Tereshkina Mariinsky Theater Biography

Nature gave it a perfect form and musicality, but did not forget about hard work, dramatic talent, charm and rare charm. It is impossible to forget her tragic Mehmene in the “Legend of Love” or Anna Karenina, as well as the impeccable performance of the classics from which breathing freezes. Ballet superstar, graduate of the Academy of Russian Ballet.

Vaganova, People's Artist of the Russian Federation Victoria Tereshkina falls in love with herself once and for all. In the summer, your creative evening was held in the theater - you celebrated the twenty anniversary of work on the stage of the Mariinsky Theater. In the hall it was very felt how the audience and the troupe love you gently. This evening was very important for me, I am very grateful to the theater for him.

During the preparation, I realized that I remember, and how I just came here, and every subsequent season. At the Academy, after graduation, as a rule, you receive invitations from several companies, but I only dreamed of Mariinsky. The heart sank in the first days of work: there was an enthusiasm for everything - culis, rehearsals, a class that stars came to: Diana Vishneva, Ulyana Lopatkina and Svetlana Zakharova.

Once I was discharged in "Big Swans." I was so happy as if dancing Odette! After 20 years, I wanted to say “thank you” these walls, stage, colleagues, spectators and, of course, a family who was also in the hall that evening. The ballet season - opened with the play "Romeo and Juliet", where you danced with Vladimir Shklyarov. Did you get bored at the theater?

As always - both by stage and in performances. After vacation, I come to work one of the first to start entering the form. This year I was engaged in a completely deserted theater for several days. Once passed through a completely dark scene: it seemed that there were only ghosts around, and it was necessary to run away from them as soon as possible - to study. After vacation, you again begin to feel all your weaknesses and pain, but it is amazing how the scene later begins to treat you, and everything goes away.

This season is also smiling. We are all waiting for the premiere of the Bolshoi Trekhatny Ballet “Daughter of the Pharaoh”: the legendary imperial performance of Petipa in Mariinsky is restored by Alexei Ratmansky. You rehearse the title part of the Aspic. Will it be a hit? I think yes. There are so many things there! Storms in the desert, hunting for lions, a ball at the bottom of the Nile, love, intrigues and a large number of dances.

I really love such performances. Firstly, they have a lot of work-both ballet and dramatic. Secondly, during the preparation, the troupe is very random, and we really feel like a team. For your creative evening, you also chose Ratmansky’s choreography - the benefit was opened by his “Moon Pierrot” to Schlenberg’s atonal music.

It was a very non -trivial solution. It seems to me that the ballet "Moon Pierrot" is brilliant. I call it the "black square of Alexei Ratmansky." And this is also a rare thing - in the world it is dancing only three ballerinas: Diana Vishneva, for whom she was set several years ago, Renat Shakirova and I. The work was transferred to the scene of Mariinsky in the winter of the year, at the very beginning of the pandemic.

Alexei could not come to Petersburg, and we worked with him at Zoom. Was it difficult? But our online rehearsals were extremely important. Alexey explained every position, showed all movements and accents. Between our meetings, we talked a lot with Elvira Tarasova and Islom Baimuradov. They remember how he created Pierrot for Diana, and Elvira Gennadievna completely preserved an invaluable notebook with comments on choreography and musical notes.

It was difficult, but the result was worth it. After the premiere of Ratmansky, for whom the broadcast was launched, said: “Vika, super! One of your favorite parties is Anna Karenina. And again in the ballet of Ratmansky. How did you deal with Shchedrin's music? I counted laughing. And for a long time. In order to really delve into it, there should have been time.

At some point, I really loved her: she is incredible, piercing. It seems that this is the music of your insides - all your thoughts, feelings and emotions pour into it. Once, in which we danced with Volodya Shklyarov, Maya Mikhailovna and Rodion Konstantinovich suddenly came to the performance. How scary it was! Plisetskaya herself and the composer in the hall!

And suddenly, after the curtain fell, they come up to us and begin to praise, including for musicality. I was so pleased! Since that evening, we have preserved a common photo. There are a lot of dramatic roles in your repertoire: from Phrygia in Spartak to Mehmene Ban in The Love Legend. How is emotional intensity achieved in the play? Naturalness and organicity are very important to me.

When you rehearse a lot, there is a danger of bulging stress. In Spartak or in Anna Karenina, I strive to pull out all the tears, so I “save” them before entering the stage. In general, the concentration on the image, the ability not to be distracted by an extraneous “noise” and the accumulation of energy is very important. In the first years of work in the theater, even before you have overgrown with experience, especially.Of course, a certain skill appears over time, and you already better know how to distribute your emotional forces, but this does not come right away.

I do not strive for the revolution. I would like to keep traditions. In the main batch of classic ballet-Odette-Odillia-you went out in the second year of work in the theater. The debut in such a performance is always a test. For you, Swan Lake is still a cornerstone? This is the basis and always a check for professionalism. But it is important to understand that the “Swan Lake” is not a sport, and in it the same victorious 32 fuets of black swan as an image are not so important in it.

I really love Odette-single, and always miss them. Of course, I saw different versions, but the performance of the Mariinsky Theater, in my opinion, is a standard. I will never forget Ulyana Lopatkin in this party, her gaze scared bird, when Siegfried comes to the lake, the smallest study of details - this is what we need to strive for Swan, and you can work on it all your life.

Have you already got the desire to transfer your experience to students? It seems to me that a mentor gradually wakes up in me, and I am already looking for a potential sacrifice. But I look at my teacher, Lyubov Alimpievna Kunakova, with whom we are together for 20 years, and I understand what colossal work it is. I remember how she corrected something at one rehearsal, and I was naughty all the time: everything was not so inconvenient for me.

Lyubov Alimpievna calmly said: “Vika, you are dancing so beautifully, and I can not tell you anything, but you can even be more perfect.” I was so ashamed - there are no words! The teacher tries to help, make my dance better, and I behave terribly. This was not repeated more. But this is such a good luck when you coincide with your teacher. Rare. Have you been lucky in this sense?

And at the Academy of Vaganova and in the theater. Although my teacher at the school in Krasnoyarsk was very tough, but, probably, thanks to him I have such a patient character. I will never forget that summer when everyone was resting, and I had rehearsals twice a day, because we were preparing for the competition. By the way, then I flew off the first round, and I had enough perseverance not to give up and move on.

I don’t even know where there was so much inner power in a teenager. When you became a people's artist, did something change? Many people think that I should stay separately from everyone, but it would not be me. I like to be friends with colleagues, to communicate with new dancers and with the artists of the corps de ballet, whose work I admire. Yes, my status is a fireproof level, but every day in the rehearsal hall and on the stage I must prove it and dance as a prima-ballerina of the Mariinsky Theater and People's Artist.

This is a big responsibility. Often the prima introduce a new fashion in the ballet. Do you have such a mission?