we studied piano from the first year of study, now no, no, that was from the first year of study for 7 years, and then i studied for another year, that is, practically throughout the entire course i had a full-fledged piano, and we played quite serious works by rachmaninoff, beethoven, tchaikovsky, literature is a must, musical literature is a must, well, what?

as for the training of that time when i studied, let's say, i taught at the courses, physics, chemistry were taught, that is, i i know these subjects poorly, i probably didn't pay enough attention to them, and i didn't have time, i just spent a lot of energy, in general, on professional preparation, foreign students study at your school, yeah, they pay for their education, and the requirements for them are the same as ours. yes, of course, or, well, they pay, they pay? no, no, the same as for our students, they also go through the entire program, and acting skills, and duets, folk dance, classics, and practice, they have all of that yes, if you take our students, yeah, look, you search for them all over the republic, as you say, yeah.

there is a strict selection process from childhood, then you raise them to the wing, you can say, teach them all the basics, then they become great masters, finishing college, then our big theater invites them, they start working in the theater, and then once st. petersburg leaves, once they go abroad, and... what about our theater, our school, what compensation for the work that you put into these students? well, of course, this is our pain, children, when they graduate from our college, they have to work for 2 years, and then they are free, they have the right to choose the place where they think of working further, but of course we are very sorry, since so much effort was invested.

you said it right, in training, they gain repertoires in the theater, and become real masters, and of course, it is a pity that wonderful dancers are leaving, they left. remember, when you entered the choreographic school, you had no problems with admission, that is, who you prepared, why did you suddenly decide to become a ballerina at the age of ten, well of course, it's not immediately to...

charakhovskaya, about concerts and tours, and the main thing is, about how the dance is developed. from mara, she began her creative work.

the guys who study at your school, they are exempt from the army, no, and how do they go through the army, then return to the theater? yes, but now they have made it so that they, let's say, do not serve in the army for a year, that is, without interruption from work, but let's say they serve a certain amount of time.

not everyone obeys this rule, something is wrong with you, what kind of anarchy do you have at school, listen, it seemed to me that you have iron discipline there , everything is on the scales, it is obvious when a child gains weight, here scales are not needed, the teacher immediately sees that he needs to lose weight, it will be hard to work with a partner, it is hard to study in class, excess weight is not very good for us, but the boys are weighed, no, no, everything is visible, and for the boys you have a gym where they work out, yes, yes, of course, we have a large gym, a sports the hall, big, with good coverage with good modern exercise machines, when you graduated from the choreographic school,

you were immediately seen as a star, of course, they pinned their hopes on me, well, but when i came to the theater, at that time, in any case, and now it’s practically the same, they took us all to the cordoballet, i started with such parts, well , not even solo ones, namely with the cordoballet and with such, well, as we say, the deaf cordoballet, but they looked at me and quickly began to give me some solo ones parts, solo pieces, and then, and then i cope, and then, and then i cope, but at the same time i still remained on the payroll of a ballet chord artist, i dance solo parts, even in the first year of work i already danced solo parts, then when... i already had enough of the solo repertoire, they started giving me leading parts, they transfer me to the category, let's say a soloist, but i dance the leading part.

i am very glad that i survived, survived in such a close, close version, and as if practically from one point, this is one of your favorite performances, yes, carmine sveta, yes. did you have someone in the theater, who sympathized with you, who noted you, as if he really singled you out from this

cardo-ballet, that you could, uh-huh, then become a prima, uh-huh, you know, we had such a teacher, nina stepanovna davidenko, why do i say was. because she left quite recently, she taught at the school for a long time, at the time when i came to the theater, she was a theater teacher, she generally worked not...

agree, today, when such a good technology and thanks to your theatre we record ballet performances, even premieres, this is worth a lot for the funds, for the archive of the republic, because unfortunately, even if we take your work, then not so much, although thank god. here he didn’t twist his heel, here his hand is high, here he didn’t twist it, here

yes, yes, that’s yes, yes, yes, yes, yes, even now i’m looking, yes, there heel should be twisted like this, yes, that would be better, here and here too. the main person in the theatre, in ballet is the choreographer, it is he who probably watches and chooses those whom he then uses for these solo parts, you immediately

saw that i could handle his choreography, that i conveyed his idea, and he literally put on one performance after another, his performances went, and then he began to put on me, for a ballerina, especially... at the beginning of her creative path , a partner is very important, how much

you understand each other, how much you trust each other, how much he is probably in love with you, you can say that you are lucky with partners, well , you said it right, i was lucky with my partners, i can’t even name one person, they are wonderful partners, that’s how i say, you could dance with them in ilizariev’s ballets, you could even dance with them in adazh with your eyes closed...

