13.06.2018

Zemlyansky Sergey Yurievich

Celebrity Director

Choreographer

Sergei Zemlyansky was born on June 15, 1980 in the city of Chelyabinsk. In 2002 he graduated from the choreographic faculty of the Chelyabinsk State Academy of Culture and Arts, specializing in teacher-choreography.

Already in his fourth year he was invited to Yekaterinburg, to the theater "Provincial Dances" by Tatyana Baganova, where he worked as a dancer for five years.

During this time, as an assistant choreographer, he participated in the productions of Tatyana Baganova's Autumn for ABCDancecompany and I. Stravinsky's opera-ballet The Nightingale, nominated for the Golden Mask award.

As a dancer, he worked with foreign choreographers: the play "On the Road" directed by J. Schlemer, the play "STAU" directed by Anouk Van Dyck, the project was realized in July 2004 in Moscow.

In January 2006, he was invited to Moscow by Vladimir Pankov, Artistic Director of the SounDrama studio, as a choreographer and actor.

Their joint work on the first play "Transition", in the center of dramaturgy and directing A. Kazantsev and M. Roshchin, was presented at the Golden Mask award in the "Innovation" nomination in 2006. In collaboration with the SounDrama studio, as a choreographer, he staged 15 performances in Russia and abroad.

The next stage in the work of Sergei was the play "The Orpheus Syndrome". This work gathered an excellent press during a big tour in France and Russian cities. It was attended by two leading students of the school, professional dancers who now work in world dance companies. Sandra Bordois and Manon Andral. In 2012, as a choreographer and actor, he took part in the film "Doctor" directed by Vladimir Pankov, scripted by Elena Isaeva, produced by Vladimir Menshov and Alexander Litvinov.

In 2012, he staged the play "Mother's Field", which premiered on October 9, 2012 at the branch of the Pushkin Theater.

This performance can be called the first in the direction of the New Plastic Drama, which appeared at the junction of three theatrical genres: a dramatic performance, dance theater and expressive emotions of pantomime. The basis of the wordless style was the creation artistic image not only with the plasticity of the body and bright musical accents, but also with the use of characteristic dance elements. The performances of Sergei Zemlyansky are distinguished by great expression, grotesque presentation of characters, use of visual and musical effects.

A major role in creating the new style was played by the chief production designer Maxim Obrezkov, the chief artist of the Vakhtangov Theater and composer Pavel Akimkin and the author of the libretto Vladimir Motashnev.

Until 2016, Sergei and his team staged 8 independent performances, in which he honed his style. "Mother's Field", "Lady with Camellias", "Winter", "Demon", "Idulis and Aria", "Inspector", "Gypsies", "Joan of Arc".

The value of the new style of plastic drama lies in the fact that it translates dramatic works into a language understandable in any country in the world. Emotions are understandable to everyone. Only the deepest meaning remains, cleansed of the falsity of words. By depriving the dramatic actor of his important tool - the text, voice Zemlyansky finds new tools. He comes to the aid of music, scenography, visual effects.

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Choreographer, artist.

In 2002 he graduated from the Chelyabinsk State Academy of Culture and Arts (majoring in choreography). He studied at master classes of European and American teachers and choreographers. In the period 2001-2005 he was a dancer at the Provincial Dances Theater (Yekaterinburg).He worked as an assistant choreographer during the production of "Autumn" by Tatyana Baganova for ABCDancecompany (production by ABCD Company, Austria, 2003) and I. Stravinsky's opera-ballet "The Nightingale".

Worked on the performance "On the Road" by choreographer J. Schlemer (Germany), as well as on the performance "STAU" by the Dutch choreographer Anouk Van Dyck (the project was realized in July 2004 in Moscow).
In November 2005, in the company "Acid Rain" (Chelyabinsk) staged a play "The FABULOUS".

Since 2006, he has been constantly collaborating with the SounDrama studio as an actor and choreographer of projects.

Choreographer of performances:

"Transition". (2005 Center for Dramaturgy and Directing, Studio SounDrama, Director V. Pankov, Moscow)
"Morphine". (2006 Et Cetera Theatre, Director V. Pankov, Moscow)
"Gogol. Evenings "Part I. (2007. Meyerhold Center, SounDrama Studio "Theatre Solutions", Director V. Pankov, Moscow).
"After me". 2008 (Company of non-strict dance. Chelyabinsk.)
Duet for the Arabesque Ballet Competition. (2008 Perm)

