Every Saturday, the audience with bated breath follows the fate of the participants in the show: some have already become favorites, others are scolded. But in addition to the contestants and mentors, the project also has important heroes - choreographers, on whose shoulders the preparation of each performance lies. Often they appear only in small clips filmed during dance rehearsals. But what do we know about them? Woman's Day talked to the brightest representatives.
Egor Druzhinin's team
Vladimir Gudym
About dancing
- I started dancing at the age of seven, when my parents sent me to the children's folk choreographic ensemble "Rhythms of Childhood". I fell in love with dance very quickly and began to master the entire repertoire of the ensemble. I think my leader Vladimir Ilyich Miller awakened my love for this art in me. He is still an example of a great teacher and person for me.
About Egor Druzhinin
- I met Yegor Druzhinin in 2007. Our acquaintance happened at the master classes of a foreign choreographer, which were held at the Vortex dance center. These were hip-hop classes, and I was very surprised when I saw Egor on them. Yes, he not only understands this direction, but he can also easily cope with the choreography in this style. After the class, we talked a little, discussed the lesson, and after shaking hands, we parted ways. After some time, we met by chance on the old Arbat, and Egor recognized me. After a short conversation, we exchanged contacts, and literally a few days later Yegor called and invited me to star in the clip of the "Brilliant" group "Agent 007". This is where our acquaintance began.
about the project
- Before the start of the first season, Yegor called me and said that a dance project was being launched on the TNT channel. Briefly explained the scheme of the project and offered to be a choreographer in his team. He gave me time to think, but I immediately agreed. When Egor Druzhinin invites you to work alongside him and gain experience, such a chance should not be missed. The process of the first season captured me so much that I was interested in absolutely everything. I wanted not only to put on numbers, but also to be part of a team that goes together all season and creates this wonderful show. Thank you Egor for giving me this opportunity.
Project choreographers Alexander Mogilev, Garik Rudnik and Vova Gudym with team mentor Egor Druzhinin
About the perfect vacation
– There are several ways that help me relax and rejuvenate. The best of them is, of course, to go with your family to warmer climes. If there is not much time, then resting on the bed and playing the PlayStation helps a lot. I don’t know how much the console restores my strength, but I can switch from the real world to the virtual one instantly. The main principle that I try to be guided by is: if you want to regain strength, try not to dance for several days and go to bed on time.
About inspiration
“Most of my inspiration comes from music. I love good, high-quality sound and I can't help myself when I hear a great track. If he evokes certain associations in me, I begin to build a number from him. Probably, this is not entirely true, because it is better when an idea is born first, and then the musical arrangement is selected. But first of all, street dance lives inside me, and music and rhythm come first in it. I also draw inspiration from people. From real personalities who, with their deeds, characters, actions, encourage you to act. There are always many sources of inspiration, they can be both simple everyday situations and complex psychological problems that live inside one person.
With wife Anna
About spouse
Anya is also a choreographer. She became him already in the process of our life together. We met in 2008 at the Model 357 dance studio. She studied with my good friend Anton Zhukov, but at one of the classes I had to replace him. After this lesson, Anya and I drew attention to each other, but our relationship began much later than this meeting. In general, this is a very interesting, funny and beautiful story that cannot be told in a nutshell. Let's leave it for later (smiles).
- Let those whose soul burns dance. And the rest silently envy.
Larisa Polunina
Exclusion method
- My grandmother from childhood taught me, my sister and brother to different types of art and sports. Thus, sorting through a lot, I ended up in dancing. From the age of eight, I joined the dance in full, and my parents did not even have the thought that I could be in another profession. Now my whole family is happy that I am doing what I love. (Smiling).
About Egor Druzhinin
- I met Yegor, it seems, in 2004 ... a very long time ago! When I found myself among the dancers, on whom Yegor put numbers, I was not only happy, but could not believe what was happening!
about the project
- One fine day, Yegor called me and offered to be his assistant on the project "Dancing" on TNT. But soon he said that it would be time for me to put the numbers myself ... and under his supervision, I began to make the numbers myself.
