Great choreographers: Roland Petit. Three cards, Roland Petit and Russian Terpsichore We don't need such a ballet

,fantasy
Spouse: Zizi Zhanmer (one child)

Biography

Roland Petit (fr. Roland Petit; 1924 -2011) - French dancer and choreographer, one of the recognized classics of the ballet of the 20th century.

early years

Roland Petit is the son of Rose Repetto, the founder of the well-known brand of ballet clothes and shoes "Repetto", and the owner of a bistro. When he was 12, his mother, the Italian Rose Repetto, separated from her husband and left Paris, so Roland and his younger brother Claude were raised by their father, Edmond Petit. In the future, Edmond Petit repeatedly subsidized theatrical performances son.

Roland Petit from childhood showed interest in art, was fond of recitation, drawing, cinema. His father, on the advice of one of the visitors to the bistro, gave Roland to the ballet school of the Paris Opera when he was 9 years old. At the school, Petit studied with the famous teacher Gustave Rico, his classmates were later known as Jean Babilet and Roger Fenonjoie. Petit also attended private lessons of Russian teachers Lyubov Egorova, Olga Preobrazhenskaya, Madame Ruzann.
After graduating in 1940, he was enrolled in the corps de ballet of the Paris Opera.

In November 1944, when Paris was liberated from German occupation, Roland Petit left Paris Opera.

The beginning of ballet activity

In 1945, together with other young artists of the Paris Opera, he participated in the Dance Evenings of the Theater Sarah Bernhardt. In the same year, together with Jeanine Sharra and with the support of Jean Cocteau, Boris Kokhno and Christian Berard, he created his own troupe - the Champs Elysees Ballet, where he officially took the post of choreographer.

In 1946 he created for Jean Babilé and his wife Natalie Flippard the ballet The Youth and Death (scenario by Jean Cocteau, music by J.-S. Bach), which became a classic of world ballet art. This one-act ballet to the music of Bach became the quintessence of Petya's work - the hero, a young artist, suffers from unrequited love and, unable to withstand existential torments, commits suicide. The ballet was a resounding success - unprecedented eroticism and frankness at that time, the image of a femme fatale, extremely bold for ballet, captivated the audience. Over time, this ballet became one of the most popular productions of the 20th century - it was staged in theaters around the world, and outstanding performers danced the main parts, including Mikhail Baryshnikov, Rudolf Nureyev and Nicolas Le Rich.

In 1948, he left the company (after which it lasted another 3 years) and created a new troupe at the Marigny Theater - the Ballet of Paris, whose prima ballerina was Rene (Zizi) Jeanmer. On September 25, 1950, the premiere of Petit's ballet "The Diamond Eater" to the music of J.-M. Damaza, where Roland Petit and Zizi Zhanmer not only danced, but also sang.
IN next year especially for her, he staged another of his famous ballets - Carmen.

Career in Hollywood

The London premiere was such a success that Zhanmer received an invitation from Hollywood, where Petit went after her. In Hollywood, he worked both as a choreographer and as a dancer. In 1952, together with Jeanmer and Eric Brun, he took part in the filming of the film-musical "Hans Christian Andersen" (Prince in the episode "The Little Mermaid").

In 1955, two films with his choreography were released: The Crystal Slipper and Daddy Long Legs.

In 1960, director Terence Young made a ballet film One, Two, Three, Four or Black Stockings, which included four ballets by Roland Petit: Carmen, The Adventuress, Cyrano de Bergerac and The Day of Mourning. René (Zizi) Jeanmer, Cyd Charisse, Moira Shearer and Hans van Manen participated in the filming. Petit himself performed three main roles in his own choreography: Don José, Groom and Cyrano.

France. Paris. Marseilles

In 1965 he returned to the Paris Opera to stage Maurice Jarre's The Cathedral Notre Dame of Paris". The main roles at the premiere were played by Claire Motte (Esmeralda), Cyril Atanasov (Claude Frollo), Jean-Pierre Bonfu (Phoebus). The role of Quasimodo was played by the choreographer himself.

In 1973, he staged for Maya Plisetskaya "The death of the rose" (French "La Rose Malade") to the music of Mahler.

