Russian ballerinas with world fame (11 photos). Ballerinas of the 20th century
Irina Babkina
When planning material about ballerinas for the May holidays, we did not know that such sad news would come from Germany... Today, when the whole world mourns the legend of Russian ballet Maya Plisetskaya, we honor her memory and remember modern soloists who will never replace the prima of the Bolshoi Theater, but they will worthily continue the history of Russian ballet.
Grand Theatre showered the ballerina Maria Alexandrova with attention from the first meeting. Won the first prize in 1997 International competition ballet dancers in Moscow became a ticket for the then student of the Moscow State Academy of Arts to the main troupe of the country. In the very first season of work at the Bolshoi, without long languor, the ballerina, still with the rank of corps de ballet dancer, received her first solo role. And the repertoire grew and expanded. Interesting fact: in 2010, the ballerina became the first woman in the history of ballet to perform the title role in Stravinsky’s Petrushka. Today Maria Alexandrova is a prima ballerina of the Bolshoi.
The turning point in the fate of the aspiring ballerina Svetlana Zakharova was the receipt of second prize in the Vaganova-Prix competition for young dancers and the subsequent offer to become a graduate student at the Academy of Russian Ballet. Vaganova. And the Mariinsky Theater became a reality in the ballerina’s life. After graduating from the academy, the ballerina joined the troupe Mariinsky Theater Having worked for a season, she received an offer to become a soloist. The history of Zakharova’s relationship with the Bolshoi began in 2003 with the solo part in “Giselle” (edited by V. Vasiliev). In 2009, Zakharova surprised the audience with the premiere of E. Palmieri’s unusual ballet “Zakharova. Super game". The Bolshoi did not plan it, but Zakharova organized it, and the theater supported the experiment. By the way, a similar experience of staging in Bolshoi Ballet for the only ballerina there was already, but only once: in 1967, Maya Plisetskaya shone in Carmen Suite.
What can I say, those who are taking their first steps in ballet from Zakharova’s repertoire are dizzy and envy appears. To date, her track record includes all solo parts of the main ballets - “Giselle”, “ Swan Lake", "La Bayadère", "Carmen Suite", "Diamonds"…
The beginning of Ulyana Lopatkina's ballet career was the role of Odette in Swan Lake, of course, at the Mariinsky Theater. The performance was so skillful that the ballerina soon received the Golden Spotlight award for best debut on the St. Petersburg stage. Since 1995, Lopatkina has been a prima ballerina of the Mariinsky Theater. The repertoire again includes familiar titles - “Giselle”, “Corsair”, “La Bayadère”, “Sleeping Beauty”, “Raymonda”, “Diamonds”, etc. But geography is not limited to work on one stage. Lopatkina conquered the main stages of the world: from the Bolshoi Theater to NHK in Tokyo. At the end of May on stage Musical theater them. Stanislavsky and Nemirovich-Danchenko Lopatkina will perform in collaboration with the “Stars of Russian Ballet” in honor of Tchaikovsky’s anniversary.
At the end of March, the name of Diana Vishneva, prima ballerina of the Mariinsky Theater since 1996, was on everyone’s lips. The Bolshoi hosted the premiere of the play “Grani,” nominated for the “ Golden mask" The event is vibrant and discussed. The ballerina gave interviews, joked in response to questions about her close acquaintance with Abramovich and pointed to her husband accompanying her everywhere. But the performance ended, and a course was set for London, where on April 10, Vishneva and Vodianova held a charity evening for the Naked Heart Foundation. Vishneva actively performs at best scenes Europe, does not refuse experimental, unexpected proposals.
Balanchine’s “Diamonds” was mentioned above. Ekaterina Shipulina, a graduate of the Moscow State Academy of Arts, shines in “Emeralds” and “Rubies.” And not only, of course. The ballerina's repertoire includes leading roles in such ballets as Swan Lake, Cathedral Notre Dame of Paris", "Lost Illusions", "Cinderella", "Giselle", and collaboration with the best choreographers– Grigorovich, Eifman, Ratmansky, Neumayer, Roland Petit...