About previous work
- I was Slava Kulaev's assistant in the Ice and Fire and Bolero projects. I worked on several other projects with Ilya Averbukh, but I don’t know how to skate. And I'm afraid. (Smiling). She also worked with many artists of our stage. To be honest, I do not really like to list. I'm just glad to work with everyone with whom I have worked and work.
Family is a fortress
- I draw strength and inspiration from communication with close and dear people. My family and loved one restore me instantly! This is my fortress. Well, the inspiration for the numbers is my friends. I'm nowhere without them. I am lucky to work with family friends!
Team Miguel
Alexey Karpenko
About parents
- Parents graduated from the Moscow State Institute of Culture (Oryol branch). At present, they teach at the Belgorod State Institute of Arts and Culture - folk dance, modern trends, the art of a choreographer, composition and dance staging, in general, what is taught in professional universities. Papa Viktor Nikolaevich is a candidate of pedagogical sciences.
Before college, I (from the age of four) was engaged in an amateur group of my parents in the Belgorod region. The school, to be honest, was chosen by my mother. I was then 13 years old. Time for parties and girls, but my mother said: “This is not going anywhere, but you need to get a profession!” After the first trip, I realized - this is mine! And Voronezh was famous for its folk school and was suitable for its location.
About friendship with Miguel
- For some time he worked in the ballet of the circus on Tsvetnoy Boulevard. But the season ended, the dance troupe went on tour to America, but they didn’t open a visa for me, and I stayed, which I never regretted. Otherwise, I would not have got into the musical Notre Dame de Paris. For me it was a big victory. I really liked the musical. I watched it on a video cassette and could not even imagine myself in it, and suddenly I pass the casting! As a matter of fact, there we met Miguel and have been friends since that time, almost 15 years! I was invited to Metro when I was already working at Notre Dame. And in "Romeo and Juliet" everyone again went through the casting, but then there was no excitement. Then he continued to dance and make performances, and Miguel began to try himself in other directions: vocals, directing, producing. When he was offered to be a mentor in the Dancing project, he invited me to the team.
About the beloved, choreographer Natalya Terekhova
We're having an office romance! Natalia pretends not to be jealous of my other dance partners! But this is just an image!
About son
- Nikita will be 12 soon. I don’t drag him into something specific, I think that you need to try everything and more! Nikita leads an active lifestyle. Recently, he has been very interested in everything related to computer technology and programming. He is doing well! My son has a creative mindset, so when he grows up, we will work in tandem.
They say "real men don't dance"...
I like the saying "He who dances well is good in love" more than "Real men don't dance." Of course not! Why do I need competitors?
Natalia Tkachuk
I want to dance! And everything is here!
I started dancing at the age of five, after my mother took me to the theater to a concert of a touring ballet. I still remember those feelings, emotions and that crazy delight that I experienced then. For me it was magic - from that moment I wanted to be on stage. To my mother’s warnings: “It’s very difficult,” she answered: “I don’t care, I want to!” In those days, they didn’t take dances from the age of four, they had to wait a whole year. But I never for one day forgot about my desire. As soon as I turned five, I was taken to the selection in the dance group. I successfully passed all three rounds - I remember this day like today! And away we go: a barre, ballet flats, endless rehearsals, concerts, tours!
About Miguel
I met Miguel 6-7 years ago, he conducted the casting of dancers for the filming of the film "Napoleon against Rzhevsky". To be honest, I absolutely accidentally got into it, I didn’t even have a uniform with me, in the corridor I borrowed pants from a friend and sneakers from a girlfriend (smiles). We were selected by more than 100 people, it was a very interesting job, a completely different experience. I was delighted with Miguel's non-standard approach to the production process, it seemed to me that he felt the music in 4D format. All choreographic decisions had their own style - Miguel's elusive, but very characteristic handwriting was always present. This is the kind of choreography that you want to dance again and again, again and again ... He subtly feels people, the atmosphere, every sound in music - and creates. Six months later, Miguel chose 15 people from the general staff, whom he began to invite to work in his subsequent projects. It was unexpected for me, but very pleased that I was there too.
about the project
- Miguel invited me to the Dancing project. To be honest, at that time I didn’t really understand what awaited us, I thought it was another working project. But how wrong I was then ... (Smiles).
