爱华网10月份，秋天要来了，马林斯基也要来了。安娜卡列尼娜和天鹅湖——一个新颖惊艳一个经典不衰，注定将为全国观众带来无比的感官享受~本Po主 as一个芭蕾发烧粉，熬夜加班的手打赶制了这篇万字的观演手册来表达我本人对马林到来的热烈欢迎（散花×N）
本博主作为一个发烧粉兼文学爱好者兼戏剧爱好者，在得知此消息的第一时间就飞速订了两场演出的绝佳座位（请脑补炫耀状…），虽然现在离10月份还有很远的时间，但是那激动地心情早已经按耐不住了~
所以在这段时间里，我决定让和我同样鸡冻的各位芭蕾粉们尽力了解一下这次演出和芭蕾这项艺术（范围其实蛮大的），而对于刚刚接触芭蕾的人们也是一个了解的机会（我不希望演出结束后在门口听到人们对刚才美轮美奂表演的唯一评价就是她们可真瘦....）
本人的能力有限，所以精炼来说本篇博文将分为以下几个部分：
一）芭蕾基础知识和芭蕾舞者的历程
二）观看芭蕾舞剧时应该尤为欣赏的技术重点
三）这次将上演的两部（安娜卡列尼娜和天鹅湖）的基本剧情，分幕和重点
四）观看芭蕾舞剧时的基本礼节和注意事项
五）这次演出的交通问题
六）看芭蕾舞剧时的小窍门
七）选位指南（还没订票的孩纸们注意看哈）
八）几位主演的基本介绍（中文部分是菜鸟PO主我自己总结的，只是片面看法切勿认真~其他是外网转来的英文版，若有需要请留言，博主再找时间翻译~欢迎各种建议和意见~）
九）最后几句啰嗦
十）....还没想好，如果有别的想要了解的就请私信，随时更新
十一）一幅自制的芭蕾暴走漫画
本文除了第8个介绍环节的外网部分以外都是PO主Thea自己一个一个字敲出来的（狂敲，所以错别字神马的请各位谅解~），我会用尽量易懂的语言来尽力概括这实在不好用语言概括的艺术….（好纠结）
好了，废话说完了~
————下面开始！————
1)芭蕾基础知识和芭蕾舞者的历程
芭蕾源于欧洲，历史上...（好吧，这不重要，跳到重点）
芭蕾的发展经历了很多阶段，像宫廷芭蕾，浪漫主义芭蕾，现代芭蕾等都是其演变的过程~一般最常见的芭蕾着装就是天鹅湖的那种古典TUTU裙（感谢某兔RC的支持），而这次演的天鹅湖就是最最最最最经典的古典芭蕾舞剧。但各位还是要知道，芭蕾不是只有天鹅湖和四小天鹅的TUTU裙（这真是大中华土地上对芭蕾最刻板的印象），像浪漫主义芭蕾的着装主要就是飘逸的长裙（如：仙女，吉赛尔等），而现代芭蕾就更为精炼——直接就是紧身体服~所以以后大家在观看别的芭蕾舞剧的时候就可以在心里有个基本派别的了解~（下图是浪漫主义芭蕾的服装大意：）
下面说说芭蕾演员是怎么练成的——
每个芭蕾演员都是经过十分严格的挑选和十分十分艰苦的训练才能得到站在舞台上的机会，就拿最强的VaganovaAcademy来举例（也是这次大多数主演的母校）：他们N个年级只有300多个学生，每个年级能从头到尾学完毕业的很少，并且大部分毕业后都只能是群舞或者独舞，真正能做到首席的实在是少之又少…而没日没日夜的训练，节食，和疼痛都是常人难以接受的，而现在你我花几百或者一千来块钱来看他们痛苦蜕变完后的华丽成果绝对绝对是值得的！
所以大家不要认为芭蕾仅仅只是优雅的象征美丽的代码，其实在那表面之下的是对人类身体极限的挑战以及灵魂的升华…（这小词儿拽的~）
说完风格，再说说基本用品：
一般演员的基本用品有：连体服，连裤袜，软鞋（女用），足尖鞋（女用），软鞋（男用，所以请不要再问我男演员这场为什么没有穿足尖鞋了….），足尖保护物品（如：足尖套，硅胶套，胶布等），盘头用品和肌肉放松用具（每个人的用品可能都会不同，但上面这些是演员基本必备的）
芭蕾这门艺术留给人们的最深刻的印象就是那踮起足尖的一刻，而这一切都归功于两点：演员们的刻苦训练和...足尖鞋
很多刚刚接触芭蕾的朋友来问我关于足尖鞋的事情，所以我觉得这也值得好好说一说：
足尖鞋内部的主要原料是布和胶水，把两者一层一层的粘在一起才有了坚硬的脚感。一双新的足尖鞋是完美，原始，闪闪发光的~~不过它们也很很很硬，而演员们一般都要用很长时间把他们掰软，方法一般是半角尖，轻轻沾水和压足弓（我个人更喜欢直接把中间掰断，虽说很暴力），有兴趣的朋友们在看这次的演出的时候可以注意一下女演员脚上的鞋子，都是很软很合脚的（主要是脚掌和脚弓部分）。
但请务必注意：踮足尖需要很长时间的基本功训练和力量练习（所以各位看完演出不要盲目的买双鞋就想跳，这样的结果只会是崴脚，错位甚至骨折....表说本人米有警告过你们）
二）观看芭蕾舞剧时应该尤为欣赏的技术重点
芭蕾舞讲究的最最主要的（也就是只要是学芭蕾就必须掌握的）技术要点无非就是三个字：开，崩，直（我自己擅自又加了转，跳，神三个方面以供各位全面了解）
开：指的是胯骨开（说直白点也就是骨盆和大腿根部位），基本要求是脚跟对脚跟站稳能达到全开一字型（而这不是脚踝开，而是胯骨带动整腿）。仔细观察的话您就会发现，芭蕾演员在台上或是训练时，不论是Plies，Changement，Arabespue，还是Fouetté——无时无刻都要保持开的状态，开可以增强整个人身体的平稳度，而且只有开动作才能飘逸才能美（如下图：）
崩：指的是崩脚背。脚背被称为“芭蕾演员的第二张脸”，好的脚背应该向面包一样高高隆起（从脚踝处开始）。好的脚背除了天生之外也是要靠后天不断的崩脚和按压。亚裔演员的脚背大部分都不如欧美演员的底子好（但是也耐不住咱们夜以继日的压和崩~）。隆起的脚背除了美观外也是证明你是否适合跳芭蕾的标准——凹脚背和平脚板一般都不会被建议去学专业芭蕾，原因就是那样会落下很多职业病。所以大家在观赏演出的时候不妨也注意一下演员的脚背和动作的结合~（如下图：）
直：直指的是腿直。很难想象一个严重O型腿的人还能跳出完美的芭蕾舞…直线一直是长久以来人们对美学上的要求，演员们背要直，肩要直，膝盖和腿当然也要直（如下图：）。如果不直给观众最明显的感觉就是…..慵懒和无力
转：转分为很多种：挥鞭转，吸腿转，四位转等….但不论是什么种类的旋转，最重要的一点无疑就是重心，重心好的转无疑将会平稳圆滑，而不好的转往往会磕磕绊绊（错误示范可以参考FirstPosition里Rebecca的半决赛古典表演，那叫一个惨烈…），而对于在这次天鹅湖中将会遇到的挥鞭转，我在后面的天鹅湖解析中将会详细介绍~（转的照片实在是找不到，所以就滥竽充数搬来了一个飘逸的图图）
跳：跳和蹦是有非常大区别的，芭蕾的跳讲究的是一种半悬浮的优雅状态。和转一样，跳最重要的就是落地的那一刻（我们的目标是：没有碎步~！）若在跳落地的那一刻又有了一次停顿（也就是碎步）那就说明这位舞者在起跳的那一瞬间就没有找到重心和平衡感。
