Evgeny Panfilov Ballet Theatre. Evgeny Panfilov's ballet: about the theater, about the master, about the troupe Municipal Theater Evgeny Panfilov's ballet

Irreparably early, at the age of 47, the earthly path of Yevgeny Panfilov, a wonderful choreographer, a man of amazing fate, ended. It is not yet possible to comprehend this loss. A month before the tragedy, the Panfilov Theater participated in the Moscow International Festival of Contemporary Dance. For the first time, the metropolitan audience saw the Panfilov version of The Nutcracker.

... The multidimensional inner space of the performance, inhabited by the ubiquitous and immortal dark mice, a world devoid of illusions, leaving no hope for happy ending. Now the impressions from this tragic ballet give rise to involuntary associations that are tempting to interpret as prophecy. In fact, Zhenya true artist, I always understood that happiness is fleeting moments that need not only be appreciated, but also be able to deserve ... Deserve with titanic work. To be honest, I have never met such an obsessed choreographer: he was able to rehearse for 8-10 hours, without days off and holidays, he easily took off and went to festivals, tours, filming. As if he foresaw that a little time was allotted.

On that last Moscow visit, Zhenya communicated easily and willingly. However, I don't think he ever closed person. He spoke about the fact that joy comes as a reward for torment, that life is harsh and short. In response to this remark, one of the participants in the conversation asked what seemed then an absurd question about death, about a premonition of the end. Panfilov replied: “No one knows how much time he has, how much time is allotted to us. I know I have a lot to do…”

Zhenya was called a brilliant nugget, the patriarch of the newborn Russian modern dance. The man is immensely talented, he always went to work without a trace. Panfilov managed a lot - more than enough for a dozen lives: about 80 performances and 150 choreographic miniatures. But he never repeated himself in anything, he knew how to admit failures, listen to impartial opinions.

The main work of his life is the author's theater, in which he himself was a performer, and a choreographer, and a screenwriter, and a director, and a stage designer, and a costume designer. He created THEATER OF HIS WILL. He also wrote sad poems, staged grandiose entertainment shows, and came up with the choreography of films.

He made little appearances in conversational genre”(although he spoke the word perfectly), realizing that art does not need declarations, that the result of the artist’s mental expenditure is in the emotional persuasiveness of his works. But at press conferences, he answered surprisingly frankly: “I don’t plan my subsequent works - they come to me, germinate in me, “ripen” unexpectedly.” When asked if he was not offended to hear that “Panfilov is a shocking figure, a kind of carnival man,” he answered smiling: “I was the first to take to the streets of Perm in shorts more than ten years ago - not because I wanted to surprise someone . It's just the most comfortable clothing for a hot summer. I wear what feels good and free. I also didn't want to be a troublemaker by creating Fat Ballet. It was necessary for me." With his penetrating gaze, Panfilov caught the extraordinary beauty and harmony in the plasticity of Rubensian puffy ladies and wanted us to see it.

In Zhenya, spontaneous, natural talent and clear calculation were unusually combined. And the discipline in his troupe was fantastic. At the festival, there was a disruption of the performance - the performer of one of the troupes fell ill. This became known at a time when the first spectators were already walking around the lobby. It was too late to cancel the evening. "Panfilov" were free that day - they danced the day before. Zhenya came to the rescue without hesitation. He had no doubt that all the artists would gather at the beginning of the show as spectators - "otherwise they would have warned me." The last artist arrived at the theater fifteen minutes before the curtain opened. Absolute fidelity to art, a rapidly realized impulse of mutual assistance endowed this performance of the Panfilov Theater with special significance. “There are no hopeless situations, you have to dance,” Wife told his artists. And they danced wonderfully, dressed in an incomplete set of costumes, jumping on rickety stools hastily brought from the actors' buffet, "picking up" their bellies after a hearty dinner.

This act revealed Panfilov the man, his inflexible and stubborn peasant character. People loved to write and talk about Panfilov's childhood and youth. Often compared with Lomonosov. In the fantastic metamorphoses of childhood and youth, they saw an almost fatal predestination of the bright and extraordinary creative way. One of the five sons of a large family living in a tiny village in the Arkhangelsk region, through the profession of a tractor driver and military service - to the Chairman of the Russian branch of the World Dance Union (WDA) - Europe.

