself becomes an adherent of a strict academic school.

Comparing, critically selecting everything that was closest to herself from what she happened to learn during the years of her study and work at the Mariinsky Theater, Vaganova gradually formed her artistic and pedagogical principles, which formed the basis of her pedagogical system, her “Vaganova” pedagogical method. It is based on the meaningfulness of choreographic techniques and technique, and not on the formal study of individual movements. IN 1934 year, A. Vaganova published the book “Fundamentals of Classical Dance,” which went through 4 editions and was translated into many languages. In it, she systematized all the pedagogical experience of her predecessors and her own, revealed the creative principles and methods, the achievements of all Russian classical ballet. In addition, she gave an analysis of the techniques and forms of classical dance, analyzed individual dance steps, poses, and terms. Vaganova paid great attention to the staging of the body. Without a well-positioned back and stability, professional skill is impossible.

IN 1957 year, the Leningrad Choreographic School (since 1991 - the Academy of Russian Ballet) was named after A. Ya. Vaganova

Agrippina Vaganova

...as Esmeralda

The Academy was glorified not only by famous choreographers, but also by talented graduates. For example, Anna Pavlova, who shone in Paris at Diaghilev’s “Russian Seasons”, introduced Russian ballet to the whole world, and Marina Semenova in the difficult 1920s she proved to her native country that classical ballet was needed.

Anna Pavlova

Anna Pavlova and Vaslav Nijinsky

Leningrad Choreographic School (Vaganova Academy) during World War II

Interesting fact: Students of the Leningrad Choreographic School and artists of the Kirov Theater (now the Mariinsky Theater) were evacuated to Perm and the village of Nizhnyaya Kurya, where their performances took place on the stage of the Perm Academic Opera and Ballet Theater. Young students then had to rehearse in a cold hall, getting out of their felt boots to repeat the movement after the teacher on the icy floor, and the artists who performed on the front line, risking their lives, had to dance for the fighters on the uneven bottom of wooden truck bodies. Also, during the war years, an order was given “from above” to give all pupils coupons for 600 grams of bread, like workers, and not small children’s portions.

For comparison, I found wonderful gifs from Swan Lake (the episode of the dying swan) with Anna Pavlova

Maya Plisetskaya

Ulyana Lopatkina

Svetlana Zakharova

The success of the Academy over the years was supported by the work of Galina Ulanova, Fairy Balabina, Natalia Dudinskaya, Vladimir Ponomarev (one of the founders of the school of men's classical dance), Matilda Kshesinskaya, Vaslav Nijinsky, Mikhail Baryshnikov, Ulyana Lopatkina.

Vladimir Ponomarev in the ballet "La Bayadère"

Marina Semenova and Alexey Ermolaev in the ballet "The Nutcracker"

Galina Ulanova in the ballet "Sleeping Beauty"

Rudolf Nureyev (left) with Academy teachers and his partner

Mikhail Baryshnikov - student of the Academy, 1962

students of the Academy. Vaganova, 1970

1970s

young Diana Vishneva

boy in the foreground - Vladimir Shklyarov

Museum of the History of Choreography at the Academy

The Russian school to this day rightfully has the status of one of the most authoritative in the world. The Harmonious Teaching System is still considered the most logical and subtle scientific study about the nature of dance and the technique resulting from this nature.

Academy students lovingly call their alma mater "ballet Oxford". Classes are held six days a week, 10-12 hours a day. The Academy selects children who have entered the 5th grade of a general education school and are absolutely healthy; children who have completed preparatory courses are welcome. The reception takes place in three rounds: the first round evaluates appearance, professional data (rise, step, turnout, flexibility, jump), the second round is a comprehensive medical examination, the third round is a re-assessment of professional suitability in combination with a sense of rhythm, musicality, expressiveness. After 7 years of study, the student receives a diploma of secondary specialized education “ballet dancer” with the right to work; more gifted and promising students have the opportunity to study at the Academy for another 2 years and receive a Bachelor of Arts degree. Like all schoolchildren, students study general education disciplines, as well as the history of ballet and costume, study ballet music, and in high school - acting. And most importantly - dance. Classic and historical-everyday, characteristic and duet. Initial vocational training is free, the best students are provided with a scholarship. Students take part in episodic roles and extras in performances of the Mariinsky Theater.