神：神就是神态。对于芭蕾的神态每个人有每个人的看法，但不论怎么说神态绝对是让演员和观众入戏的最重要环节。有兴趣的朋友可以去看看Ferri版本的吉赛尔~在神态对了的时候，说实话你技术怎么样已经不再重要了，因为观众的眼里和心里有的只是你和你的角色。所以大家在观赏的时候不要光注重音乐和舞步，也要注意演员的眼神和表情，你会有意想不到的收获~（如下图：）
三）这次将上演的两部（安娜卡列尼娜和天鹅湖）的基本剧情，分幕和重点
天鹅湖剧情介绍以及观赏重点
就像我上面所说的，SwanLake是最最经典的芭蕾舞剧~它见证了整个芭蕾史上的种种奇迹，而出演SwanQueen也是一个芭蕾舞演员证明自己登上巅峰的最佳象征（对于这点大家可以参考娜塔莉主演的电影黑天鹅），而马林这次的天鹅湖将会以一种全新的形态和风格为大家带来一场惊艳的视觉盛宴（所以这回买到票的观众可是拣着了！）
天鹅湖的剧情虽然大家都晓得但是我还是啰嗦几句：
按一般的舞剧安排来说应该是这样的
（第一幕开始）王子齐格弗里德（俄音译）在生日前被皇后（也就是他妈）告知将在成年生日之后选择一位新娘，而在晚上去天鹅湖狩猎的时候（第二幕开始）遇到了在一次游玩时被魔王罗特巴特施了咒语变成一只天鹅的公主奥杰塔（也有舞团在第一幕前的序幕就交代了被变的过程），而这个咒语只有真爱才能解开，王子公主两人一见钟情，随后王子邀请公主去参加他明天的生日宴会并打算娶她为妻（第三幕开始）很多人都来参加了王子的生日宴，而魔王罗特巴特因为得知了白天鹅被邀请所以略施小计用和她长得很像的自己的女儿奥吉丽亚代替公主来参加了宴会（和白天鹅的区别就是是黑服装，这次黑白天鹅同一演员，不过别的团也经常有两个角色不同演员的情况。剧透：这段马林演的风格可是不同于以前哦，注意观赏~）。黑天鹅用自己的舞姿迷惑了王子以至于他迷迷糊糊的就和她定下了婚约。白天鹅伤透了心，而王子随后也明白了事情的真相，于是就赶忙去找白天鹅（第四幕开始）白天鹅见到王子后几经周转原谅了他，但是魔王却不放白天鹅走并打算杀死王子，不同都在这里，因为在结局的这个问题上一般有两种结果，要不然就是王子杀了魔王白天鹅变回了人形，要不然就是白天鹅以跳进天鹅湖换了王子的存活随后王自杀了魔王（反正魔王一般是死定了），虽说也有那种魔王杀了王子的坑爹版本，但是大多还是以上的两种版本，而这次演出定的是嗨皮的结局（感谢某兔RC），所以大家可以放宽心观看~~
下面说一下观看天鹅湖这部剧时要注意的几个部分：
1.白天鹅被施咒时的表演：就像我刚才说的，有些舞团愿意把经历演在前面，而这时的表情和神态就极为抓人眼球，这时对演出的投入程度就直接影响了您对后面人物的理解~
2.第二幕白天鹅出场时的表演：这段对于演员的要求一般是唯美中透着感伤，感伤中透着无奈，无奈中又透着对未来的希望。我个人认为这段是最能唤起人们心中情感的重要部分~
3.第三幕黑天鹅部分：这应该是最广为人知的经典片段，也是最考验演员技术的部分。技术考验点就是那世代坑爹的“32圈挥鞭”~但32只是一个基本要求，一般台上真正能完成的大多高于32….而观看这个片段时注意的应该是她主力腿（也就是支撑的那条腿）的动向幅度。也就是说——绝佳的挥鞭非动作腿的开始点和结束点应该保持在基本同一小片区域，区域越小就说明演员技巧越高~（题外话：很多人在挥鞭转的时候会不自觉的大声数出演员所转的圈数…我个人认为这是没有必要的，第一这是对台上演员的一种变相干扰，第二——不论你怎么数，到后来快拍子部分时你还是会数乱，呵呵~）
4.第四幕最终部分：作为一部舞剧的结尾，第四幕最后当然是无可厚非的重要部分。不论舞团定的是什么结局，这段的感情色彩永远是浓厚的。Happilyeverafter固然美好，但阴阳相隔却能将整部剧烘托到另外一个情感层面~所以各位在这时千万不要眨眼，好好享受这美好的时刻吧！
安娜卡列尼娜的剧情介绍以及观赏重点
虽说安娜是本人最爱的小说，但不像天鹅湖：这部剧的芭蕾版偶还是第一次看~所以只能拼凑网上传出的简单片段和基本描述来给大家预告一下可能发生的精彩~所以没有订票的童鞋们赶紧麻溜儿的去订票啊！这次的演出估计会史无前例啊，错过了坑了爹可表怪偶没提醒你~
1)各种美轮美奂的服装：作为一个偶尔也画几幅的时尚爱好者，安娜里面的各种服装可以让我无比激动心动和悸动！真想紧紧握着设计师的手摇到手臂脱臼，飘逸高雅和气质衬托的到位到不能更到位（因为背景是俄罗斯，所以能把当时繁重的裙装复原的惟妙惟肖并且还有芭蕾的飘逸感真的是件不容易的事情）
2)安娜和渥伦斯基的初遇：爱慕中带着担心又无法控制的神情结合音乐，绝对打动人心
3)两人幽会：和罗密欧与朱丽叶时的幽会不同，两位主角在这场剧里是不正当关系（表喷我，这是事实），思念已久有无数的话想说但又怕被发现所以惊恐相见的情感用用舞蹈表演的淋漓尽致
4)三个主角对峙：被发现了，那个紧张气息就不用说了吧
5)安娜自杀：这次演出里应该会有现场布局，而最后火车车灯照亮舞台也反衬了安娜绝望的心（这句怎么描述的跟作品分析似得…）最后撞上的那一刻，观众们的心也停跳了一秒（博主是个坚强的银，但由于爱写作的关系所以很爱入戏，当时看完安娜小说的最后章节真的哭了…这次演出很有可能会再次内牛）
大概就是这几个部分，因为没看过全剧所以描述的不周到之处也请大家谅解
四）观看芭蕾舞剧时的基本礼节和注意事项
马林斯基是全球高级别的舞团，天津大剧院也是全国高级别的剧院。但是不管什么剧院都一样——注意事项明晃晃的挂在门口还是没人注意看（也不能怪观众，门口的注意事项就跟安软件时“我已阅读了客户协议”是一个道理~所以以前没注意过的亲们一定好好记住下面的知识！）所以了解基本礼仪，懂得注意事项也是作为一个有素质的国人观演时必不可少的部分（坐在台下你代表的就是天朝和天朝人，素质君们都快快为国争光吧！）。
1)尽量早到剧场：这里说的早到指的不是提前89个小时到（无语），而是根据您选择的座位酌情处理。如您选择了中间的座位，就应该提前20或25分钟坐到座位上，而不要在即将开场人们都坐满后再挤过一个个已经就坐的观众从而影响您的心情和给整排的观众带来不便（当然迟到是更更不礼貌的，若是迟到就应该乖乖在场外等到中休再进场——不是不公平，谁让你迟到捏....）
2)不要用有噪音的摄影设备和闪光灯：对于未经过剧院剧团批准的个人摄影爱好者，在中间拍个一张两张以表纪念是可以的（现在微博和博客这么发达，想拍几张发上去也是可以理解的）。但尽量不要在开场后再使用有闪光的照摄像器材——因为您设备发出的光和声音在黑暗的剧场里会造成影响，而闪光灯那种高功率快速度的照明装备更是带都不该带来（这当真是会晃到演员的）。而照相机发出的咔咔声无疑是对其他观众的莫大干扰。（我真遇到过因为快门声过大而摄影师和观众打起来的，所以大家好还是注意一点比较好）
