Olga Timokhova , 27, is a young choreographer. She was born in Moscow and graduated from the Loganovskoe Choreographic School in St. Petersburg – one of the best choreographic schools in Russia and known throughout the world. Having all the necessary qualities and abilities, Timokhova had the chance to start making the dream of her life come true.

Why did you decide to attend school in St. Petersburg rather than Moscow?

In those years, it was almost impossible to enter a school in Moscow without having good connections – I mean really good. That’s why I decided to try Petersburg out and they accepted me right away.

And what is it like to be a choreographer?

On the one hand, a choreographer can work only with groups of people directing stage performances. On the other hand, you can work with people privately – teach them. And some choreographers combine both, which is pretty much what I do.

I work with a group of people aged from six to 20 and give private classes. With my group, I study classical choreography, but I also try to introduce other genres to them, as well. Every year we have new performances. Mostly it’s a collection of various plays. One of our last works was Pushkin’s "Balda." And last year we staged "Lamantina," which turned out to be some sort of mix of philosophical-aesthetic acts with a Greenpeace bias – some kind of a modern thing.

I, personally, prefer to make up something new based on classical plays. I like to work with professional dancers to create something innovative.

What are the basis and the purpose of choreography?

To help express a certain idea with the language of motion, so that the viewer can get it right – to convey a concept and introduce it visually. In every single case it takes a specific approach, so I can’t say there’s a general rule of how to succeed. You just have to be a hard-working person, know what you want and love what you are doing.

And what if there’s something wrong with your apprentice?

That happens now and then. In this kind of situation I try to relax. If he or she simply can’t be taught, I let them decide whether they want to continue or not. If they keep on trying and it’s no use, they usually realize themselves that they should just do something else.

How about injuries?

Oh, yes. I’d say that in this respect, choreography is quite similar to an active sport because the rate if traumatism is pretty high. It makes choreography some sort of a mix of art and sport. But for this reason a lot of people have to stop dancing at a very young age, which is sad.

Who do you like to work with the most?

Well, I like working with professional dancers. It’s easy to experiment with them and achieve better results. At the same time, it’s very exiting to work with kids, because they express more cheerfulness and satisfaction when they succeed.

Does choreography influence your life outside of work?

I can’t really imagine myself apart from what I do. I’ve been in choreography since I was 10. It makes you appreciate the arts, in general. And, of course, it puts you in a certain section of society.

What is the goal you’re trying to achieve?

I work more as a producer. But I’d really like to have my own school and direct everything myself. If I could find a good sponsor I’d even open a free school for talented children. And it would be even better to have a school for all the arts, not only choreography.

How would you describe your lifestyle?

I’d use just one word: Feeling.