{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-572d6a42.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-f4d0de30.css\" media=\"all\" /\u003e\n\u003cdiv data-title='ONLY ON AP Bolshoi\u0026#39;s new artistic director' data-url='/boclips/videos/5c54cad7d8eafeecae19f4d4' data-video-url='/boclips/videos/5c54cad7d8eafeecae19f4d4' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nONLY ON AP Bolshoi\u0026#39;s new artistic director\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eJust a few weeks into the top creative job at Moscow's Bolshoi Theatre, Makhar Vaziev is making only one big promise - he will keep doing what he says Russia does best, classical ballet.That doesn't mean, however, that the illustrious...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eJust a few weeks into the top creative job at Moscow's Bolshoi Theatre, Makhar Vaziev is making only one big promise - he will keep doing what he says Russia does best, classical ballet.That doesn't mean, however, that the illustrious ballet company will be stuck in the past, Vaziev told The Associated Press.He takes over the Bolshoi after a period of scandal and infighting under his predecessor Sergei Filin, who lost much of his sight as the result of an acid attack organised by a disgruntled dancer in January 2012. The attack shocked the international ballet world and exposed infighting within the theatre.Vaziev was brought in by the theatre's new general director, Vladimir Urin, who after months of negotiation persuaded him to leave Milan's La Scala early and return to Russia.Despite breaking his contract at La Scala, Vaziev says he parted on good terms with a company which he says is still very dear to him. Credited with reviving La Scala's ballet company, Vaziev seemed to flourish in Italy and his traditionalist repertoire was popular with local audiences.Whatever the real incentive for moving, Vaziev insists it was time for him to return home to the tradition he grew up in as a dancer. He says he brings few lessons back from his time in Italy, other than being firmly convinced there is nowhere in the world ballet is danced better than in Russia. He says the success of the Russian tradition is based on its strict school and a performance repertoire where the company dances a lot of different ballets in fast and frequent rotation.Trained in St. Petersburg's Mariinsky, rather than the Bolshoi, Vaziev's outsider status may be a potential strength. Originally from Alagir, a small town in North Ossetia in the Caucasus Mountains of southern Russia, Vaziev was accepted in 1973 at age 12 to the Vaganova Academy in St. Petersburg, then Leningrad. After graduation, he stayed on at the Mariinsky, becoming a principal dancer before taking over as ballet director in 1995, a position he held until 2008.He comes to the close-knit world of Moscow ballet without old alliances, which observers say may mean he can do what needs to be done to revive the company's confidence.Vaziev's first steps at the Bolshoi will be closely watched inside and outside the theatre. The Bolshoi has a special status in Russia, where it is considered a national treasure and a symbol of Russian culture - if not of Russia itself - and, as a state theatre, it has close links to the Kremlin.The company will be on tour in London this summer, where Vaziev says British audiences will not see obvious signs of a new regime. Instead, they will see what they came for - classical ballet from the Bolshoi.Vaziev may represent a safe pair of hands, but he is keen to counter accusations of dusty traditionalism at the Bolshoi. His company will be open to all genres of dance, he says, on pointe or not on pointe, as long as the result is world-class.And the fact that ballet is a young, athletic discipline means dancers bring a modern sensibility to the classics - he sees it as a process which automatically refreshes the traditional repertoire.The only thing that is needed to ensure this are conditions of honesty and openness so the dancers can work, he said in a carefully worded reference that was the closest he came to describing his solution to ridding the theatre of the rivalry, corruption and infighting which apparently characterised the past few years.Vaziev says his main task is to create an environment at the Bolshoi where the most talented dancers can flourish.Just a few weeks into the top creative job at Moscow's Bolshoi Theatre, Makhar Vaziev is making only one big promise - he will keep doing what he says Russia does best, classical ballet.That doesn't mean, however, that the illustrious ballet company will be stuck in the past, Vaziev told The Associated Press.He takes over the Bolshoi after a period of scandal and infighting under his predecessor Sergei Filin, who lost much of his sight as the result of an acid attack organised by a disgruntled dancer in January 2012. The attack shocked the international ballet world and exposed infighting within the theatre.Vaziev was brought in by the theatre's new general director, Vladimir Urin, who after months of negotiation persuaded him to leave Milan's La Scala early and return to Russia.Despite breaking his contract at La Scala, Vaziev says he parted on good terms with a company which he says is still very dear to him. Credited with reviving La Scala's ballet company, Vaziev seemed to flourish in Italy and his traditionalist repertoire was popular with local audiences.Whatever the real incentive for moving, Vaziev