3)不要带“进口”物品入场：这个进口跟海关没有半毛钱关系，说的是饮品和食物。原因很简单：会发出声音，会制造垃圾，会散出味道，而且还会洒（所以就别带了）.....一场演出也就是2个小时左右（期间有中休），对于一个正常人来说在这么短的时间不饮水或进食是不会对身体造成任何伤害的（若有特殊疾病请咨询医生），并且刚才提出的饮食时候产生的味道，杂物和噪音和毁衣服的危险性也会影响他人的观演。
4)不要带孩子入场：在网上看到天津大剧院有规定不让带1米2一下的儿童入场，原因无非就是1米2以下的孩子一般年龄偏小，自控力和感知能力较差。无法理解剧情加上无法活动再加上长时间的安静，孩子无疑会产生厌倦从而用多动或喊叫的方式来发泄不安的情绪，并影响演出…（题外话：很多家长带孩子去看芭蕾舞是为了培养情操，但恕我直言，情操这种东西是日常生活中养成的，而不是一次23个小时的艺术就能灌满的….而家长的强迫无疑会让孩子在以后对此类艺术形式产生阴影从而适得其反~所以请家长们三思而后行）
5)着装问题：很多第一次去看芭蕾舞的人们都在疑惑到时候要穿什么，所以这里给大家普及一下….观赏芭蕾作为一门高级别享受，和去听交响乐一样，是高贵而近乎神圣的。所以休闲装当然不是最佳选择（T恤衫，汗衫，短裤，运动鞋，过于暴露的上衣，超短裙，闪闪发光的亮片装以及拖鞋都应该避免）理想的服装应该是舒适但又不失优雅气质的裙装（女士）或平整的西裤配衬衫（男士）。（个人建议不要穿过紧的衣服或硌脚的鞋子。因为您要面对的是2个小时的坐姿，不舒服的着装会影响到您的观赏质量，若到演出中间时候再后悔可就来不及了….）
6)鼓掌问题：这可是人们操作最多但了解最少的部分了所以要重点说一下。观众（特别是第一次去看芭蕾剧的观众）经常会犯的错误就是看到自己觉得很牛很精彩的动作就开始鼓掌以示鼓励，但这种行为很容易影响演员的发挥。所以正确的应该是在演员动作停止或鞠躬的时候（也就是确定她/他短时间内不会再进行高难度动作的时候）在进行鼓掌（这个时候能鼓多响鼓多响，不鼓我还要批评你~）。而再站起来鼓掌最好在演出结束后再进行，还有不要因为某个演员演的是反面角色就不鼓或者嘘（演员也是很无辜的好不好~）掌声就是对演员的鼓励，所以要多多鼓励下次再来~最主要的也是国人常犯的错误就是在演出结束演员谢幕的时候就拎起包走了（赶车？错高峰？坐累了？谁知道呢....）——这是很不礼貌的行为！演员在台上辛苦了两个多小时，绝对值得享受所有观众热情的鼓励和肯定（这个时候鼓掌是可以的，口哨是可以的，bravo是可以的，鲜花也是可以的，再次谢幕时掌声增强更是绝对可以的——最不可以的就是转身离开....各位素质亲们好自为之~~）
五）演出交通问题：
博主不是天津人所以地址什么都都来自万能的度娘
大剧院地址：天津市河西区乐园道文化中心内
附近地铁站：本来地图上显示了几个，但是后来有盆友（感谢网友发轫于天津）指出那都是规划中的，所以大家还是自驾或者公交吧~
公交线路：（欢迎本地朋友提供）
除了这些外还是有几点时要注意的：出行之前：对于家住市内的人来说，应该在提前出发避开交通高峰期并及时了解天气情况（由于正好是晚餐时间，个人建议可以就近在大剧院附近解决以防吃到一半发现时间不够….）。而对于像博主这样的非津京党来说就应该提早订票以在十一高峰前及时出行（其实早去几天也不失为一个好的选择）
六）看芭蕾舞剧时的小窍门
由于芭蕾这种艺术形式是通过动作和节奏的结合完成的，加上如果不了解剧情剧难免会出现一些思维和视觉上的混乱，而如下就是解决方法：
1)分不清演员怎么办：很多舞剧的服装主角和配角没什么太大差别，再加上座位和舞台之间的距离就经常出现“主角出现了，主角消失了”的感觉，而这时大家就可以找一些标志性的物品（如：服装的不同，头发的颜色，饰品的区别，搭档的人选等）来区分各位演员
2)幕是怎么回事：幕在最开始的规定就是幕布拉起幕布放下算一幕，但是现在也出现了直接道具缓慢移动而不放下幕布的情况。其实最佳简单来说幕就是区分主要情节发展的名词
3)中场休息该做什么：这个纯属看你个人喜好，你可以去喝口水吃点东西（但不要带进会场，在外面享用就好了），也可以跟身边的人友好交流，也可以去洗手间~但要注意不要认为到时候洗手间人会很多所以提早离席，因为一般中场前的部分就是最精彩的部分，而且你的动作演员和其他人都是看的清清楚楚的~
4)有其他问题可以随时提问，我会再补充~
七）选位指南（感谢网友天涯思君_不可忘的建议）
由于PO主在这场之前关于订座位一直是听天由命党，所以知道这次买票前都没有太多的选位神经再加上已经研究出并订了好位子所以就把这么重要的科普给忘了~但还好有网友提醒，哈哈！这段主要是对于还没倒出时间订票的孩纸的，让你选好称心如意的位置~（本人是在津院官网上订的所以可以选座，去售票口可不可以不太清楚呢....）
这次津院的座位安排和价位分布是这样滴：每场剧的开放座位都会有更改，但是座位分布和对应的价位应该是不会变的，灰色的是已经售出的（其实在图前面还有几排但是由于灰色了再加上截图软件不给力所以就没截~）
大概就是这样，注意事项不多但是很可能改变你的整个观演心情（我尽我的力让您花同样的钱做好位子~）
1)翻翻你的钱包：剧院根据位置来定价不是毫无理由的，VIP的钻石位和180的酱油排的效果肯定是不一样的。所以在你能接受的范围内本PO建议你尽量选择价位高的位子~（但如果跟PO主一样是坑爹学生党的话就可以用到一些窍门了——所以请往下看）
2)看看你的视力：高价位座和低价位座的最大区别也不过就是距离舞台有多远~而绝不排除坐在最后一排看不清的可能性（特别是近视的亲们）。而在8月份前看到这篇博文的孩纸们就有福了，因为这时候还有可能性拿到同样价格但是前排的位子（不过当然是早一点比较好）
3)量量你的角度：除了距离外另一个重要点就是角度！在本PO下单前就在纠结一个问题：那就是两个同样价位只差一排的座位，一个远一个近…但是远的那个是正中间，近的那个比较偏~远的那个是二楼，近的那个是一楼靠后….后来经过我咨询过了学物理的盆友后就果断选择了远，中间但是高的那个位子~原因很简单，按生物学上来说人最舒适的观看角度就是正前方（别的不说就设想一下你要偏头看2小时的感受…）而且高的位子就能很好的避开前面毛茸茸的人头阻挡…..