some kind of falling in love happens in life, and when you dance with a partner, you kind of transfer this falling in love of life to your partner, to this image, it’s not at all necessary to be in love with your partner, you just transfer this experience of yours to this situation,

there is a case when a partner drops an actress during a performance, and what to do? but i had a case, we have a final support in the creation of the world, when a partner lifts, lifts a partner, she is in such a flying pose, legs back, and he, that is, lifts her up from his shoulder, that is , holds her practically by these places, here it holds until the end until it goes down super, the curtain is so super, here the partner took me, and so i begin to fall, it goes down super, and it's good that the audience is this. that is, i, he, of course, caught me, i did not fell there with all her might, that's it, but together with the super we ended up on the floor, both, both, both, but the partners have this rule, which all of them, they are taught this, they try to adhere to it, fall yourself, break yourself, the partners hold you, well, there are injuries on stage,

yes, there are, during the performance, the performance stops, well, there are such cases, thank god. it didn't happen to me, that to the point where there is a fracture in the scene, and the dancer dances the actions to the end, through the pain, dances the actions to the end, and then it turns out he has a fracture, so of course we have understudies who are behind the scenes, a dancer who insured the performance, we call him an insurance, that's the understudy, that's right, who knows the part, of course, of course, of course, definitely. you see, i'm already carried away, you're watching so tensely, that of course, that i understand that you're again analyzing yourself from the outside, yes, the variation is very difficult, yes, the variation is difficult, four is over, again a new phrase goes,

ta-ta-ta-ta, that's it, music ended, it was possible to continue, but why? yes, but, but there were 32, yes, yes, of course, yes, of course, you, and you count inside yourself, no, it's already sitting inside, there's no need to count, i didn't see this recording at all, i danced more the selphide itself, but nevertheless... i danced this part of efi. in my life, i danced many such different parts in the same ballet. for example, here's la sylphide, efi. carmina burana is the beloved harlot. giselle is giselle and myrtha, the opposite, well, swan lake, how does it dance one ballerina. sleeping beauty is the lilac fairy

and aurora. shipenyan's ballet, fotin's. i danced everything there, the cardalet, the twos. and everything that was possible, the eleventh waltz, the seventh waltz, the prilut, everything except the male mazorka, i never refused parts, in corsair it was also midora and gulnara, in general you danced everything, everything that was possible, what, what did you give everything, tell me, did you have your own ritual before going on stage? some of the ballerinas did not come to class on the day of the performance, on the contrary, they came directly to the performance and there they made a barre and went to dance, i always came to class, very rarely, i think, only once or twice i was not at the lesson, at the lesson - it's a warm-up, yes, it's a warm-up, which is always at 10 o'clock, always a lesson,

then i went home and i had to sleep, before the performance i had to sleep, well and in the evening at... of course, yes, yes, i had to get myself in the right frame of mind, everything, get excited, where would we be without it?

the common opinion is that prima ballerinas, they actually bathe in luxury. they live in beautiful mansions, they only give them diamonds. here, probably, this is a ballerina, this can be a prima ballerina, but probably, as a star, like in the west, probably, after all, we are different, here it is different, that is, everything is for a salary, yes, yes, well, by the way, the salary of a prima ballet dancer is many times different, yes, they always earned well, yes, throughout their creative career. yes, in principle, well , i can’t say, of course, that the leading dancers get paid like in the west, but probably

there was something more important, when the artists went on tour, of course, it was a financial boost, how old were you when you danced juliet, i was born in 1959, so... 30, why is juliet, a thirteen-year-old girl , danced by a thirty-year-old ballerina. why can't a choreographic school prepare a talented girl of 13-16 for this part. this is a very difficult part or what is difficult here.

an emotional period from childhood to adulthood, this is serious, this is serious psychological work, therefore only, well this it should be, i think it should be an older actress, no, no, not older, but the girls who danced were college graduates, well, let's say they worked and danced for a year or two, but it's still a part that she has to mature, mature. she has to mature this part, and it seems to me that this is such a wonderful part and in general such an amazing role that simply not a single prima will give it to a young one, you wanted,

you wanted me to say exactly that, right? you probably had your favorite parts, favorite performances, that's what, why favorite, what is it connected with, they become favorites at the moment when you work on them, well, can you call juliet unloved, you can't, carmen can you call unloved, you can't, or the most favorite, no, giselle, swan. that is, they are all favorites, all of them, because you work on them and you are simply all there, at that moment you are all there, and you had a moment

when you were soaring, you did not feel any burden of responsibility, this constant internal control over yourself, when , well, i don’t know, it was some kind of creative flight, there were such moments in life.