In the early 1970s, Petit switched from ballet to “light genres” like cabaret for several years, but already in 1972 the choreographer headed the Marseille ballet, with whom he worked until 1998, that is, 26 years. The first production of the company was the ballet "Pink Floyd", shown at the Marseille stadium. The stars of his new troupe were Dominique Calfouni and Denis Gagne. During this period, Petit showed himself from an unexpected side, starting to stage ballets according to literary works. He was the only outstanding choreographer who dared to stage a ballet based on Proust's series of novels In Search of Lost Time. This bold attempt led many critics to reconsider the accusations of superficiality and craving for tabloid choreography that were leveled against Petya.

ballet creativity

Roland Petit is the author of more than 50 ballets and numbers for dancers all over the world. He staged performances on the best stages in Italy, Germany, England, Canada, Cuba and Russia. His opuses were distinguished by the stylistic and technical diversity of the ballet language.

He collaborated with both avant-garde artists and representatives of new realism, including Martial Rice, Jean Tinguely and Niki de Saint Phalle. He worked with fashion designer Yves Saint Laurent (costumes for the ballet "Notre Dame Cathedral" and numbers "Death of the Rose"), singer and composer Serge Gainsbourg, sculptor Baldacchini, artists Jean Carzu and Max Ernst.

The libretto for Petit was written by Simenon, Jacques Prevert and Jean Anouille. Music for his ballets was composed by Henri Dutilleux and Maurice Jarre.

Personal life

In 1954 he married the ballerina Zizi Zhanmer. Their daughter Valentina also became a dancer and film actress.

He died at the age of 87 from fulminant leukemia. He was buried in the 13th section of the Montparnasse cemetery in Paris.

Do you know that

In 2001, Roland Petit staged Bolshoi Theater a program consisting of two performances - "Passacaglia" to the music of A. von Webern, staged by him for the Paris Opera in 1994, and new ballet The Queen of Spades to music by Tchaikovsky. In the first performance, the main parts were performed by Svetlana Lunkina and Jan Godovsky, in the second - Nikolai Tsiskaridze, Ilze Liepa and Svetlana Lunkina.

Petit is the author of more than 150 ballet productions, including great ballet"Young Man and Death". Perhaps Petit was not a choreographer on the scale of Balanchine or Béjart, but he academic dance into a live theatrical performance, and this is what makes it interesting.

Works in the theater

The most significant ballet performances:

2004 "Ways of Creation / Les chemins de la création"
1999 "1945" Rendezvous / Le rendez-vous "
1945 "Les Forains"
1945 "Guernica / Guernica"

Petit's ballets in Russia:

Bolshoi Theatre, Moscow
2010 "Youth and Death"
2003 Notre Dame Cathedral
2001" Queen of Spades»

Mariinskii Opera House, Saint Petersburg
1998 "Carmen"
1998 "Youth and Death"

Leningrad Opera and Ballet Theatre. Kirov
1978 Notre Dame Cathedral

Screenwriter

Filmography

Awards and prizes

2001 State Prize Russian Federation(for the production of the ballet The Queen of Spades at the Bolshoi Theatre)
1975 France's Main National Prize for Literature and Art
1974 Order of the Legion of Honor
1965 National Order of Merit in Literature and Arts

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Roland Petit. Classic and innovative. Claiming that the task of the choreographer is to “follow the music” and creating a ballet that did not depend on music; "follow the music" - but whose ballets are based on the plot as a pivot, and do not use the plot only as an excuse for dancing. The scripts for his ballets were written by Jean Cocteau, Jean Anouille, Georges Simenon and himself. Choreographer who choreographed ballets for Maya Plisetskaya and Pink Floyd. The choreographer who appreciated precisely classical choreography, who studied under the guidance of Serge Lifar, once the leading soloist of the Russian Ballet Diaghilev, and a choreographer who boldly pushes the boundaries of classical dance, using an everyday gesture, surprisingly natural and necessary among conditional ballet steps.

