Професійне становлення Галини Кирилової

Abstract

У статті вперше відтворено картину професійного становлення народної артистки УРСР Галини Миколаївни Кирилової. Розглянуто навчання майбутньої балерини в Ленінградському хореографічному технікумі, охарактеризовано шкільні партії, а також перші провідні ролі артистки в балетних виставах на сцені Державного академічного Малого оперного театру Окреслено роль А. Ваганової, Л. Блок та Л. Лавровського у процесі формування творчої особистості Г. Кирилової.

В статье впервые воссоздана картина профессионального становления народной артистки УССР Галины Николаевны Кирилловой. Рассмотрено обучение будущей балерины в Ленинградском хореографическом техникуме, охарактеризованы школьные партии, а также первые ведущие роли артистки в балетных спектаклях на сцене Государственного академического Малого оперного театра. Определена роль А. Вагановой, Л. Блок и Л. Лавровского в процессе формирования творческой личности Г. Кирилловой.

The article recreates for the first time the picture of the professional formation of the People’s Artist of the Ukrainian SSR Halyna Mykolaivna Kyrylova (1916–1986). On the basis of literary sources, the studies of the future dancer in the Leningrad Theatre School and the Leningrad Choreographic College were considered, the first school works, as well as the main roles of the artist in ballet performances on the stage of the State Academic Maly Opera Theatre (hereinafter – MALEGOT) were described. Also, the author outlined the role of A. Vaganova, L. Block and L. Lavrovskiy in the development of the creative personality of H. Kyrylova. A significant contribution to the development of ballet theatre and choreographic education in Ukraine was made by the dancer, pedagogue, People’s Artist of the Ukrainian SSR (1977), Laureate of the USSR State Prize (1948), Halyna Kyrylova (1916–1986). Halyna Kyrylova started her career in the world of professional choreography from the Evening ballet courses at the Leningrad Theatre School. Perfect natural talents opened the way for the actress to the Leningrad Choreographic College, heavy daily work and support of A. Vaganova helped H. Kyrylova to master the school of classical dance. Her unique personal style was revealed even in the first school performances, in Madlon and Yulinka roles (ballets “Fadetta” and “Katerina”). After graduating in 1935, H. Kyrylova selects the stage of the MALEGOT and immediately attracts the attention of choreographer L. Lavrovskiy. In the young dancer, he saw the unmistakable technique and unique manner of performance. Extremely complex women’s dances by L. Lavrovskiy included constant professional perfection, reliable aplomb, an elegant technique of tours and a great elevation. In addition, innovative director, trying to maximize the diapason of the dancer, forced her to live in a jump, “on a great breath” of broad dance phrases. So the ballerina felt a keen need for a professional teacher who would see her mistakes, especially when working on the character’s image. During this difficult period, L. Blok came to help H. Kyrylova. Every day the mentor attended the rehearsals of the dancer and pointed to her shortcomings. She forced her to work out her technique, sitting across from H. Kyrylova in the chair, exchanged with her impressions about what needs to be done, and what needs to be repeated. An essential and indisputable feature of H. Kyrylova as a dancer was the ability to fly expressively and naturally because the rare quality and strength of the elevation and ballon were an unprecedented phenomenon among the dancers of that time. During three years of work in MALEGOT, actress stood out in interesting roles in a row of ballet performances, among which are the capricious arrogant Madlon in “Fadetta”, loving and fragile Lise in “The Wayward Daughter”, the elegant Princess Nina in “The Prisoner of the Caucasus”. Thus, impeccable professional abilities, hard daily rehearsals in the ballet class and the contribution of two unsurpassed mentors A. Vaganova and L. Block helped H. Kyrylova to attract the attention of choreographer L. Lavrovskiy and put her in one line with the leading Leningrad dancers. The events that preceded the entry of the future actress into the Leningrad Choreographic College, as well as the characteristics of H. Kyrylova as the performer of Lise’s role in “The Wayward Daughter” ballet, require the further scientific researches.