{"id":24400,"date":"2018-04-16T09:20:05","date_gmt":"2018-04-16T07:20:05","guid":{"rendered":"https:\/\/www.igorcarlfaberge.com\/life-behind-the-scenes-at-the-mariinsky-theatre-through-a-photographers-lens\/"},"modified":"2018-04-16T09:20:05","modified_gmt":"2018-04-16T07:20:05","slug":"life-behind-the-scenes-at-the-mariinsky-theatre-through-a-photographers-lens","status":"publish","type":"post","link":"https:\/\/www.igorcarlfaberge.com\/en\/life-behind-the-scenes-at-the-mariinsky-theatre-through-a-photographers-lens\/","title":{"rendered":"Life Behind the Scenes at the Mariinsky Theatre Through a Photographer’s Lens"},"content":{"rendered":"
\n
For many years, photographer Mark Olich has been capturing life behind the scenes at the Mariinsky and its rehearsals through his photographs. In an interview with Russia Beyond, he reveals what remains hidden from the eyes of spectators at Saint Petersburg’s principal theatre. <\/div>\n<\/div>\n
\n
\"\"<\/p>\n
Mark Olich<\/div>\n<\/div>\n

Something exceptional happens backstage: an ordinary ballerina, let’s call her Masha Ivanova, can chat with her friend, think about her problems. But then she takes a step, suddenly ceases to be who she was, and transforms into the Lilac Fairy or any other seraphic character. This transition is very perceptible in photographs. I think this is what drives people to become dancers or artists. It’s a true miracle. <\/p>\n

\"\"<\/p>\n
Mark Olich<\/div>\n<\/div>\n

What matters to me in rehearsals is trust. It’s much more interesting to photograph. It’s an absolutely intimate process and usually no one has access to it. People are still searching and don’t want anyone to see the unfinished form. There can be nervous breakdowns, tears. And when I’m invited to take photos on the rehearsal stage, I appreciate it greatly. <\/p>\n

\"\"<\/p>\n
Mark Olich<\/div>\n<\/div>\n

It’s interesting to photograph your company, when everyone is familiar to you and no one pays attention to your presence. Sometimes the girls fool around before going on stage, or conversely share their sorrows. Sometimes, the subject of the performance requires the dancers to exchange a few words on stage. And while taking photos backstage, I hear the heroines of Swan Lake<\/em>, dressed in period costumes<\/a>, discussing car loans. <\/p>\n

\"\"<\/p>\n
Mark Olich<\/div>\n<\/div>\n
\"\"<\/p>\n
Mark Olich<\/div>\n<\/div>\n

There are also very sad stories and you see that ballet is colossal work<\/a>. On stage, the dancer flies like a butterfly while backstage pain brings her to the ground, because she has calf cramps caused by overexertion. A masseur then rushes to her, water and painkillers are brought to her, because moments later she must reappear on stage, fly and smile. At the same time, she must remain professional, she has no right to errors or false movements\u2014the spectator and I as a photographer notice them immediately. A ballerina’s life<\/a> is very short. Retirement at 35 is not a rumor, but an objective and very harsh reality. Sometimes, an injury makes them leave the stage even earlier. <\/p>\n

\"\"<\/p>\n
Mark Olich<\/div>\n<\/div>\n
\"\"<\/p>\n
Mark Olich<\/div>\n<\/div>\n

The world of ballet is undeniably cruel. It’s not so much at the level of internal relationships, but simply by its very nature. A five-year-old child says: “I want to become a ballet<\/a> dancer”<\/em> and they’re taken to a ballet studio where everything is fine and the ribbons and silk skirts are delightful. After some time, the child realizes that hard work is required and that the splits hurt. At a certain point, they lose their childhood. The labor continues upon entering any professional educational institution, it doesn’t disappear even after admission to a theatre company. The selection is extremely rigorous. There are years when no new graduate from the Vaganova Ballet Academy<\/a> is admitted to the Mariinsky<\/a>. <\/p>\n

\"\"<\/p>\n
Mark Olich<\/div>\n<\/div>\n

For years, I have worked with Diana Vichneva<\/a>; I photograph her performances and rehearsals. Alongside her work at the Mariinsky, she organises her festival and has opened her dance studio. Diana and I are friends; she is a wonderful person who will support you no matter what. Behind the scenes, she is always focused. <\/p>\n

\"\"<\/p>\n
Mark Olich<\/div>\n<\/div>\n
\"\"<\/p>\n
Mark Olich<\/div>\n<\/div>\n

I worked extensively with Uliana Lopatkina; she is an exceptionally profound person. Her nature is entirely different\u2014she is less open than Diana. We met during an argument at a festival. I was working backstage, and my camera did not have a special windscreen [to isolate the sound, ed.]. Uliana came out to perform The Swan<\/em> by Saint-Sa\u00ebns. The music is very quiet, and the performance itself requires a great deal of concentration. As a result, the noise of a camera (which was not mine\u2014I am letting you in on a secret) disturbed her. She stopped the performance and\u2014since I was standing next to that photographer\u2014she mistakenly vented her fury on me. We argued quite cheerfully, and then, with the same cheerfulness, we greeted one another. Later, she invited me to carry out several very serious projects, including Anna Karenina<\/a><\/em>. Now that she has already ended her career, I realise that those were unique moments that will never be repeated. <\/p>\n

\"\"<\/p>\n
Mark Olich<\/div>\n<\/div>\n
\"\"<\/p>\n
Mark Olich<\/div>\n<\/div>\n

In the world of photography, if everything goes well, the result remains forever. It is fixed. The same applies to painting, sculpture, poetry. As for dance, one must constantly exert oneself, even if you excelled the day before, a month or a year ago. Each time you must start from zero, which is why there will never be two identical performances. By photographing Swan Lake<\/em> throughout the year, you will have absolutely different photographs each time, obviously if you know how to photograph and see the internal processes. And that’s very interesting. <\/p>\n

\"\"<\/p>\n
Mark Olich<\/div>\n<\/div>\n

The entire world knows the companies of the Bolshoi Theatre in Moscow and the Mariinsky in Saint Petersburg. But it is also possible to attend breathtaking performances on other Russian stages, even outside the two capitals. You can learn more by discovering our publication<\/a> dedicated to this subject. <\/strong><\/em><\/p>\n<\/div>\n

Source: https:\/\/fr.rbth.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

For many years, photographer Mark Olich has been capturing life behind the scenes at the Mariinsky and its rehearsals through his photographs. In an interview with Russia Beyond, he reveals what remains hidden from the eyes of spectators at Saint Petersburg’s principal theatre. Mark Olich Something exceptional happens backstage: an ordinary ballerina, let’s call her […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[34],"tags":[],"dipi_cpt_category":[],"class_list":["post-24400","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nLife Behind the Scenes at the Mariinsky Theatre Through a Photographer's Lens - Igor Carl Faberg\u00e9<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.igorcarlfaberge.com\/life-behind-the-scenes-at-the-mariinsky-theatre-through-a-photographers-lens\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Life Behind the Scenes at the Mariinsky Theatre Through a Photographer's Lens - Igor Carl Faberg\u00e9\" \/>\n<meta property=\"og:description\" content=\"For many years, photographer Mark Olich has been capturing life behind the scenes at the Mariinsky and its rehearsals through his photographs. 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