Duet and its types. The famous ballet duet - Rudolf Nureyev and Margot Fonteyn Forms of a choreographic work
VARIETY OF SMALL ENSEMBLES.
Classification of small forms
Small forms of choreographic ensembles are considered to be:
3. Quartet.
4. Quintet.
Duet
There are two main forms of duet dance:
2. Choreographic duet.
The choreographic duet today is an independent piece of art, pas de deux - dance action inside a ballet performance.
pas de deux- five-part dance form. Traditionally, it is part of a ballet performance, but there are examples of independent, so-called. divertissement productions in the form of pas de deux.
pas de deux structure:
1. Antre - introductory part where both performers appear on stage.
2. Adagio - a duet dance of a lyrical nature.
3. Male variation - solo dance performer.
4. Female variation - solo dance of the performer.
5. The coda is the culminating part of the whole form, where the performers demonstrate the virtuosity of the technically complex solo dance pas. This part, as a rule, ends with a duet episode, which is difficult in terms of technique.
Choreographic duet- the performance of dance parts by two dancers, during which the personal relationship of the main characters, their feelings, thoughts are revealed, filled with a plot link, which is the main idea of the ballet performance. In a duet, communication takes place, but not in the usual language, but in the language of choreography: through movements, postures, gestures, facial expressions. The general content of the entire production is determined precisely through the attitude of the performers to each other in a duet dance.
Duet dance, in turn, is divided into:
"Duet"
"dance of a woman and a man";
"dance-dialogue".
"Duet"- a dance performed by two dancers or dancers, which is the simplest form of a small choreographic production. Their compositional-lexical structure usually looks like a dance "in unison". But it happens that it is necessary to build these duets according to the principle of "mirror reflection".
"Dance of a woman and a man" is created on a specific topic: love or hate, joy or sadness, etc. Two actors in this case, they express their feelings and relationships in dance.
"Dance-dialogue" is the highest form of duet dance. Here, each partner, through individual plasticity, leads his own theme, which carries thought and feeling. Duets in the form of effective dialogue are indispensable essential part ballet performance. But it should be noted that the term has not been fixed in ballet usage, this is due to the fact that there is a moment of communication between the characters in every duet, for example, Phrygia and Spartacus, Giselle and Albert, etc. Communication, relationship with a partner is a single element in a duet with dialogue.
Trio
Just like a duet dance, it has two main forms of existence:
1. Pas de trois.
pas de trois- "dance of three" - one of the varieties of the classical ensemble, including the dance of three soloists. The compositional basis is pas de deux with an additional dancer performing her variation between the adagio and the dancer's variation.
Like other small forms, pas de trois has a canonical structure:
1. Introduction (entre).
2. Adagio.
3. Variations of each of the participants.
4. Common code.
Trio- dance form, presented in the form of a dance of three performers. Usually has a freer plasticity and variety in movements, not closed by the canons of classical ballet.
It can be in four versions:
two women's parties and one men's party;
three women's parties;
Two men's and one women's;
· three men's parties.
Quartet
pas de quatre- translated from French "quatre" - "four". The term has been established XIX century. This dance form entered ballet along with pas de deux and pas de trois.
The construction of pas de quatre was largely built on the principle of pas de deux, preserving the entire structure:
2. Variations of four dancers.
Pas de quatre can be both divertissement (pure) and effective (plot). In addition to the canonical structure, there are other forms of building pas de quatre, for example, "Dance of the Little Swans" in P.I. Tchaikovsky " Swan Lake».
choreographic quartet. In the 20th century, this kind of small choreographic form is transformed into choreographic quartets. Their structure becomes more different, freer in the variational sense. This is also due to the fact that the possibilities for composing dances for four dancers are very significant: for four women, for four men, two men and two women, three men and one woman, three women and one man.
Pas de quatre of the canonical form are not so dominant in ballet performance like pas de deux, but nevertheless quite often used as an expressive form. The most famous a wide range For the audience, examples of the pas de quatre form, in addition to the Dance of the Little Swans from P. Tchaikovsky's ballet "Swan Lake", is the dance of the Fairies: Gold, Silver, Sapphires, Diamonds from P. Tchaikovsky's ballet "The Sleeping Beauty" (choreographer M. Petipa). In the form of pas de quatre, the choreographic fantasy of "Moor's Pavane" by H. Limon is built.