Evgenia Obraztsova, graduate of the Academy of Russian Ballet named after. Vaganova, first became a prima ballerina at the Mariinsky Theater, where she performed La Sylphide, Giselle, La Bayadère, Princess Aurora, Flora, Cinderella, Ondine... In 2005, the ballerina gained cinematic experience by playing in Cedric Klapisch’s film “Beauties”. In 2012, she joined the Bolshoi troupe, where, as a prima ballerina, she performed solo roles in the productions “Don Quixote,” “The Sleeping Beauty,” “La Sylphide,” “Giselle,” “Eugene Onegin,” and “Emeralds.”
They are airy, slender, light. Their dance is unique. Who are these outstanding ballerinas of our century?
Agrippina Vaganova (1879-1951)
One of the most important in history Russian ballet years is 1738. Thanks to the proposal of the French dance master Jean-Baptiste Lande and the approval of Peter I, the first school was opened in St. Petersburg ballet dance in Russia, which exists to this day and is called the Academy of Russian Ballet. AND I. Vaganova. It was Agrippina Vaganova in Soviet time systematized the traditions of classical imperial ballet. In 1957, her name was given to the Leningrad Choreographic School.
Maya Plisetskaya (1925)
An outstanding dancer of the second half of the 20th century, who went down in the history of ballet with her phenomenal creative longevity, Maya Mikhailovna Plisetskaya was born on November 20, 1925 in Moscow.
In June 1934, Maya entered the Moscow choreographic school, where she consistently studied with teachers E.I. Dolinskaya, E.P. Gerdt, M.M. Leontyeva, but she considers Agrippina Yakovlevna Vaganova, whom she met already at the Bolshoi Theater, where she was accepted on April 1, 1943, to be her best teacher.
Maya Plisetskaya is a symbol of Russian ballet. She performed one of her main roles as Odette-Odile from Swan Lake on April 27, 1947. It was this Tchaikovsky ballet that became the core of her biography.
Matilda Kshesinskaya (1872-1971)
Born into the family of dancer F.I. Kshesinsky, a Pole by nationality. In 1890 she graduated from the ballet department of the St. Petersburg Theater School. In 1890-1917 she danced at the Mariinsky Theater. She became famous in the roles of Aurora (The Sleeping Beauty, 1893), Esmeralda (1899), Teresa (Rest of the Cavalry), etc. Her dance was distinguished by its bright artistry and cheerfulness. In the early 1900s she was a participant in M. M. Fokine’s ballets: “Eunika”, “Chopiniana”, “Eros”, and in 1911-1912 she performed in the Diaghilev Russian Ballet troupe.
Anna Pavlova (1881-1931)
Born in St. Petersburg. After graduating from the St. Petersburg Theater School, in 1899 she was accepted into the troupe of the Mariinsky Theater. She danced parts in the classical ballets “The Nutcracker”, “The Little Humpbacked Horse”, “Raymonda”, “La Bayadère”, “Giselle”. Natural abilities and constant improvement of performing skills helped Pavlova to become the leading dancer of the troupe in 1906.
Pavlova had a huge influence on identifying new opportunities in Pavlova’s performing style. collaboration with innovative choreographers A. Gorsky and, especially, M. Fokin. Pavlova performed the main roles in Fokine’s ballets Chopiniana, Armida’s Pavilion, Egyptian nights", etc. In 1907, at a charity evening at the Mariinsky Theater, Pavlova for the first time performed the choreographic miniature "The Swan" (later "The Dying Swan") staged for her by Fokine, which later became the poetic symbol of Russian ballet of the 20th century.
Svetlana Zakharova (1979)
Svetlana Zakharova was born in Lutsk, Ukraine, on June 10, 1979. At the age of six, her mother took her to choreographic circle where Svetlana studied folk dances. At the age of ten she entered the Kiev Choreographic School.