Roland Petit was born in 1924 in Paris. At the age of 9 he entered the ballet school of the Paris Opera, in 1940 he graduated from it, and received a place in the corps de ballet of the Paris Opera. In 1943, Serge Lifar, director of the Opera, entrusted him with the first major solo performance in the ballet "Love Enchantress". Around the same time, Petit, together with Jeanine Sharra, a famous French ballerina and choreographer in the future, organized several ballet evenings at the Sarah Bernard Theater. At one of the first evenings, Roland - presented his first experience in choreography - a small concert number"Springboard Jump".

And in 1945, Petit staged his first ballet "Comedians" at the Theater of the Champs Elysees. Developing success, Petit organized his own troupe "Champs Elysees Ballet".

A year later, Petit created the one-act ballet The Youth and Death. And, for more than 60 years, this ballet has regularly appeared in the repertoires of theaters around the world. Petit conceived a one-act ballet for the dancer of his troupe, Jean Babilet, and turned to Jean Cocteau, one of the brightest French writers XX century. Its plot is simple - there are only eight lines in the original poetic libretto. http://www.bolshoi.ru/performances/345/libretto/ Its plot is tragic. This production is considered suitable for mature, established artists who are able to bring their own reading to it. The ballet was conceived under the popular jazz composition, but just before the premiere, Cocteau decided that it would be more suitable classical music. Picked up Bach's Passacaglia. The choreography has remained the same, it was not "adjusted" to the music, as a result, the "Passacaglia" literally soars above the story told by the duet of dancers. There are several films based on this ballet - performed by R. Nureyev and Zizi Zhanmer http://youtube.com/watch?v=mt9-GzcJvyo and performed by M. Baryshnikov in the film White Nights 1985)

In 1948, Petit assembled a new troupe, the Ballet de Paris, whose place of prima ballerina was taken by Zizi Jeanmer, and staged the ballet Carmen to Bizet's music. romantic story Merimee in the hands of Petya becomes the story of a tragic confrontation between two strong personalities- Carmen and Jose (Petit himself performed his part). Each of them defends their love, as they understand it, with all their might. And for both the fidelity of their love becomes higher voltage forces, a struggle in which to yield means to betray love and betray oneself. In his production, Petit renounces the festive flavor - the scenography is deliberately simple, the gestures, instead of ballet elegance and conventionality, are sensual on the verge of rudeness. In the ballet, a distinct taste of cabaret is noted - this is how Petit from "Somewhere in Spain" brought Carmen's story as close as possible to his time. And the theme of love as a tragic confrontation between a man and a woman, set back in the ballet "Youth and Death", will be traced in many productions of Petit,

The ballet "Carmen" was a success. It, in Petit's reading, has been staged and, obviously, will continue to be staged by ballet troupes around the world. Bright duet Zhanmer and Petit attracted the attention of Hollywood and received an invitation to cooperate. There, several films-musicals are filmed for Petya's choreography. And in 1960, Terence Young made the film One, Two, Three, Four or Black Stockings (1-2-3-4 ou Les Collants noirs), which included Petit's productions such as Carmen, Cyrano de Bergerac ”,“ Adventurer ”and“ Mourning Day ”. Roland Petit performed three male roles - Cyrano, Jose and the Bridegroom himself.

In 1978, Roland Petit staged the ballet The Queen of Spades, especially for Mikhail Baryshnikov. Unfortunately, the performance did not last long on the stage - bound by contracts, Baryshnikov could not maintain the required schedule, and other performers invited to play the role of Hermann did not satisfy Petya. And in 2001, Roland Petit received an invitation from the Moscow Bolshoi Theater to stage The Queen of Spades on its stage, but did not resume the 1978 performance. He created a completely new ballet - he did not use the music of Tchaikovsky's opera, but his Sixth Symphony. Hermann was danced by Nikolai Tsiskaridze, the Countess by Ilze Liepa.

For your long creative way Roland Petit created over 150 ballets. Worked with the largest ballet companies peace. Leading dancers of the 20th century were involved in his productions. Collaborated with the brightest people, whose names are inseparable from the creative heritage of France - Jean Cocteau, Picasso (Petit created a ballet based on his painting "Guernica"), Yves Saint Laurent. Roland Petit died of leukemia in 2011, and his creative legacy in demand even now.

