“Dance is a dream and passion”: Leonid Roberman - about fashion, criticism and the ballet “Russian Ragtime”

— “Russian Ragtime” is a unique show of its kind, it combines ballet and catwalk.

How did the idea for the project come about?

— Over the years, you realize that there is less and less time left.

This is the only thing a person can control for the rest of his life.

I want to spend time on something you haven’t tried yet.

This is my third attempt to make a dramatic story, but tell it through the language of dance and ballet.

The idea arose from the desire to prove to myself that everything is under my control, or, conversely, from the desire to master some other space, to try to understand something about myself and this world.

— The show brings together completely different directions in art.

Can you highlight what is important here - dance, history, fashion?

What more?

Is it difficult to balance between the arts?

“It has everything - history, fashion, ballet.

Moreover, the ballet is complex.

This is not classical dance in its pure form, but its combination with contemporary dance.

Finding good ballet dancers is not easy, but it is possible.

Finding good contemporary dance performers is also not easy, but it is possible.

But connecting them and making them a single whole is a much more difficult task.

But we will do it.

We simply have no other choice.

This is possible in ballet.

Dance is our dream, a movement of the soul, a passion that is often driven inside, but breaks out and finds a way out in the movement of the body.

Considering that the costumes for this ballet were designed by Alena Akhmadullina herself, we have every opportunity to make this performance exceptional.

In a way that no one has ever managed to do on the theater stage.

— The show will reflect how art would have developed in Russia if there had not been two revolutions and the First World War.

What impact did these events have on art?

— “Russian ragtime” is interrupted time.

If these events had not happened, we would have a different society and, as a result, art.

Many great names, books and films that we know from school might not have appeared.

Yes, of course, we would have other “heroes of our time,” but we will never know.

Therefore, I give the viewer the opportunity to fantasize about another history of art, to create his own vision.

— What would you like to convey to the audience with this fantasy?

— For me, this ballet is dreams of beauty when you don’t want to wake up.

I would really like for people to be transported for an hour and a half into the world of the holiday and their own fantasies.

• Shot from rehearsals of the show “Russian Ragtime”

• © Photo courtesy of the press service of the Russian Ragtime ballet show

— How much does the plot reflect your personal view of history?

- This is my project, it reflects me, what is interesting and important to me.

— A special collection for the project was developed by designer Alena Akhmadullina.

How did your collaboration begin?

— I can’t say that it was easy to start working with Alena.

We agreed on the first meeting for two months.

When a person is a recognized master, it is very difficult for him to find time for something new.

But we managed to interest her in our idea.

Alena is one of the best Russian designers in Russia, and not only because she uses classical patterns inherent in Russian costume.

Her outfits are a holiday for me.

She designed a whole collection for us.

And then also adapting clothes to the movements... It was not at all easy.

First we came up with a visual image, then we looked for a technological solution so that we could dance in these costumes.

— What role do costumes play in the show?

 - The main one.

This is a full-fledged new all-season collection, which, if I'm not mistaken, includes 42 suits.

And the collection itself became one of the main characters of our performance.

By clothes you can understand what happened to a person, how happy or free he is, learn about the country in which he lives, about the standard of living, understand what people think, what they worry about, what worries them.

The clothes a person wears are the calling card of his soul, and the way the people dress is the calling card of the country.

You can determine what is happening in society by clothing.

— How do you feel about fashion?

Do you follow trends?

— I prefer the word “style” - what a person chooses for himself.

It may not coincide with fashion trends - a kind of uniform that excludes individuality.

I'm interested in what real artists do.

They show not only how people are dressed, but also what they will live like after some time.

In addition, this is a reference environment when you, voluntarily or involuntarily, compare and orient yourself.

Fashion doesn't mean being similar.

— How is the work of the entire team structured in the show?

“We employ the best dancers of our time and two completely different choreographers - Egor Druzhinin and Balazs Baranyai.

One is a classic man, the other has a keen sense of everything that concerns modernity.

They are united by one goal - to achieve an incredibly beautiful, exciting result.

Only everyone uses different paints for this.

— How did Nacho Duato Balazs Baranyai, assistant choreographer of the Mikhailovsky Theater, become part of the show?

— I always act on the principle that the more talented people around you, the better for the business, because each of them will bring part of their skill and soul.

My task is not to interfere with them, but to create conditions for development.

For me, two surnames were decisive - Akhmadullina and Druzhinin.

Then they suggested other people, and I was only glad about that.

• Shot from rehearsals of the show “Russian Ragtime”

• © Photo courtesy of the press service of the Russian Ragtime ballet show

— In what direction is art moving now?

How might current political events affect its development?

— For me, the words culture and art carry different meanings.

The presence of art is not at all necessary in culture.

Art is what develops and moves forward, culture is what consumes what has already been tested and accumulated, and makes it more widespread.

Any events influence the development of art.

Current ones even more so because they affect people.

And art is their feelings.

But the processes associated with it paradoxically do not coincide with what is happening around.

During the revolution and the Civil War there was a flowering of art - the incredible emergence of a colossal number of genres of theatrical movements.

Troubled years bring out something in a person, or something arises that you want to overcome.

— You worked in Europe for a long time.

