INTERVIEW WITH NIKOLAI TSISKARIDZE — A MEMBER OF THE COUNCIL FOR CULTURE AND ART UNDER THE PRESIDENT OF THE RUSSIAN FEDERATION, RECTOR OF THE VAGANOVA ACADEMY OF RUSSIAN BALLET

Abstract

Traditionally, our journal opens with an academic interview. In this issue, we present an outstanding figure of world culture — Nikolai Tsiskaridze, a member of the Council for Culture and Art under the President of the Russian Federation, National Artist of Russia, Rector of the Vaganova Academy of Russian Ballet. His charismatic image personifies the Russian ballet school. It is universally recognised that Tsiskaridze’s creative and pedagogical activity has given a new impetus to the school of classical dance. Thanks to his efforts, the Vaganova Academy of Russian Ballet has rightfully taken a leading place on the world stage and is highly regarded by the professional community. Nikolai Tsiskaridze kindly agreed to answer the questions of Maria Burganova, the Editor-in-Chief of the journal Burganov House. Space of Culture. INTERVIEW WITH NIKOLAI TSISKARIDZE — A MEMBER OF THE COUNCIL FOR CULTURE AND ART UNDER THE PRESIDENT OF THE RUSSIAN FEDERATION, RECTOR OF THE VAGANOVA ACADEMY OF RUSSIAN BALLET Maria A. Burganova: What defines contemporary culture in Russia? Dialogue with the past, search for innovations, an expectation of change? Nikolai M. Tsiskaridze: Everything listed by you. And also, the rapid development of the culture of consumerism. M.B.: Are culture and the state interrelated concepts? To what extent does the state determine the development of culture? Can culture exist without government support? N.Ts.: At all times, culture could not exist without state support; therefore, of course, these concepts are interrelated. M.B.: The cultural space is a dialogue space. The audience creates it jointly with an artist, an actor, a musician. Today it seems that the viewer comes to the theatre, museum, philharmonic “to have a rest”. Who is an ideal viewer? What would you like to communicate to them? To what extent does the creative process take the possible reaction of the viewer into account? N.Ts.: There can be no dialogue. There is an artist, and there is the viewer’s perception of them. Any cultural space — theatre, museum, and so on, has always been a space for relaxation. When they say that the viewer also “works”, “creates” — it is nonsense. M.B.: The modern cultural space is permeated with Internet culture. How does this relate to classical heritage and education? Has a new cultural myth been formed? N.Ts.: The Internet is just a form of expression. M.B.: Virtuality is fully capturing museums and theatres. Exhibitions based on media technologies have become commonplace. In theatres, laptops broadcasting monologues and stage performances appear instead of actors. Is this a farce or a new reality in art? Is there a border in the cultural space which virtual technologies cannot cross? N.Ts.: Some people like butter, and some like margarine. If a person loves margarine, then they will use it. If someone wants to use a laptop, they will use a laptop. Whoever wants to see an artist will come to the artist.