Bonus! Anna Pavlova and her dying swan

P.S. It is believed that the best ballerinas graduate from the Academy in St. Petersburg, and the best ballet dancers from Moscow))

The dance school was founded by Empress Anna Ioannovna on May 4, 1738. In 1779, the dance school merged with the St. Petersburg Theater School - later a college. In 1928 it became the Leningrad Choreographic College. In 1937, the school was transformed into the Leningrad Choreographic School (LHU). In 1957, the school was named after Agrippina Vaganova. In 1961 the school became academic. Modern name since 1991.

Ballet, perhaps more than any other art form, depends on how the personnel are trained. The role and significance of the Vaganova School in the development of Russian, Soviet and world choreography can hardly be overestimated. Not only A. Pavlova and M. Fokin, T. Karsavina and V. Nijinsky, M. Semenova and V. Chabukiani, G. Ulanova and K. Sergeev began their creative careers here; those unnoticed but magnificent artists also came from here, thanks which made possible the perfection of The Sleeping Beauty, Swan Lake, and Chopiniana. Glorious in its past and present, the ballet troupe of the Mariinsky Theater, with rare exceptions, was all nurtured in this educational institution; the school has always been and remains the roots that graciously and incessantly nourish this group.

And it all started very modestly. Almost 250 years ago, in 1738, the court choreographer, a Frenchman by nationality, J.-B. Lande wrote to Empress Anna Ioannovna: “I ask you to entrust to my care twelve Russian children, six male and six female, to compose ballets and theatrical dances of a comic and serious nature. These students... in three years will be in no way worse than the best foreign dancers.” In May of the same year, a decree was signed on the opening of the “Dance School”. Around 1780, it was renamed the “Theater School,” retaining this name until the October Revolution.

Among the first teachers there were many foreigners. They worked conscientiously, developing the extraordinary abilities of Russian girls and boys. F. Hilferding, G. Angiolini, D. Canziani and, finally, the famous C. Didelot laid the foundation for Russian professional choreographic education.

At the beginning of the 19th century, the school could rightfully be proud of such first-class talents as E. Kolosova, M. Danilova, N. Likhutina, N. Novitskaya, A. Istomina, E. Teleshova, N. Golts, A. Glushkovsky. Thanks to them, Russian ballet in the 20s of the 19th century was freed from the dominance of foreign guest performers, while Russian ballerinas and dancers, preserving the best traditions of classical dance, filled it with the content and originality of the Russian character. No wonder Pushkin wrote about the “soul-filled flight” of the Russian Terpsichore.

The St. Petersburg ballet was inextricably linked with the school; The famous 19th-century choreographers J. Perrot, A. Saint-Leon, and M. Petipa were the “rulers of the thoughts” of young people. These foreign masters (to which we should add X. Ioganson and E. Cecchetti) did not find use for their strengths in their homeland, where already in the second half of the 19th century stagnation reigned in ballet, and many old choreographic schools withered and disintegrated. The first European successes of the students of the St. Petersburg School E. Andreyanova, T. Smirnova, N. Bogdanova, M. Muravyova showed not only their talent, but also the high level of choreographic art in Russia. In subsequent years, masters with different creative aspirations taught at the school: E. Vazem, P. Gerdt, A. Shiryaev, M. Obukhov, N. Legat, K. Kulichevskaya, M. Fokin. Through their efforts, at the turn of the century, the Russian school of choreography finally took shape, which, having adopted the softness and grace of the French school and the virtuoso skill of the Italians, created its own harmonious style. Graduates of the school not only successfully danced classical ballets, but also turned out to be able to create completely different images in the innovative ballets of M. Fokine. The world fame of M. Kshesinskaya, O. Preobrazhenskaya, V. Trefilova, A. Pavlova, T. Karsavina, O. Spesivtseva, M. Fokin, V. Nijinsky and many others crowned the unconditional achievements of the St. Petersburg ballet school.

