An Interview with Marina
M- Hi Marina! I'm so excited that you're here!
Marina Semyonova- Thank you! It's my pleasure to be here!
M- You are such a beautiful ballerina, what got you into dance?
MS- Thank you! I started dancing as a young girl. My friend suggested that I try dancing ameturely (Whitlock,2010), and when I was 10, I started dancing at the Petrograd Ballet School/Imperial Ballet School, which is now known as The Vaganova Academy of Russian Ballet (Whitlock,2010). Many girls quit dance as they get older. As I grew older, I enjoyed dance more and more. I knew I couldn't stop.
I was a student of Agrippina Vaganova. She invented the Vagonova method of ballet, a method that is new and very beautiful. It is a respected form of Ballet (Speck, and Cisneros 138). The Vaganova Method is composed of all the best parts of Russian, Italian, French, and some other styles (Ballet,2009). She was one of my main teachers, I'm her first successful student, and I'm proud of that (Thomson, 2005). So I guess you could say that she was a mentor of sorts to me.
M- How did Agrippina help you form yourself as an artist?
MS- Agrippina helped me get where I am now by giving me a certain piece of advice: never stop learning (Thomson, 2005). As a teacher she focused on technique, focus, and hard work (Thomson, 2005). But within everything that she taught, she did it nicely, it was very encouraging (Thomson, 2005).
She (Agrippina) told us to dance with our entire body, this was very helpful (Ballet, 2009). Agrippina liked to focus on our arms during movement (Ballet, 2009). Another peace of advice that she gave me was that every step counts (Poon, 2008). In class she almost always focused on Tendu (a movement which is stretched or held), Épaulement (movement in the upper body and head that make each dancer different), any and every jump, and the Retiré (Poon, 2008). In her class, my technique was formed.
M- What was the dance world like when you entered it?
MS- Before my actual career started, there was Anna Pavlova (Famous, n.d.). She became a principal ballerina for the Mariinsky Theatre by 1906 ("Anna, n.d.). Anna was a student of Marius Petipa ("Anna, n.d.). Marius Petipa was a very famous dancer and is a very famous choreographer (Michelman, n.d.).
When I started dancing professionally, Martha Graham had been around for a while. She is said to be the beginning of modern dance (Bedinghaus, n.d.). Also, around my time of work, there was Serge Lifar, a Russian born dancer who danced mainly in France. I danced with him once at the Paris Opera in 1935 (Los Angeles Times, 2010). All of these dancers are excellent and will always be known for their excellence.
M- What was Russia like when you started dancing? How is it now? Did it impact your work?
MS- World War One didn't go too well for Russia (Cityvision2000, n.d.). By 1916, the food supply was lowered by great numbers (Cityvision2000, n.d.). Then, in 1918, the Russian Civil war started. This made our economy sink (Onwar, 2000).
These things made it hard on everyone. But, if you are determined about something, then you'll be able to find a way to make it work. I loved dancing, and at that point, I was still very young and training, so I couldn't quit. And I didn't!
M- What are some things you are proud of? Any certain roles you enjoyed particularly? Any certain places you danced at, people you danced with?
MS- I've danced many roles that I'm proud of. I danced the role of Naila in La Source. In Don Quixote, I was Kitri, Street Dancer and Dryad. I had the honor of being Aurora and Princes Florine in Sleeping Beauty. I got to perform the contrasting roles of Odette and Odile in Swan Lake. I was Cinderella in Cinderella, Giselle in Giselle and Esmeralda in Esmeralda. I was even Masha in The Nutcracker (All: Whitlock, 2010).
I have danced with both the Bolshoi and the Mariinsky theater (Whitlock, 2010). I didn't get to travel all too much, but I had the great opportunity of working with two of the greatest ballet companies in the world. As I mentioned earlier, I did get to perform Giselle at the Paris Opera in France with Serge Lifar (Los Angeles Times, 2010).
M- What were the key opportunities you had that led to turning points in your art?
MS- One opportunity, now that I look back on it, was just being a student of Agrippina Vaganova. She is so amazing and she taught me so much. Then, of course, dancing at the Mariinsky Theatre. Here, I danced many great roles and quickly became a principle (Wikipedia, 2011). Then, I started dancing at the Bolshoi Theatre (Unknown, 2010).
