The name of the ballet troupes of world theaters. A Brief History of Ballet
Publications section Theaters
Famous Russian ballets. Top 5
Classical ballet is an amazing art form that was born in Italy during the mature Renaissance, "moved" to France, where the merit of its development, including the founding of the Academy of Dance and the codification of many movements, belonged to King Louis XIV. France exported the art of theatrical dance to all European countries, including Russia. In the middle of the 19th century, the capital of European ballet was no longer Paris, which gave the world the masterpieces of romanticism La Sylphide and Giselle, but Petersburg. It was in the Northern capital that the great choreographer Marius Petipa worked for almost 60 years, the creator of the system of classical dance and the author of masterpieces that still do not leave the stage. After the October Revolution, they wanted to throw the ballet off the ship of modernity, but they managed to defend it. Soviet time was marked by the creation of a considerable number of masterpieces. We present five domestic top ballets - in chronological order.
"Don Quixote"
Scene from the ballet Don Quixote. One of the first productions by Marius Petipa
Premiere of the ballet by L.F. Minkus "Don Quixote" at the Bolshoi Theatre. 1869 From the album of the architect Albert Kavos
Scenes from the ballet Don Quixote. Kitri - Lyubov Roslavleva (center). Staging by A.A. Gorsky. Moscow, Bolshoi Theatre. 1900
Music by L. Minkus, libretto by M. Petipa. First production: Moscow, Bolshoi Theatre, 1869, choreography by M. Petipa. Subsequent productions: St. Petersburg, Mariinsky Theatre, 1871, choreography by M. Petipa; Moscow, Bolshoi Theatre, 1900, St. Petersburg, Mariinsky Theatre, 1902, Moscow, Bolshoi Theatre, 1906, all - choreography by A. Gorsky.
The ballet "Don Quixote" is a theatrical performance full of life and jubilation, an eternal celebration of dance, which never tires adults and to which parents take their children with pleasure. Although he is called the name of the hero famous novel Cervantes, but repelled from one of his episodes, "The Wedding of Quiteria and Basilio", and tells about the adventures of young heroes, whose love eventually wins, despite the opposition of the heroine's stubborn father, who wanted to marry her to the rich Gamache.
So Don Quixote has almost nothing to do with it. Throughout the performance, a tall, thin artist, accompanied by a short, pot-bellied colleague portraying Sancho Panza, paces around the stage, sometimes making it difficult to watch the beautiful dances composed by Petipa and Gorsky. Ballet, in essence, is a concert in costumes, a celebration of classical and characteristic dance, where all the artists of any ballet troupe have something to do.
The first production of the ballet took place in Moscow, where Petipa traveled from time to time to raise the level of the local troupe, which could not be compared with the brilliant troupe of the Mariinsky Theater. But in Moscow it was easier to breathe, so the choreographer, in essence, staged a ballet reminiscence of wonderful years youth spent in a sunny country.
The ballet was a success, and two years later Petipa moved it to St. Petersburg, which necessitated reworking. There, characteristic dances were much less interested than pure classics. Petipa expanded "Don Quixote" to five acts, composed a "white act", the so-called "Dream of Don Quixote", a real paradise for lovers of ballerinas in tutus, owners of pretty legs. The number of cupids in the "Dream" reached fifty-two...
Don Quixote came to us in a reworking by the Moscow choreographer Alexander Gorsky, who was fond of the ideas of Konstantin Stanislavsky and wanted to make the old ballet more logical and dramatically convincing. Gorsky destroyed Petipa's symmetrical compositions, canceled the tutus in the "Dream" scene, and insisted on the use of swarthy make-up for the Spanish dancers. Petipa called him a "pig", but already in the first alteration of Gorsky, the ballet was performed on the stage of the Bolshoi Theater 225 times.
"Swan Lake"
Scenery for the first performance. Big theater. Moscow. 1877
Scene from the ballet Swan Lake» P.I. Tchaikovsky (choreographers Marius Petipa and Lev Ivanov). 1895
Music by P. Tchaikovsky, libretto by V. Begichev and V. Geltser. First production: Moscow, Bolshoi Theatre, 1877, choreography by V. Reisinger. Subsequent production: St. Petersburg, Mariinsky Theatre, 1895, choreography by M. Petipa, L. Ivanov.
Everyone's favorite ballet, the classical version of which was staged in 1895, was actually born eighteen years earlier at the Moscow Bolshoi Theater. The score of Tchaikovsky, whose world fame was yet to come, was a kind of collection of "songs without words" and seemed too complicated for that time. The ballet took place about 40 times and sunk into oblivion.