Evgeny Panfilov began to comprehend the art of ballet at the age of 23. While still a student at the Perm Institute of Arts and Culture, he created an amateur group, and in 1987 the official countdown of the Panfilov theater seasons began, when his troupe received not only recognition, but also the name: Experiment Modern Dance Theater. Since then, not a single festival or competition contemporary choreography, both in our country and abroad, could not do without the participation of the Panfilov troupe or his dance numbers. And there was no such competition, the jury of which would not honor the choreographer Evgeny Panfilov with awards. It is difficult to enumerate his regalia: the winner of many All-Russian and international competitions and festivals, laureate of the national theater award "Golden Mask", laureate of the Prize of the Government of Russia named after Fyodor Volkov.

In the early 1990s, the troupe was reorganized into the first in Russia private theater"Ballet of Evgeny Panfilov". A little later, original, almost exotic new Panfilov groups appeared - the Tolstoy Ballet, the Fight Club and the Bel-corps de ballet group. By the beginning of the new century, the unified theater of Evgeny Panfilov already included four independent groups. For everyone - there was time and creative forces. Each troupe showed several premieres annually. In 2000, an event of extraordinary importance took place - the author's modern dance theater "Yevgeny Panfilov's Ballet" received the status of a state theater.

Panfilov's work is paradoxical. He never declared the alternativeness of contemporary dance in relation to classical ballet, did not destroy the established canons, erecting the building of his theater. It is no coincidence that in 1994, Evgeny Panfilov, together with the artistic director of the Perm Choreographic School, a recognized master of the classics, Lyudmila Sakharova, implemented the tandem project "Metamorphoses", in which complete harmony avant-garde and classical coexisted. On the legendary stage Mariinsky Theater Panfilov staged the ballet The Rite of Spring.

Panfilov loved Perm and created a well-deserved reputation for it as the city center of modern choreography. A few days before the death of the artistic director of four Perm theaters Yevgeny Panfilov was nominated for the State Prize.

With the departure of Panfilov, modern dance in Russia was orphaned. Talents of such creative power, enthusiasm, independence and freedom are rare. This is recognized not only by numerous fans who considered Panfilov "a living classic of Russian contemporary dance", but also by those who accused him of amateur performances, haste of work, called his experiments "hooligan bravado".

Panfilov knew how not only to demand from each artist, but also to be responsible for each of them. “I am a dictator, and it is very difficult for my guys with me. I know it. Demanding from them an over-delivery of physical and emotional strength, I must first of all feed them and create decent living conditions.

The last lifetime result was the celebration of the fifteenth anniversary of his theater - all four troupes showed premieres. If they had known, they would have dropped everything and rushed to Perm. But no. They didn’t see “Tyuryaga” performed by “Fight Club”, “Lessons of Tenderness” presented by the “Ballet of the Tolstoy”, and “BlockAda” - the premiere of the main troupe, which was jokingly called the “Ballet of the Thin”, - the final, as it turned out, bitter discussion about life and death. Jenny, I'm sorry...

Elena FEDORENKO,
August 2002

Forty days have passed since his death. And the pain doesn't go away. At first huge, with sharp protruding corners, filling everything inside, it gradually shrank, turning into a small needle, sharply and sharply reminding of itself at every opportunity. Panfilov is no more, and we must learn to live without him.

The feeling of enormous loss and orphanhood is felt, I know, by many people, and there is nothing to console them. People like him break into our reality, like a holiday with fireworks and a natural disaster at the same time. After that, life without their presence changes meaning, loses its fullness and sharpness. With all his being, Panfilov refuted the canons and stereotypes invented by someone. It was impossible to force him to play by someone else's rules, he was in literally- lawless comet.