4)想想你的身高：PO主女170+而且选的是二楼一排所以这个问题应该不会太困扰我。但是对于个子较矮的盆友们来说也不要忘记——现在伙食都挺好，一个185+的银坐在你正前方视线全部被挡的坑爹可能性也是存在的（这也是为什么我不推荐后面便宜的位子….但是要是身高不是低得很坑爹的人们也不用太担心，剧院的设计大都是斜面的~只要你不是做的太往后应该就没什么问题——最后一个区域的我就不敢保证了）
5）算算你的时间：很多人都在说不着急，等9月份偶再订肯定还有票.......有没有票不知道，但是好座位估计都被手快的抢走了（PO主是6月中旬定的票，也就是我知道信息的当天：谁让偶是强迫症+急性子呢）我的消费准则就是——要看就看最好的，要买就买最早的....!（其实时间晚别的到没事，最怕的就是没有好位子，要是你开演前几天买只剩下偏排看头顶的那种座可就坑爹坑妈坑全家了....）
6)所以简而言之，挑选位子的重要性排列是这样的：要是有前面的就要前面的，没有前面中间的的就要后面中间的（只要差距在1到2排之内就不会有太大影响），没有后面中间的就要楼上前排的，没有楼上前排的就要楼上后排中间的，如果没有后排中间的就要后排稍微偏的，如果没有后排稍微偏的….那就认命吧亲，这剧太火了…如果纠结在前排偏位和后排中位的话——如果你的视力不是很差的话那就选择后排中间的，要是差的话就要前排偏位的（妹的听起来好复杂…）总之靠前还靠中间的就是好位子（适用于大多数场合，也有极个别情况）
7)下面是PO主在网上找的一张津院会场的照片（因为津院分为很多厅，所以这张照片不知道是不是当天演出用的那个，AB是目前本人已经确认过的区域——也就是说B区是二楼....剩下的开不开放暂且布吉岛呢....但是设计风格都应该差不多所以仅供参考~）
8）应网友要求PO出官网的票务详情页面，要了解票子问题的点这里：
http://ticket.tjgtheatre.org/performance.aspx?ffilt=舞蹈（要全放在地址栏里哈，包括等号和舞蹈~）
9)要是真的在两个位子中纠结的要命的可以私信PO主帮你选一个（但是本人纯属好心哈，不承担任何选完后的金钱以及后续问题责任…）
八）几位主演的基本介绍
（中文是我自己总结的，英文是外网收集的，如有需要翻译的请提出来我及时着手处理）
本Po只是个爱好者，观演范围目前还坑爹的盘旋在国内...虽然经常和各位首席见面（在屏幕上....），但还是知之甚少，一下只是个人片面的看法~仅供参考切勿当真（喜感地飘走~~~）
Lopa的信息：
关键词：擅长古典芭蕾，最美白天鹅，柔美型舞者，瓦岗诺娃学姐，俄罗斯荣誉舞蹈家，好妈妈
代表作：吉赛尔，天鹅湖，安娜卡列尼娜
UlyanaVyacheslavovna Lopatkina（乌里安娜·维雅切西拉沃罗娜·罗帕金娜）名字是我自己音译的大家将就着看吧…
Born October 23, 1973, Kerch,Crimea,Ukrainian SSR,USSR)is a Prima ballerina at the Kirov Ballet/MariinskyTheatre in St Petersburg.She studied at the Vaganova Academy with Natalia Dudinskaya.Upon graduation Lopatkina joined the Kirov/MariinskyTheatre Ballet in 1991, and was promoted to principal dancer in 1995.[1][2]Lopatkina is married to Vladimir Kornev,architect and writer, and has one daughter (Masha, born2002).
Although Russian, Ulyana (Uliana) Lopatkina was born and lived inUkraine until she was 10 years old. Her parents worked on theUkraine's Black Sea coast in the Kerch shipyards. Lopatkina saysthat her father was 'horrified" to think of her leaving home atsuch a young age, but her mother was aware of the long termadvantage the sacrifice would create. Lopatkina has two brothersand sisters.
Lopatkina excels in classic and dramatic roles. She is a perfectexample of the Russian (Kirov) school with long limbs, greatstrength and a classical purity of line, as well as notedmusicality.
Her repertoire includes: Giselle (Giselle, Myrtha), Le Corsaire (Medora), La Bayadère (Nikia), Grand pas from Paquita, The Sleeping Beauty (Lilac Fairy), Swan Lake (Odette-Odile), Raymonda (Raymonda, Clemans), The Swan,Schéhérazade (Zobeide), The Fountain of Bakhchisarai (Zarema), The Legend of Love (Mekhmeneh Bahnu), Leningrad Symphony (The Girl), Pas de quatre (Маria Taglioni), Serenade,Piano Concerto No. 2 (Ballet Imperial), Symphony in C (2nd Movement), La Valse,Jewels (Diamonds), In the Night, The Nutcracker (highlights: Teacher and Pupil), Le Jeune Homme et la Mort,Goya-Divertissement, Le Baiser de la Fee (Fairy), Le Poeme del´Extase, In the Middle.[
Lopatkina revealed details about her daily life in an interviewto The Sunday Times in 2005.[4]She wakes up between 9am to 10am and drinks a glass ofgrapefruit juice or a cup of tea for breakfast. When not in a hurry, she alsoeats oatmeal or a buckwheat porridge.Rehearsals start after 11am. At the Kirov she first attends a classwith other dancers and after that has a personal rehearsalwith Ninel Kurgapkina.After a break, Lopatkina has more rehearsals or helps teachingyounger dancers. She often skips lunch.