After Tchaikovsky's death, Swan Lake was staged at the Mariinsky Theatre, and all subsequent productions of the ballet were based on this version, which became a classic. The action was given great clarity and logic: the ballet told about the fate of the beautiful Princess Odette, who was turned into a swan by the will of the evil genius Rothbart, about how Rothbart deceived Prince Siegfried, who fell in love with her, resorting to the charms of his daughter Odile, and about the death of the heroes. Tchaikovsky's score was reduced by about a third by the conductor Ricardo Drigo and reorchestrated. Petipa created the choreography for the first and third acts, Lev Ivanov for the second and fourth. This separation ideally corresponded to the vocation of both brilliant choreographers, the second of whom had to live and die in the shadow of the first. Petipa is the father of classical ballet, the creator of impeccably harmonious compositions and the singer of a woman-fairy, a woman-toy. Ivanov is an innovative choreographer with an unusually sensitive feel for music. The role of Odette-Odile was played by Pierina Legnani, “Queen of Milanese ballerinas”, she is also the first Raymonda and the inventor of 32 fouettes, the most difficult type of rotation on pointe shoes.
You may not know anything about ballet, but Swan Lake is known to everyone. In the last years of existence Soviet Union, when the aged leaders replaced one another quite often, the heartfelt melody of the “white” duet of the main characters of the ballet and the bursts of wing-arms from the TV screen heralded the sad event. The Japanese love Swan Lake so much that they are ready to watch it in the morning and in the evening, performed by any troupe. Not a single touring troupe, of which there are many in Russia, and especially in Moscow, can do without Lebedinoy.
"Nutcracker"
Scene from the ballet The Nutcracker. First staging. Marianna - Lydia Rubtsova, Clara - Stanislava Belinskaya, Fritz - Vasily Stukolkin. Mariinskii Opera House. 1892
Scene from the ballet The Nutcracker. First staging. Mariinskii Opera House. 1892
Music by P. Tchaikovsky, libretto by M. Petipa. First production: St. Petersburg, Mariinsky Theatre, 1892, choreography by L. Ivanov.
From books and websites, erroneous information still roams that The Nutcracker was staged by the father of classical ballet Marius Petipa. In fact, Petipa wrote only the script, and the first production of the ballet was carried out by his subordinate, Lev Ivanov. An impossible task fell to Ivanov's lot: the script, created in the style of the then fashionable ballet extravaganza with the indispensable participation of an Italian guest performer, was in obvious contradiction with Tchaikovsky's music, which, although written in strict accordance with Petipa's instructions, was distinguished by great feeling, dramatic richness and complex symphonic development. In addition, the heroine of the ballet was a teenage girl, and the ballerina-star was prepared only for the final pas de deux (a duet with a partner, consisting of an adagio - a slow part, variations - solo dances and a coda (virtuoso finale)). The first production of The Nutcracker, where the first, predominantly a pantomime act, differed sharply from the second, a divertissement act, was not very successful, critics noted only the Waltz of the Snowflakes (64 dancers participated in it) and the Pas de deux of the Dragee Fairy and the Prince of Whooping Cough , which was inspired by Ivanov's Adagio with a Rose from Sleeping Beauty, where Aurora dances with four gentlemen.
But in the 20th century, which was able to penetrate into the depths of Tchaikovsky's music, The Nutcracker was destined for a truly fantastic future. There are countless ballet performances in the Soviet Union, European countries and the USA. In Russia, the productions of Vasily Vainonen at the Leningrad State Academic Opera and Ballet Theater (now the Mariinsky Theater in St. Petersburg) and Yuri Grigorovich at the Moscow Bolshoi Theater are especially popular.
"Romeo and Juliet"
Ballet Romeo and Juliet. Juliet - Galina Ulanova, Romeo - Konstantin Sergeev. 1939
Mrs. Patrick Campbeple as Juliet in Shakespeare's Romeo and Juliet. 1895
Finale of Romeo and Juliet. 1940
Music by S. Prokofiev, libretto by S. Radlov, A. Piotrovsky, L. Lavrovsky. First production: Brno, Opera and Ballet Theatre, 1938, choreography by V. Psota. Subsequent production: Leningrad, State Academic Opera and Ballet Theatre. S. Kirov, 1940, choreography by L. Lavrovsky.
If Shakespeare's phrase in a well-known Russian translation reads "There is no sadder story in the world than the story of Romeo and Juliet", then they said about the ballet of the great Sergei Prokofiev written on this plot: "There is no sadder story in the world than Prokofiev's music in ballet". Truly amazing in beauty, richness of colors and expressiveness, the score of "Romeo and Juliet" at the time of its appearance seemed too complicated and unsuitable for ballet. Ballet dancers simply refused to dance to her.