Quintet
Choreographic form with five performers. This form has no analogue in canonical structures classical choreography However, since the 20th century has become widespread in the field of folk and modern choreography.
FORMS OF A CHOREOGRAPHIC WORK.
Today marks the 75th anniversary of the birth of the great ballet dancer Rudolf Nureyev.
Margot Fonteyn and Rudolf Nureyev in a scene from the ballet "Raymonda"
Alexander Konstantinovich Glazunov - Intermission from the ballet "Raymonda"
The ballet couple Rudolf Nureyev and Margot Fontaine is one of the most interesting couples in the history of ballet. They successfully danced together for more than fifteen years, despite the big difference in age - Margot was almost twenty years older than Rudolf.
Ballet is an art that not everyone can master, which is why there are few outstanding dancers, and there are simply very few real duets. Experts say about the secret of the legendary duet Fontaine-Nureyev that it was a partnership-rivalry - each performed at the limit of his strength, which did not give the other partner the slightest opportunity to perform weaker.
Before meeting Rudolf Nureyev, Margot Fonteyn was already a celebrity, she was forty-two years old and was thinking about ending her ballet career. But the meeting with a young dancer from Russia gave a new impetus to the continuation of her happy ballet life. A young and unusually talented partner did not give the opportunity to relax, and therefore famous ballerina it was necessary to match his youth and inexhaustible energy. She met Rudolf Nureyev in 1961 - he came to London to host her a charity concert in favor of the Royal Academy of Dance. After a personal meeting, they decided to try dancing together.
Their first joint production was the ballet "Giselle", this performance was an enchanting success. When Nureyev and Fonteyn came out to bow, they were greeted with an unprecedented standing ovation.
In addition to a long-term dance partnership, Margot and Rudolf shared a touching friendship. When Margot died of cancer at the end of her life, Rudolph secretly paid her hospital bills, which later surprised his acquaintances, since they knew him as a rare miser. Some biographers of this ballet couple attribute to them love affair but there was no connection. There are many reasons for this: Nureyev’s non-traditional sexual orientation, and the age difference, and the fact that Margo loved her husband, despite all the troubles that he caused her, and the fact that she was a man of duty, and this, first of all, in itself would become an obstacle to the development of the novel, even if there were no other objective reasons. It's just that these people were connected by a common cause and kinship of souls, souls who wholeheartedly loved ballet and faithfully served it.
Margot Fonteyn and Rudolf Nureyev in Les Sylphides, Waltz No. 7
Margot Fonteyn and Rudolf Nureyev - Waltz N7 from the ballet "La Sylphides" to the music of Frederic Chopin, another name for the ballet "Chopiniana"
Rudolf Khametovich Nureyev, known throughout the world as Nureyev, born March 17, 1938 - Soviet and British ballet dancer, choreographer. He was born on a train bound for Vladivostok, between Irkutsk and Slyudyanka, where his mother was on her way to the duty station of her husband, father Rudolph, a military political instructor.
Rudolph started dancing in the nursery folklore ensemble in Ufa. His father did not approve of dancing, considering it an unmanly occupation.
In 1955, Rudolf Nureyev entered the Leningrad Choreographic School.
After graduating from college in 1958, Nureyev was accepted as a soloist in the ballet of the Leningrad Theater named after Sergei Mironovich Kirov (currently - Mariinskii Opera House). Prior to this, only two dancers had received such an honor: Mikhail Fokin and Vatslav Nijinsky. Usually graduates of the school began their ballet career in the corps de ballet of the theater.
On June 16, 1961, while on tour with the theater in Paris, Rudolf Nureyev refused to return to the USSR, thus becoming the first Soviet ballet dancer who did not return to his homeland.
Nureyev soon began working with the Royal Ballet in London and quickly became an international celebrity.
For more than fifteen years he was the star of the London Royal Ballet and was permanent partner the great English ballerina Margo Fontaine. This partnership played a huge role in his artistic and ballet master's career.
Nureyev has performed all over the world (in Europe, USA, Japan, Australia), while he always had a very intense schedule. So, for example, in 1975 the number of his performances reached three hundred.
From 1983 to 1989, Nureyev was the director of the ballet company of the Paris Grand Opera.
Rudolf Nureyev participated in classical and contemporary productions, acted in films and on television, staged classical ballets.
