Ballet as a Professional Path: Oleg Ignatyev on Preparing a New Generation of Dancers
Ballet occupies a special place in world culture as a language in which movement becomes a form of thought, and the stage a space for artistic dialogue. Classical choreography, while maintaining academic rigor, simultaneously evolves, opening up new possibilities for interpreting tradition and developing a professional school.In Kazakhstan, ballet is consistently strengthening its position, combining national traditions with recognized international training standards. One of the prominent representatives of this art form is Oleg Ignatyev, a ballet dancer and graduate of one of the world's leading classical dance schools, the Vaganova Academy of Russian Ballet.Recently, the master visited the Kazakh National Academy of Choreography, where he spent a week working with students on choreographic material. This collaboration took place in close collaboration with teachers of specialized disciplines, allowing him to combine the experience of a visiting choreographer with the Academy's strong methodological foundation. He spoke with Qazaq Culture about his work with Kazakhstani students, his professional principles, and his impressions of the visit. What impression did the Academy make on you, and how significant is its merger with the Astana Ballet Theatre?My impressions of the Academy are extremely positive. Frankly, I didn't expect to see a building of such a high standard. I've rarely encountered such well-thought-out and comfortable conditions—not only for the students but also for the teachers. A systematic approach and attention to detail are evident here. Everything is organized at a truly high professional level.Astana, overall, made a strong impression on me—it's a modern, dynamic, very clean, and new city. The Academy fully lives up to its status as a capital and fits seamlessly into its image.I learned relatively recently that the Academy building is connected to the Astana Ballet Theatre. In my opinion, this is a very smart and strategic decision. The opportunity for students to immediately transfer to the theatre and gain stage experience in a professional environment is a huge advantage for their development. It's truly a well-thought-out and effective model for training future artists.Would you say that Kazakhstan has become your second home? What about the national culture caught your attention?– During my time living in Almaty, Kazakhstan has become truly close to me. I feel as natural and at peace here as I do in Russia. I hardly notice any difference in mentality – so much feels familiar: the architecture, the urban environment, the general mood. So I wouldn't even call it a "second home" – more like an extension of a familiar space in which I feel most comfortable.Elements of Kazakh national culture, especially ornamentation, particularly draw my attention. I haven't delved into the history of their origins yet, but I constantly notice them in the urban environment – on the facades of buildings in Almaty, in museums, in the works of contemporary artists. These patterns convey character and cultural identity. As for the cuisine, it's quite unique to me, so I'm getting to know it gradually and choosing dishes quite selectively.– What do you prefer today: performing or teaching?– Three years ago, I retired from performing for a number of reasons, including an injury. Therefore, for me today, the question is no longer between the stage and teaching. Right now, I'm most passionate about staging.Creating choreography is like ballet, but from a different perspective: through direction, dramaturgy, and composition. It's a more complex, multi-layered process than simply performing a part or working with existing material. It's important to establish the internal logic of a piece, its emotional arc, and its sculptural design. I truly enjoy inventing and creating—forming an idea from scratch and seeing it gradually take shape on stage.– What professional skills did you strive to impart to the Academy's students?– Despite my experience and academic training, I've always believed that you can learn from anyone, at any age. But this time, it was especially important for me to convey to the students an understanding of professionalism as the foundation of any creative endeavor. Professionalism isn't just talent or technique; it's, above all, responsibility: clearly fulfilling your task, understanding exactly what you're doing and how you achieve results.Our program was truly intensive. In seven days, we staged a full-scale performance for 50 people. Each had their own part—some larger, others more intimate, yet significant within the overall structure. We worked at a fast pace, requiring maximum concentration, discipline, and the ability to quickly engage in the process. I wanted the students to experience how to pull themselves together, organize themselves, and work effectively in a short time without sacrificing quality. I hope this experience became an important professional step for them.— How do you rate your work with the Academy students, and what qualities of the students particularly stood out to you?— We didn't have time to get to know them closely, as the main task was to clearly and efficiently organize the work process. However, the students' professional commitment was palpable from the very first rehearsals—not only from the senior students, from whom you traditionally expect greater maturity, but also from the first-year students.I was particularly impressed by their level of concentration. The students were completely engaged in the process, without distractions, and maintained their attention and performance for an hour and a half. In today's world, this is, in my opinion, a rare quality. With a constant stream of short-form content, many people's ability to focus for long periods of time diminishes.Here, I saw discipline and inner focus: the students worked from start to finish, giving their all, and only after rehearsal did they return to their usual ease and childlike spontaneity. This speaks to a high level of professional training and a well-developed sense of responsibility—and this truly deserves respect.— How did the idea for this production begin?— The idea for the production arose about three months ago after my meeting with Altynai Asylmuratova. She had a specific artistic request, which I responded to with great interest. It was also personally significant for me: during my years of study at the Vaganova Academy of Russian Ballet in St. Petersburg, Altynai Abduakhimovna held the position of artistic director. At the time, a piece with a similar theme was being staged, and I myself was involved in similar work.Therefore, I understood its artistic goal and overall direction well. The production of "Grand Pas Académique" that we've just completed certainly has its own distinctive features—both in the musical material (we used the music of Léo Delibes) and in thematic emphasis. However, its form is a classic "postcard"—a presentation of the school, its level, traditions, and performance culture.The most challenging task was to convey the idea of intergenerational continuity. The cast includes junior, middle, and senior students, as well as a solo pair from the graduating class. There's no elaborate dramaturgy here—everything is based on inner feeling and choreographic language. The audience must intuitively grasp this hierarchy, perceive growth, development, and the gradual transition from apprenticeship to maturity. This was the key artistic goal of the production.—What is more important to you when working with students: technique or artistry?—When working with students, much depends on the nature of the material. If we're talking about a narrative ballet, where dramaturgy and imagery are important, then artistry undoubtedly comes to the fore. Unfortunately, today we often see a bias toward technique: a desire for complex elements, for a "sporty" result. In this sense, I would emphasize the value of artistry, as it shapes the depth of stage presence.Technique is largely a learned and variable value, whereas artistry has a more complex internal structure – it is linked to an understanding of the character, musicality, and stage culture.Our production lacks a storyline in the traditional sense. The important message here is solemnity, grandeur, and academic presence. Therefore, artistry is expressed not through dramatic imagery, but through stage presence and style.And technique in this case is not the number of pirouettes or virtuosity for effect. It is the technique of stage presence, body control, the ability to convey the purity of line, the academicism, and the consistent aesthetics of the classical school.– What would you like to wish the Academy and its students?– First of all, I would like to wish the Academy to maintain the high level it has already achieved. It's important to maintain the bar and continue moving forward, never resting on our laurels. Development in art is a continuous process, and it is this constant growth that allows the school to remain competitive and significant.I would like to wish the students patience and self-discipline. In ballet, results never come instantly—it's a long journey that requires daily work, the ability to listen to teachers, and trust in the process, even when progress seems imperceptible. Maintaining respect for the profession, for tradition, and for ourselves as future artists is crucial. The Academy's vision is to further strengthen its position, produce bright and strong graduates, and maintain the school's continuity, which is clearly felt here. It is this connection between generations, in my opinion, that shapes the sustainable future of classical ballet.