insists it was time for him to return home to the tradition he grew up in as a dancer. He says he brings few lessons back from his time in Italy, other than being firmly convinced there is nowhere in the world ballet is danced better than in Russia. He says the success of the Russian tradition is based on its strict school and a performance repertoire where the company dances a lot of different ballets in fast and frequent rotation.Trained in St. Petersburg's Mariinsky, rather than the Bolshoi, Vaziev's outsider status may be a potential strength. Originally from Alagir, a small town in North Ossetia in the Caucasus Mountains of southern Russia, Vaziev was accepted in 1973 at age 12 to the Vaganova Academy in St. Petersburg, then Leningrad. After graduation, he stayed on at the Mariinsky, becoming a principal dancer before taking over as ballet director in 1995, a position he held until 2008.He comes to the close-knit world of Moscow ballet without old alliances, which observers say may mean he can do what needs to be done to revive the company's confidence.Vaziev's first steps at the Bolshoi will be closely watched inside and outside the theatre. The Bolshoi has a special status in Russia, where it is considered a national treasure and a symbol of Russian culture - if not of Russia itself - and, as a state theatre, it has close links to the Kremlin.The company will be on tour in London this summer, where Vaziev says British audiences will not see obvious signs of a new regime. Instead, they will see what they came for - classical ballet from the Bolshoi.Vaziev may represent a safe pair of hands, but he is keen to counter accusations of dusty traditionalism at the Bolshoi. His company will be open to all genres of dance, he says, on pointe or not on pointe, as long as the result is world-class.And the fact that ballet is a young, athletic discipline means dancers bring a modern sensibility to the classics - he sees it as a process which automatically refreshes the traditional repertoire.The only thing that is needed to ensure this are conditions of honesty and openness so the dancers can work, he said in a carefully worded reference that was the closest he came to describing his solution to ridding the theatre of the rivalry, corruption and infighting which apparently characterised the past few years.Vaziev says his main task is to create an environment at the Bolshoi where the most talented dancers can flourish.Moscow - 8 April 20161. Exterior of Bolshoi Ballet theatre2. Prima ballerina Maria Alexandrovna at the barre during practice3. Close of feet4. Practice session5. Tilt down on trainer6. Close of feet7. Piano player8. Wide of session9. Trainer10. Dancers stretching on the floor11. Alexandrovna stretching after exercises 12. Wide of Bolshoi's new Artistic Director, Makhar Vaziev, during interview13. SOUNDBITE (Russian) Makhar Vaziev, Artistic Director of the Bolshoi Ballet:\"I wanted to grow and develop professionally, and you can better develop professionally in the system that exists in Russia, with the Russian tradition of opera and ballet repertory theatre. It is more interesting in terms of my development to be working here.\"14. Cutaway of hands15. SOUNDBITE (Russian) Makhar Vaziev, Artistic Director of the Bolshoi Ballet:\"I know very few ballet companies in the world who are capable of dancing classical ballet at the highest level. Do you know why? Because of the difficulty of the classical genre. If you only dance Swan Lake once a year, or once every three years, I can tell you straight away you have no chance of dancing it well. That's just the way it is.\"16. Cutaway of emblem on wall17. SOUNDBITE (Russian) Makhar Vaziev, Artistic Director of the Bolshoi Ballet:\"You know, if we were to look at (Marius) Petipa's ballets, which were shown 100 years ago, it would probably be difficult to watch, but we give these 'plays' some kind of contemporary twist, which happens subconsciously. Do you understand what I mean? Any young generation of dancers who come to ballet, in one way or another they bring something new, modern. Some things I like, other things not so much.\"18. Chandelier reflected in mirror 19. SOUNDBITE (Russian) Makhar Vaziev, Artistic Director of the Bolshoi Ballet:\"Any actor must feel you are interested in him, that you need him. Why give an actor the chance to dance if you don't support him, if you don't trust him? Then you need to say: 'I don't trust you creatively. You are not up to the demands being made on you'. You must be honest. Don't bully or humiliate anyone, and the rest is just hard work.\"20. Vaziev speaking to reporter, reflected in mirror21. SOUNDBITE (Russian) Makhar Vaziev, Artistic Director of the Bolshoi Ballet:\"We need to give the dancers optimum conditions so the most talented can flourish. We can achieve this in different ways, in various ways, of course, but it's not a question of creating a particular set of conditions and then waiting for results to drop into our lap. We will be making demands on them and steering a course which will achieve the highest results. That is my most fundamental task.\"22. Tilt down of ballerina preparing for rehearsal 23. Alexandrovna 24. Close of Alexandrovna's feet during pointe practice 25. Various of rehearsal for 'Don Quixote' ballet 26. Close of trainer giving instructions27. Various of rehearsal 28. Trainer watching rehearsal29. Various of rehearsal 30. 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