After studying for four months, Zakharova left the school as her family moved to East Germany in accordance with the new assignment of her military father. Returning to Ukraine six months later, Zakharova again passed the exams at the Kiev Choreographic School and was immediately accepted into the second grade. At the Kiev School she studied mainly with Valeria Sulegina.
Svetlana performs in many cities around the world. In April 2008, she was recognized as the star of the famous Milan theater"La Scala".
Galina Ulanova (1909-1998)
Galina Sergeevna Ulanova was born in St. Petersburg on January 8, 1910 (according to the old style, December 26, 1909), in a family of ballet masters.
In 1928, Ulanova graduated from the Leningrad Choreographic School. Pretty soon she joined the troupe of the Leningrad State academic theater opera and ballet (now Mariinsky).
Ulanova had to leave her beloved Mariinsky Theater during the siege of Leningrad. During the Great Patriotic War Ulanova danced in theaters in Perm, Almaty, Sverdlovsk, performing in hospitals in front of the wounded. In 1944 Galina Sergeevna moves to the Bolshoi Theater, where she has performed periodically since 1934.
Galina's real achievement was the image of Juliet in Prokofiev's ballet Romeo and Juliet. Her the best dances are also the role of Masha from “The Nutcracker” by Tchaikovsky, Maria from “ Bakhchisarai fountain" and Gisele Adana.
Tamara Karsavina (1885-1978)
Born in St. Petersburg in the family of Mariinsky Theater dancer Platon Karsavin, great-niece Alexey Khomyakov, a prominent philosopher and writer of the 1st half of the 19th century century, sister of the philosopher Lev Karsavin.
She studied with A. Gorsky at the Peturburg Theater School, from which she graduated in 1902. While still a student, she performed the solo part of Cupid at the premiere of the ballet Don Quixote staged by Gorsky.
She began her ballet career during a period of academic crisis and the search for a way out of it. Columns academic ballet they found many flaws in Karsavina’s performance. The ballerina improved her performing skills with the best Russian and Italian teachers
Karsavina’s remarkable gift was manifested in her work on M. Fokin’s productions. Karsavina was the founder of fundamentally new trends in the art of ballet at the beginning of the 20th century, later called “intellectual art.”
The talented Karsavina quickly achieved the status of a prima ballerina. She performed leading roles in the ballets Carnival, Giselle, Swan Lake, Sleeping Beauty, The Nutcracker and many others.
Ulyana Lopatkina (1973)
Ulyana Vyacheslavna Lopatkina was born in Kerch (Ukraine) on October 23, 1973. As a child, she studied in dance clubs and in the section artistic gymnastics. On the initiative of her mother, she entered the Academy of Russian Ballet. AND I. Vaganova in Leningrad.
In 1990, as a student, Lopatkina participated in the Second All-Russian competition them. AND I. Vaganova for students of choreographic schools and received first prize..
In 1995, Ulyana became a prima ballerina. On her track record best roles in classical and modern productions.
Ekaterina Maksimova (1931-2009)
Born in Moscow on February 1, 1939. Since childhood, little Katya dreamed of dancing and at the age of ten she entered the Moscow Choreographic School. In the seventh grade, she danced her first role - Masha in The Nutcracker. After college, she joined the Bolshoi Theater and immediately, practically bypassing the corps de ballet, began dancing solo parts.
Of particular importance in Maximova’s work was her participation in television ballets, which revealed a new quality of her talent - comedic talent.
Since 1990, Maksimova has been a teacher and tutor at the Kremlin Ballet Theater. Since 1998 - choreographer-tutor of the Bolshoi Theater.
Natalya Dudinskaya (1912-2003)
Born on August 8, 1912 in Kharkov.
In 1923-1931 she studied at the Leningrad Choreographic School (student of A.Ya. Vaganova).