He starred in 2 feature films as a dramatic actor. One of these films is "Valentino", which was a great success with Western audiences.
IN last years life Rudolf Nureyev tried himself as a conductor.
In addition to Nureyev's personal contribution as a dancer to the history of ballet, he is considered to be an innovator in the field of ballet art in relation to the role of male dancers - he changed the role of the dancer in classical ballet from a minor in a ballet performance compared to a ballerina to an equivalent one.
On January 6, 1993, the great dancer died near Paris as a result of AIDS.
Rudolf Nureyev is buried in the Russian cemetery of Sainte-Genevieve-des-Bois near Paris, not far from the graves of the famous Russian and French dancer Serge Lifar and Andrei Tarkovsky.
The author of this monument, made in the mosaic technique in the form of an oriental carpet, is a famous italian artist and architect
Ezio Frigerio. So unusual shape the artist chose to emphasize the origin of Nureyev and his love for oriental luxury.
Rudolf Nureyev in his house on his island. Old ceramic tiles on the walls. Rudolf bought it in Spain - he selected it and loaded it onto a truck with which he came to the antique dealer. She cost him fabulously expensive - several tens of thousands of dollars, since she also had to pay a large customs duty for it.
It is also interesting that this tile is floor, and Nureyev lined the walls with it. His good friend, who helped him in the search and purchase of this tile, dissuaded him from decorating the walls with it, but the stubborn artist did it his own way, although he later admitted that it was a mistaken decision.
Shot from the movie "Valentino"
Stolen immortality - documentary-investigation dedicated to the search for the multimillion-dollar inheritance of Rudolf Nureyev
I will allow myself to moralize a little on the topic to which this film is dedicated. Life shows that to make sure that the money acquired by a person would be spent after his death on good deeds, you need to do everything possible for this while still alive, and not entrust this matter to the devil knows who, even if these figures magnify themselves lawyers and sirs.
This could well have been done, at least in terms of scholarships for young ballet dancers. After all, as much money as Nureyev earned during his ballet career is completely useless to one person - such unhealthy desires arise as the acquisition of islands and the storage of antiques. And then, after death, all this goes to dust and falls into the wrong hands. It would be better if he divided his inheritance between relatives and instructed them to organize a museum in memory of Rudolf Nureyev on the island that belonged to him. They would most likely fulfill his will, if only as a sign of gratitude and the opportunity to bask in the rays of his glory.
Rudolf Nureyev and Eric Brun. Eric Brun (1928-1986) - Danish dancer and teacher classical dance, who played a big role in the creative and personal life of Rudolf Nureyev.
Erik Belton Evers Bruhn was born in Copenhagen, where he studied ballet from the age of nine at the school of the Royal Danish Ballet. At eighteen, Eric Brun was admitted to ballet troupe Royal Danish Ballet, and two years later became its soloist. The most famous are his roles in the performances "La Sylphide", "Giselle", "Swan Lake".
Eric Brun was director of the Swedish Opera Ballet (Sweden) from 1967 to 1973 and the National Ballet of Canada (Canada) from 1983 to 1986.
Eric Brun died in 1986 from lung cancer.
Rudolf Nureyev met Eric Brun during his tour of Denmark. Brun was the closest friend and patron of Rudolf Nureyev for many years.
Rudolf Nureyev and Eric Brun
"Valentino" - Feature Film(UK - USA) (1977)
IN leading role Rudolf Nureyev
This film smells of Americanism a mile away, but it is curious that Nureyev here acts as a dramatic actor, and if he dances, then not classical, but ballroom dancing.
Royal box - fragment TV show dedicated to the exhibition "Rudolf Nureyev. Threads of Time" - 10/15/2010
Rudolf Nureyev (1991) - Documentary
"How the idols left. Rudolf Nureyev" - a documentary about Rudolf Nureyev
"Contract with Death" - a documentary about Rudolf Nureyev
Dame Margot Fontaine, nee Margaret Hookem, born May 18, 1919 in Reigate (UK) is an outstanding English ballerina.
Margot Fonteyn began ballet at the age of five with Grace Bosustow and continued to take lessons from various teachers, including Olga Preobrazhenskaya and Matilda Kshesinskaya.
At the age of 15, she entered the Royal School of Ballet in London.
Fonteyn made her stage debut in 1934 and was immediately liked by the public and critics for the amazing plasticity of the dance.