"Gogol. Evenings Part II. (2008 V. Meyerhold Center, SounDrama Studio, "Theatrical Solutions", Director V. Pankov, Moscow)
The Third Shift (2008, Joseph Beuys Theatre, director F. Grigoryan, Moscow)
"Territory of Love" (2009 "Art-Partner XXI", Studio SounDrama, Director V. Pankov, Moscow)
"Chukchi" (2009 Stage Hammer Theatre, director F. Grigoryan, Perm)
"Gogol. Evenings" Part III. (2009 V. Meyerhold Center, SounDrama Studio, "Theatrical Solutions", Director V. Pankov, Moscow)
Phaedra (2009, Pushkin Theatre, director M. Hemleb, Moscow)
"Les deux genres" (2009 Grand Ballet gala "Masterpieces", Moscow)
"Romeo and Juliet" (2009, Theater of Nations, Director V. Pankov, Moscow)
"Room" (2010, Art site "Station", Kostroma)
“Seven Moons” (2010, M. Weil’s Ilkhom Theatre, SounDrama studio, Director V. Pankov, Tashkent)
"I, the Machine Gunner" (2010 SounDrama Studio, "Theatrical Solutions", Director V. Pankov, Moscow)
"OS" (SounDrama studio, 2011)
"Gorod.OK", experimental program of the International Theater Festival named after. A.P. Chekhova, SounDrama studio together with Studio 6 (USA), 2011
"Woe from Wit" (Perm State academic theater"THEATRE", 2011)
"Autumn Sonata" (Contemporary, 2012)

“Orpheus Syndrome” (joint project of the Vidy Theatre, Switzerland, SounDrama studio, Maurice Béjart Ballet and the International Confederation of Theater Unions, 2012)

In the theater named after M.N. Ermolova, he staged the performances "Demon" (2014) and "Inspector" (2015).

Interview with Sergei Zemlyansky, director-choreographer of plastic performances and creator of the “new plastic drama” direction

Sergei Zemlyansky joined the Expert Council of the Pro Movement festival in 2016. His productions - bright, expressive, powerful, have been winning the hearts of Russian and foreign audiences for several years now.

Where lies the boundary between contemporary choreography and plastic theatre? Or does it not exist at all? How do these two concepts coexist?
— Recently, I have seen very little contemporary dance in Russia. Basically what it is is an imitation of the "West", without any individual style, and it depresses me. Yes, there is a fashion for the form that is born there. But it turns out that the Russian modern dance- this is just a borrowing of forms that were invented and created "there", there is no originality in it, "our" mentality is not reflected at all. We have our own mentality, perception, style, which, for some reason, are not used.

“You can’t invent the wheel anymore, but there is a lot of room for creativity, because modern dance is a laboratory. But the area of ​​experimentation should not be limited to how your left shoulder blade relates to your right elbow. All movements have long been invented, so just looking at the dance is no longer interesting for me. I can say for sure - not as interesting as 10-15 years ago.

– For the layman, modern dance is something “muddy”, it is impossible to make out anything in it, it is a kind of sequence of incomprehensible, sometimes illogical movements, which often do not make much sense. And the saddest part is that it really isn't there.

- I think that the dance is leaving, and the audience is leaving with it. If we take a closer look at what is happening now in the same "West", we will see that the leading dance troupes are turning to the side plot stories. So the NDT (Netherlands Dance Theatre) is preparing new productions based on plots inspired by the work of David Lynch, and Teresa de Keersmaeker plans to stage Shakespeare in London. I see the salvation of modern dance in combination with dramaturgy.

How do you work? How are your performances born?
- Firstly, there is always a literary basis, with its own characters, characters, there is an interweaving of the lines of these heroes, development. I try to take into account all the classical foundations of dramaturgy and directing, to build the structure of the existence of dramatic actors on stage.

- Secondly, it is work with artists. For dancers, the material of performances may seem primitive, but for dramatic actors it requires a certain level of preparation, which must be achieved through daily training.

“My assistant and I come up with the whole plastic drawing of the performance, because the bodies of dramatic artists are not so free as to give them the opportunity to improvise and then use this material. The task is to reveal an emotion, to create a text of the bodily existence of the characters, so everything is developed right down to the fingertips, the turn of the head, and this is a colossal work.

With whom do you like to work more - with students or with established artists?

- With everyone. They always charge, motivate, provoke, inspire. Students have more enthusiasm, genuine vitality and maximalism. Professional artists are calmer, but they are also enthusiastic about their work, because the plastic is one of the professional tools for them.

Tell us more about your work with students of the Theater Institute. Schukin.

- The master of one of the courses - director Alexander Koruchekov, after watching my performance at the branch of the Theater. Pushkin - "Mother's Field", invited me to conduct a series of master classes for his students. Based on the results of these classes, we composed the phantasmagoria "Winter", which can still be seen on the stage of "Pike" performed by 4th year students. This performance is on through the intermission with another student, but already vocal work - "Vagants". In June last year, with the same course, I staged a plastic performance based on Pushkin's poem "Gypsies".

You started as a dancer in the Provincial Dances troupe of Tatyana Baganova, in Yekaterinburg. How did you become a director in Moscow theaters?

— I moved to Moscow in 2006 and started working with Vladimir Pankov's SounDrama studio as an artist and choreographer. Then the Theatre. Pushkin invited me to be a choreographer in one of his dramatic performances. There was a wonderful experience in working on the movement with young theater artists, I wanted some kind of continuation, but it was not clear in what form it could take place, on what conditions.

