Colleagues often call Milana Bukanova “My dear” in Theater Astana Ballet. “Carmen in blue” performed by Milana Bukanova in Carmen stage play demonstrates that the team has a number of bright persons, promising ballet dancers with strong potential.
Milana Bukanova has been working over two years in Theater Astana Baller. Milana joined a young theater right after graduation from Biskek Choreographic Institute named after Ch. Bazarbayev. Milana says it was challenging at the very beginning, she had no experience at all; she had weak feet, and was not confident while standing on toes: “Zuhra Zulfatovna made me work. She forced me, made me stay and worked spending extra time with me. My feet were so weak; there is a frantic technique in the Theater. It was a lot easier in the Institute. Concerts were held twice a year and that’s all. While here you have to work hard constantly taking part in concerts. I was so stiff in the beginning on the stage. And over time, I did not notice when my legs became stronger and it was easier for me to dance. It seemed routine classes and rehearsals began to bring pleasure.”
Theater management noted professional growth of the ballet dancer and started engaging her in the following performances requiring specific acting skills “Seven Beauties”, “Kyz Zhibek”, and “Touch”. Milana has a special attitude to the last performance – “It is feminine, fine and light just as a breath of wind but at the same time sensual. You don’t think about anything when you dance, you just listen to the music and dissolve in it”
Eventually Milana Bukanova began to attract choreographers’ attention because of her vivid artistic personality, great creativity, and expressive flexible plastic, big step, high and beautiful jumps. When Mukaram Avahri, Theater Director, offered her a role of “Carmen in Blue”, Milana was delighted and surprised. “I was surprised to be among the five outstanding principal performers of the Theatre who embodied on stage an amazing and colorful character of Carmen. It is a great success for a ballet dancer to dance such a role. I was happy by the fact that “Carmen” was staged by Mukaram Avahri, Theater Director, and I am so lucky to work with her.”
“It was challenging for me to dance “Carmen in Blue” but at the same time very interesting. I suppose I am different in life. I experienced different and new feelings on the stage. Carmen in blue is like a soldier with harsh personality, explicit movements as she is marching, but at the same time, gradually she reveals feminine softness and defenseless. You need to combine incompatible features in one character, and then reveal on scene to show the audience contradiction of this woman, to admire and remember her.”
Splendid natural gifts enable Milana Bukanova to play different roles in performances at high professional level and create various characters. In “Gaia” stage play which has been premiered recently, Milana Bukanova and Dilara Shomayeva embodied the element of air on the stage. It is not surprising why Ricardo Amarante, Stage Director, chose Milana for this role. Ballet dancer confesses that one of her favorite ballet movements is “pas de chat” – “I love jumping. You feel like a bird, a fabulous feeling of flying when you fly up above the ground, it makes you free. I guess, I am not found of small routines or various rotations or yet not in found of them, while jump gives you freedom and lightness. Maybe for this reason I like big stages. When we performed in Paris, there was such a huge stage like a stadium. You can probably do ten grand pas de chat.”
Milana Bukanova precisely reveals characters of captivating, feminine and charming main heroes in “Seven Beauties”, “Kyz Zhibek”, “Touch”, strong, harsh and rigid “Carmen in blue” (“Carmen”, M. Avahr, Ballet Master), light and weightless “Air” element (“Gaia”, R. Amaranate, Ballet Master). Although characters created by her on stage are different and even completely opposite, she succeeds due to her constant improvement of her skills and involvement in variety of theatrical performances. From performance to performance, from production to production Milana’s performance becomes more vivid and expressive, while her plastic is more refined and spiritual; her roles are more remarkable remaining in memory for a long time. Milanz Bukanova can call each of her heroine “Me dear” because a part of the young ballet dancer’s soul remained in her character.