She likes painting and reading, but after having a daughter herfree time is mostly dedicated to taking care of her. Lopatkinastill gets nervous before making a stage entrance. After performingshe can eat a kilogramme of grapes or drink a litre of grapefruit juice.She washes in cold water and sometimes has a massage and abanya (a kind of sauna).Lopatkina never sleeps before 1am or 2am and drinks Russiankefir with a biscuit before going to bed.
Lopatkina is among the world's tallest major ballerinas: she is5ft 9 in (175cm) and wearsshoes size 10.5 US (8 UK). Lopatkina uses two pairs of shoes ineach performance which are specially made for her
Konda的信息
关键字：舞技好身材棒，神态专家
代表作：天鹅湖，安娜卡列尼娜，睡美人，堂吉诃德
YekaterinaKondaurova（叶卡捷莉娜·康道洛夫娜）
• Recipient of the Benois de la Danse prize (2006).
• Recipient of theGolden Sofit,StPetersburg’s most prestigious theatre prize, inthecategory “Best Female Role in Ballet” in 2008for therole of Alma intheballet Glass Heart and in 2010 fortherole of Anna Karenina intheballet of thesame name(2010).
• Recipient of the Golden Mask, Russia’s most prestigious theatreprize, for “Best female role in ballet” (Anna Karenina in AnnaKarenina, choreography by Alexei Ratmansky, 2011).
• Ballet magazine’s prizeinthecategory“TheSpiritofDance– 2011.”
Born inMoscow.
Graduated from theVaganova AcademyofRussian Ballet in2001.
Joined theMariinsky Ballet Companyin2001.
Principal since 2012.
Repertoire includes:
Giselle(Myrtha, Zulma); choreography by Jean Coralli, Jules Perrot andMarius Petipa,
LeCorsaire (Medora); production by Pyotr Gusevafter thecomposition and choreographyofMarius Petipa,
LaBayadère (Nikia, Gamzatti); choreography byMarius Petipa, revised version by Vakhtang Chabukiani,
The Sleeping Beauty (Lilac Fairy); choreography by Marius Petipa,revised version by Konstantin Sergeyev,
Swan Lake (Odette-Odile); choreography by Marius Petipa and LevIvanov, revised version by Konstantin Sergeyev,
Raymonda (Raymonda, Henrietta, Grand pas); choreography by MariusPetipa, revised version by Konstantin Sergeyev,
“Paquita” Grand Pas (Variation); choreography by MariusPetipa,
Don Quixote (Queen oftheDryads,Street Dancer); choreography by Alexander Gorsky,
Michel Fokine’s ballets The Firebird (the Firebird), Schéhérazade(Zobeide) and The Dying Swan,
George Balanchine’s ballets Prodigal Son (the Siren), Serenade,Symphony inC (Second Movement), The FourTemperaments (Choleric), Jewels (Rubies, Diamonds),LaValse and AMidsummer Night’sDream (Titania, Hippolyta),
LeJeune hommeetlamort (the Girl);choreography by Roland Petit,
The Fountain ofBakhchisarai (Zarema);choreography by Rostislav Zakharov,
Spartacus (Phrygia, Aegina); choreography by Leonid Yakobson,
Pas de quatre (Marie Taglioni); choreography by Anton Dolin aftermotifs by Jules Perrot,
The Legend ofLove (Mekhmeneh-Bahnu); choreographyby Yuri Grigorovich,
Leningrad Symphony (the Girl); scenario and choreography by IgorBelsky,
Walpurgisnacht (Nymphs); choreography by Leonid Lavrovsky,
Carmen-Suite (Carmen); choreography by Alberto Alonso,
In theNight; choreography by JeromeRobbins,
Simple Things (Soloist); choreography by Emil Faski,
Without; choreography by Benjamin Millepied,
William Forsythe’s ballets Steptext, IntheMiddle, Somewhat Elevated and ApproximateSonata.
TheMagic Nut (Temptress); production by MihailChemiakin, choreography by Donvena Pandoursky,
TheNutcracker (QueenoftheSnowflakes, OrientalDance); production by Mihail Chemiakin, choreography by KirillSimonov,
Alexei Ratmansky’s ballets Cinderella (Stepmother), The LittleHumpbacked Horse (Mare, Sea Princess) and Anna Karenina (AnnaKarenina),
Ondine (Queen oftheSea);choreography by Pierre Lacotte,
LeParc (Soloist); choreography by AngelinPreljocaj,
Gentle Memories; choreography by Jiří Bubeníček
and Sacre; choreography by Sasha Waltz.
Repertoire also includes:
Reverence;choreography by David Dawson,
Le Bourgeois gentilhomme (the Marchioness Dorimène); choreographyby Nikita Dmitrievsky,
Glass Heart (Alma); choreography by Kirill Simonov
and The Golden Age (Olga); choreography by Noah D.Gelber.
She was thefirst performeroftherolesofAlma inKirill Simonov’sballet Glass Heart (2008), theMareinRodion Shchedrin’s ballet The Little HumpbackedHorse with choreography by Alexei Ratmansky (2009),theSoloist inEmil Faski’sballet Simple Things (2010) and Aeginainthefull-scale 2010 revivaloftheballet Spartacus (2010)with choreography by Leonid Yakobson (1956).
Has toured withtheMariinskyBallet Company toGreat Britain, Germany,theNetherlands, Norway, China andtheUSA.
Oxana的信息
关键字：柔美型舞者
代表作：仙女，睡美人，堂吉诃德
Oxana Skorik（奥克萨娜·斯科里科）
Born in Kharkov (Ukraine).
Graduated from thePerm SchoolofDance in2007.
Joined theMariinsky Balletthesame year.
Repertoire includes:
LaSylphide (Sylph); choreography by August Bournonville, revised version byElsa-Marianne von Rosen,
La Bayadère (Nikia, Trio ofShades);choreography by Marius Petipa, revised version by VladimirPonomarev and Vakhtang Chabukiani,
The Sleeping Beauty (Lilac Fairy, Princess Florine);choreography by Marius Petipa, revised version by KonstantinSergeyev,
Swan Lake (Odette-Odile, Swans, Two Swans); choreography byMarius Petipa and Lev Ivanov, revised version by KonstantinSergeyev,
The Nutcracker (Masha); choreography Vasily Vainonen,
Le Corsaire (Medora); production by Pyotr Gusev afterthecomposition and choreography by MariusPetipa,
Don Quixote (Kitri, QueenoftheDryads); choreography byAlexander Gorsky,
Grand pas classique; choreography by Viktor Gsovsky,
Chopiniana (Nocturne, Mazurka, Seventh Waltz, First Waltz);choreography by Michel Fokine,
George Balanchine ballets Serenade, SymphonyinC (3rdmovement),Jewels (Diamonds, Rubies), A Midsummer Night’s Dream(Act II – Soloist in the Divertissement) and Piano Concerto No 2(Ballet Imperial),
Carmen-Suite (Carmen); choreography by Alberto Alonso
and Ondine (Four Naiads); choreography by PierreLacotte.
