Olga Kostel: Trust Your Feelings in Ballet and Life

Olga Kostel: A Journey from Ballet to Choreography

Olga Kostel, a former ballerina, is now a renowned choreographer and professor at the Berlin University of Dramatic Arts. She is known for her work on prestigious European stages and her role as the permanent director of gala concerts featuring stars of world ballet at the annual festival “Ballet Summer in Bolshoi.” In this article, we delve into her insights on Belarusian and international productions, her teaching career, and collaborations with world-famous choreographers.

Breaking Stereotypes in Choreography

As the choreographer behind the epic ballet “Love and Death,” set to the music of Polad Bulbul ogly, Olga Kostel faces the challenge of leading a large-scale production as a delicate woman. She shares her experiences navigating a cultural space where women are often not accepted as leaders.

“In our cultural and mental space, women are unfortunately not readily accepted as leaders,” Kostel says. “I grew up in a different social and cultural environment where creative projects are not built on a hierarchical vertical but rather on a horizontal level of communication.”

Kostel’s primary goal is not to assert herself as a boss but to create a ballet that touches and engages the audience. Her ultimate reward is the standing ovation and the audience’s reluctance to let the artists leave the stage. Notable figures such as People’s Artist of Russia Yuri Solomin and former Russian Minister of Culture Mikhail Shvydkoy have praised her work, expressing surprise that such a petite woman could create such powerful and moving scenes.

Challenging Perceptions of Ballet

Kostel’s friend, a ballerina, attended the performance with her husband, a director who typically dismisses ballet as a hollow art form. However, he was genuinely moved by Kostel’s work, appreciating the storytelling and dramatic elements rather than the mere physical achievements.

“This was a real victory for me,” Kostel says. “He was touched not because the dancers jumped high or spun on one leg for a long time, but because there was a story, and it was theater, not sport.”

Gender and Choreography

Kostel believes that there is no distinction between male and female choreography. She argues that this stereotype is prevalent in certain mentalities but not in Europe or the USA. The emotional impact and the choreographer’s intent are what matter most, not their gender.

“I don’t like statements that women approach work incorrectly, while men are the thinkers and creators,” Kostel says. “It depends on the task the author sets and the emotion they want to evoke in the audience.”

Feminism and Equality

Kostel views feminism calmly, believing in equal rights for men and women. She rejects the idea that women are better or can do more than men, seeing it as an extreme.

“I have a very clear position: a woman has the same rights as a man,” Kostel says. “I am a person, you are a person—we are the same.”

Notable Productions

Among Olga Kostel’s notable productions are:

• “The Queen’s Lace Handkerchief” at the National Operetta in Dresden
• “Transparency” at the Festival of Contemporary Arts in Uiste, Germany
• “Unusual Suspects” and “Copelia-2” for the famous Bulgarian troupe “Arabesque” at the National Theater in Sofia
• “Fragile—Handle with Care!” at the International Festival of Choreographic Arts in Görlitz

International Projects

Following the premiere of “Love and Death” in Minsk, Kostel was invited to stage “Carmen” in London. Despite tight deadlines and a pre-existing libretto that framed Carmen and the smugglers as migrants and refugees, Kostel successfully brought the production to life.

“I didn’t sleep for two days, but I took the risk,” Kostel says. “I gathered information from the press, journalistic investigations, and documentary films. I read notes from World War II refugees and diaries of people who felt unwanted and unsupported.”

Kostel was struck by the similarities between the notes of today’s refugees and those from 70 years ago, highlighting the cyclical nature of history. The English audience warmly received the new ballet, with proceeds going to support refugee camps across Europe.

Education and Career

Born in Minsk, Kostel began her career at the Belarusian State Choreographic Gymnasium-College before joining a theater where she danced for five seasons. Noticed by Dietmar Seiffert, a renowned choreographer, she was encouraged to apply to the Berlin University of Dramatic Arts.

“I prepared for a whole year,” Kostel says. “The competition was fierce, with 10-12 applicants per spot. The Academic Council found me interesting due to my unique background and experience.”

Kostel’s four years of intensive study were challenging, with many assignments and a rigorous pace. She had to independently catch up on European theater knowledge, often spending time in libraries to fill the gaps in her understanding.

Today, Olga Kostel continues to inspire and innovate in the world of ballet and choreography, breaking stereotypes and creating powerful, emotionally resonant productions.

For more information on Olga Kostel and her work, visit the official website.