Prokofiev wrote the score in 1934, and originally it was intended not for the theater, but for the famous Leningrad Academic Choreographic School to celebrate its 200th anniversary. The project was not implemented due to the murder of Sergei Kirov in Leningrad in 1934, and changes broke out in the leading musical theater of the second capital. Nor did the plan to stage Romeo and Juliet at the Moscow Bolshoi come to fruition. In 1938, the premiere was shown by a theater in Brno, and only two years later, Prokofiev's ballet was finally staged in the author's homeland, at the then Kirov Theater.
Choreographer Leonid Lavrovsky, within the framework of the “drambalet” genre (a form of choreographic drama characteristic of the ballet of the 1930-50s), highly welcomed by the Soviet authorities, created an impressive, exciting spectacle with carefully sculpted mass scenes and finely defined psychological characteristics of the characters. At his disposal was Galina Ulanova, the most refined ballerina-actress, who remained unsurpassed in the role of Juliet.
Prokofiev's score was quickly appreciated by Western choreographers. The first versions of the ballet appeared already in the 1940s. Their creators were Birgit Kuhlberg (Stockholm, 1944) and Margarita Froman (Zagreb, 1949). Famous productions of "Romeo and Juliet" belong to Frederick Ashton (Copenhagen, 1955), John Cranko (Milan, 1958), Kenneth MacMillan (London, 1965), John Neumeier (Frankfurt, 1971, Hamburg, 1973).I. Moiseev, 1958, choreography by Y. Grigorovich, 1968.
Without "Spartacus" the concept of "Soviet ballet" is unthinkable. This is a real hit, a symbol of the era. Soviet period developed other themes and images, deeply different from the traditional classical ballet inherited from Marius Petipa and the Imperial Theaters of Moscow and St. Petersburg. Fairy tales with a happy ending were archived, and they were replaced by heroic stories.
Already in 1941, one of the leading Soviet composers, Aram Khachaturian, spoke of his intention to write music for a monumental, heroic performance to be staged at the Bolshoi Theatre. The theme for it was an episode from ancient Roman history, an uprising of slaves led by Spartacus. Khachaturian created a colorful score using Armenian, Georgian, Russian motifs and full of beautiful melodies and fiery rhythms. The production was to be staged by Igor Moiseev.
It took many years for his work to come out to the audience, and it appeared not at the Bolshoi Theater, but at the Theater. Kirov. Choreographer Leonid Yakobson created a stunning and innovative performance, abandoning the traditional attributes of classical ballet, including pointe dancing, using free plastique and ballerinas wearing sandals.
But the ballet "Spartacus" became a hit and a symbol of the era in the hands of choreographer Yuri Grigorovich in 1968. Grigorovich impressed the viewer with a completely built dramaturgy, subtle portrayal of the characters of the main characters, skillful staging of crowd scenes, purity and beauty of lyrical adagios. He called his work "a performance for four soloists with a corps de ballet" (corps de ballet - artists involved in mass dance episodes). Vladimir Vasiliev played the role of Spartacus, Crassus - Maris Liepa, Phrygia - Ekaterina Maksimova and Aegina - Nina Timofeeva. Card de ballet was predominantly male, which makes the ballet "Spartacus" one of a kind.
In addition to the well-known readings of Spartacus by Yakobson and Grigorovich, there are about 20 more productions of the ballet. Among them are the version by Jiri Blazek for the Prague Ballet, Laszlo Serega for the Budapest Ballet (1968), Jüri Vamos for the Arena di Verona (1999), Renato Zanella for the Vienna State Opera Ballet (2002), Natalia Kasatkina and Vladimir Vassilev for the State Academic Theater they direct. classical ballet in Moscow (2002).
Tickets for world-famous theater performances must be booked long in advance. Let's try to find out how these attractions attract theater-goers from all over the world and how much a ticket to best theater peace.
Of course, this list clearly lacks the Bolshoi or Mariinsky theaters, but we decided to devote a separate article to the most famous theaters in Russia.
The most famous theaters in the world
Life is in full swing in the capitals of Europe. Paris, London, Milan - not only fashionistas and tourists with cameras flock here. Intellectuals - connoisseurs of architecture, theater, opera, ballet and music will also be delighted.Covent Garden Theater
LondonThe capital of Great Britain is rich in theaters with history. It was on the stage of the London Globe that Shakespeare's plays were staged for the first time. But although the Globe, which survived two reconstructions, is still operating today, the Royal Opera House in Covent Garden, the home stage of the Royal Ballet and the Royal Opera, has the status of the most famous theater in London.
