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Nikolay Krusser
I don't divide dance into classic choreography or contemporary, I just see dance in its breadth and diversity. I wanted to show the diversity of the Russian choreographic scene, to present new names, to get new perspectives not only for the dancers, but also for the audience. // 'Giselle' State Kazan Theatre
Max Ruiz
Success is a mark, a sign, but don't let it stop you. It gives you energy for next steps, but success always is in the past; you have to move on. Otherwise it can end dangerously. // 'Woman in the Room' by Carolyn Carlson
Jerry Metellus
A lot of people come to the theater for the first time when they are in their 40s and completely fall in love. Some even become balletomanes; that has happened in front of me many times. You never know how and whether life will bring you to the theater. // 'Woman in the Room' by Carolyn Carlson
Press Photo
Theater is not for huge masses; a theater is not a stadium, and it will never be, and thank God. But for example in Russia now there is a ballet boom, and there are never empty seats, and the tickets are expensive and always sold out well in advance. // 'Giselle' Stanislavsky Theatre Moscow
Danil Golovkin
There aren’t that many interesting dancers around the world. Many are professional, experienced and such. The technical and technological level of ballet has skyrocketed lately. But dance itself, the individuality, is always unique. // 'Nuages' by Jiri Kylian
Nikolay Krusser
I have been very lucky with partners. I’ve always known that the right partner is very important. It's a real gift in a dancer's career, when your diverse nature has a chance to come out. And that's when you fall in love with your partner both, as a dancer and a person. //'Dialogue' by John Neumeier
Alex Gouliaev
You get new impulses from him. When you change partners, you get a boost of new energy. You want to get a new interpretation of an old role, or go off in a new direction. This search is very exciting. // 'Illusions - like Swan Lake' by John Neumeier
Nikolay Krusser
They don't spare themselves here in the States, not only the soloists, but every single person in corps-de-ballet as well. It's a tremendous pressure. In Europe, they often have orchestral rehearsals. It can be good and bad – the bad part being that after several such shows you feel like you have been through premiere already and it wears you out a bit emotionally. // 'Giselle' State Kazan Theatre
Alex Gouliaev
There has always been a lack of choreographers in Russia. Well, not a lack, but a very little opportunity to learn, to grow, to get support from more experienced colleagues. That's where I come in. // 'Giselle', Mariinsky Theatre
Nikolay Krusser
With Internet I can both distract myself and attract the public. Using social networks you can get people to the theater. My recent attendance at a Nets game with Beyonce and Jay Z went viral – if that will make someone interested in ballet, I will be happy. // 'Subject to Change' by Paul Lightfoot and Sol Leon
Alex Gouliaev
The key to success is to not think about it. Just develop as a whole. Reach for your goals, have a drive. Your desire should overcome physics and you should be ready to move mountains. // 'Illusions - like Swan Lake' by John Neumeier
Max Ruiz
It doesn't mean you have to want to impress the audience, critics, or the director... You have to need it badly for yourself, in the first place. And only then you can live and infect people around you with your inspiration, impulsion, energy, the power to create and to achieve. Spread it. // 'Woman in the Room' by Carolyn Carlson