At 23, he, an Arkhangelsk peasant, first got into ballet class, guessed his destiny and stepped into fate. At the Perm Institute of Culture, Panfilov transferred from the department of club work to choreography. A year later, he had his own team and shook Perm with the first performance "The Star and Death of Joaquin Murieta". Then there was the ballet master of GITIS and the first award - the title of laureate of the All-Union Competition. When the venerable jury found out that the awardee did not have a choreographic school behind him, there was a shock. The ballet caste did not want to accept him for a long time. For them he was a provincial upstart, a bastard, an enfant terrible. Many years later, having passed "American universities" at the ADF, having received a huge number of international prizes and awards, creating a first-class professional theater, he will storm the bastions of the Golden Mask over and over again in the same clip with the Bolshoi and Mariinsky, and finally they will open under him new nomination"modern dance". But by that time, for domestic avant-garde artists, he will not be radical enough and will receive reproaches for excessive "ballet"! The paradoxes of his fate do not end there.

When we met 14 years ago, Zhenya was a fair-haired, impetuous hippie: a smart look in blue eyes and a very sincere, slightly hurried speech. He constantly invented something, composed, fantasized. Already at that time he made a colossal impression with the frantic rhythm and intensity of his life. But the main thing is Panfilov on stage. When he danced, moved, improvised, the stage space expanded to an incredible scale, everything else went into the shadows, his magnetism and energy were phenomenal, and his artistic courage delighted!

And he not only danced, but also wrote poetry, drew costumes, and came up with scenography for all his ballets. He acted in films. He did show projects and directed holidays. He was a brilliant manager of his theater and even (in difficult moments of his life!) was engaged in commerce. He talked about it with some strange humor: but here we are selling vodka and cigarettes (this is in the early 90s). Or: I bought a cow carcass, I need to feed the artists (this is after the default). And constantly, all the way, invariably composed and staged, composed and staged. About 100 performances and countless miniatures!

As if knowing in advance that not much time was allotted to him, he lived in an unthinkable mode, inaccessible to the understanding of mere mortals, with the desire to have time, speak out, and convey to everyone.

In recent years, his work has been clearly divided into two streams: complex conceptual works and sparkling extravagant shows. Both those and others with full dedication and professionalism: do it do it! He explained this with sly innocence: firstly, the theater needs to earn money, and the artists need to live with dignity. And secondly, the audience must be taught, first they will come to the dances to watch, and then, you see, they will be drawn to the serious. The focus with the Permian audience was a success, performances are always sold out, a sea of ​​flowers, an atmosphere of love and adoration. His fantastic popularity took the most unexpected forms: he could be asked for an autograph, offering his own passport for this, traffic cops more than once let go of a car in peace, where in addition to Panfilov there were six more people, and how many times drivers, seeing the shaved skull of my escort, generally gave a ride for free .

Yes, in 1993 he dramatically changed his appearance, having found his own style: the village guy turned out to have aristocratic manners and delicate taste! He liked to slightly shock the audience and the theatrical get-together, he was not afraid of gossip, gossip, because for a long time he had let few people close to him. Only the most insightful guessed that the external brilliant image is famous, successful, charismatic! - not more than theatrical mask. Panfilov paid too high a price for his talent, including unbearable loneliness.

For some part of the press, he was a tidbit, that's where you could hone your pen! First: leader of the vanguard, troublemaker, patriarch (ah, ah!)! And then: unchewed pieces of the West, the outgoing nature, hardened in compromises ... And even after death, in brisk obituaries - quick "global" conclusions based on 3-4 seen performances. My God, what did this neglect cost him and who will now give them food for verbal exercises?

Unlike many provincials, Panfilov never rushed to Moscow: capital life with its laws of the stone jungle categorically disgusted him. He was slowly “surrendered” by those who were called friends. And he knew how to forgive, finding a very simple explanation for betrayal: it means that the circumstances turned out to be higher. But he himself did not forget anyone, remained faithful to his favorite Festivals: Vitebsk, Severouralsk, Volgograd, Chelyabinsk - and went there on any terms, because he was loved there almost the same as in Perm, because there were fellow devotees, because to Russian province treated gently and reverently. He helped everyone and always, and his support in difficult times was saving. He did not tire of remembering and thanking his teachers, he was a sensitive son and a most tender father.