About difficulties
– For me, the most difficult thing on the project is the realization that our audience still does not want to evaluate the choreography, but is led to various lures: explosions, special effects, fake tragedies ... I am very sorry that professional dancers often find themselves in the nomination. Of course, television has its own laws, but our show is about dancing, and one of the main tasks is to cultivate good taste in viewers. I think this process has already been launched, and we are doing everything possible for this. This year our team has a different concept. Many must have noticed a large number of numbers without decorations and special effects at all. There are no superficial plots, artificially created in order to put pressure on pity. Only symbolism, only choreography, only what is deep inside. We want to reveal and show the guys from a choreographic point of view, so that nothing distracts the viewer from the main thing. I know that only true connoisseurs will be able to understand and appreciate it right away, another part of the audience will join later, and someone will never understand at all. But the hallmark of our team has always been the pursuit of quality, not quantity. We adhere to this principle in relation to viewers. Thanks to everyone who is on our wave!
About the rest
- It takes a lot of energy. But no matter how tired we are, the main thing is not to show it to our guys. We must energize and inspire them. The secret is only in mutual support between our mentor, choreographers and guys. We are one family here. We communicate a lot and it keeps us in good shape, after that the second and third breath opens. And of course, an extra hour of sleep is always a gift.
About inspiration
Inspiration comes from the simple things in life. Oddly enough, everything that surrounds us can become the idea of a performance. Sometimes it's just an abstract thing, sometimes an interesting character in a crowd of people, other works of art: paintings, books, films. And if this is something real, the performance becomes a small life on the stage.
About the first season
- With the guys of the first season, we now communicate a little less. They're on a big tour right now, and we've got a lot of work to do in the new season. But I will never forget them, I will not interrupt communication. And I'm terribly annoyed by the comparison of the guys from the first and second seasons - who is better? Who is worse? They are different, and that's the beauty of it.
About new members
- For me, the top five in our team has long been formed, and it is very professional, stylish and with character. These people clearly know why they came. There is only one principle: "I see the goal - I see no obstacles." I am proud that they are with us. But I won't reveal my secrets. The decision still remains with the viewers. But I sincerely wish them victory!
The real name of ADAM is Dmitry Trokhin. Born in the city of Ryazan. When Dima was 2.5 years old, the family moved to Kamchatka. There, the future participant in the show lived until the age of 23. And it was there that he got acquainted with dancing. His first direction was ballroom dancing, but he quickly lost interest in them. He was interested in more modern styles.
At school, Adam and his friends put together a dance team. Together, the guys have repeatedly participated in various competitions and competitions. And they even took first place in the Start Teenager project.
In his first year at the institute, Adam had already begun to earn his first money through dancing. His performance was simply amazing! He taught choreography at five at the same time! schools and studied at the same time as a financial manager.
Moved to Moscow in 2006. Works in the field of producing, production and post-production, as well as teaching and master classes. He took part in a variety of projects related to dance. Including worked with such world celebrities as: In-grid, Timo Maas, Groove Armada, Yolanda Be Cool, William Orbit, Nick Warren, Infected Mushroom, Lisa Loud, Seb Fontaine and others.
Alena Frolochkina. Participant of the 1st season of "Dancing". Egor Druzhinin's team.
Alena Frolochkina was born on July 27, 1989 in Tyumen. Graduated from the Tyumen State Academy of Culture and Social Technologies (TGAKiST). Specialty - choreographer.
She started dancing at an early age. Already at the age of 4 she became a member of the state folk dance ensemble Zori Tyumen. She danced in it until the age of 20.