The modern building is already the third. In 1732, the theater opened its doors for the first time to spectators who came to see the production of "Secular Customs" based on the play by William Congreve. After 76 years, the Covent Garden building was destroyed by fire. It took 9 months to recover. The re-opened theater delighted the audience with Macbeth. In 1856, the theater burned down again, but two years later it was reborn from the ashes as we can see it now.
Large-scale reconstruction theater was held in 1990. Now its 4-tiered hall accommodates 2268 visitors. Ticket prices for the Covent Garden Theater range from £15 to £135.
grand opera
ParisThe most famous theater in Paris is the Grand Opera. In 1669, Louis XIV "gave the go-ahead" for the founding of an opera house to the poet Pierre Perrin and the composer Robert Kamber. Over the centuries, the theater changed its name and location several times, until in 1862 it ended up in the IX arrondissement of Paris, in a building designed by Charles Garnier, built in 1875 by the architect Charles Garnier.
The facade of the theater is luxurious - it is decorated with four sculptures (personifications of Drama, Music, Poetry and Dance), as well as seven arches. The building is crowned with a majestic shining dome.
The stage of the Grand Opera has seen German, Italian and French composers. It was here that the premiere of Stravinsky's opera "Mavra" took place. Its current name is the Palais Garnier, and it is perhaps the most visited theater in the world.
VeinAustria is the birthplace of many classics: Haydn, Mozart, Beethoven, whose music formed the basis of the Vienna Classical Music School. Perhaps that is why the Vienna Opera can be confidently called the most famous opera house in the world.
The opera house was built in 1869. The opening was marked by Mozart's opera Don Giovanni.
Since the theater building was built in the style of an extremely common neo-Renaissance, it was repeatedly subjected to merciless criticism - the facade of the building seemed boring to the inhabitants of Vienna, unremarkable.
Second world war the theater was partially destroyed, but in 1955 it was solemnly re-opened with the opera Fidelio by Beethoven. In terms of the number of performances, none of the other opera houses is able to compare with the Vienna Opera. For 285 days a year, about 60 operas are staged in this building on the Ringstrasse. Every year, a week before the first day of Lent, the Viennese Ball is held here - an event listed in the list of intangible cultural wealth protected by UNESCO.
La Scala
Milan>It was in Renaissance Italy that modern opera was born. In 1776, the Milanese architect Giuseppe Piermarini liked a piece of land on the site of the destroyed church of Santa Lucia della Scala. It was decided to build an opera house on it, which eventually received the name from its "ancestor".
During the construction of the foundation underground, they found a marble slab with the image of the ancient Roman actor Pylades, which the builders took as a sign from above.
La Scala's first opera was Recognized Europe by composer Antonio Salieri. It was in these walls that the orchestras of Gavazzeni Gianandrea, Arturo Toscanini and Riccardo Muti first sounded.
Today, La Scala is rightfully read by one of the most famous theaters in the world. This is the first after the Milan Cathedral that the tourists who arrived in Milan inspect.
The last time the theater was reconstructed was in the early 2000s. The opening took place in 2004, and Salieri's opera Renewed Europe was again shown on the renovated stage.
Palace of Catalan Music
BarcelonaA rather young (compared to previous) theater, the Palace of Catalan Music in Barcelona opened its doors to musical aesthetes in 1908. Barcelona loves Gaudi's Spanish Art Nouveau, and therefore it was decided to build the main concert hall of the country in the same style - waves and spirals prevail here over straight lines.
The facade of the Palace reminds us that in Spain European and Arab cultures are closely intertwined like nowhere else.
But main feature concert hall- its lighting. The light is completely natural. The dome of the Palace of Catalan Music is made of colored glass mosaics. The rays of the sun, refracted, create an indescribable effect!
Sydney Opera House
SydneyThe Sydney Opera House may not be the most visited in the world, but it is definitely the most recognizable and unusual theater. Its white sail-like walls have become one of the modern wonders of the world.
The grand opening ceremony took place in October 1973 with the participation of Queen Elizabeth II.
Everyone knows what the Sydney Theater looks like from the outside, now check out what it looks like inside - what a delightful combination of futurism and gothic!
The total area of the building exceeds two hectares. Inside you will find almost a thousand rooms, because the building is the "headquarters" for the Australian Opera, Sydney symphony orchestra, the National Ballet and the Sydney Theater Company.
The lighting of the theater consumes energy, quite comparable to the electricity consumption of a small Australian town.
Kabukiza
TokyoWe know a lot about European theaters, but what about the theater in the East? What are the features, in particular, of the Japanese theater culture?