But not everything in the pre-revolutionary school was at its best. Here, a purely professional craft was seriously taught for seven years (five classes: two preparatory classes of two years each and three basic years), but general education was at a very low level. A. Vaganova recalled: “In the winter, we also studied general education subjects. The program was simple - higher than a four-year city school, but lower than a six-year gymnasium... We studied lazily, or, more precisely, lukewarmly. Constant rehearsals (since children participated in almost every ballet) disrupted classes in the most outrageous way.” The school management apparently took the view that a general education was of little use to a ballet dancer. The task of educating not only a ballet professional, but an artist and a citizen fell to the share of the new, Soviet period in the life of the school.

The October Revolution sharply changed the general direction of education in school and destroyed the spirit of isolation and casteism that reigned in it. The school was officially renamed the Choreographic School, and already in 1918-1919 the student population reached 300 people (until 1917, an average of 30-80 people studied at the school). And this was in the difficult living conditions of the civil war. T. Vecheslova, talking about her student years, wrote about these difficulties: “The school was not heated, ink turned into ice in the classrooms, during lessons we sat in fur coats and felt boots. Classical dance was practiced in warm woolen dresses, over which scarves or sweaters were worn. However, all this could not freeze our love for our work. The school and our life there were imbued with a creative atmosphere.” During this difficult period for the school, both the “old” teachers (who began teaching before October): A. Shiryaev, A. Monakhov, L. Leontyev, V. Semenov, V. Ponomarev, and the “new” ones: M. Romanova, E. Vecheslova-Snetkova, A. Vaganova, L. Petrov, and the new leadership of the school (A. Oblakov) helped preserve huge reserves of practical knowledge, transferring them into the hands of capable youth. What fundamentally new problems did the Leningrad School manage to solve during the years of Soviet power?

The first and, perhaps, main goal back in the 30s was perfectly formulated by A. Vaganova: “We set ourselves the task of training not only performers who master the technique of ballet dance; we cannot limit the goal of ballet education only to mastering the technology of art. We are preparing and must prepare creative workers of our Soviet theaters, armed not only with knowledge of the fundamentals of their craft and its virtuosity, but also with general culture. We are obliged to produce people who are not only politically literate, but also politically minded.”

In terms of the level of general education, the school initially became a seven-year school, and in the 30s - a secondary specialized institution (officially in these years it was called the Leningrad Choreographic College). Currently, students, in parallel with special subjects, study general education with the addition of a number of disciplines (history of ballet, music theory, etc.).

Along with the development trend of students, the focus of teaching has also changed. Previously, the St. Petersburg School trained artists only for the Mariinsky Theater, because in the whole country there were only St. Petersburg and Moscow choreographic troupes. Under Soviet rule, opera and ballet theaters were opened both in the union republics and in many cities of the Russian Federation. It has become necessary to prepare artists for new groups, train teachers for choreographic schools, and equip these personnel with proven and advanced teaching methods. Tasks of enormous scope and social consequences fell on the Leningrad, and somewhat later, Moscow choreographic schools.

It should be noted that the pre-revolutionary school did not even know the complete curriculum recorded on paper (only in 1895 V. Stepanov compiled a “Program of ballet dancing classes with an approximate distribution into seven departments,” but in practice, each teacher adhered to his own system). In 1928, the first brochure, “The Curriculum and Program of the Leningrad State Art University,” was published, which briefly outlined the tasks of each year of the eight-year classical dance training. Eight programs were already published in the 1936 collection, covering all special disciplines. A huge role was played by the methodological book “Fundamentals of Classical Dance” published in 1934 by A. Vaganova, which was translated into many languages ​​abroad and in our country. The Vaganova method has become the basis for training students in all choreographic schools in our country. Somewhat later, the world's first manual on character dance, a discipline that independently took shape in Soviet times, appeared - “Fundamentals of Character Dance” (1939), written by the founder of teaching this subject A. Shiryaev together with his students A. Bocharov and A. Lopukhov. A methodology was also created on the scientific basis for admitting children to a choreographic school and a methodology for ballroom and historical dance.