you need to be in good classical form, ballet elizariya, although it is neoclassical, but they are still built on classical movements, but they are just more emotional, they are more , how can i say it, more complex, probably, psychologically, ballet and elizareva, there even live female characters, eva, carmen, phrygia, and... but for this there must be, of course, good classical training, and to be in good classical shape, you need to dance good, well, you need to dance classical ballets, i danced classical and danced neoclassical, danced in elizarev's ballets, i practically did not work with other choreographers, if you do not read mayorova boleta cheppolina, well, it's all the same as in classical movements, here i danced the undine, but these are still classical movements, in

modern plasticity. i have not danced in a completely modern way, are there any long-livers among ballet dancers, and for how many years do they come out stage, i mean in our theater, yes, well, now ira eromkina, who will already be, i think, 45 years old, she has three children, so she continues to dance.

and the jug fell, there are such, it happens, it happens, it happens, i read an interview with one ballerina, she says, i constantly knocked down my partner, because she says, she says so, she got carried away with her dance. working with a partner, these constant supports, these are bruises, and the whole body is in bruises, no, but the partner also tries to hold,

of course. such a complex, emotional, and there you are constantly tormented, so i literally woke up the next day, everything hurt so much, that is, everything hurt, i was all as if some kind of bruise, all beaten up, but it’s not every time, it’s not every time, i just got out of shape from some kind of physical, then later explain to my husband where the bruises all over my body come from, let’s look at some more footage.

oh, sverido, you heard, i don’t have this recording either, as i like it, yes, it’s neoclassical, well, you had a separate number, yes, it’s a wonderful number, i think that in general it’s not only me who thinks music, these are not my words, but i fully support this, it is music first, everything else is an attempt to get closer to it.

you once said that you regret

not having seen your dance in ivan susanin, in opera, yes, well, well, i found it, excellent footage.

yenesa anatolyevna, i have yaof in my studio, in yauf an object, a riddle for you, why do you think i prepared these objects for you? probably something connected with ballet, here you go, here you go, here you go, and so that i could travel more, you like to travel, right? japan,

india, greece. well, did you manage to see at least these countries, to go somewhere on an excursion or just arrived, played and left? yes, of course, of course, we managed to go. and again, i want to say words of gratitude to valentin nikolaevich. the thing is that he tried to make sure that i saw as much of the corpse as possible on these trips. he organized excursions or in...

roses, favorite flowers, favorite place in minsk, i really love my area, i live in the city center, it's next to the theater for young spectators, here and i go down there via the tram line, there is an amazing park, there are amazing bike paths, here i am... i walk very, very often, the country that impressed you the most, well i love many countries, many countries, probably japan, it's just different, your main virtue is to enjoy life, your main flaw is to be upset when you could be happy, what do you think is the meaning of life, i am not original in life here. what is inesa

dushkevich's happiness? i have many components of happiness, i don't have it one, so it's hard for me to answer this question. well, you're a lucky person. yenessa anatolyevna, thank you very much for coming to our studio, thank you for our conversation. and, well, i want to wish you, of course, first of all health, health to you, your loved ones, much love and many good students. thank you, thank you.

good luck to the land, let's gain strength, let 's forge a free land, glorify our land, bright

name, glorify the people's brotherhood . our beloved, mother, city, eternal life, our beloved, matsi, rosemary, nesh mazhy and belarus, right from the beginning. seriously , we are familiar with our dear friends , we see with ourselves what we earn

through our work, the layers of the earth, our bright name. glory to the peoples of the faithful union, our beloved mother, motherland, all ours, belarus, our beloved mother, slave, lived forever.

hail to the land , our bright people , our ancestral union, our beloved mother, our belarus. dear mother, you're all over the place.

good evening, live panorama, in the studio ekaterina tyahomirova about the main events of this wednesday. growth points of cooperation between belarus and cuba: trade, economy, promising areas for both countries have been identified. the president held talks with the head of cuba in the palace of independence. the great eurasian dialogue will gather minsk in the coming days, the eac forum will start tomorrow. and on the eve of the meeting.

the united states under trump, we will tell you in the issue. and my colleagues have more details of this day. the official visit of the president of cuba, the results of the talks in the palace of independence, we will tell you about the interaction and new projects that should increase trade. the largest business associations of the eu states today in the national. the council meeting precedes tomorrow's big eurasian dialogue, we will tell you what sensitive moments still remain in trade and cooperation. readiness number one minsk international exhibition center, cameras, light, sound, new pavilions have been built. full navigation through the eurasian forum in the report. one of the most important events in the annual schedule of union integration nizhny novgorod is preparing to host the forum of regions of belarus and russia. all the home champions in the national olympic hall of fame of the legs of the country honored the belarusian national beach soccer team, which took second

place at the world cup in the seychelles. let's remember the victorious emotions and we in the panorama issue. belarus and cuba will raise trade and economic ties to the highest level of political contacts will strengthen cooperation. this was stated by president alexander lukashenko at the talks in the independence palace with the leader of cuba. is in our country on an official visit, the honorary guest will receive participation in the eurasian economic forum and the eac summit, where cuba has observer status in the association. a long-standing political dialogue has been built between official minsk and havana, we interact on international platforms and strengthen contacts at all levels. one of the tasks is to increase trade turnover. partners are interested in supplying our agricultural machinery, we exchange.