But someone else who accidentally got to a rehearsal of his theater could be horrified: despotic, cruel, crazy fury in his eyes! Otherwise, there would not be a troupe that has a reputation as the best in Russian contemporary dance. These wonderful artists, who know so much and feel their master so subtly, each with their own individuality, this well-trained, stylistically unified troupe did not fall on his head in the form of a gift of fate. He made them himself, each and every one. The process of turning the studio team into a professional theater was not easy and painless: for 15 years the line-up was constantly updated, the pace of life increased, the requirements became tougher, and the bottom line was the drama of human ruptures, the loss of former illusions. But the result was more important.

His frantic duel with fate and circumstances, human prejudices and inertia, which lasted all his life, in the end the duel with himself became Panfilov's essence so much that it seemed that the state of ordinary and calm work was contraindicated for him. He never managed to live in a comfortable, respectable environment.

Farewell to the deceased Panfilov was wonderful and tragic, like his life. All Russia and all dance world a feeling of irreparable trouble stirred up: responses came from everywhere, from Japan and America, from Europe and small Russian cities. All 5 hours, while his coffin stood on the stage of the Perm Drama Theater, an endless stream of people stretched, then a funeral service, where almost no empty words sounded, and, finally, his last theatrical exit: to the music from the ballet "Romeo and Juliet" he was carried past people who did not hesitate to cry and applaud him in last time. All summer fresh flowers, candles and poems appeared on his grave.

Larisa BARYKINA,
August-September 2002

Created in 1979 by Evgeny Panfilov as the theater of plastic dance "Impulse". In 1987 it was renamed into the theater of modern dance "Experiment", in 1992 it was reorganized into the private theater "Evgeny Panfilov's Ballet". Laureate of international and Russian festivals, competitions contemporary ballet. In 1994, Panfilov organized the Tolstoy Ballet troupe, whose artists take part in joint projects with the Evgeny Panfilov Ballet. In 2000 received the status public institution culture, the name of the choreographer is preserved in the title. Awarded the Grand Prix at the festival "Magic Backstage" (2001), " Golden Mask"("Women. Year 1945", nomination "Innovation", 2001). In 2001, the theater artist S. Raynik was awarded a diploma and the S.P. Diaghilev Prize. In July 2001, E. Panfilov was awarded the Prize of the Government of the Russian Federation. Fyodor Volkov ("For an outstanding contribution to the development of theatrical art of Russia"), in 2002 - received the main prize for best number modern choreography of the ballet competition "Arabesque" in Perm. July 13, 2002 Evgeny Alekseevich Panfilov died tragically. Laureate of the "Golden Mask" award ("Cage for Parrots", choreographer E. Panfilov, nomination " Best Performance in contemporary dance", 2006).

Laureate of the National theater awards"Golden Mask"
Living legend of Permian art - paradoxical and unique
"Ballet of Evgeny Panfilov".
Carmen suite J.Bizet-R.Shchedrin Torero

Yesterday I watched a performance at the Yevgeny Panfilov Ballet Theater:
"Cage for parrots".
for all the years of its existence was honored to represent the city of Perm at the National theater festival and the Golden Mask Award 9 times. For the first time, the “Golden Mask” was given to our already famous, unprofessional in the sense of choreographic training, “Ballet of Tolstoy” for the performance “Women. Year 1945.”

In 2006, the Golden Mask Prize was awarded to the Yevgeny Panfilov Ballet Theater for the one-act choreographic fantasy "Cage for Parrots" to the music of J. Bizet - R. Shchedrin "Carmen - Suite". Evgeny Panfilov himself, of course, was the author of the libretto, choreographer, director, stage designer, and ballet designer. He was also the first performer of the part of one of the parrots.

“The Golden Mask Festival is the annual peak of the theatrical season and, apparently, the only place where provincial theaters fully feel themselves an unconditional component of the Russian theatrical community. The Golden Mask has become a kind of measure of the highest theatrical values.

Four magnificent "Golden Masks" decorate the Evgeny Panfilov Ballet Theater.

Performance - "Cage for parrots" Laureate of the National Theater Award "Golden Mask" in the nomination "The best performance in modern dance".