Interview with Roland Petit

Ballet "The Queen of Spades"

Roland Petit is a legendary person. And not only in the world of ballet. Petit's work was admired both in Hollywood, where he staged dances for Fred Astaire, and in major theaters peace. He was friends with Rudolf Nureyev, met Marlene Dietrich and Greta Garbo, worked with Mikhail Baryshnikov and Maya Plisetskaya.

The choreographer did not develop relations with OUR country right away: in the 60s, the then Minister of Culture Furtseva categorically forbade Petya to bring his ballet based on Mayakovsky's poems to Moscow. But Roland Petit still came to Moscow. First, with the ballet The Queen of Spades with Nikolai Tsiskaridze and Ilze Liepa in the main roles. Last Sunday, the Bolshoi Theater hosted the premiere of his new ballet, Notre Dame Cathedral.

- A few years ago you said that you wanted to stage a ballet on a Russian theme. And they staged Pushkin's The Queen of Spades. Why, as soon as it comes to Russia, everyone immediately remembers only literature of the nineteenth century - Tolstoy, Dostoevsky, Pushkin? But we also had the 20th century with equally strong writers.

Absolutely the same thing happens when the Russians, the British, the Germans - yes, anyone! - start talking about France. First of all, they remember Victor Hugo, Balzac - everyone who created centuries ago. But try to name at least one of the modern French writers! But we still have great writers today. Michel Tournier, for example. Excellent writer. Or Marguerite Ursenar, who died 20 years ago. Who in the world knows this very talented writer?

Who is the genius?

- Is there any connection between money and talent? Is it possible to consider a brilliant thing that has commercial success?

I think it all depends on luck. Some people managed to create truly masterpieces and at the same time were able to earn a lot of money. Picasso, for example. And Van Gogh, who was no less talented, at the end of his life had nothing to pay for electricity, and he died in complete poverty. There is no single rule.

- And in your case?

I confess: I love money! And who doesn't love money? Everyone loves.

- But they say: "Talent must always be hungry."

I don't believe in it at all. You know, I'm old. And I have enough money. But still, the most important thing for me is not my bank account, but the ballets that I will stage.

- Many talented people paid dearly for climbing to the top of Mount Olympus. The same Nureyev - an early death, an unhappy personal life. And so - many and many ...

I think that Nuriev was very happy man. He just got sick and died early. He was obsessed with dancing. One day I asked him, "Don't you think you need to work a little less?" “No,” he said. I'll take care of my health later. Until then, I'll dance."

Once after the performance, I went to his dressing room. Nuriev took off his leotard, in which he danced on stage, and I saw that all his legs were plastered from top to bottom. And when the masseur began to tear off the patch, the veins all over the leg immediately swelled up like hoses overflowing with water. I was scared: how can Nureyev do THIS with his own body. And he just waved his hand: “Ah, nothing, everything is fine!” Only death could stop his dance.

Unfortunately, we cannot say exactly what genius is, where it is hidden in a person. Same Marilyn Monroe. I worked at MGM with Fred Astaire at the same time as Marilyn Monroe. She starred in one rather mediocre film, I don’t even remember the name: “7 Years of Wealth” - something like that. And everyone was perplexed, looking at her: what did the producer find in her, why such a stir was fanned around her? Personally, I spoke with her only once. She extended her hand to me for a kiss, but I only shook her hand. She was disappointed with my manners: "And I thought French men always kissed women's hands." Then a few times we met in the studio dining room, and off the screen it was so simple, so modest, but at the same time glowing like the sun. She was not the most beautiful in Hollywood - you could find women much more beautiful than her. And she did not star in any films that would shake the foundations of cinema. But, of course, she was touched by a genius, because in front of the camera she was transformed. Also, she died young. It's good for a star - it helps to become famous (laughs). You have to die either very young or very old.

We don't need this kind of ballet

- THERE IS an opinion that avant-garde ballet is glorified by those who are too lazy or who lack the talent to learn classical dance. Do you agree?

