- Alla Osipenko: biography
- New stage
- L.V. Yakobson
- End of career
- Teachers and idols
- Ballerina is a title
Alla Evgenievna Osipenko, whose life story will be described in the article, is a legend of the theater, a bright asterisk among dancers. She was a student of A. Vaganova, participated in the productions of outstanding choreographers of her time. With her grace and dramatic talent, she conquered both residents of the RSFSR and the foreign public.
Alla Osipenko: biography
Alla was born in Leningrad on June 16, 1932. She lived with her mother, nanny, grandmother Maria and great-aunt Anna.
Osipenko's mother came from the Borovikovsky family. The ancestors of the ballerina were the artist Vladimir Lukich Borovikovsky, the poet Alexander Lvovich and the photographer Alexander Alexandrovich - also the Borovikovskys. Alla's father was from Ukrainian nobles. In the 37th he was imprisoned for the fact that he began to publicly revile the Soviet government and demand the release of the royal officers. Mother divorced him. Then, when the time came to get a passport, despite the requests of the mother, Alla left her father’s name behind her - she considered that a different solution would be a betrayal.
Raised a girl strictly. She spent most of her time with adults, she was not even allowed into the courtyard. And she did not have enough communication with peers, her obstinate nature demanded to escape from the excessive care. The case presented itself in the first class - she read about the choreographic circle and persuaded her relatives to allow her to enter there. Just to return at least a couple of times a day, not to sit in four walls! But the girl herself was far from dancing at that time - her mother wanted to become a ballerina, not she.
But thanks to the mug Osipenko Alla Evgenievna found her calling. Her teacher noted her talents and persuaded her mother to give her daughter to a choreographic school. She was credited there on June 21, 1941, and the war began on June 22.
The children were transported to Kostroma, then to Molotov (now Perm). Ballet was taught first in the church, then when they were transported to the Courier, in barracks. “Hunger and cold, ” Alla recalls those times. Pupils were engaged, often without removing their coats and mittens. Those were hard times, but it was in the evacuation, and perhaps thanks to her, Osipenko fell in love with art forever.
After the Osipenko College, Alla came to the Kirov Leningrad Opera and Ballet Theater (now the Mariinsky Theater). Her work here was not always smooth. The first test was severe damage to the legs. A young twenty-year-old Osipenko, on a wave of inspiration after the rehearsal, did not leave - jumped out of the trolleybus … and for almost a year and a half she was forced to forget about the scene. Only stubbornness helped her return. According to her, this case helped her realize what she really wants.
The Kirov Theater was a hard school. He demanded a special, penetrative nature. But outside the scene, Alla was by no means a fighter, on the contrary. She believed in critics who questioned her talents. It was necessary to give all the best and physically - rehearsals took almost all the time.
The culmination of her work was the role in "The Stone Flower" (1957), where she danced in the image of the Hostess. The next day she woke up famous. Osipenko Alla herself once remarked that fame, perhaps, came to her not so much because of her talent, but because of the originality of the image. For the first time a ballet dancer appeared on the stage in only one tight-fitting leotard.
Success had a downside. First, she began to be considered an actress of one role. Secondly, her fame attracted the attention of the KGB. It became especially strictly controlled after 1961, when its partner Rudolf Nureyev fled from the USSR. Alla witnessed this flight - the famous “jump” of Nureyev.
This happened during the tour. Nureyev refused to follow the schedule, for which he was decided to be sent back to Moscow. But Nureyev wanted to continue touring. He managed to escape and rushed to the plane, in which his comrades departed for London. I did not have time - and in the same place, in Paris, I asked for political asylum. Later in the USSR, despite his absence, Nureyev was sentenced to seven years for treason against his motherland. Alla acted as his protector.
In the meantime, Alla was literally never taking her eyes off. In London, she was lodged in a separate room. Let out and locked it on a key, without leaving anywhere without escort. She was forced to hide from her fans, and the journalists' requests were invariably answered that Alla Osipenko could not give an interview, since she was “giving birth”. In the future, she was allowed to visit only the socialist countries.