Choreographic fantasy to music by J. Bizet - R. Shchedrin "Carmen Suite".
Idea, choreography, staging, costumes, scenography of the Laureate of All-Union and international competitions of ballet masters, laureate of the National Theater Prize "Golden Mask", laureate of the Prize of the Government of the Russian Federation named after Fyodor Volkov, choreographer Yevgeny Panfilov. The premiere took place in 1992. The performance was restored in 2005.

Oh, the brilliant perfection of the cell is a temptation that forever captivates a person. How good it is in natural captivity. Secrets, sorrows, doubts, tears of the world are unknown to parrots. Is everything like people? In general, this is life on both sides of the bars. Irony and sadness, beauty and ugliness, constraint and freedom? Is she needed at all?

“Let my free handling of music cause bewilderment, delight or protest. But the idea that suddenly arose in me simply cried and asked for this music. And life, in which I no longer understand anything, also asked for this stage and this music And freedom, which I really value, also asked to be in a cage, and then back, and then again in a cage .... And again I don’t understand anything.
Maybe you, my dear viewers, will understand this."

With love and respect,
Evgeny Panfilov.

Soloists: Parrots - Alexey Rastorguev, Alexey Kolbin.
Rastorguev Alexey Yurievich. Theater soloist
Alexei Rastorguev graduated from the Perm State Order of the Badge of Honor Choreographic School in 1996.

In the one-act choreographic fantasy "Cage for Parrots" - Laureate of the National Theater Award "Golden Mask" 2005/2006 (choreography by Evgeny Panfilov), he performed one of the two main parts.

Achieved a high artistic effect, demonstrating an adequate stage embodiment of the director's dramatic and choreographic intent.

Kolbin Alexey Gennadievich. Theater soloist
Alexei Kolbin graduated from the Perm State Order of the Badge of Honor Choreographic School in 1994.
In the same year he was accepted into the troupe of the theater.
Renowned School Graduate classical dance immediately showed himself as a purposeful ballet dancer, ready to work with full dedication to master the specifics of the paradoxical avant-garde dance plasticity offered by the artistic director of the theater, choreographer Yevgeny Panfilov (1955-2002).
He has excellent natural abilities, the ability to quickly master any dance vocabulary offered by the choreographer, virtuoso performance, the ability to create unforgettable stage images.

Currently, a talented dancer with a pronounced natural and stage personality - Alexei Kolbin is the leading soloist of the theater, participates in all new theater productions carried out by Russian and foreign choreographers, a regular participant in Russian and international festivals of modern choreography.

Program "Unexplored Perm":
He came to ballet too late at 24, and left it incredibly early. Evgeny Panfilov is a genius of modern dance and the creator of the first private ballet theater in Russia. The story of how the Golden Mask and the World Stage submitted to an ordinary guy from the Arkhangelsk outback.

Evgeny Panfilov Ballet Theater was created as a unique theatrical association consisting of three choreographic troupes Evgeny Panfilov's Ballet, Evgeny Panfilov's Tolstoy Ballet, Evgeny Panfilov's Fight Club with different dance aesthetics, united by a single author's style of the choreographer-Laureate of All-Union and international competitions, Laureate of the Prize Government of the Russian Federation. Fyodor Volkov, Laureate of the National Theater Awards "Golden Mask" Evgeny Panfilov (1955-2002)

Creation of the Panfilov Theater

In 1987, the Theater was reorganized into the first private theater in Russia, Evgeny Panfilov's Ballet. In the same year, the artistic director of the famous Perm State Choreographic School, People's Artist USSR, Honored Teacher of Russia L. Sakharova invited Evgeny to teach a modern dance course to her students. E. Panfilov and L. Sakharova carried out a joint project, which demonstrated the organic fusion of classical ballet traditions and modern choreography, the possibility of peaceful coexistence of the avant-garde and classical ballet on one stage, mutual enrichment of two ballet directions.

