Anton Lukovkin: St. Petersburg school and European experience
Interview with a teacher of classical dance of
Kazakh national academy of choreography Lukovkin A.M.
On September students of the Kazakh national academy of choreography began the academic year with a new teacher of classical dance – Anton Lukovkin.
Anton has a great ballet education and an impressive track record: right after he graduated from the Academy of Russian Ballet named after A. Ya. Vaganova (class E. Shcherbakov ) and was accepted tothe troupe of the Mariinsky Theater, where he immediately began to dance solo parts, and soon took the position “soloist”. In 2007, he joined the English National Ballet as a soloist. Here he played very different repertoire, from classical to contemporary ballet. Throughout his career, he worked with the world’s leading choreographers, such as John Neumeier, William Forsythe, Russell Maliphant, Akram Khan, David Dawson and Alexei Ratmansky. In 2004, the dancer was nominated for the Benois de la Danse Awards in Moscow, in 2011 he won «People’s Choice» the award of English National Ballet
Range of interests as wide as the repertoire: he taught classical dance in Danceworks in London, acted in films, worked as an assistant director of opera performances, doing their own choreography.
And here, the will of fate, he ended up in Kazakhstan. However, this is not the first radical decision taken by them in life.
A. Lukovkin on classical dance lesson with 1 course students.
Photographer A. Nekrasov
– How did you take the decision to move on from St. Petersburg to London? Was it a conscious choice or coincidence?
– Probably, a little bit of both. I felt in love at first sight to London when I was touring with the Mariinsky Theater in 2000. From the airport, we were taken to the city center, and I knew right away: “I want to live here!”. But after a few years, I was invited to work out the class with the English National Ballet in 2006. I have arrived to London, made the class, and I was offered a contract with the English National Ballet troupe. So it was a conscious choice, and desire, and the coincidence.
– Were there initial difficulties in relationships communicating with colleagues?
– You know, no. In the west “private” never included to the professional sphere. I liked that the people after work talking about the normal things of life – about food, about movies, about anything, but not about the work. In fact, it is much more psychologically healthy position. I had to learn that and it did not come immediately.
– You have danced very extensive repertoire at the English National Ballet. But which of the parties is still the most favorite?
– I’m going to say bluntly, but any party you work is becoming a favorite. If you do not like, then you have to think about need for showing it to the audience. But truthfully, there were the parties of my dream which I wanted to dance – Albert from “Giselle”, “Specter de la Rose,” “Petrushka”, “Afternoon of a Faun”, “Les Sylphides” – these are my favorite five. And I realized my dream.
But there were also the role that I did not expect in my career. I do not understand how I can make them aware of, and it is clear that it is not mine. But then it turned out that this may well be mine. As it happened, for example, with the statement “The young man and death” by Roland Petit. At first there was a small break-up: “How “to wear” this role? In order not to spoil it, and not to alter. A couple of weeks later, I felt it and understood – yes, that’s my role!
A. Lukovkin in the ballet of Michel Fokine’s “Specter de la Rose”
Photographer Amber Hunt
A. Lukovkin in the ballet of Roland Petit “The young man and death”
Photographer Amber Hunt
– Are there technique differences between Russian and English ballet?
– Well, they are similar in general, but the speed of the English school is different, everything is faster. Especially good is the leg technique. It’s so fast that I initially had questions: “How is it possible to do ?!” But this speed, I quickly adapt himself, it took me the whole week and a half for it.
I can say that I had some advantages – I still have Vaganova School education, hand techniques. I do not like to praise myself, I appreciate myself, but will not praise specifically. But the school is a school and it is really the best in the world.
– And how was there a decision to come to Kazakhstan?
– Initially, I was invited here Altynay Abduahimovna Asylmuratova to hold a series of master classes at the Academy of choreography. She was attended at some of them, made some practical observations, made a number of boards and, after some time, was offered a job at the Kazakh national academy of choreography. “I need a teacher with the St. Petersburg school and European experience” – so argued the rector of her choice. Now I have a middle and high school, as I teach “Acting”.
– Do you use any special methods of teaching classical dance? Your own experience?
– I use what I was taught at the Vaganova Academy and add something that I myself was not enough for the professional life, as well as the experience gained in England. But the main thing for me, as a teacher, – it does not crush a child and get out of it all that is possible, and even more. I try not to yell at the student. There must be a trust basis. Trust – is the most important.
A. Lukovkin on classical dance lesson with 1 course students
Photographer A.Nekrasov
– What are your first impressions of the Academy?
– Most excellent! Well, tell me what’s not to like?! I think this is one of the best ballet schools in the world in terms of learning created here. And I was lucky with the students, they should not be forced to work. They come to class, and I see the desire and interest in their eyes. Of course, not everything goes right, but otherwise nothing. Otherwise, why do we need to study?
Photo A. Lukovkin on classical dance lesson with 1 course students
Photographer S. Bakirov
– Your career dancer unusually rich and interesting! What would like to wish those who are just starting their way in the ballet?
– Believe in yourself and in what you do, do not be afraid to make mistakes. There will be no mistakes – there is no progress. Mistakes are forgotten, as we go forward and getting better and better. The disciple must strive to become better than the teacher. That’s all! This is my credo.
Photo A. Lukovkin on classical dance lesson with 1 course students
Photographer A. Nekrasov
Interview with Anton Lukovkin turned out so interesting that we decided to continue a series of interviews with him, to talk of many things: how ballet actor starred in the movie; why he was so fascinated by the work in opera performances; about Fokin’s ballets and working with contemporary choreographers; the secrets of the Vaganova school and still a lot of things, are willing to share with us Anton Lukovkin – dancer and teacher with the St. Petersburg school and European experience. The friendly and open to dialogue, he gave us his consent to it. So wait for new publications!
Interview have prepared by 3rd year student of the Faculty of Arts of the Kazakh national academy of choreography Gaziza Tasbulat, Arailym Abdrakhmanova.
Supervisor – Art teacher Flyura Mussina
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