In 1931-1962 - leading dancer of the Leningrad Opera and Ballet Theater. CM. Kirov. She performed the main roles in the ballets “Swan Lake” and “The Sleeping Beauty” by Tchaikovsky, “Cinderella” by Prokofiev, “Raymonda” by Glazunov, “Giselle” by Adam and others.
We admire the skill of these brilliant ballerinas. They made a huge contribution to the development of Russian ballet!
The best representatives of Russian ballet are Anna Pavlova and Galina Ulanova.
Ballet is called an integral part of the art of our country. Russian ballet is considered the most authoritative in the world, the standard. This review contains the success stories of five great Russian ballerinas, which they still look up to today.
Anna Pavlova 
Anna Pavlova is an outstanding Russian ballerina.
The outstanding ballerina Anna Pavlova was born into a family far from art. She developed a desire to dance at the age of 8 after the girl saw the ballet production of “The Sleeping Beauty.” At the age of 10, Anna Pavlova was accepted into the Imperial drama school, and after graduation - to the troupe of the Mariinsky Theater.
What is curious is that the aspiring ballerina was not placed in the corps de ballet, but immediately began to give her responsible roles in productions. Anna Pavlova danced under the direction of several choreographers, but the most successful and fruitful tandem, which had a fundamental influence on her performance style, was with Mikhail Fokin. 
Anna Pavlova as a dying swan.
Anna Pavlova supported the choreographer’s bold ideas and readily agreed to experiments. Miniature "The Dying Swan", which later became business card Russian ballet, was almost impromptu. In this production, Fokine gave the ballerina more freedom, allowed me to independently feel the mood of “The Swan” and improvise. In one of the first reviews, the critic admired what he saw: “If a ballerina on stage can imitate the movements of the noblest of birds, then this has been achieved: in front of you is a swan.”
Galina Ulanova 
Galina Ulanova is an outstanding ballerina, to whom monuments were erected during her lifetime.
Galina Ulanova's fate was predetermined from the very beginning. The girl’s mother worked as a ballet teacher, so Galina, even if she really wanted to, was unable to bypass the ballet barre. Years grueling workouts led to Galina Ulanova becoming the most titled artist of the Soviet Union.
After graduating from the choreographic technical school in 1928, Ulanova was accepted into ballet troupe Leningrad Opera and Ballet Theater. From the very first performances, the young ballerina attracted the attention of spectators and critics. A year later, Ulanova was entrusted with performing the leading role of Odette-Odile in Swan Lake. Giselle is considered one of the ballerina’s triumphant roles. Performing the scene of the heroine's madness, Galina Ulanova did it so soulfully and selflessly that even the men in the audience could not hold back their tears. 
Galina Ulanova performs the role of Giselle.
Galina Ulanova has reached unprecedented heights in her performance skills. They imitated her, teachers of the leading ballet schools in the world demanded that their students do steps “like Ulanova.” The famous ballerina is the only one in the world to whom monuments were erected during her lifetime.
Galina Ulanova danced on stage until she was 50 years old. She was always strict and demanding of herself. Even in old age the ballerina started every morning with classes and weighed 49 kg.
Olga Lepeshinskaya 
Olga Lepeshinskaya is a ballet dancer and ballet teacher.
For her passionate temperament, sparkling technique and precision of movements, Olga Lepeshinskaya was nicknamed “The Jumping Dragonfly”. The ballerina was born into a family of engineers. WITH early childhood the girl literally raved about dancing, so her parents had no choice but to send her to ballet school at the Bolshoi Theater.
Olga Lepeshinskaya easily coped with both classic ballet (“Swan Lake”, “Sleeping Beauty”) and modern productions (“Red Poppy”, “Flames of Paris”.) During the Great Patriotic War, Lepeshinskaya fearlessly performed at the front, raising the fighting soldier spirit. 
Olga Lepeshinskaya - ballerina with a passionate temperament
Despite the fact that the ballerina was Stalin’s favorite and had many awards, she was very demanding of herself. Already at an advanced age, Olga Lepeshinskaya said that her choreography could not be called outstanding, but her “natural technique and fiery temperament” made her inimitable.