- Soon one of the theater artists suggested that I think about the production of "Mother's Field" by Chingiz Aitmatov. When I read the story, I immediately understood that this is a good basis for a plastic drama. Then we started negotiations with artistic director theater by Yevgeny Pisarev, and I could not explain what exactly it would be: not modern dance, and not ballet, and not a theater of facial expressions and gestures.

- As a result, we were given a trial month, so to speak, to apply for the performance. We have come a long way this month, there was a lot of enthusiasm and motivation on the part of the artists. We made sketches of scenes that were not yet a complete work, and showed them. Only after that the artistic management approved the work on the performance and included us in the repertoire.

Did the performance take the prize at the Golden Mask?

— No, there is no nomination for us there yet. As far as I know, the expert council of the award discussed whether to nominate the performance or not, because the nominations “drama” or “ contemporary choreography' didn't fit. It seems to me that it makes sense for the "Mask" experts to think about the "plastic drama" nomination, since many theaters are already undergoing such experiments. Although long before the decision of the expert council, the play "Mother's Field" was included in the Russian case program and then, as part of the festival " Golden Mask"was shown in the cities of Russia and abroad.

Let me end with a slightly pretentious, but important question: what do you see as your mission as an Artist, a Person of Art and a Person of the Theater?

- I like the tradition of saying “serves in the theater”, about the work of an actor, director, any employee who deals with creativity. The meaning of the word “service” is close to me, the service of the Muses, which, as we remember from the classic, does not tolerate fuss. Do not compromise with public opinion and vulgar taste, respect your viewer by showing him a real theater, high art, - this is the task of any person who creates. Perfectionism and exactingness to all participants in the production, including himself. And a lot of work. That's the whole mission.
And it's really pathetic, but somehow ...)))

Interviewed by Veronika Chernysheva.

Zemlyansky Sergey Anatolyevich has been working at the State TV and Radio Company "Vladivostok" since 1997.

In his creative activity gives Special attention information support for the work of the internal affairs bodies, increasing legal awareness and legal literacy of the inhabitants of the Primorsky Territory. Participates in socially significant actions and preventive raids carried out by employees of the Ministry of Internal Affairs of Russia for the Primorsky Territory, the Ministry of Internal Affairs for the city of Vladivostok. Prepares "live" reports about employees of the services and divisions of the internal affairs bodies and their work, examples of courage and heroism shown by police officers, residents of the region with an active civic position, assisting the internal affairs bodies in their daily activities (representatives of the Public Councils under the internal affairs bodies, members of voluntary people's squads).

For ten years he has been the author and presenter of information and analytical programs “Vesti: Primorye. Events of the week” and “Accents”. Within the framework of these programs and other projects, Vladivostok State Television and Radio Broadcasting Company constantly pays attention to informational coverage of the problems of law and order, legality, prevention of crime and offenses, and the activities of law enforcement agencies of the Primorsky Territory. Prepared and aired on television materials that increase the legal literacy of the population and enhance public interaction with the departments of the Ministry of Internal Affairs in the Primorsky Territory (in 2010 - 2012 a series of interviews with the leadership of the Ministry of Internal Affairs, 2010 - a special project "I have the right!" (On the reform of the Ministry of Internal Affairs and the implementation of the law "On police"), in 2010 - a series of materials on the suppression of crimes committed by a criminal group from the Kirov region by officers of the Ministry of Internal Affairs), in 2011-2014 - interviews and information reports on the activities of various units of the Ministry of Internal Affairs of Russia in the Primorsky Territory and ordinary police officers, in 2012 . - materials on the work of the police during the preparation and holding of the APEC summit in Vladivostok, in 2013 - a series of materials on monitoring the opinion of citizens on the work of city and district police units of the Primorsky Territory, in 2015 - materials on the activities of the police to create municipal volunteer people's squads, informational coverage of the activities of the departments of the Ministry of Internal Affairs for the search and detention of a criminal who escaped from custody).

In cooperation with the heads of structural divisions of the Ministry of Internal Affairs of Russia in the Primorsky Territory, he raises topical issues on the problems of the activities of the Ministry of Internal Affairs, cooperation with civil society institutions, executive and legislative authorities of the Primorsky Territory, explaining the official position of the leadership of the Primorye police on various aspects of its activities. Organizes trips of film crews of the Vladivostok State Television and Radio Broadcasting Company on business trips to the North Caucasus to prepare video reports on the service of fighters of the combined detachments of the Primorye police in regions with a difficult operational situation.

Repeatedly awarded with Diplomas of the leadership of the VGTRK. Repeatedly won creative competition The Ministry of Internal Affairs of Russia for the Primorsky Territory among the representatives of the media covering law enforcement issues "Shield and Pen". Marked with letters of thanks from the Ministry of Internal Affairs of Russia for the Primorsky Territory for active work on the patriotic education of youth, the creation positive image police officer, increasing the prestige of service in the internal affairs bodies.