first deputy chairman of the state council in the position of cuba, that is, he was previously the second person in the state after raul castro. we really have good relations with cuba friendly relations since the soviet union, when we built relationships, first with fidel, then with raul castro. oh, we've heard how she is.

more than in previous years, of course, we mainly work with cuba on the supply of dry skim milk, dry whole milk, well, in principle, these

are the products that are in demand in the republic of cuba today are in great demand. over these decades , a very serious political dialogue has developed, the leaders call each other friends. cuba is an agrarian-industrial country, traditionally supplier of sugar, fruits, from, tobacco and cigars to the world market. in the economic sphere, there is still room for improvement in our relations, as a benchmark, the maximum trade turnover of 100 million dollars, this was in 2012, well, in the past, the figures are more modest, it was mainly export, we sold dry milk, cream, canned goods and medicines to cuba. in fact, i would

not measure relations with cuba only by trade and economic cooperation. cuba is, you know, such an... internationally recognized fighter for real rights, let's say, international community on all international platforms, and of course, friendship with such a state that occupies a leading position, one of the leading positions of international organizations always very principledly carries out its policy to the end, which is the state included in many global general processes and is respected by the leadership of almost the entire world, this foundation was laid by fidel castro, of course, cooperation, interaction with this state is of great interest, primarily in political terms. rum, coffee, medicines - that's all we usually bought in cuba. now we pay serious attention to cooperation in the pharmaceutical and medical fields. high-quality medicines are in great demand in cuba. more than 50 belarusian medicines have already received permission to be sold there. we know very well that oncology is one of the most expensive areas

and leads to a significant loss of human health.

illegal sanctions pressure on our state not only does not weaken, but also strengthen. this is especially true for financial settlement mechanisms, but negative external factors only stimulate us to jointly search for effective solutions. our bilateral relations have deep historical roots of friendship and cooperation, based

on mutual respect and mutual benefit, especially in the trade and economic sphere. cooperation in the field of biotechnology and pharmaceuticals has special potential. 46 belarusian pharmaceuticals are registered in cuba. the possibility of organizing in vitebsk areas of joint production of oncological, immunological drugs. we are interested. we strive to national development plan of cuba until 2030. for 60 years, belarusian companies have been more involved in the implementation of socio-economic stimulate encourage trade in goods, cuba lives under sanctions, in the conditions of the us financial trade blockade, although we have gotten used to it, we have adjusted, but of course it is not easy.

there are a lot of problems with mutual settlements, logistics, related issues to solve. with belarus we friends, allies, brothers, we have a common. complementarity of the economies of belarus and cuba, our experts have identified a number of promising growth points in the trade and economic sphere, including strategically important areas for havana: ensuring food security, modernizing industry, developing the construction industry,

transport infrastructure, energy and mining. farm equipment, trailer mounted equipment, we are ready, mr. president, to ensure the supply of new equipment, including using leasing instruments, and i assure you that i have not forgotten my promise to visit cuba, we just talked about it, i will try to find such an opportunity in the future and come to you in your sunny, in every sense warm country. over several decades, we have supplied a large volume of belarusian equipment, this includes products of the minsk tractor plant and the automobile plant. now the question is about its modernization, the creation of assembly plants and service centers. we need to tighten

our trade and economic ties to the highest level of political contacts, and we will do it, a simple, clear formula, just proposed by the president of cuba, he says that enough is enough.

lukashenko our gratitude for his clear position in condemning,

including cuba in the arbitrary list of us countries that allegedly sponsors terrorism. we exchanged views on the very complex international situation on ways to increase our cooperation in the multilateral sphere. there is an opportunity. for the development of scientific and technical cooperation between countries signed a corresponding program until the thirtieth year, a promising direction is tourism, last year the republic was visited by about 800 tourists from belarus. in the near future , it is expected that the production line of a joint venture will open for the production of belarusian medicines intended for sale on the cuban domestic market in the caribbean countries . a number of projects are being developed. for the production of dairy products using belarusian raw material technologies, we would like these high-quality useful the products became available to both cubans and residents of neighboring countries.