Maya Plisetskaya 
Maya Plisetskaya - Russian and Soviet ballet dancer
Maya Plisetskaya is another outstanding ballerina, whose name is inscribed in golden letters in the history of Russian ballet. When the future artist was 12 years old, she was adopted by Aunt Shulamith Messerer. Plisetskaya’s father was shot, and her mother and little brother were sent to Kazakhstan to a camp for the wives of traitors to the Motherland.
Aunt Plisetskaya was a ballerina at the Bolshoi Theater, so Maya also began attending choreography classes. The girl reached great success In this field and after graduating from college, she was accepted into the Bolshoi Theater troupe. 
Maya Plisetskaya is an outstanding ballerina.
Plisetskaya's innate artistry, expressive plasticity, and phenomenal jumps made her a prima ballerina. Maya Plisetskaya performed leading roles in all classical productions. She was especially good at tragic images. Also, the ballerina was not afraid of experiments in modern choreography.
After the ballerina was fired from the Bolshoi Theater in 1990, she did not despair and continued to give solo performances. Overflowing energy and incredible love to their profession allowed Plisetskaya to make her debut in the production of “Ave Maya” on her 70th birthday.
Lyudmila Semenyaka 
Lyudmila Semenyaka - Russian and Soviet ballerina.
The beautiful ballerina Lyudmila Semenyaka performed on the stage of the Mariinsky Theater when she was only 12 years old. The talented talent could not go unnoticed, so after some time Lyudmila Semenyaka was invited to the Bolshoi Theater. Galina Ulanova, who became her mentor, had a significant influence on the ballerina’s work.
Semenyaka coped with any part so naturally and effortlessly that from the outside it seemed as if she was not making any effort, but was simply enjoying the dance. In 1976, Lyudmila Ivanovna was awarded the Anna Pavlova Prize from the Paris Academy of Dance. 
Lyudmila Semenyaka, Andris Liepa and Galina Ulanova at a rehearsal.
At the end of the 1990s, Lyudmila Semenyaka announced her retirement from her ballerina career, but continued her activities as a teacher. Since 2002, Lyudmila Ivanovna has been a teacher-tutor at the Bolshoi Theater.
“Amateur” decided to talk about the legends of ballet art of the 20th century.
Olga Preobrazhenskaya
In 1879 she entered, where I studied with teachers Nicholas Legat and Enrico Cecchetti . After graduation she was accepted intoMariinskii Opera House, where her main rival wasMatilda Kshesinskaya. Since 1895 she toured Europe and South America, successfully performed in the theater La Scala. In 1900 became a prima ballerina. She left the stage in 1920.
In 1914 began pedagogical activity, from 1917 to 1921 she taught a plastic class at the Mariinsky Theater opera troupe, taught at the Petrograd Choreographic School, at the School of Russian Ballet A. L. Volynsky.
She emigrated in 1921, and since 1923 she lived in Paris , where she opened a ballet studio and continued her teaching activities for almost 40 years. Also taught at Milan, London, Buenos Aires, Berlin . Left teaching activities in 1960. Among her students were Tamara Tumanova, Irina Baronova, Tatiana Ryabushinskaya, Nina Vyrubova, Margot Fonteyn, Igor Yushkevich, Serge Golovin and others.
Olga Iosifovna died in 1962 and buried on(some sources erroneously indicateMontmartre cemetery).
Matilda Kshesinskaya
Born into a family of ballet dancersMariinsky Theater: daughter of a Russian PoleFelix Kshesinsky(1823-1905) and Yulia Dominskaya (widow ballet dancer Leda, from her first marriage she had five children). Sister of ballerina Yulia Kshesinskaya (“Kshesinskaya 1st”; married Zeddeler, husband - Zeddeler, Alexander Logginovich) And Joseph Kshesinsky(1868-1942) - dancer, choreographer, director, Honored Artist of the RSFSR (1927).
In 1896, Preobrazhenskaya received the status of prima ballerina.