All these works were not considered by the school as frozen dogma. Dance technique is evolving: what was at first considered the achievement of individual virtuosos was later mastered by the majority of students. In the post-war period, textbooks were published by teachers of the school N. Bazarova, V. Kostrovitskaya, V. Mei, A. Pisarev, N. Serebrennikova, L. Yarmolovich, in which the methodology of highly professional training was deepened and expanded.

Simultaneously with the methodological work, a huge amount of practical work was done to train choreographic personnel for various theaters in the country. A fundamentally new phenomenon was the creation in 1934 of a national branch of the school. Teachers traveled to Bashkiria, Turkmenistan, Kyrgyzstan, Kazakhstan, and later to Moldova, Ossetia and other republics of our country and selected the most gifted children locally. Now these students of the Leningrad school head many republican theaters and ballet schools. To imagine the scope of this work, we note that in 1940 the national branch numbered about 100 people (out of a total school population of 540 people).

From the mid-30s until the Great Patriotic War, there were two more departments at the school - pedagogical and choreographer. Previously, no one had trained these specialists anywhere in the world; the experience was passed on directly from generation to generation. But given the scope that choreographic art has acquired in our country, this “method” has become an obvious hindrance. The Leningrad School (head of the pedagogical department A. Vaganova, head of the choreographer's department F. Lopukhov) was a pioneer in the training of these necessary personnel. Subsequently, it was considered advisable to train choreographers at a higher educational institution (GITIS in Moscow and the Conservatory in Leningrad). An important aspect of the education of students is, in addition to constant practice, participation in performances of Leningrad theaters, mandatory work on the creation of new ballet numbers and entire performances.

The directors are both school teachers and many young choreographers. The first choreographic experiments within the walls of the school were carried out by L. Yakobson, V. Chabukiani, L. Lavrovsky, N. Anisimova. V. Varkovitsky, K. Boyarsky, B. Fenster, G. Aleksidze, B. Eifman, A. Polubentsev. The work of schoolchildren not only on works bequeathed by their predecessors, but also on original compositions has become a necessary element of their creative education. The pride of the Leningrad Dance Academy was and is its magnificent teachers, among whom (apart from those already mentioned) it should be noted N. Bazarova, F. Balabina, N. Baltacheeva, N. Belikova, B. Bregvadze, E. Heidenreich, I. Gensler, R. Gerbek, E. Gerdt, N. Dudinskaya, I. Ivanovsky, V. Zimin, I. Zubkovskaya. N. Kamkov, G. Konishchev, V. Kostrovitskaya, A. Kumysnikov, A. Pushkin, G. Selyutsky, N. Serebrennikov, I. Trofimov, L. Tyuntin, B. Shavrov, K. Shatilov, E. Shiripin, T. Shmyrov. Since 1957, the school has been named after one of the most outstanding teachers of choreography - Agrippina Yakovlevna Vaganova, in 1938 it was awarded the Order of the Red Banner of Labor, and in 1961 it was awarded the title of academic.

Every year new children come to the ancient building on Zodchego Rossi Street, where the architecture itself is in tune with Russian classical choreography. And after eight years of studying at a ballet school famous for its past and present, these “ugly ducklings” become beautiful “swans” that scatter throughout the country, increasing the glory of the Vaganova School.

A. Degen, I. Stupnikov, 1988

Academy of Russian Ballet named after A.Ya. Vaganova is one of the oldest ballet schools in the world. It was founded in 1738 by Empress Anna Ioannovna herself, and since then the academy has been one of the best.