Since 2007, she has worked as a director and choreographer in the dance theater "Muar" created by her.
From 2008 to 2013 director of performances and show programs: "In the power of instincts" (2008), "Sisters" (2009), "Time" (2010), "Eyes closed" (2011), "You and I" ( 2012), "Winged Soul" ((2013) named "Discovery of the Year" at the international theater festival "Inter-Rampa 2013" Lithuania, Rokiskis).
Alena Gumennaya was born on August 18, 1989 in the capital of Bashkiria, the city of Ufa. Since childhood, Alena was a very active child and constantly arranged many hours of dance concerts for her parents. Looking at this, they were forced to send her to the Telemark dance school. There, little Alena seriously took up sports and ballroom dancing.
On the project "Dancing" she got into the team of Yegor Druzhinin. During her participation in the show, she danced with Adam, Anna Tikha, Irina Krasnaya, Ilshat Shabaev and Sasha Tronov.
Alena Gumennaya is a very versatile dancer and can perform any style of dance. However, her favorite direction is dancehall. She is strongest in it.
Now Alena Gumennaya works as a choreographer and deputy director of a dance studio, and also arranges master classes and tours the country.
Dima Oleinikov was born on February 22, 1991 in the city of Leningrad. He started dancing quite by accident: when little Dima was 10 years old, classmates actually dragged him into a dance club by force. Since then, Dima's whole life has been connected with choreography. After school, he entered the University. P. F. Lesgaft. Dmitry also earns a living by dancing, more precisely, teaching choreography. Dima says that for him the project is, first of all, an opportunity to win the main prize. And also, a chance to declare yourself as a dancer and be noticed.
After the project, Dima returned to his hometown, where he teaches Latin American dances at the Baila Conmigo studio. Also, it can often be found in clubs and restaurants where a variety of salsa parties, master classes and performances take place.
Alexander was born on April 5, 1986 in the city of Novocheboksarsk. Represents St. Petersburg on the project. Performs in fusion style.
Started dancing at the age of 9. Sasha was brought to the dance school by her mother. After graduating from high school, Alexander Volkov entered the Pedagogical Institute. By education he is a teacher of mathematics. Realizing that he did not like any style of dance, he created his own direction - Fusion, and opened his own dance school "Te-Kari" in St. Petersburg, where he teaches with his wife Natalia.
Before participating in the show "Dancing" on TNT, he tried himself in the Ukrainian project "Everybody Dance!", where he entered the top four best dancers.
In 2014, he came to the casting of "Dancing". Before the jury, he appeared in the form of a cyborg. The judges found his image very strange, and they unanimously told him "no". However, Alexander returned to the stage and asked him to play music for ballroom dancing. He performed the number perfectly and managed to convince Yegor, Miguel and Pasha Volya, who let him go further. So the project received the most extraordinary and scandalous participant in its entire history.
She impressed the audience and the jury from her very first performance at the casting, dancing the step with Yegor Druzhinin. This episode predetermined her future. Yuliana was in Yegor's team.
After the first season, the success of the show "Dancing" was deafening. A huge number of people watched the participants, admired the professional dances and learned new directions of this art. In addition, the popularity of the project led to the fact that schools and dance courses began to open throughout the country. Therefore, the release of the second season was a foregone conclusion.
Team Miguel
Egor Druzhinin's team
The structure of the project remained the same - at the first stage, castings in various cities. Moreover, the seventh city, Vladivostok, was added to the 6 cities of the first season. At the second stage, the guys are waiting for the distribution of mentors. Each of them has his own style, draws attention to different moments, but at the same time both are respectable professionals. As in the first season, this is Yegor Druzhinin and Miguel. At the end, the winner will again receive a reward of 3 million rubles and a crowd of fans.
