What complexes can ideal girls performing on pylons have? What can aerial athletes from around the world be afraid of? It seems that they can do anything, but when the curtain falls, people with their weaknesses and fears appear behind the make-up. The artists of the "Leningrad Center" frankly talked about their complexes.
Alexei Ishmaev, best air gymnast of 2016 in the Air Ring category at the United States Aerial Cham28ionshi30, lead singer of the Tot60 show from Cirque du Soleil.
- The main fears of circus artists are associated with superstitions, but I try to approach this rationally. My task is to perfectly perform all the tricks, not to harm yourself and your partners, even by accident.
Therefore, the most important thing is the sequence and organization of actions, because on the stage I am in the image, and the viewer must believe in him, empathize, feel everything with me. The success of the performance is made up of little things.
No matter how funny it may sound, but before each performance I mentally talk with my props and set us up to make everything work: we must be one, and the viewer should see the whole “lightness” and beauty of the performance in which I invest years of endless training and my whole life.
My main complex is the inability to communicate with people. When I perform the most complicated stunts under the ceiling and see how the hall holds its breath, I do not lose confidence in myself.
But as soon as you find yourself with the same people in the same room, look into their eyes or speak with a microphone in front of them, I begin to freeze. At such moments, I turn anger and weakness into a stimulus. I build a dialogue with myself, challenge myself and focus on people who are much stronger than me. Making yourself believe that everything is subject to you, if others can, then you can, is very important.
To cope with myself and my complexes, I seek inspiration.
I like to watch Meryl Streep performances, films with her participation. Her way of holding herself is so light and natural - it seems that she does not need to control her emotions.
Victoria Chapaykina, semifinalist of the show "Dance", twice champion of Russia in Pole Dance and the international dance champion at the PoleArt pylon in 2016.
- The past theatrical seasons at the Leningrad Center have become a test for me, both psychologically and physically. Initially, I was a dancer in a troupe, but the artistic director wants to see the artists grow constantly, and this is really not easy.
In the process of training, rehearsals and performances, I accepted the rules of the game - on the stage I can be who I want. I leave all the complexes, fear not to like, to be misunderstood and ridiculed in the dressing room. On stage I release an image, and it can be bold, sexy, fearless. It helps. I realized that I can be myself and accept myself for who I am, and in ordinary life.
In the LOVESICK show, I already acted as a choreographer and staged a collective number on the pylons. When you organize work with artists who are weaker in some ways and stronger in others, you learn psychological flexibility and acceptance. Helping others deal with themselves, I help myself - I see that it’s not only me who is scared. To go on stage naked when the whole audience is looking at you, to expose imperfections not only of the body, but also of consciousness is one of the biggest tests for me, but the support of the team and systematic work allow us to cope with any obstacles.
Pavel Mayer, winner of first places in competitions of the Russian and international level in the nominations hip hop and dance show.
- I work with partners - artists in the sixth generation. Many of them started dancing in early childhood, but I don’t have such a powerful background. Felix Mikhailov (Artistic Director of the Leningrad Center Theater. - Approx. Ed.
) always advocates that we, artists of the center, develop, do not stagnate, but we ourselves are interested and important. So, I decided to learn aerial gymnastics. This is a completely different level of responsibility, and my main fear is not to keep my partner, to harm him. It’s not even so scary to fall yourself - this happens regularly.
There are complexes associated with the fact that you are paired with people who are much more experienced than you, and every mistake turns into a phrase in your head: "Well, what else can you expect from him, he’s an ordinary dancer, he we are no match.
In fact, no one thinks and says so, but the complexes are always hypertrophied and often have nothing to do with reality. I do everything to the maximum, I make every effort so that there is no room for destructive thoughts. Constancy in training and rehearsals, practicing each step and action over and over is much more important than psychological communication with a partner. Out of conversation and friendship, the necessary trust is not born. Trust and respect from partners and oneself appear after the hundredth passage of the trick together.
Nona Bulygina, graduated from the St. Petersburg State Academy of Theater Arts.
- It seems that the actors exterminate all fears and complexes in the first years of the theater institute, but this is not so.
We are always afraid to remain unheard, misunderstood and unaccepted. The potential is always hidden inside the actor, as inside any person there is a desire to be better, higher, faster and more beautiful.
But at some point it is necessary to weigh the pros and cons - and either rush into battle and fulfill internal desires, or accept yourself as you are. Do I want to be great and go ahead to this? Or am I happy and happy about what place I occupy now? This is a matter of honesty.
Stage work is always an escalation of internal conflict. Will you undress, will you overcome the fear of heights and rise to the very dome, will you sing - the question is not ephemeral Monday, but a daily challenge to yourself. Over time, making decisions about what is really mine and what is far-fetched has become easy.