The first teacher "Her Imperial Majesty's Dancing School" became the French dance master Jean Baptiste Lande. Initially, his students included 12 girls and boys - children of palace employees. Of course, the ballet of those times cannot be compared with the present: Lande directed all his efforts to ensure that the students mastered ballroom dancing, which was then the basis of training. But the result was obvious: the Russian Empire had its own ballet.Most of the important events that influenced the entire Russian ballet took place within the walls of the St. Petersburg school.

It was here that the first Russian choreographer Ivan Valberkh (Lesogorov) worked, who prepared the troupe for the arrival of the famous Frenchman Didelot. Charles Louis Didelot himself, the founder of the modern method of classical dance, taught at the school for about 20 years - during this time he managed to ensure that Russian ballet became part of European ballet (at that time a new system of theatrical pointe classical dance was taking shape there). Moreover, at the turn of the 18th-19th centuries, Russian ballet was superior to many foreign ones, and classical dance, which Didelot introduced, became the core of the Academy’s educational program. Outstanding Russian poets (for example, Pushkin and Derzhavin) sang in their poems the ballets of Didelot and his ballerinas.

Also, another world famous Frenchman, Jules Perrault (the largest choreographer in the era of romanticism), arrived in St. Petersburg at the invitation of the Directorate of Imperial Theaters.

Later, Marius Petipa began teaching at the school (the period associated with him was called the “Petipa era”) and the Italian Enrico Cecchetti, thanks to whom interest in male dance arose, as well as many other excellent teachers.

Each choreographer brought into Russian ballet the features of his own national school - French, Italian, Swedish. And the Academy “absorbed” all this knowledge.

The Vaganova Academy was glorified not only by famous choreographers, but also by talented graduates. For example, Anna Pavlova, who shone in Paris at Diaghilev’s “Russian Seasons,” introduced Russian ballet to the whole world, and Marina Semenova, in the difficult 1920s, proved to her native country that classical ballet was needed.

The success of the Academy over the years was supported by the work of Galina Ulanova, Fairy Balabina, Natalia Dudinskaya, Vladimir Ponomarev (one of the founders of the school of men's classical dance), Matilda Kshesinskaya, Vaslav Nijinsky, Mikhail Baryshnikov, Ulyana Lopatkina.

http://vaganovaacademy.ru/

The Vaganova Academy of Russian Ballet is the oldest ballet school in Russia. The first in our country and one of the best professional schools in the world. In May 2018, the anniversary is celebrated - 280 years since its founding. During this time, the Academy made an invaluable contribution to world choreographic education, managed to preserve and develop the traditions accumulated by generations of dancers and teachers, and won the recognition of millions of ballet fans. In June 2018, anniversary events will be held in St. Petersburg and Moscow: at the Mariinsky Theater, the Bolshoi Theater and on the stage of the State Kremlin Palace.

For almost three centuries, the Academy has been developing sparkling dance skills, embodied in a unique teaching methodology. The first students of the Academy - twelve girls and boys - became guiding stars for many generations of famous dancers. Matilda Kshesinskaya, Anna Pavlova, Vaslav Nijinsky, Marina Semenova, Galina Ulanova, Yuri Grigorovich, Rudolf Nureyev, Mikhail Baryshnikov, Natalya Makarova, Svetlana Zakharova, Diana Vishneva, Ulyana Lopatkina - these are graduates of the Academy who have glorified and glorified Russian Ballet throughout the World for three centuries contract.

Now famous ballerinas and dancers teach at the Academy, and world-famous stars are at the helm. The school is headed by the Bolshoi Theater premier, People's Artist of Russia, State Prize laureate Nikolai Tsiskaridze, a student of the great masters of choreography - Pyotr Pestov, Marina Semenova and Galina Ulanova. The first vice-rector, artistic director of the Academy is prima ballerina of the Mariinsky Theater, People's Artist of Russia Zhanna Ayupova, a student of the legendary Ninel Kurgapkina, Vaganova's favorite student.