I want to tell you about one ballet, it is now in France, in Paris. This, as the program says, is an avant-garde ballet. It's called "Snoring". And the music consists of a recording of a sleeping person snoring. A beam of light on a dark stage highlights a man who appears to be asleep. A woman sits astride it and makes characteristic movements. Then he says (he says! in ballet!): "Oh, how good it is to make love with a sleeping man." What does everything that happens on stage have to do with dance?!

At classical ballet today one problem is the lack of choreographers. All the young ones say, "Oh, contemporary ballet so easy to practice! I’d rather put on modern dances.” There have never been many classical choreographers in the history of ballet - Petipa, Ivanov, Balanchine, Fokine...

Who is left of the masters today? Yuri Grigorovich. But Grigorovich is already at the same age as me. Where are the young people? Where?!

- One of the dangers that lie in wait for ballet is the passion for the sporting side of dance. And a competition begins on the stage: who will jump higher, who will make more pirouettes. Will ballet turn into a sport in a few years?

Yes, this is possible. But it will be creepy! The other day I looked at the Bolshoi Swan Lake» with Svetlana Lunkina in leading role. She spins the fouette - one, two, tenth. Why is she doing this?! If she just went on stage, stood in a pose, showed beautiful legs, the quality of ballet work, her mind, it would be much better. It is not necessary to spin on your head to shock the viewer. If I were more familiar with her, I would advise: "Do two or three rounds - that's enough!" Because the circus is on! You sit and think: “Oh my God! Just don't fall!"

- Now many artists in literature, in cinema are carried away by creating a different reality - star Wars, Harry Potter, etc. They invent problems, conflicts. Although in real life at real people there were no more conflicts or problems. But for some reason the artists do not notice them. Why?

Or maybe they are not artists? For me, such art does not exist - it's just high development techniques and vivid pictures.

When my friends say, "I took the kids to Disneyland this weekend," I don't understand their excitement. You would take the children to the zoo - they would see how live monkeys jump on the branches there. It's much better!

- It seems that Balzac said that it makes sense to write only about death and about money, because only this really interests people. What feeling would you add to this list?

I think the most important thing in the world is love. In all its manifestations - to children and a wife, to a lover or mistress, just to the time in which you live.

Roland Petit(French Roland Petit, January 13, 1924, Willemomble, Seine - Saint-Denis - July 10, 2011, Geneva) - French dancer and choreographer, one of the recognized classics of the 20th century ballet.

Biography

Roland Petit is the son of Rose Repetto, the founder of the Repetto ballet clothing and footwear company, and the owner of a diner (in memory of his work in his father's restaurant, Petit would later put up a number with a tray). He studied at the ballet school of the Paris Opera, where his teachers were Gustave Rico and Serge Lifar. After graduating in 1940, he was enrolled in the corps de ballet of the Grand Opera.

In 1945, together with other young artists of the Paris Opera, he participated in the Dance Evenings of the Theater Sarah Bernhardt. In the same year, together with Jeanine Sharra and with the support of Jean Cocteau, Boris Kokhno and Christian Berard, he created his own troupe - the Champs Elysees Ballet, where he officially took the post of choreographer. In 1946, for Jean Babilé and his wife Natalie Flippart, he created the ballet Youth and Death (scenario by Jean Cocteau, music by J.S. Bach), which became a classic of world ballet art.

In 1948, he left the company (after that it lasted for another 3 years) and created a new troupe at the Marigny theater - the Ballet of Paris. His prima ballerina was René (Zizi) Jeanmer. The following year, especially for her, he staged another of his famous ballets - Carmen. The premiere of the ballet in London was such a success that Zhanmer received an invitation from Hollywood, where Petit went after her. In Hollywood, he worked both as a choreographer and as a dancer. In 1952, together with Jeanmer and Eric Brun, he took part in the filming of the musical film Hans Christian Andersen (Prince in the episode "The Little Mermaid"). In 1955, two films with his choreography were released: The Crystal Slipper with Leslie Caron and Daddy Long Legs with Fred Astaire.

In 1960, director Terence Young directed the film-ballet One, Two, Three, Four, or Black Stockings, which included four ballets by Roland Petit: Carmen, The Adventuress, Cyrano de Bergerac and Day of Mourning. René Jeanmer, Syd Charisse, Moira Shearer and Hans van Manen participated in the filming. Petit himself performed three main roles in his own choreography: Don José, Groom and Cyrano.