Again, Miguel's team takes a "not simple" participant. If last time it was Druzhinin's sister, now it is the daughter of the soloist of the Disco Crash group Tatyana Ryzhova. Time will tell what a girl who dances in experimental style can give out. The most extravagant member of the team is Anastasia Vyadro. Her style is strip plastic. The frankness and sexuality of such dances discourages and gives the girl a chance to win.
Don't miss the fun:
By the way, Miguel again has a lot of hip-hop dancers. It did not help him last season, but this mentor is not one of those who deviate from his principles.
Egor Druzhinin also could not refuse unusual dancers. The leader in terms of extraordinaryness in his team is Mitya Staev, a pole dancer who creates his own direction “Tango with a pole”. The only dancehall dancer Sofa Kolbedyuk looks incredibly beautiful on stage. Her style is energetic, plastic and at the same time provocative due to the active movement of the hips.
What will lead the dancer to victory this time - classical movements or the latest trends? It turned out that the second! Miguel's team managed to take revenge, Muscovite Maxim Nesterovich became the winner, who performed in krump and experimental styles.
At the end of the release, Maxim made an offer to the choreographer of the show - Katya Reshetnikova.
In Volgograd, the final of the TV show "Battle of Champions" was held, the main jury of which was the famous Russian choreographer, ex-mentor of the popular TV project "Dances" Yegor Druzhinin. At a creative meeting, he answered questions from journalists and young dancers - he told why he no longer took part in the popular program, what dances he doesn’t like, what he thinks about modern choreography and what he would do if he chose another career. About this and much more - in the material "AiF-Volgograd".
“I no longer believe in the project”
- Why did you leave the Dancing project?
Everything has its time. I'm already tired of this project, it seems to me that it needs some kind of "new blood". There, of course, there are many pitfalls, but let them remain a secret, it would be wrong to talk about them. The main thing is that I no longer believe in this project. I have nothing to do there - everything that I wanted to achieve there, I have already achieved. The essence of the project is that you prove something, so that there is a conflict, and I have nothing to prove.
Did you really have a tense relationship with Miguel (Russian choreographer, mentor in the show "Dancing" - approx. "AiF-Volgograd") or is it just a scenario, a confrontation for the sharpness of the air?
Yes, but this is not a script. I think when people feel antipathy towards each other, it shows. We just go our separate ways.
- In what state, in your opinion, is modern choreography?
She has been suffering from a lack of performance lately. We love that choreography that is simple and specific, but it lacks zest, it does not convey the mood enough, does not tell a story, is similar to physical education. I like the choreography that requires the dancer to get used to the choreographer's style, to understand what nuances he conveys, otherwise it's consumer goods, pop choreography.
- What is dance for you?
Dance is a state of freedom. Anna Sigalova once objected to this (Soviet and Russian choreographer, actress - approx. "AiF-Volgograd"): the dancer must perform someone's text, remember a large number of things, constantly control their movements, where is freedom here? But when you are on stage, nothing can stop you. All choreographers with their comments, critics and well-wishers remain behind the scenes. You can do whatever you want on stage. Three minutes of "communication" with the viewer is your moment of truth, freedom in "talking" with him with the help of movements, no one will interrupt you.
- Do you have a favorite dance style?
There isn't one. A person who loves dance should appreciate it in all its versatility. In any direction there is something interesting, important, exciting.
What kind of dance do you dislike?
I do not like vulgar types of dances, and those that do not suit the performers look inorganic. I don’t like twerk performed by three-year-old children, but this has nothing to do with the direction itself.
- When you started dancing, what direction was the first for you?
It was jazz dancing. Then my father's team and I tried rock and roll, tap dancing. At the age of 14, I began to dance breakdance, then classical. In America, he began to study street, hop, modern, flamenco, ballroom dancing and more.
I do not like vulgar types of dances, and those that do not suit the performers look inorganic. I don’t like twerk performed by three-year-old children, but this has nothing to do with the direction itself.
“I was never satisfied with the way they performed my choreography”
Did you often talk about how late you started dancing? How old were you and what prompted you to do this?