An extraordinary address, an amazing street - Teatralnaya, now Zodchego Rossi Street, 2. This blessed place is inextricably linked with the great Russian culture, with everything that exists in musical, dramatic, dance art - it all started from here.

Our memory and love for the past is a great power. She revives the past and makes it a participant in our lives. The ballet school was created in 1738, and at the beginning of the 19th century, in 1836, it settled in a building on Teatralnaya Street. This year we have an anniversary - 280 years since the birth of the School.

It so happened in my life that I really had no connection with the Academy, but at the same time I found myself connected with it to the point of mysticism. All the teachers who played a decisive role in my life were related to Zodchego Rossi Street: both those who taught me in Tbilisi and those who taught me at the Moscow Choreographic School and at the Bolshoi Theater.

In my life I had the opportunity and great honor to enter the building of the Academy not just as a student, but as a leader. But he was a very young leader, who, by and large, of course had to study this profession. This moment is important for me: I came here to get a completely new profession, having three educations - dancer, teacher, lawyer. So I had to master my main profession of management in the legendary building on Zodchego Rossi. For me, these walls have become family.

My favorite phrase, which I constantly repeat, was said by K.M. Sergeev: our school is “the castle of Sleeping Beauty on the shore of Swan Lake.” If you look closely at the formation of columns on the buildings of our street, you will see a stunning line that Lev Ivanov once staged in the swan scene in the ballet “Swan Lake”. The architecture of the buildings is in tune with its balletic construction, with balletic grace. I am happy that it fell to my lot to be the rector from the 275th anniversary of the Academy to the 280th anniversary.

Nikolai TSISKARIDZE,

People's Artist of Russia,

Rector of the Academy of Russian Ballet named after. Vaganova

Several centuries ago, on Zodchego Rossi Street in St. Petersburg, Anna Ioannovna opened a dance school in an ancient building. In it, according to plans, foreign teachers were supposed to teach little boys and girls foreign gait. No one imagined that after some time the school’s students would be applauded by the whole world, and after several centuries, education would continue to continue, but not at school, but at an educational institution such as the Vaganova Academy. Reviews, specialties, admission - topics that are worth examining in detail.

History of the educational institution

The Vaganova Academy (St. Petersburg) is one of the oldest ballet schools existing in the world. It began its work in the 18th century, or to be more precise, in 1738. The Academy was created by order of Empress Anna Ioannovna. After its establishment, the school developed rapidly, because famous choreographers taught there. Thanks to them, at the beginning of the 19th century, Russian ballet was superior to many foreign ones.

The school has been transformed several times during its existence. At first she became part of the theater school. Later the educational organization became a school. At the beginning of the 20th century it was renamed the choreographic technical school. Vaganova's name was added to the title in 1957. Modern (Ballet Academy) has been operating since 1991.

Vaganova Academy graduates

The educational organization, which is currently an academy, has been glorified by many talented graduates. For example, in the last century Alla Yakovlevna Shelest studied at the choreographic school. After completing her studies, she was a ballerina at the Kirov Opera and Ballet Theater. They talked about her as an outstanding ballerina with dramatic and tragic talent, they saw in her enormous inner strength and hidden passion.

Another famous graduate of the educational institution is Anna Pavlovna Pavlova. This is one of the greatest ballerinas of the last century. She had a huge concert repertoire, toured all over the world and introduced residents of other countries to the art of Russian ballet. She made a huge impression on the audience. There was even a cake named after her, which is still served in restaurants in New Zealand, Australia, and Israel.

About the rectors of the educational organization

If you study the history of the educational institution, you can note that its artistic directors were prominent figures of the St. Petersburg ballet. Their names are Nikolai Ivanovsky, Igor Belsky and others. If we consider the modern history of the academy, it is worth paying attention to the fact that since 2003 the rector has been Vera Dorofeeva. She stayed in this position for 10 years.