Tell us about your collaboration with Western artists in the context of the abolition of Russian culture in the West. 

“Everything I wanted to implement there, I succeeded.”

Quickly realizing that my capabilities as a director (I graduated from the directing department) and teacher had been exhausted and I had stopped growing, I returned and never regretted it.

Here I managed to create, albeit without its own walls, a theater with a serious repertoire that any Moscow stage could envy.

I managed to stage performances that last for 16-18 years (theaters rarely boast of this), and assemble a completely unique troupe - 94 artists from all over Moscow.

For me, a person’s nationality has never been important, but what he brings with him, what values ​​he professes.

If our values ​​and professional skills coincide, then this is my man.

It is wrong for people to isolate themselves and stew in their own juices.

The broader your horizons, the better.

— On the stage of the Mask Theater you are staging Madame Bovary.

What are the features of this production?

— This performance was made by Anton Fedorov, a director with his own unique world and theatrical language.

You will not see such “Madame Bovary” anywhere, in any theater in the world.

— You probably don’t rule out that the audience will compare your production with the performances of other theaters.

- Undoubtedly.

In Moscow there is the possibility of comparative analysis.

This is a unique city in which four “The Cherry Orchards” can be shown in parallel in different theaters.

Here people are not only eager to go to different performances, they can tell how the interpretation of one performance differs from another.

By the way, Yegor Druzhinin compared “Russian Ragtime” with Chekhov’s “The Cherry Orchard”.

• Shot from rehearsals of the show “Russian Ragtime”

• © Photo courtesy of the press service of the Russian Ragtime ballet show

— How did the public react to the new interpretation of Flaubert’s work?

Were your expectations met?

— They say that for one person applause is valuable, but for another, on the contrary, one critical review is more important in the chorus of praise.

I've been unlucky so far: I haven't heard a single critical review.

People who love, appreciate and understand the theater came up to me and sent SMS with the words: “What have you done to me, I haven’t been able to get over the feeling of your performance for two days now.”

Nothing could be more valuable.

A grown man came up and hugged me, saying, “I’m crying.”

This means we managed to disturb him.

— Classic productions are relevant at all times.

However, in order to surprise the viewer, directors 

offer 

new versions of this or that work.

How do you feel about innovative interpretations in theatre?

- If they are innovative, good.

If this is an attempt to use the latest technological advances, I am not interested.

The theater and the artist are a fairly complete organism that can convey everything.

We don't necessarily need new technologies to do this.

I see some kind of deceit in this, a lack of normal education.

— What do you think about immersive shows or theatrical performances?

“I don’t understand what this is or why.”

This is only suitable for people who do not understand what real theater is and do not know how to practice it.

Then they come up with this immersive theater.

And at the same time claiming that he is alive.

Why is another theater not live?

Or in order to be alive, you need to be taken by the hand?

I am not a supporter of direct physical impact.

A man came into the hall - he must leave everything that was and look into himself.

If you can turn his pupils inward, consider that your work and life were not in vain.

And the rest is from the evil one.

— What new forms do you think will continue to develop in the theater, and which ones will sink into oblivion?

“A person comes to the theater to experience something, to experience some emotion.

I can't imagine an immersive show like that.

Maybe if they take me through back streets where it’s dark and scary, I’ll trip and fall, but this is a physiological feeling.

Physiology is not interesting to me.

I am interested in everything that has to do with the spiritual.

— What is the main job of a theater producer?

Do you always manage to find a common language with directors?

— The main task of the producer is to create conditions, provide the artist with opportunities, and equip him with the highest quality paints and canvas.

I am the lord and master in the choice of director and dramaturgy.

After that I become a servant.

There is nothing wrong with this, because I am serving a cause. 

The more talented the director, the more difficult and easier it is for me at the same time.

It’s more difficult, because every talented person has very high demands on everything.

It's easy because you initially trust this person.

• Shot from rehearsals of the show “Russian Ragtime”

• © Photo courtesy of the press service of the Russian Ragtime ballet show

— You are a laureate of the Crystal Turandot.

In 2018, the nomination “For the creation of a unique non-state theater” was introduced especially for you.

In addition, your agency’s productions have won not only major national awards, but also received foreign awards.

How important is recognition from the professional community to you?

- Well, why am I going to play the fool and make excuses?

In the professional community there are people who understand, know, and whose standards are very high.

Therefore, their recognition is incredibly important.

In Moscow there is plenty to choose from, and when the choice falls on your performance, you are certainly happy about it.

This is another confirmation that you really did something important and meaningful.

— What does the viewer’s opinion mean to you?

 You post some reviews

on social networks .

Are you looking for them yourself?

- No, I’m not looking for it myself, for this we have an advertising and PR service, they send it to me.

Reviews are really important to me.

There is my opinion, there is the opinion of the community of professionals, but I do performances not for them, but for normal people who give money and part of their time to come see the production.

This is very responsible.

— You said that you would be glad to have a critical opinion.

How do you usually react to criticism addressed to you?

— There is criticism and there is critical opinion.

If this is a critical opinion, and it is justified, I am very glad.

If it's just to criticize, I don't care.

I am my own highest judge.

The most dangerous thing for an artist is to lose his inner qualifications and stop soberly assessing his work.