In 1965 he returned to the Paris Opera to stage Maurice Jarre's Notre Dame. The main roles at the premiere were played by Claire Motte (Esmeralda), Cyril Atanasov (Claude Frollo), Jean-Pierre Bonfu (Phoebus). The role of Quasimodo was played by the choreographer himself.

In 1973 he staged for Maya Plisetskaya a miniature "The Death of the Rose" to the music of Mahler.

In 1972 he founded the Marseille Ballet, which he directed for 26 years. The first production of the company was the ballet "Pink Floyd", shown at the Marseille stadium and at the Paris Sports Palace. The stars of his new troupe were Dominique Calfouni and Denis Gagnot.

Roland Petit is the author of more than fifty ballets and numbers for dancers all over the world. He staged performances on the best stages in Italy, Germany, England, Canada, Cuba and Russia. His opuses were distinguished by the stylistic and technical diversity of the ballet language. He collaborated with both avant-garde artists and representatives of new realism, including Martial Rice, Jean Tinguely and Niki de Saint Phalle. He worked with fashion designer Yves Saint Laurent (costumes for the ballet "Notre Dame Cathedral" and numbers "Death of the Rose"), singer and composer Serge Gainsbourg, sculptor Baldacchini, artists Jean Carzu and Max Ernst. The libretto for Petit was written by Georges Simenon, Jacques Prevert and Jean Anouille. Music for his ballets was composed by Henri Dutilleux and Maurice Jarre.

In 1954 he married Zizi Zhanmer. Their daughter Valentina also became a dancer and film actress.

Died at the age of 87

Most significant productions

• Rendezvous / Le rendez-vous (1945)
• Guernica / Guernica 1945
• Youth and Death / Le Jeune Homme et la Mort (1946)
• Wandering comedians / Les forains (1948)
• Carmen / Carmen (1949)
• Balabile / Ballabile (1950)
• Wolf / Le loup (1953)
• Notre Dame Cathedral / Notre-Dame de Paris (1965)
• Paradise Lost / Paradise Lost (1967)
• Kraanerg / Kraanerg (1969)
• The death of a rose / La rose malade (1973)
• Proust, or Interruptions of the Heart / Proust, ou Les intermittences du coeur (1974)
• Copplia / Copplia (1975)
• Fantastic symphony / Symphonie phantastique (1975)
• The Queen of Spades / La Dame de pique (1978)
• The Phantom of the Opera / Le phantme de l'Opra
• Les amours de Frantz (1981)
• The Blue Angel / The Blue Angel (1985)
• Clavigo / Clavigo (1999)
• Ways of Creation / Les chemins de la cration (2004)

Ballets by Roland Petit in Russia

• Notre Dame Cathedral - Leningrad Opera and Ballet Theatre. Kirov (1978)
• Carmen - Mariinsky Theater (1998)
• Youth and Death - Mariinsky Theater (1998)
• The Queen of Spades - Bolshoi Theater (2001)
• Notre Dame Cathedral - Bolshoi Theater (2003)
• Youth and Death - Bolshoi Theater (2010)
• Coppelia - Stanislavsky and Nemirovich-Danchenko Theater (2012)

Memoirs

• J'ai dans sur les flots (1993, Russian translation 2008)

Recognition and awards

Officer of the National Order of Merit in Literature and Art (1965), Chevalier of the Order of the Legion of Honor. (1974), laureate of the main National Prize France in Literature and Art (1975), Laureate State Prize Russian Federation for staging the ballet The Queen of Spades at the Bolshoi Theater (2001) and other awards.

Literature

• Mannoni G. Roland Petit. Paris: L'Avant-Scne ballet/danse, 1984.
• Fiette A. Zizi Jeanmaire, Roland Petit: un patrimoine pour la danse. Paris: Somogy; Genve: Muse d'art et d'histoire; Ville de Genve: Dpartement des affaires culturelles, 2007.
• Chistyakova V. Roland Petit. Leningrad: Art, 1977.
• Arkina N. R. Petit Theater // Theatre: magazine. - M., 1974. - No. 11.