From 1993 to 1996 Panfilov also taught contemporary choreography at the Perm State Institute of Arts and Culture. In 1994, Evgeny created another original troupe in Perm, Evgeny Panfilov's Tolstoy Ballet, the only troupe of its kind in Russia that has the official status of a theater. The Tolstoy Ballet has in its repertoire eight independent full-length performances and several programs performed jointly with the Evgeny Panfilov Ballet Theatre. 1995 Marked in Panfilov's biography by new successful experiments: the work of a choreographer in feature film Russian director A. Teacher "Giselle's Mania" (St. Petersburg, Russia) and a joint production of the ballet "Brahms - Moment of Movement" (Munich, Germany) with the German director Alex Novak. In 1997, on the famous stage of the Mariinsky Theater (St. Petersburg, Russia), the premiere of I. Stravinsky's ballet "The Rite of Spring" took place, which was staged by Panfilov at the invitation of artistic director Mariinsky Theater V. Gergiev. In the same year, a number of modern choreography was staged by Panfilov especially for the VII Moscow International Ballet Competition for the Mariinsky Theater artists A. Batalov and E. Tarasova (A. Batalov was awarded the Grand Prix of this competition). B 1997 and 1998 Panfilov, the only Russian choreographer, was invited to International Festival Sacro-Art (Lokkum, Germany), for which he carried out special productions of ballets on sacred themes: the philosophical, amazing power of choreography dance-mystery "Abvakum" (presented at the National Theater Festival "Golden Mask" 1996-97. In the nomination "Best Performance" ) And one-act ballet"Luther". At this festival, well-known foreign theatrical figures and critics unanimously called Evgeny Panfilov "the choreographer of the 21st century."

In December 2000 The private theater Evgeny Panfilov Ballet has been awarded a new status: now it is the Perm State Theater Evgeny Panfilov Ballet. The name of the choreographer is fixed in the title state theater as a sign of exceptional merits and achievements in the development of modern choreography in Russia. The theater opened the season in a new status with the premiere of P.I. Tchaikovsky "The Nutcracker". April 2001 Becomes a laureate of the National Theater Award "Golden Mask" in 2001. In the nomination "Innovation" for the one-act ballet "Women. Year 1945." performed by the Tolstoy Ballet Company. And in July 2001. For his outstanding contribution to the development of theatrical art in Russia, Evgeny Panfilov was awarded the Fyodor Volkov Government Prize.

In May 2001, the choreographer creates another experimental male troupe, Evgeny Panfilov's Fight Club, which at the end of the month enters the stage with a complete program "Male Rhapsody", worthy of completing a busy theater season, and in December 2001. Presents another fantasy show “Take me like this…”, the leitmotif of which is the triumph of male physicality, brutal and elegant at the same time, the theme of male self-sufficiency, male energy, male brotherhood. The 15th theatrical anniversary season opened with the premiere of the one-act ballet "Surrender" to the music of the bands "Nocturne", "Blade Axis", "Sopor Esternus" and Natasha Atlas, which shows the world rolling into the abyss, the world that capitulated to vice and cruelty and didn't notice it. Life after the death of God was beyond the power of mankind. In February 2002, Evgeny Panfilov was invited to Germany (Berlin) to stage the ballet Life is Beautiful! to the music 7th Symphony by D. Shostakovich and Soviet songs of the 30-50s, which premiered on the stage of the Tempodrom Theater on February 6, 2000. The production, transferred to the troupe of the Evgeny Panfilov Ballet Theater, was called BlockAda and was held with great success on the stage of the Perm State academic theater Opera and Ballet named after P.I. Tchaikovsky June 19, 2002 At the Yevgeny Panfilov Theater Festival dedicated to the closing of the 15th anniversary theater season. Within the framework of the same festival, another premiere was shown - the one-act ballet "Tyuryaga" performed by the dance-company "Fight Club".

Staged a one-act ballet "Spring in the Appalachians" for students of the Perm State Choreographic School, which was successfully presented in Oxford (Great Britain) and received a Grant from the Administration of Perm; In May 2002 E. Panfilov was awarded the Diploma and the Prize for the choreographer "For the best number of modern choreography" ("Figlyar") VII open competition ballet dancers of Russia "Arabesque-2002". (Russia, Perm) In 2003 E. Panfilov is awarded the prize of the Ministry of Culture Russian Federation and the editors of the magazine "Ballet" "The Soul of Dance" for 2002. In the nomination "Magician of Dance" (Moscow, Russia). The prize was received by representatives of the theatre. On the occasion of the solemn ceremony of awarding the prize, the one-act ballet "Tyuryaga" performed by the dance company "Fight Club" was shown.