Has toured with the Mariinsky Ballet to the USA, Japan andthroughout Europe.
Askerov的信息：
关键字：11年入团的老新人，12年被提为一级独舞（我印象中是..）
代表作：吉赛尔，天鹅湖，胡桃夹子
TimurAskerov（提穆尔·阿斯克欧夫）
Born in Baku (Azerbaijan).
Graduated from the Baku School of Dance in 2008.
The same year, he joined the Azerbaijan State Academic Mirza FataliAkhundov Opera and Ballet Theatre.
From 2009–2011 he worked at the National Academic Shevchenko Operaand Ballet Theatre of Ukraine.
Joined the Mariinsky Ballet Company 2011.
His repertoire includes:
Giselle(Count Albrecht), choreography by Jean Coralli, Jules Perrot andMarius Petipa,
LaBayadère (Solor); choreographybyMarius Petipa, revised version by VladimirPonomarev and Vakhtang Chabukiani,
Swan Lake (Prince Siegfried, Pas de trois); choreographybyMarius Petipa and Lev Ivanov, revised versionby Konstantin Sergeyev,
Ballet Imperial (soloist), AMidsummer night’sDream (Oberon) and Jewels (Diamonds), choreographybyGeorge Balanchine,
The Nutcracker (the Nutcracker Prince), staging by VasilyVainonen,
Grand pas classique, choreography by Viktor Gzovsky,
Carmen-Suite (José); choreography byAlbertoAlonso,
TheLegend ofLove (Ferkhad);choreography byYuri Grigorovich,
Without; choreography by Benjamin Millepied
and Grand pas classique; choreography byVictorGzovsky.
Has toured with the Mariinsky Ballet Company to Italy andOman.
Ivanchenko的信息：
关键词：转跳高手，线条美，俄罗斯功勋演员
代表作：吉赛尔，天鹅湖，罗密欧与朱丽叶
YevgenyIvanchenko（叶甫盖尼·伊万琴科）
Honoured Artist of Russia (2010)
Born in Ashkhabad (Turkmenistan).
Graduated from the Vaganova Academy of Russian Ballet (class ofValentin Onoshko).
Joined the Mariinsky Ballet Company in 1992.
Soloist since 1996.
His repertoire includes:
Giselle(Count Albrecht);
Le Corsaire (Conrad);
La Bayadère (Solor) – Vakhtang Chabukiani’s version;
Grand pas from the ballet Paquita;
The Sleeping Beauty (Prince Désiré) – Konstantin Sergeyev’sversion;
Swan Lake (Prince Siegfried);
Raymonda (Jean de Brienne, Grand pas Act);
Don Quixote (Basilio, Espada);
The Nutcracker (Prince) – Vasily Vainonen’s version;
Michel Fokine’s ballets The Firebird (Ivan-Tsarevich), Chopiniana(Nocturne, Mazurka, Seventh Waltz) and Schéhérazade (Zobeide’sSlave);
Le Sacre du printemps (The Chosen One);
Romeo and Juliet (Romeo);
The Legend of Love (Ferkhad);
Carmen-Suite (Torero) – choreography by Alberto Alonso;
George Balanchine’s ballets Apollo, Serenade, Symphony in C (IIMovement), Theme and Variations, Jewels (Diamonds), Piano ConcertoNo 2 (Ballet Imperial) and Scotch Symphony;
In the Night – choreography by Jerome Robbins;
and Manon (Des Grieux) – choreography by KennethMacMillan.
He has toured with the Mariinsky Ballet Company to Azerbaijan,Great Britain, the Netherlands, Norway and Korea.
Danila的信息：
关键字：戏剧表现之王，印象深刻的卷发
代表作：吉赛尔，舞姬，卡门
DanilaKorsuntsev（丹尼拉·科尔逊特谢夫）
• Honoured Artist of theRussian Federation(2008).
• Prize-winner at theFestival de Dança inJoinville (Brazil, 1995).
• Prize-winner at theMaya InternationalCompetition (St Petersburg, 1996).
• Diploma-recipient at theInternational BalletCompetition in Paris (1997).
Born in Tashkent (Uzbekistan).
Graduated from theUzbek School of Dance in 1992(class of Kurkmas Sagatov).
From 1992 – 1998 he was a soloist with theMoscowState Academic “Classical Ballet” Theatre directed by NataliaKasatkina and Vladimir Vasiliev.
Joined theMariinsky Ballet Company in1998.
Repertoire at theMariinsky Theatreincludes:
Giselle(Count Albrecht); choreography by Jean Coralli, Jules Perrot andMarius Petipa,
Le Corsaire (Conrad); production by Pyotr Gusev afterthecomposition and choreography of MariusPetipa,
La Bayadère (Solor); choreography by Marius Petipa, revised versionby Vladimir Ponomarev and Vakhtang Chabukiani,
The Sleeping Beauty (Prince Désiré); choreography by Marius Petipa,revival of the1894 production,
Swan Lake (Prince Siegfried); choreography by Marius Petipa and LevIvanov,
Raymonda (Jean deBrienne, Grand pas);choreography by Marius Petipa, revised version by KonstantinSergeyev,
“Paquita” Grand pas; choreography by Marius Petipa,
Michel Fokine’s ballets Chopiniana (Nocturne, Mazurka, SeventhWaltz) and Schéhérazade (Zobeide’s Slave),
Spartacus (Spartacus); choreography by Leonid Yakobson,
Carmen-Suite (José); choreography by Alberto Alonso,
George Balanchine’s ballets Serenade, Symphony in C (SecondMovement), Jewels (Diamonds) and Piano ConcertoNo2 (BalletImperial),
In theNight; choreography by JeromeRobbins,
Grand pas classique; choreography by Viktor Gzovsky
and Smekalov’s ballets Presentiment ofSpring(Yarilo) and Bolero Factory (Pride).
Repertoire also includes:
Nowand Then; choreography by John Neumeier
and Le Grand Pas de Deux; choreography by ChristianSpuck.
As a guest artist, in 2004 he danced at theStateAcademic Ali-Shir Nava’i Bolshoi Theatre (Tashkent, Uzbekistan),performing therole of Prince Siegfried in SwanLake opposite Sofia Gumerova as Odette-Odile.
He has performed at theNational Opera and BalletTheatre of Bulgaria (Metaphysics) and theNationalTheatre ofJapan inTokyo (asJean deBrienneintheballetRaymonda).
Has toured with theMariinsky Ballet CompanytoGreat Britain, Greece and China.
Yuri的信息：
关键词：反面大师，技巧型舞者
代表作：舞姬，睡美人，珠宝
YuriSmekalov（尤里米斯耶卡洛夫）
• Prize-winner at theXI International BalletDancers’ and Choreographers’ Competition, “Choreography” category(1st prize, Moscow, 2009).