The opportunities that I took didn't lead to turning points the way it can and does with other artists. Artists sometimes have these crazy things happen to them that changes their view on life forever. That didn't happen to me. Some of the opportunities in my life made more differences in my life than others. If I hadn't made the decision to start dancing, I wouldn't be where I am now.
M- What personal choices did you make to become successful?
Ms- I guess the first choice I made was to even start dancing. It was after my father died when I was quite young that a friend suggested that I started dancing (Whitlock), 2010). Another choice I made was to audition for the Imperial Ballet School at the age of ten (Whitlock, 2010). In 1924, when I was 17, I began my career with the Mariinsky Theatre (Wikipedia, 2011). Then in 1930, I transferred to the Bolshoi Theatre. (Whitlock, 2010).
Every artist makes at least one choice in their life. Some artists choose to travel and they end up getting great inspiration like artist/painter Willard Leroy Metcalf (Jopp, 2009). Other artists invent something, like fashion designer Coco Chanel. She invented the "Little Black Dress" (Johnson, n.d.). But the point is, every artist makes a choice at some point in their lives, and it helps define them. Both as a person and as an artist.
M- Was there something hard for you to do or overcome as a dancer? How did you get over it?
MS- Everything is hard for a dancer. This is because everything a dancer does is breaking the rules of what people should be able to do. For every dancer, the main thing is to keep working. You try again and again, even if you danced the move correctly. I always say, "I think the main thing a person must have is inner resolve, inner conviction, rectitude," (Henry, 1999).
One thing every dancer needs to figure out is how much emotion to bring into their dancing. To a certain extent, a dancer can put their emotions into their dancing. They could express it in a number of ways: through their dancing, or their artistry. There is a difference. If there is a scene where your character is sad, you can bring your sadness into the scene. This is putting your emotions into your artistry. But for me, "I always played the strong one, even if I felt weak inside." (Henry, 1999).
M- What limitations did you run into?
MS- When the government had been taken over by the Stalinists, travel become practically impossible (Cityvision2000, n.d.). By some luck I was able to go places. (Gregory, 2010). Of course, the two wars: World War 1 and the Civil War of Russia made things difficult. The economy was horrible and we lost cities and people (Cityvision2000, n.d.).
My husband, Lev Karakhan, was executed in 1937. He was a senior Soviet Diplomat and was killed because of Josef Stalin's "purges" (EuroNews, 2010). You could imagine that this was a difficult time for me (CBC, 2010). And my life was in danger at that time! But no matter how scary a time this was, I refused to let it scare me. ''I have never been afraid of anything, my life was the theater. And anything that went on outside it did not involve me.'' (Henry, 1999).
M- What stories can you tell about your climb to the top of the dance world or your life as a prima ballerina?
MS-When I began working with Agrippina Vaganova, it was challenging, but not too overwhelming. She'd give a combination, and I'd pick up on it quickly, she seemed impressed by that (EuroNews, 2010). I also worked very hard, and this seemed to impress her more. So I became a student of hers, and she molded me to become a very good dancer (Whitlock, 2010).
I always say, "You probably have good days, bad days, average days and wonderful days. Well, that's the way my life has gone by, with all the outlays that we have to make to pay for the good things. One must always pay for the good things in life" (Henry, 1999). I was very glad to dance with two companies (BostonGlobe, 2010). "Time goes by quickly, and life is a series of obstacles that we overcome. You have to find your own way and rely upon yourself," (Henry, 1999).
Reference List:
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I enjoyed learning about your world of dance, I had never known anything about it. And I like that you helped develop a new technique, I think everyone should try new things and do what they love instead of what everyone else is doing.
ReplyDeleteHearing about your art form was very interesting! I am not at all familiar with dance, and I am glad that I got to read about some of your experiences before we meet for dinner. I am excited to hear more about dancing and maybe see you perform! I would try to explore your art form, if only I weren't so darn clumsy!
ReplyDeleteYou sound like a very determined, tenacious artist. I look forward to our conversation!
I was very interested to learn about your career as a dancer ... very impressive! I very much agree that it brings so much more when you can show emotion through your artistry. Showing emotion through your dance is the same thing that I try to do through my music on the violin.
ReplyDeleteI agree with Ms. Hall...emotion is key, especially with my profession. Without emotion, the world is dull. In music, you can express that emotion in many ways...I believe the same to be with dance? It's wonderful, and I can see it in your pictures.
ReplyDelete