In the fall of 2013, the academy announced that Nikolai Tsiskaridze would take the position of rector. Employees of the educational organization opposed this. The fact is that Tsiskaridze, after completing his studies at the Moscow Choreographic School, was accepted into the Bolshoi Theater troupe. Academy employees said that it was impossible to appoint a person to the position of rector who did not study here and does not know the pedagogical and performing traditions. They believed that Nikolai Tsiskaridze would lead to mixing the methods of the Moscow and St. Petersburg schools, and as a result the academy would lose its uniqueness. Employee protests came to nothing. Now the rector of the Vaganova Academy is Tsiskaridze.

Features of admission to secondary vocational education

The Academy annually enrolls children to receive secondary vocational education. They enter the educational institution after completing their studies in the 4th grade of a general education school. You can also enroll after 5th grade (but with the loss of one year).

There is one direction of training - “The Art of Ballet. Ballet dancer" (performing department). The period of study upon admission after the 4th grade was established by the Vaganova Academy. Reviews indicate that it is 7 years and 10 months. They also indicate that not all children are admitted. There are diseases and pathologies that are considered an absolute contraindication to training in choreographic schools (for example, acquired and congenital heart defects, blood diseases, congenital deformities of the lower and upper jaw, chronic gastritis, overweight or underweight).

Entrance tests for the vocational training program

Entrance tests for the direction “The Art of Ballet. Ballet dancer" are divided into three stages:

1. At the first stage, teachers evaluate several parameters: appearance, flexibility, step, musicality, jump. Applicants with good data advance to the next stage.
2. At the second stage, the physical condition of applicants is assessed. Teachers evaluate posture, vision, height and weight. Children who do not meet the required parameters are not allowed to take the following tests.
3. At the final stage, the academy staff selects those applicants who have the highest performance and have initial professional data.

Features of admission to higher education

The Academy of Russian Ballet named after A. Ya. Vaganova, on the basis of an existing license, annually recruits for bachelor’s training areas at the Faculty of Education:

• "Choreographic art".
• "Choreographic performance".
• "Musical and instrumental art."

People with secondary (complete) general, secondary vocational or higher education can enroll in any of the listed areas. Applicants provide the admissions committee with an application, passport, diploma or certificate, documents confirming individual achievements, and photographs.

Admission to the Vaganova Academy: entrance tests for HE programs

When applying for a bachelor's degree, the results of the Unified State Exam or entrance tests in Russian language and literature are taken into account. Another subject to be taken in the “Humanities and Arts” direction is history. In addition to general education subjects, applicants undergo additional entrance tests:

• “Choreographic Art” and “Choreographic Performance” have a creative task and an interview;
• “Musical and Instrumental Art” includes creative and professional tests and interviews.

Those individuals who meet the minimum score threshold can enter the Academy. In the Russian language, depending on the area of ​​training, acceptable results range from 38-45 points, in literature - 34-40 points, in history - 40 points. The minimum score for additional creative and professional tests is 40.

Master's degree at the Academy

After completing their undergraduate studies, graduates are again invited to receive additional knowledge by the Vaganova Academy. Master's degrees are available at the Faculty of Education. Suggested areas of training:

• "Humanities and Arts".
• "History and theory of art."
• "Choreographic art".
• "Art".
• "Musical applied art and musicology."

In all directions (except for the last), entrance examinations include passing a professional test, a foreign language and cultural history. To enroll in “Musical Applied Arts and Musicology,” applicants undergo professional and creative tests. They also take cultural history.

Address of educational organization and additional information

The Academy of Russian Ballet named after A. Ya. Vaganova is located on the same street on which the school was founded by the Empress. The address of the educational institution is St. Petersburg, st. Zodchego Rossi, 2. You can come here by metro (to the Nevsky Prospekt or Gostiny Dvor stations), by buses No. 3, 27, 22 or by trolleybuses No. 22, 5, 10.

If you have any questions, you can call the Academy. A single telephone number can be found on the establishment’s website. Academy staff answer calls from Monday to Saturday until 18:00.