In all recent performances, Panfilov opened up with another side of his great personality. He had long been worried about existential questions, he penetrated deeper and deeper into the labyrinths of consciousness and subconsciousness and embodied the images he saw there in his unique choreography. Panfilov was not only a choreographer, but also a director of all his performances, he created sketches for all the costumes for his ballets, and he invariably stunned the audience with eccentric scenographic inventions and original performance finds. He had an extraordinary poetic gift. Great master created in Perm and left for Russia not only his unique theater, but also a school of truly modern choreography. The living legend of Permian art is the paradoxical and unique Evgeny Panfilov's Ballet. A brilliant diaspora of dancers, embodying the theatrical traditions of Diaghilev, the gloss of the classics, the romance of the Russian avant-garde and the secrets of surrealism. Refined psychologism and daring experiment, an enchanting spectacle equally tempting for connoisseurs of ballet and the general public.

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The Evgeny Panfilov Ballet Theater was created as a unique theatrical association consisting of three choreographic troupes: Evgeny Panfilov Ballet, Evgeny Panfilov Tolstoy Ballet (was created in 1994) and Evgeny Panfilov Fight Club (2001) with various dance aesthetics, united by a single author's style of the choreographer-laureate of the All-Union and international competitions, the Prize of the Government of the Russian Federation. Fyodor Volkov, winner of the national theater awards "Golden Mask" Evgeny Panfilov (1955-2002).

Evgeny Panfilov was born on August 10, 1955 in the village of Kopachevo, Kholmogory district, Arkhangelsk region, in the family of a rural teacher. As a student of Perm state institute arts and culture, in 1979 Evgeny Panfilov created the theater of plastic dance "Impulse" in Perm. Many years later, after seeing Panfilov's performance in Moscow, a prominent musical critic Alexey Parin called him "a brilliant nugget from Perm."

Panfilov tirelessly moved forward along the path of complicating his choreographic skills, but since there were no schools of modern choreography in Russia, he relied on dancers who had gone through a good choreographic school of classical ballet. In 1987 the theater was reorganized into Russia's first private Evgeny Panfilov Ballet.

In 2000, the private theater was awarded a new status: the State Regional Institution of Culture "Evgeny Panfilov's Ballet Theatre". The name of the choreographer is enshrined in the name of the State Theater as a sign of exceptional merits and achievements in the field of development of modern choreography in Russia. Panfilov was not only a choreographer, but also a director of all his performances, created sketches of costumes, invariably stunned the audience with eccentric stage design inventions.

The Evgeny Panfilov Ballet Theater was honored to represent Perm at the National Theater Festival and the Golden Mask Award 9 times. These are ballets: "8 Russian Songs", "Romeo and Juliet", "BlockAda" and many others. For the first time, the Golden Mask was awarded to our already famous, non-professional in the sense of choreographic training, Ballet Tolstoy for the performance “Women. Year 1945" April 17, 2006 at the XII ceremony of the National Theater Award "Golden Mask" in the nomination " Modern dance» The prize was awarded to the theater play Cage for Parrots. The one-act choreographic fantasy "Cage for Parrots" to the music of J. Bizet - R. Shchedrin "Carmen Suite" was first presented to the public in 1992. The remake premiered on May 18, 2005 at the Diaghilev Seasons. The author of the libretto, choreographer, director, set designer of the ballet was Yevgeny Panfilov. He was also the first performer of the part of one of the parrots.

The Great Master created in Perm and left for Russia not only his unique theater, but also a school of truly modern choreography. Now the theater is headed by Natalya Khristoforovna Lenskikh, who was invited to this position by Evgeny Panfilov himself.

The theater has long outgrown the boundaries of a provincial landmark, many times defended the glory of Perm as cultural capital Urals both in Russia and abroad. Unique artistic heritage Evgenia Panfilova was and remains the main measure creative activity theater. The performances of Yevgeny Panfilov still arouse the invariable interest of the public far beyond the borders of the Perm land and Russia, which is confirmed by annual invitations to prestigious all-Russian and international festivals and worthy awards.

Ballet by Evgeny Panfilov

Ballet Tolstoy