14 студзеня 2024 - 50 гадоў з дня заснавання ансамбля "Харошкі"
14 студзеня 2024 - 50 гадоў з дня заснавання ансамбля "Харошкі"
To be honest, the first time I visited the concert of the ensemble I was very skeptical and ironical, prepared to be patient and sit still. And all of a sudden I couldn’t but get whirl wound with the “snowflakes” spinning on the stage during their first concert’s number “Kalyada”. The jovial and lively disguised company shifted from one house to another one dancing, singing and wishing good luck and prosperity to the hosts. And then it was turn for “Zavei”, “Krosni”, “Drigotka”, “Lyavoniha”, “Ti je myane pidmanula” - outstanding miscellanies of ancient customs and breathtaking spectacle full of heartfelt emotions and humour. Abroad the dance group of Valentina GAEVAYA, People's artist of Belarus, is only referred to as the theatre group. It is highly appreciated at the motherland as well. In 1996 for staging "POLOTSK MANUSCRIPT" Valentina GAEVAYA was awarded with the National Premium of Belarus, in 2004 – a special prize of the President “For spiritual revival”, in 2007 – Francisk Scorina’s order. Such programs as "TUROV LEGEND", “GOOD EVENING, GUESTS”, "FAREWELL, THE XXth CENTURY!", "CALLING OF SPRING" and many others impress with the harmony of well rehearsed movements and original folk motives.
1. Valentina Ivanovna, how could you introduce yourself to the readers?
- Artistic director of the Belorussian State dance company "KHOROSHKI", and that will be all.
2. In that case tell us how it all began.
- It was December of 1973 when I started my career. I was appointed to the position of the chief ballet-master of The Belorussian State Philharmonic Society. From the very beginning it was clear that it was necessary to organize a popular ensemble that would work on the basis of Belorussian folklore unknown in that time. I had a difficult task to fulfill – to motivate and accomplish creating a new choreographic company. Even the first program should have corresponded to the level of the leading Russian and Ukrainian choreographic companies and that was more important not to duplicate them! There have been worked out a number of serious programs, variety of choreographic numbers for 35 years of "KHOROSHKI"’s existence. And now I can definitely say that: “Yes, there is Russian and Ukrainian choreography, but Belorussian one also exists”.
3. How it happened to be that you engaged in the popular choreography, not classical, for example, or avant-guard one?
- At the first time when I saw Igor Moiceev’ ensemble, I was so impressed that I couldn’t come to my senses for a long time. From that moment I started taking interest in the work of national companies. Igor Aleksandrovitch is a genius choreographer, the rest of them only used his ideas. My first number, that can be referred to as Belorussian, was called “Veseluha”. I won at the ballet-masters content owing to it and after this I was invited to Minsk. From that time I was sincerely devoted to the popular Belorussian dancing.
4. When it was easier to work: earlier as a beginner or now as a famous ballet-master?
- It has never been easy, ups and downs have always been on my way. It may seem surprising but "KHOROSHKI"’s success on the stage didn’t guarantee spectator’s approval and support. In 1977 "KHOROSHKI" was awarded with the First Premium and the Title of laureate of the all-USSR contest among professional companies in Moscow, sharing it with the State dance company of Georgia. I was really shocked! We were their fans and suddenly we were placed on the same level. The success made me believe in my possibilities. But nevertheless we didn’t have our own apartment for 9 years. When The Belorussian State Philharmonic Society extended its building we finally got the ballet class as well as the changing room and the room for the orchestra. When it all started "KHOROSHKI" only consisted of 9 pairs and now it is composed of 80 persons so we are ready to give birth to any ideas, stage any projects.
5. Valentina Ivanovna, tell us how you create your theatrical programs?
- Creating each new number I think first of all about its content, what should it be about? It is extremely important to decide for yourself what the aim of the program is, what emotions you would like to express, what historical period you would like to reproduce. When it’s done I search for a music theme, work with composers over the arrangement. After this I think of the dance itself and discus costumes with the artists. And what is more important it is to make all these components – dance, music and costumes – be combined harmonically and to create a united image, that won’t let anyone stay indifferent. That is what I call the art.
6. How do you get inspired?
- All I need is just communicating with others. For example, our village neighbor Petr Kopeika became a prototype of the good-for-nothing men from the number “Valachobniki”. Granny Prosya, our landing neighbor in Mogilev, is a prototype of many feminine images in my programs. I watch how someone go or make gestures and at once it becomes a part of the number. Once upon a time I saw an interesting method of transporting heavy things – it is called “noshka”. The gist of it is any piece of fabric which is tied behind the back as a knapsack. Our costumer Alexey Gaevoi used this detail of the village life as an additional part to the costume for the number “Myadunochka”. It may be possible that one day this thing as well as the word “noshka” disappears forever, but watching our number you will understand for what purposes it served.
7. And what is like your new program?
- "BELARUSIANS" is the program adapted for the stage. "Seasons of a year" is its other title. It is composed of 17 choreographic compositions and some musical numbers. Unfortunately it can’t be shown everywhere. A great number of artists are involved in this program so we need two buses for our tour, in addition to this we have to carry our costumes, props and instruments and that costs a lot. But we, being a state company, don’t have the right to increase the ticket price.