In fact, he began to study when he was preparing to shoot in the film about "The Adventures of Petrov and Vasechkin" (in the popular Soviet film, Yegor Druzhinin played Petya Vasechkin - approx. "AiF-Volgograd"). Together with my father's team, each lesson began with jazz dance. But at that moment it seemed to me that I was not yet dancing, it happened unconsciously.
Consciously, I started dancing quite late, when I was already studying at the theater institute. We had dances there, but it was not at all what I wanted. When he graduated from high school and went to America, he began to deal with them more seriously.
- Previously, you worked a lot with pop performers. Why don't you stage dances for the stars anymore?
At some point I became uninteresting to work with them, because there was no development. Now new music began to appear, but then it was the same, and it was difficult to put dances under it, it did not fascinate.
- And now, would you like to stage a dance for one of the artists?
There is no such ambition. In my practice, there were very good dancers and famous pop artists who did not move well. I'm sorry I didn't meet someone else interesting. I was never completely satisfied with the way people performed my choreography. Either they weren’t up to par with the acting, or they didn’t feel the movements.
"Dance school is not a business"
- Do you have your own dance school or do you work only on television now?
Television projects are not my main job, these are odd jobs. In general, television itself is a random thing. Today there is a project or transmission season, tomorrow there is none. I mainly do theater and search for interesting genres in it. I don't have a school yet. I believe that this is not a random thing. Many things must come together in order for you to be ready to devote your time and energy to her. It is impossible to create a school as a business, for example, like at Todes, or just because a project has arisen, and now it would be convenient to draw attention to this school on its wave. The place where the school will be located is important, it is important that it looks good, that the children feel comfortable in it, that parents know to whom they give their children. Not every person who got on television can be a teacher, this is a gift, a talent.
I don't have a dance school yet. I believe that the creation of a school is not a random thing. You can’t make a business out of it, for example, like at Todes. Not every person who got on television can be a teacher.
- Do your children also dance?
Our children are engaged in dancing, but we do not force them. The youngest son turns on the music and moves, as God puts it on his soul, and he really likes it. Nobody teaches him. The eldest daughter used to go in for dancing, it is very easy for her, but she is not drawn to it. A burden of responsibility presses on her - her father is a famous choreographer. Therefore, unfortunately, I do not work with her myself, but take her somewhere. Wherever she dances, everyone likes her very much. But she herself, being a demanding person, believes that she must either dance no worse than me, or not dance at all. But it seems to me so, we do not often communicate with her on this topic. The middle son moves very specifically. He also dances now, but his dances are strange, he probably would have succeeded in tectonics if he knew what it was.
It often happens that a dance group with the same performance at one competition gets first place, and at another the judges criticize it harshly. Why is this happening?
Many choreographers are mentally ill people. They see the world through the prism of their preferences, views. They argue in the spirit of “if I did this, it would be good, but the way someone else does it is bad.” This is an inevitability.
- And how do you feel about your fame?
I don't treat myself like a star. I can easily take the subway and go somewhere. Just yesterday, some uncle cursed at me in the parking lot because I "beeped" him once again. He asked me: “If you are shown on TV, are you the most important?” A star is a person who gets noticed. I do not feel any fame, life has not changed after film and television projects.
I like the choreography that requires the dancer to get used to the choreographer's style, to understand what nuances he conveys, otherwise it's consumer goods, pop choreography.
- If not for dancing, what would you do?
There would be many opportunities. Now, for example, I do choreography less and less, because I like to give myself to directing. The time when I was fascinated by choreography has passed. I am now fascinated by a person, I like the way people exist on the stage, regardless of whether they dance or sing on it. Even if I worked in a factory, it would still be quite a creative mission for me. I have always liked doing things with my hands. My grandfather worked as a mechanic at a factory and we spent a lot of time together, inventing all sorts of things, making airplanes. In addition, I draw well, I could play the piano, although I never graduated from music school. I would find a job for myself. Well, then, I have an education as an actor, I could continue to work in the theater or cinema.