Graduated in 1890 Imperial Theater School, where her teachers were Lev Ivanov, Christian Ioganson and Ekaterina Vazem . After graduating from school she was accepted into the ballet troupeMariinsky Theater, where at first she danced as Kshesinskaya 2nd (Kshesinskaya 1st was officially called her older sister Julia ). Danced on the imperial stage with 1890 to 1917.
In 1896 received the status prima ballerinas imperial theaters(probably largely due to his connections at court, since the chief choreographer Petipa did not support her promotion to the very top of the ballet hierarchy).
In 1929 opened her own ballet studio in Paris . Kshesinskaya’s student was a “baby ballerina”Tatiana Ryabushinskaya.
In exile, with the participation of her husband, she wrote memoirs , originally published in 1960 in Paris on French. The first Russian publication in Russian was published only in 1992.
Matilda Feliksovna lived long life and died December 5, 1971 a few months before his centenary. Buried atCemetery of Sainte-Genevieve-des-Boisnear Paris in the same grave with her husband and son. On the monument epitaph : “Your Serene Highness Princess Maria Feliksovna Romanovskaya-Krasinskaya, Honored Artist of the Imperial Theaters KShesinskaya».
Vera Trefilova
Vera Trefilova was born into an artistic family. N.P. Trefilov’s mother, a non-commissioned officer’s widow, was dramatic actress, was not married. Outstanding dramatic actress became godmother M. G. Savina.
Besides Despite the fact that sources also give the ballerina the surname Ivanova, she bore three more surnames after her husbands: after her 1st husband - Butler, after her 2nd - Solovyova, and after her 3rd - Svetlova.
Trefilova was a follower of classical ballet
Graduated in 1894Petersburg Theater School, teachers Ekaterina Vazem and Pavel Gerdt , and was immediately accepted onto the stage at the ImperialMariinskii Opera House to the corps de ballet with the promise that in a few years she will take role soloist - which happened in 1906 after she, already working on stage, continued to take lessons, her teachers were:Katarina Beretta, Enrico Cecchetti , Maury in Paris, Evgenia Sokolova, Nikolay Legat . In 1898, at the premiere of The Mikado's Daughter, the choreographer She replaced L.I. Ivanov Ekaterina Geltser, but the exit was unsuccessful, leaving the ballerina in the corps de ballet for several more years. Nevertheless, she performed in small solo roles. And having finally become a soloist, she already felt confident in the difficult first roles.
Trefilova was a supporter of classical ballet, denying innovation. But she became a master of academic ballet.
V. Trefilova worked at the Mariinsky Theater from 1894 to 1910.
Yulia Sedova
Graduated St. Petersburg Choreographic Schoolin 1898. Leading teacher Enrico Cecchetti staged for her and his other student Lyubov Egorova special graduation performance “Dance Lesson at the Hotel”, designed to demonstrate good mastery of performance technique.
Although from the first years of her stay at the Mariinsky Theater, she was entrusted with significant roles, her career was far from going well, only in 1916, before resigning, she received a higher education degree. ballet career the title of ballerina. There were subjective reasons for this; the director openly didn’t like herimperial theatersV. A. Telyakovsky, who left many unflattering reviews about her in his diaries. She was accused of squabbles and intrigue. Now it is impossible to judge the objectivity of these statements, especially if we take into account the specific atmosphere of relations in the St. Petersburg ballet, which was actually run byMatilda Kshesinskaya.
Sedova had a large build, broad shoulders, strong muscular legs
Objectively, we can say that the artist had an enterprising active nature and apparently got along with her colleagues, as evidenced by the numerous tours that she led. However, apart from subjective reasons, it is not entirely successful career, there were also quite objective ones. She had a large-boned build, broad shoulders, strong muscular legs with large feet, therefore, while achieving very good results in complex jumps and rotations, she lost in the plasticity of poses. Thus, her external data did not suit the spoiled St. Petersburg ballet public.