8. What is your attitude to the modern music?
- It concerns everything – the modern music can be good as well as bad – the point is how talented you are.
9. You took part in staging a rock-opera some time ago, didn’t you?
- Yes, when the band “Pesnyari” was going to stage a rock-opera “Dolya”, suddenly I received a proposal to have a hand in it. The work demanded a lot of responsibility, it was hard but very interesting. We usually worked late at night, because neither I nor Volodya Moulyavin had support in this project. So when we finished, it was our mutual victory. So far we have been good friends with this band, Volodya Moulyavin became my soul brother. I felt myself more confident – I had a person to ask advice and to cry on his shoulder if needed. Unfortunately after Volodya’s death I haven’t made such good friends with anyone. We knew how to support and help each other.
10. Do you believe in the saying: “Whatever happens, happens for the better”?
- No, a person should do his best to change the way things happen. The life seldom gives good surprises.
11. What can make you astonished?
- From the very first concert we have only worked with the live sound, and it’s natural. That’s why I get really astonished that today’s celebrities present it like an achievement. The band “Pesnyari” has always sung alive. And I remember how nervous I and Volodya Moulyavin were before a rock-opera’s premiere: the guys had tuned up 8 microphones for a long time. Now I work with 16 microphones, its tuning takes a lot of time. Of course we can’t always make everything perfect, but only the live sound and sincere singing guarantees success.
12. What do you appreciate most of all?
- My artists and their professional and creative achievements are of a great value for me. When you create the most difficult task is to find a person with whom you can share ideas. Losing one artist can result in cancelling the whole number.
I am also very proud of the fact that "KHOROSHKI" has found its own style and it’s generally recognized.
13. What today makes you tired most of all?
- I am tired of losses. Some time ago we lost our studio school. It was a former cantonment which we arranged for our purposes. We had to pay a rent, but the money at our disposal was only enough to pay salaries to teachers. Today 90% of "KHOROSHKI"’s dancers are school-leavers. From the very start we have prepared them for dancing in our programs, made them love our national culture and this is not easy. What is waiting for them in the future is still a big question. The studio school is my biggest loss. Hope that one day we will have such a possibility and the studio school will become an integral part of "KHOROSHKI".
14. What you do when you are in a bad mood?
- That can be arranged by working hard. When I create I forget about all the difficulties and obstacles.
15. What is easier for you – to get up early or to go to bed late?
- When I have difficulties with composing I can get up at 3-4 o’clock in the morning and can’t fall asleep afterwards. In general as I am getting old there has been a tendency to get up early. My grandfather used to get up early in the morning and start singing. Mother muttered, he responded to this: «You're young, the entire life's in front of you but the remaining sands of my life are few. So I'd better go outside and watch the sun rising».
16. How about your family tree, are you acquainted with it?
- My mother's generation tree has remained secret to us. At that time many people concealed their origins. But I clearly remember my granny in the female line. She did nothing, just didn't know how, always fiddle with her handkerchief. The whole life she waited for her husband that left one day and never came back.
I was born in the south of Russia where all the people are either exiled or on the lamp. My grandfather and great grandfather were tchoomaks, they traded the salt from Azov. Both of them had five sons and due to Stolipin's reform they got a big hideland where all the family worked. Then they were bereaved of their lands, oxes and a cow. And my healthy and strong grandfather folded his hands and died from the sorrow.
17. Do you remember your child's dreams?
- I dreamt of becoming an actress. In spite of being inelegant and unattractive I always got the leading roles in the theatre society.
18. How do you think from whom you inherited your artistic talent?
- Don't even know… Frankly speaking my mother had a strong voice. And my grandfather, like grandfather Schukar, was good at telling one and the same story in an unusual way each time he narrated it.
19. What brought you, a country girl, in Moscow?
- The desire to become an actress! I arrived there in order to go up to the Theatre Institute, but became a student of a Moscow regional art school. I studied at the theatre faculty. There were a lot of outstanding teachers. I will always remember Moisei Izrailivitch Iofiev. Once he told me: «I don't think that we can make a good actress out of you. For playing a travesty you are too womanlike, for a heroine – too small. You can be a perfect art critic». My acquaintance with this person has inspired me for my entire life. I worked a lot over my education.
20. Have you always relied on yourself?
- Yes, everything that you can see in "KHOROSHKI" I am making with my own hands.
21. Recollect, please, the happiest day in your life.
- I have had many happy days! I am on the top of the world when my new program has success especially abroad, far from the motherland. I feel really happy and proud when "KHOROSHKI" helps to make our country and people recognized abroad.
22. Where were you given a hearty welcome that you won’t forget?
- I was impressed most of all by the meeting with Margaret Thatcher. In 1979 we worked in London at the Exhibition of national economy achievements of the USSR. And out of a sudden I was told that Margaret Thatcher would be present at it – we had to prepare a half an hour program so that no one wouldn’t tear themselves away. No need to tell you how nervous we were… It was the first time in my life when I staged the concert for only six persons! We chose the most interesting numbers, the most striking ones how we call them. We precisely allocated the given time, showed everything that we had and went away to the changing room. But they were still sitting on their places. Then the curtains opened up and we saw the prime minister of the UK in person. I was totally confused when she was shaking my hand and repeating: “Thank you very much”.