• Recipient of theGolden Mask, Russia’s mostprestigious theatre prize, for “Best Male Role” intheballet The Seagull (Trigorin) inthe2007–2008 season.
• Recipient of St Petersburg's most prestigious theatre prize theGolden Sofit in the category "Best Male Role in Ballet" for thelead role in Angelin Preljocaj's ballet Le Parc (2011).
• Prize-winner at the VII International Competition ofChoreographers and Ballet Masters under the patronage of theInternational Dance Council CID-UNESCO in the category "BalletVideo" (1st prize, Novosibirsk, 2012).
• Recipient of the medal In Honour of the Tercentenary of StPetersburg in 2003.
Born inNizhny Tagil.
In 1998, he graduated from theVaganova AcademyofRussian Ballet (classofKonstantin Shatilov).
From 1998-2009, he was a soloist with theBorisEifman StPetersburg State Academic BalletTheatre, where he danced thelead rolesinballets including Don Quixote, or Fantasiesofa Madman, Tchaikovsky,TheKaramazovs, Red Giselle, Russian Hamlet, DonJuan and Molière, WHO is WHO, Anna Karenina, Requiem, My Jerusalemand TheSeagull.
As a guest artist, he has appeared attheMikhailovsky Theatre (as Spartacusintheballetofthesame name),theWarsaw Opera Narodowa (as Tchaikovskyintheballetofthesame name) and attheStPetersburg State LeonidYakobson Academic Ballet Theatre (as Zeusintheballet Andro-Geny andSpartacus inLeonid Yakobson's balletSpartacus).
Yuri Smekalov was invited to join theMariinskyTheatre inFebruary 2009.
His repertoire at theMariinsky Theatreincludes:
La Sylphide (Gurn); choreography by August Bournonville, revisedversion by Elsa-Marianne von Rosen,
Giselle (Hans); choreography by Jean Coralli, Jules Perrot, MariusPetipa,
Le Corsaire (Birbanto); production by Pyotr Gusev afterthecomposition and choreography by MariusPetipa,
TheSleeping Beauty (Princess Aurora’s Suitors);choreography by Marius Petipa, revised version by KonstantinSergeyev,
Raymonda (Abderakhman); choreography by Marius Petipa, revisedversion by Konstantin Sergeyev,
Michel Fokine’s ballets TheFirebird (IvanTsarevich), LeCarnaval (Pierrot) and Pétrouchka(TheMoor),
TheFountain ofBakhchisarai(Ghirei); choreography by Rostislav Zakharov,
TheNutcracker (Drosselmeyer); choreography byVasily Vainonen,
Leonid Yakobson’s ballets Shurale (Ali-Batyr, Evil Spirit) andSpartacus (Spartacus, Harmodius),
Leonid Lavrovsky’s ballets Romeo and Juliet (Tybalt, Paris) andWalpurgis Night (Bacchus),
TheLegend ofLove (Vizier);choreography by Yuri Grigorovich,
Carmen-Suite (Torero, José); choreography by Alberto Alonso,
Jewels (Emeralds); choreography by George Balanchine,
In theNight; choreography by JeromeRobbins,
TheNutcracker (Drosselmeyer); production byMihail Chemiakin and choreography by Kirill Simonov,
TheMagic Nut (Drosselmeyer); production by MihailChemiakin and choreography by Donvena Pandoursky,
Alexei Ratmansky’s ballets TheLittle HumpbackedHorse (GentlemanoftheBedchamber, Horses,Seahorses), Anna Karenina (Vronsky) and Cinderella (Dance Teacher,Male Dance),
Diana Vishneva: Beauty inMotion (Pierrot Lunaire,Three Point Turn),
Vernal Waters; choreography by Asaf Messerer
and Le Parc (soloist); choreography by AngelinPreljocaj.
Has toured with theMariinsky Ballet to Europe,Asia and America.
Has worked as a choreographer since 2008. He has stagedthefollowing choreographic miniatures andballets:
Autumn Gold (Verba volant, scripta manent; “Words fly away, what iswritten remains”), aprojectinmemory ofGeorgyAleksidze,
Parting (first performers: Yevgenia Obraztsova and VladimirShklyarov atthegala concertMalakhov and Friends, Berlin, 2008),
Requiem for Narcissus and Story on theRun (2009)and theballets PresentimentofSpring and Bolero Factory (2010),inwhich he himself has danced leadroles.
Yuri Smekalov’s ballets Requiem for Narcissus and Parting have beenperformed throughout Europe and Asia.
In 2012, theBolshoi TheatreinMoscow hosted thepremiereofthetwo-act ballet Moidodyr(Wash ’Em Clean) withchoreography by YuriSmekalov (music by Efrem Podgayts). In 2013 as partoftheMariinsky Theatre’sproject A Creative Workshop ofYoungChoreographers, Yuri Smekalov stagedthechoreographic miniature Intensio with originalmusic by Alexander Maev. Thesame year he tookpart inthegala concert markingtheopeningofthenew Mariinsky Theatre;thegala programme included Yuri Smekalov’sversion ofHarald Lander’s balletÉtudes.
Yuri Smekalov works with thecoach Alexei Mishinand he is involved increating programmes forRussia’s figure skating team. In2003–2004 he wasthechoreographer for Yevgeny Plyushchenko’sprogrammes and, in2008–2009, he createdtheprogrammes Narcissus andTheHermit forfigure skaterArtur Gachinsky.
Ermakov的信息
关键词：精灵王子（话说这位长得很像真爱如血里的Eric….），舞技强者，情感型舞者
代表作：海盗，堂吉诃德，安娜卡列尼娜
Andrey Ermakov（安德烈埃尔马可夫）
wasborn in Leningrad into a family of workers; at present his mother is an entrepreneurand his father is a shipwright. Ermakov began his professionaltraining at the age of 10 when he entered Vaganova Academy of Russian Ballet in Saint Petersburg,where he was tutored by Evgeny Scherbakov, Vitaly Tsvetkov andothers.
Upon his graduation from the Academy in 2005,[1]he was invited by three Saint Petersburg theatres to join. He choseto join the Mariinsky ballet. In the Mariinsky he has been coachedby professor Gennady Selutsky,a former ballet dancer, renowned ballet professional, Honored ArtWorker of Russian Federation.
During his first years at Mariinsky he appeared as soloist in thepremiere of Peter Quanz'sballet “Aria Suspended”[2]to Igor Stravinsky'smusic of “Symphony in C” dedicated to 125th anniversary of thecomposer, and in George Balanchine's“LaValse”;[3]he also toured with the Mariinsky Ballet Company to Great Britain,Germany, France, Italy, Spain, the USA, Israel, Japan, China,Thailand and Taiwan.
Then he began appearing as Vaslav in “TheFountain of Bakhchisarai”,and after that other leading parts followed - in George Balanchin's“Serenade”,“Emeralds”etc. At the age of 20 he danced Ali in “LeCorsaire”,one of the most technically and emotionally demanding male balletparts.
Andrey Ermakov is very convincing in heroic, romantic or dramaticballet roles, both in classical and modern repertoire. His dancingis known for characterization, rare manly athletizm, elegance,virtuosity,[4]great stage presence, technical strength and purity of the greatVaganova style.