By 1911, the repertoire of the Mariinsky Theater relied heavily on her, as a number of artistes, for example Anna Pavlova and Vera Trefilova left the theater, and Kshesinskaya andTamara Karsavinaappeared on stage to a limited extent. However, she did not receive the long-deserved title of ballerina and probably submitted her resignation in protest when Karsavina's salary was increased. The resignation was accepted.
Left without work, the artist led a large tour around USA , her travel partner was Mikhail Mordkin . The soloists of the troupe were Lydia Lopukhova, Bronislava Pozhitskaya, Alexander Volinin And Nikolay Solyannikovlike a mimic dancer. The corps de ballet consisted of six to ten people. The scenery was painted by the artistKonstantin Korovin. The tour was a success. The American public seeing it for the first time classical ballet of this level, it was received well. The performance schedule was very intense, performances were given almost every day. The troupe performed in 52 cities. Sedova performed 38 times in "Swan Lake", 27 times in "Coppelia "and 10 times in "Russian Wedding", a small ballet staged by M. Mordkin. The production of “Giselle” had to be canceled due to Mordkin’s illness. The St. Petersburg press followed the tour and reported on the delight of the Americans.
After returning from America, negotiations followed about returning to the Mariinsky Theater, which led nowhere. On March 6, 1912, the actress gave “Farewell Evening” on stageSt. Petersburg Conservatory. In 1912-1914, the actress toured in Western Europe . Only in 1914 was she able to return to the Mariinsky Theater. On November 9, 1916, her farewell benefit performance took place, at which she first performed the role of Aspiccia in “ Pharaoh's daughters " At the age of 36, she left the stage forever.
Agrippina Vaganova
Agrippina Vaganova was born on 14 ( June 26) 1879 in St. Petersburg, in the family of a chaperone Mariinsky Theater. Her father, Akop (Yakov Timofeevich) Vaganov, moved to St. Petersburg from Astrakhan, where there had been a Armenian community; however, he himself was from Persian Armenians and did not make any capital in Astrakhan; served as a non-commissioned officer, and after retirement he moved to St. Petersburg.
In 1888 it was accepted intoImperial Theater School. Among Vaganova's teachers wereEvgenia Sokolova, Alexander Oblakov, Anna Joganson, Pavel Gerdt, Vladimir Stepanov. IN junior classes studied with Lev Ivanov , calling this time “two years of idleness”, then went to class Catherine Vazem . Vaganova's first role was Lisa's mother, main character, in the school play "magical flute", staged by Lev Ivanov for middle school students.
In 1897, after graduating from college, she was accepted into the ballet troupe of the Mariinsky Theater, and a few years later received the status soloists . Vaganova brilliantly succeeded in individual solo variations, for example, in the ballet Delibes "Coppelia" ", for which she was nicknamed the "Queen of Variations".
She made some changes to choreographic techniques, which at first may have seemed inappropriate to strict adherents of academicism, but later occupied a worthy place in the technique of leading dancers.
Vaganova made some changes to choreographic techniques
Leaving the stage in 1916 , took up teaching. At first she taught at various private schools and studios, then, after the revolution, she was invited A. A. Oblakov to work in Petrograd Theater School. Its first issue, which included Nina Stukolkina, Olga Mungalova and Nina Mlodzinska, prepared in 1922. In 1924 she graduated from the class that she began teaching in 1921. Taking pre-graduation women's classes prepared by such teachers as E. P. Snetkova, M. A. Kozhukhova, M. F. Romanova , released every other year, sometimes annually. Developed my own pedagogical system, based on the clarity and meaningfulness of the technique, the rigor of the body position, the positions of the arms and legs. "Vaganova system"played a decisive role in the development of ballet art of the 20th century.
From 1931 to 1937 Vaganova - artistic director ballet troupeLATOB named after S. M. Kirov.
Agrippina Yakovlevna died in Leningrad November 5, 1951. Buried at Literary BridgesVolkovsky cemetery