In 1939 she began collaborating with the choreographer Frederick Ashton, who composed for her such productions as Daphnis and Chloe, Sylvia and Ondine.
Margo toured extensively around the world, leaving the stage in the late seventies.
In 1955, Margot Fonteyn married the Panamanian ambassador to London, Tito de Arias.
In 1965, Arias was the victim of an assassination attempt and remained paralyzed for the rest of his life, and Margot devotedly looked after him until the end of his days. Her husband's serious illness required a lot of money, so Margot was forced to dance until she was almost sixty years old, overcoming joint pains. Each appearance on the stage became a feat for her. But even such big money that she earned was not enough for the necessary medical expenses, so at the end of her life, being seriously ill herself, she was constantly in need of money.
In 1954, Fonteyn was made a Dame Grand Cross.
From 1981 to 1990 she was the honorary chancellor of Durham University.
In 1989, she starred in the biographical film The Margot Fonteyn Story.
Margot Fontaine spent the last years of her life on her farm in Panama. She passed away from cancer on February 21, 1991. At her request, she was buried in the same grave with her husband Tito, whom she survived by two years.
Margot Fontaine - a noble lady in life and on stage
Margo Fontaine - a documentary film in 3 parts (UK) dedicated to an outstanding ballerina
Margot Fonteyn and Rudolf Nureyev - Evening with royal ballet (1963)
Film-ballet to music by Sergei Sergeevich Prokofiev "Romeo and Juliet" (1966)
Juliet Part - Margot Fontaine
Romeo part - Rudolf Nureyev
"Swan Lake" staged by the Vienna State Opera (1966)
Choreography and staging by Rudolf Nureyev
Part of Odette-Odile - Margot Fontaine
Part of Prince Siegfried - Rudolf Nureyev
The ballet "Swan Lake" is a special one in the career of Rudolf Nureyev. Nureyev performed the role of Prince Siegfried in Swan Lake with great success during the legendary Paris tour of the Kirov Theater in June 1961, after which he remained in Paris.
Later, Nureyev created his own version of the ballet for the Vienna State Opera, where he and Margot Fonteyn performed the main parts. It is this version of the ballet that is presented in the proposed film.
In the Guinness Book of Records, one can find evidence of the huge success of this ballet: at the 1964 performance, Nureyev and Fonteyn were called to the curtain 89 times - no one has been able to repeat this record so far.
Margot Fonteyn and Rudolf Nureyev in a scene from the ballet "Swan Lake"
Pyotr Ilyich Tchaikovsky - Grand Waltz from the ballet "Swan Lake"
A duet is a dance performed by two partners. Duets can be divided into three types.
The simplest of these is a dance in unison, such duets are called "twos", and they are usually performed by dancers of the same sex.
The second type of duet is the dance of a man and a woman. It can be composed on a specific topic: love or hate, the joy of meeting, the sadness of parting, etc. In this case, the two characters express their feelings and relationships in the dance.
The third and highest type of duet is a dance - a dialogue, when each of the partners carries out their theme in a plastic form, carrying thought and feeling. In the development and struggle of these two themes, they come to unity or victory of one over the other. The duet can end with the death of one of the characters.
Duet dance rules
The rules for performing a duet dance are studied in choreographic schools during support lessons, but in practice, deviations from these rules are sometimes observed, which leads to the destruction of the artistic impression of a dance work.
What does it mean to master the art of support? Is it enough for a dancer to have an outstanding physical force and know all the techniques of dealing with a partner in parterre movements and air lifts? Support in classical dance differs from acrobatic in that it must be art, and not dexterous work. The artist must know very well all the features of his partner's dance, feel her individual style of performance, as well as technical capabilities - the amplitude of the jump, stability in difficult poses on the fingers, the pace of pirouettes, the rhythm and dynamics of the dance. If this does not happen, there will be no duet in the full sense of the word.
Partners must work together so that all technical difficulties are completely imperceptible for the audience, only then it will be a dance, and not a school exercise. In this paper, an example of parterre support is given - support with one hand (strokes).
Leads with the support of the student by one hand are studied in all the main poses of classical dance. The hand of the student, for which the student supports her, can be in the first, second or third positions. In all cases, her arm is strongly tense (that is, motionless in the shoulder and elbow joints) and does not violate the adopted position.