Alla has experienced KGB patience before. During her first tour in Paris, back in 1956, she (the first among Soviet ballerinas) won the Anna Pavlova Prize. And once, fulfilling a friend’s request, she handed the package to her sister while escaping from the observers through the back door.
At the Kirov Theater Osipenko Alla played in a considerable number of productions, among them - “Sleeping Beauty”, “The Fountain of Bakhchisarai”, “Cinderella”, “Othello”, “Legend of Love”. But the heavy atmosphere, scandals, tense relations with the management, creative dissatisfaction - all this gave rise to intolerable fatigue in the ballerina. After 21 years of work in the theater, she left him.
Together with partner John Markovsky, she joined L. V. Yakobson's troupe, his “Miniatures”. It was a risky step - the production of Jacobson constantly censored, sought out signs of anti-Sovietism in them, tried to prohibit. The rebellious character of the ballerina was also revealed here. When the commission banned the dance number “Minotaur and Nymph” for its “eroticism, ” Alla, along with the choreographer, rushed to the city executive committee A. A. Sizov. To their surprise and joy, the room was allowed to deliver.
Jacobson's character was heavy. He was ready to rehearse at any time, day and night. Moreover, the rehearsals were held in a small uncomfortable room. The choreographer made the actors completely surrender to the work, to act practically on wear, to the fullest extent. Perform complex, almost impossible movements. But Alla was glad to work with Jacobson. She considered him a genius, idolized him, and even was a little in love with him. Thus, the performances “The Firebird”, “The Swan” and “The Idiot” arose, which Jacobson staged specifically for Osipenko. But the relationship of the ballerina and choreographer gradually cracked.
When Osipenko was injured again in 1973, Jacobson did not want to wait for her recovery.
End of career
Leaving Jacobson, Osipenko and Markovsky found themselves on the street. It was a difficult time, there was almost no work. Luck smiled at them in 1977, when they met with the choreographer B. Ya. Eifman, becoming the leading actors of his troupe “New Ballet”. There the ballerina worked until 1982. But this was the end of her career, largely predetermined by her break with Markovsky.
Later Alla auditioned for the movie - “Voice” of Averbakh, half-naked Ariadne in “Sorrowful foreboding” by A. Sokurov. Theater productions. Then, after Perestroika, Osipenko went abroad, where she taught choreography for a long time. She continued to do this in Russia.
Ballerina Alla E. Osipenko was married several times. The tragic mark in her life left the death of her only son, born of actor Gennady Voropayev.
More known is her marriage with John Markovsky. Their brilliant duet was called "a couple of a century." Alla called Markovsky her best partner. According to her, in the dance they seemed to become one. The first time they performed together in Perm, and at the same time began their affair, although she was older by twelve years. They have been together for 15 years. After breaking up with him, Alla could not find another such same partner for her, according to her, this was their end as dancers.
Teachers and idols
The idol of the ballerina for a long time was Natalia Dudinskaya. Osipenko passionately imitated her. Imitation did a disservice because it made it difficult to manifest her own individuality, and Alla had to relearn. She had other idols among dancers, for example, Vera Arbuzova.
Among the people who pushed her talent, Alla especially notes Boris Fenster. At one time he saw and helped unleash the abilities of the girl. At that time, she was called a “girl with a paddle” because she was too plump for a ballerina. But Fenster noticed her and offered her the role of Pannochki in Taras Bulba. He became a strict mentor who made her not only lose weight, but also think about herself.
The ballerina and Lydia M. Tyutin helped a lot. Largely thanks to her, Osipenko was able to return after the injury.
Not to mention Agrippin Vaganov. She was a strict teacher, often screaming at her pupil and often noticed that she, thanks to her character, would end up living in a music hall. But at the same time she was a wonderful, extraordinary teacher.
Ballerina is a title
As Alla Osipenko herself noted in an interview, the ballerina is a title, not a profession. And to become it, you need character. Osipenko has proven this statement with her whole life. Success and failure, happiness and drama - all this formed her such an extraordinary personality.