In 2011 he performed Count Vronsky part in Alexei Ratmansky's«Anna Karenina» to Rodion Schedrin'smusic at Metropolitan Opera in New York during the Lincoln Centre Festival,[5]was dansing Solor in “LaBayadere”at Teatro Regio in Turin,Italy, as well as Conrad in “Le Corsaire” at Gran Teatre del Liceu in Barcelona.[6]
In March, 2012 Andrey Ermakov participated in Gala Concertdedicated to reputed ballet pedagogue GennadySelutsky,[7]then in April of the same year he performed Count Vronsky partagain in “Anna Karenina” at Grand Theatre de Geneve,partnering People's Artist of Russia, prima-ballerinaUliana Lopatkina.As Lopatkina's partner he took part in a series of Gala Concerts“Uliana Lopatkina and ballet stars of XXI century” dedicatedto Rudolph Nureyev and Margot Fonteyn,where Lopatkina and Ermakov gave their first public performance ofa famous adagio from “Margueriteand Armand”ballet, choreographed by Frederick Ashton.[8]
In May, 2012 Ermakov as guest artist participated in XXV RudolphNureyev International classical ballet festival dancing the part ofAli-batyr in ballet “Shurale”.[9]
In autumn of 2012 Andrey Ermakov starred in “Big Ballet” TVshow[10]on "Россия К" (Культура) channel.[11]
In December, 2012 Ermakov together with Uliana Lopatkina took partin Gala “Three centuries of Petersburg ballet” marking 275thanniversary of Vaganova Academy of RussianBallet,[12]and in New Year Gala “Uliana Lopatkina – Johann Strauss Ball”.[13]
February, 2012 saw the debut of Andrey Ermakov as a guest artist inthe role of Nutcracker Prince in The Nutcracker with Yakobson ballet company.[14]
In April, 2013 Andrey Ermakov with Uliana Lopatkina appeared in"Tango Gala" dedicated to Ástor Piazzolla[15]at Moscow Operetta Theatre and in a special Gala dedicated to threeballet legends - Anna Pavlova,Galina Ulanova,Maya Plisetskaya during Festival of Russian Culture in Baden-Baden,Germany.[16]In May, 2013 Ermakov took part in Gala «Uliana Lopatkina& Friends» at Lausanne Opera[17]and in a world premiere of "Salome", one act ballet bychoreographer Emil Faski to Florent Schmitt'smusic at Teatro Verdi in Trieste,Italy.[18]
in June, 2013 Andrey Ermakov appeared as Von Rothbart in a worldpremiere - a live 3D Mariinsky broadcast of "Swan Lake" ballet atcinemas around the world
Viktor的信息：
关键词：常驻演员，瓦岗诺娃学长，古典舞好手
代表作：吉赛尔，舞姬，天鹅湖
ViktorBaranov（维克多巴朗诺夫）
• Honoured Artist of Russia.
Born inLeningrad.
Graduated from thePerm School of Balletin1984.
Joined theMariinsky Theatrein1991.
Since 2007 he has been acoach attheMariinsky Theatre. Currently Viktor Baranovteaches classical duet dance at theperformingfaculty of theVaganova Academy of RussianBallet.
Repertoire attheMariinskyTheatre included:
Giselle(Albrecht),
TheSleepingBeauty (Prince Désiré, Prince FleurdePois),
TheNutcracker(ThePrince);choreography by VasilyVainonen,
LaSylphide(James); choreography by August Bournonville, revised version byElsa-MariannevonRosen,
LaBayadere(Solor); choreography by Marius Petipa, revised version by VakhtangChabukiani,
“Paquita”Grand Pas;choreography by Marius Petipa,
SwanLake (Siegfried); choreography by Marius Petipa and Lev Ivanov, revisedversion by Konstantin Sergeyev,
LeRéveildeFlore (Apollo); choreography by Marius Petipa and Lev Ivanov, revivalofthe1894production,
Raymonda(Jean deBrienne); choreography by Marius Petipa,revised version by Konstantin Sergeyev,
MichelFokine’s Chopiniana and TheFirebird (IvanTsarevich),
TheFountainofBakhchisarai (Vaslav); choreography by RostislavZakharov,
Romeoand Juliet (Romeo); choreography by LeonidLavrovsky,
TheLegendofLove (Ferkhad); choreography by Yuri Grigorovich,
George Balanchine’s Apollo,Serenade, Symphony inC (1stMovement) andJewels (Emeralds),
Jerome Robbins’ IntheNight,
Alexei Ratmansky’s Anna Karenina (Alexei Karenin), LeBaiserdelafée (Youth) and LePoèmedel’extase,
Donvena Pandoursky’s Metaphysics (the Man)
аnd John Neumeier’s ballets Spring and Fall and TheSounds ofEmptyPages.
Has taken partinthefestivalVladimir Spivakov Invites and thegala concert 20thCentury SymphonicDances with theNational Symphony Orchestra of Russiaunder thebaton of VladimirSpivakov(2006).
Has toured with theMariinsky Ballet Companythroughout Europe, theUSA and toJapan.
IslomBaimuradow（伊斯洛姆·拜姆拉朵夫）
对于这位仁兄——I’mso so so so sorry!
因为实在是找不到他的什么信息，找不到照片，连视频都没有几个（马林应该po点啊，这么好的演员~！）
所以这就成为一大谜团等着各位去现场惊艳吧~
其实参演的还有很多人，但是出于时间关系就不一个一个网上搬了，这些主要演员的美照大家可以拿去当做微博配图~
九）最后几句磨磨唧唧：
个人建议，如果您是第一次接触但是真心喜欢芭蕾，可以在本次演出之前做些功课以便更清晰的欣赏艺术。如：抽时间读一遍安娜卡列尼娜或上网观看一部安娜的电影以便了解剧情或看一次别团版本的天鹅湖~（若需要版本推荐可私信博主）
十一）顺便对已经在学芭蕾的孩纸们打个广告~推荐一下偶前一段时间那篇关于芭蕾和时尚联系的博文（在博文目录里就有~）链接在此：
http://blog.sina.com.cn/s/blog_a0b3d3510101dxav.html
灰常感谢大家能耐心的把这篇超超超超级长的文章看完~！！
本po熬夜加上早起写到中午才弄完这一片文，累的手都抽筋了。一看——妹的！一万六千字！！是不是有点疯狂了….呵呵，这也不负我这个芭蕾爱好者的称号！哇咔咔，不过不管怎么样大家看得高兴就好~
有什么问题或者建议可以随之跟偶联系（私信就行）
欢迎各种转发各种推荐和各种回复（打了这么多，表示一下吧！…）
本Po只是一个十分简单的芭蕾爱好者~文中若有任何技术问题或错字的地方欢迎各位踊跃指出，请多多指教~
我个人订的是1号的安娜和4号的天鹅湖，打算9月20多号出发飞往天津~等待着，期待着…..马林加油，津院加油！
十一）最后附上半喜感的自制暴漫一幅以表心意：
————————写完，暂封，随时更新，欢迎私信———————
