In search of exclusive product and new choreographic names, the management of the Stanislavsky Music Theatre annually opens its experimental Small stage to four emerging choreographers in a project called INTERSECTION POINT. A twenty-minute ballet, minimal budget and no creative restrictions – these are the given conditions.

In previous years, choreographers from Russia, Great Britain, Israel, Austria, Germany, Albania and China participated in the project. The result is sixteen original ballets created especially for the dancers of the Stanislavsky ballet over four years.

Today the INTERSECTION POINT project has not only proven its right to exist - it has become one of the highlights of the season anticipated both by the dancers and audience.

For many years the Stanislavsky Music Theatre has been known for its artistic and educational projects aimed at bringing together the classical and contemporary choreography as well as its audiences. The Theatre’s new project “The Intersection Point: Four Choreographic Stories” continues this policy with confidence.
Ekaterina Vasenina dance critic
The first "Point" shot in the top ten: the work of the Viennese Russian Andrey Kaydanovskiy "Tea or coffee?" was nominated for the "Golden Mask" award. The rumor about the premieres by the young generation in the workshop format inspired the Moscow audience so much that this year the tickets were sold with a speed of lightning for both shows of the "Point": the desire to see something unlike "Swan Lake" made the audience ignore the risk of buying a cat in a poke.
Tatiana Kuztnetzova Kommersant
The audience of the experimental productions at the Small stage enjoys completing the stories, which are the most fragile elements in the works of the choreographers-neophytes. The story is never actually told, but the illusion of it is there. As a result the audience doesn’t simply dream-rest at “Intersection Point”, but spends an intellectual weekend engaged in all that it sees and hears here and now.
Ekaterina Belyaeva Muzykalnoe obozreniye
Thanks to the project the Stanislavsky company soloists lose their dreamy and somnolent image in classics – in eccentric they appear brave and original. It’s unfortunate that we only see them so charismatic and full of life once a season in “Intersection Point”.

Anna Galayda Vedomosti

Why does an academic theatre need contemporary choreography?

To keep up with the times because every single epoch has its own vocabulary of the plastic arts, its own aesthetics. Contemporary body expression gives us a possibility of better emotional communication with audience.

Knowledge of the new lexis develops dancers; close contact with the choreographers in person enriches their inner world. Due to this work dancer learns own body, hence improves own dance technics, both contemporary and classic.

Working on new choreography we are forging a strong connection between today and yesterday.

Laurent Hilaire,

Artistic director of the Stanislavsky Ballet

Why does an academic theatre need contemporary choreography?

Why does an academic theatre need contemporary choreography?
Producers of the project:
Daria Fomina
Ksenia Nikolskaya