Classical Japanese theater combines drama, music, dance, and poetry on stage. The scenery at the performances is uncomplicated, which cannot be said about the masks and kimonos of the actors. The meaning of the performance is a tough nut to crack for an unprepared viewer who is unfamiliar with Japanese culture and unable to understand the many subtle references to mythology, literature and history.
Nevertheless, Tokyo Kabuki-za theater is adored not only by the Japanese, but also by tourists - none of the 1964 seats in the hall is usually empty. Ticket prices start at 15,000 yen (about 8,000 rubles), and for an additional fee, viewers can buy an audio guide that will explain all the details of what is happening.
Radio City Music Hall
NYBuilt in the heart of Manhattan in 1932, the Radio City Music Hall has become one of New Yorkers' favorite entertainment venues. Plays, musicals, performances jazz orchestras, fresh movie premieres - all this could be seen here. The era has changed, but the chic and brilliance of 20th-century Broadway musicals will still captivate Americans and tourists alike.
The traditional Christmas musical is especially popular.
Radio City can accommodate 6,000 people at once, which is why its stage often hosts national events like the Grammy music awards.
The pride of the Radio City hall is a huge 4410-pipe organ.
Semper Opera
DresdenShe is the Dresden National Opera or Semperoper in honor of the architect Gottfried Semper. The majestic neo-Renaissance building first received visitors on April 12, 1841. The first work that sounded from this stage was Goethe's play Iphigenia in Tauris. Subsequently, the premieres of many operas by Richard Wagner took place here.
Submitted by copypaster on Wed, 15/08/2007 - 01:11
Ballet is a rather young art. It is a little over four hundred years old, although dance has been decorating human life since ancient times.
Ballet was born in Northern Italy during the Renaissance. The Italian princes loved magnificent palace festivities, in which dance occupied an important place. Rural dances were not suitable for court ladies and gentlemen. Their robes, like the halls where they danced, did not allow for unorganized movement. Special teachers - dance masters - tried to put things in order in court dances. They rehearsed individual figures and movements of the dance with the nobles in advance and led groups of dancers. Gradually the dance became more and more theatrical.The term "ballet" appeared at the end of the 16th century (from the Italian balletto - to dance). But then it did not mean a performance, but only a dance episode that conveys a certain mood. Such "ballets" usually consisted of little-connected "outputs" of characters - most often heroes Greek myths. After such "outputs" a common dance began - the "big ballet".
The first ballet performance was the Queen's Comedy Ballet, staged in France in 1581 by the Italian choreographer Baltazarini di Belgiojoso. It was in France that further development ballet. At first, these were masquerade ballets, and then pompous melodramatic ballets on chivalrous and fantastic plots, where dance episodes were replaced by vocal arias and recitation of poems. Do not be surprised, at that time the ballet was not only a dance performance.
During the reign of Louis XIV, the performances of the court ballet reached a special splendor. Louis himself loved to participate in ballets, and received his famous nickname "The Sun King" after playing the role of the Sun in the "Ballet of the Night".
In 1661 he created the Royal Academy of Music and Dance, which included 13 leading dancing masters. Their duty was to preserve the dance traditions. The director of the academy, the royal dance teacher Pierre Beauchamp, identified the five basic positions of classical dance.
Soon the Paris Opera was opened, the choreographer of which was the same Beauchamp. Under his leadership, a ballet troupe was formed. At first, it consisted of only men. Women appeared on the stage of the Paris Opera only in 1681.
The theater staged opera-ballets by the composer Lully and comedies-ballets by the playwright Molière. At first, courtiers took part in them, and the performances almost did not differ from palace performances. The already mentioned slow minuets, gavottes and pavanes were danced. Masks, heavy dresses, and high-heeled shoes made it difficult for women to perform complex movements. Therefore, men's dances were distinguished then by greater grace and grace.
By the middle of the 18th century, ballet was gaining great popularity in Europe. All the aristocratic courts of Europe sought to imitate the luxury of the French royal court. Opera houses opened in the cities. Numerous dancers and dance teachers easily found work.
Soon influenced by fashion female ballet costume became much lighter and freer, under it the lines of the body were guessed. Dancers abandoned shoes with heels, replacing them with light heelless shoes. The men's costume also became less cumbersome: tight-fitting pantaloons to the knees and stockings made it possible to see the figure of the dancer.
Each innovation made dances more meaningful, and dance technique higher. Gradually, ballet separated from opera and turned into an independent art.
Although the French ballet school was famous for its grace and plasticity, it was characterized by a certain coldness and formality of performance. Therefore, choreographers and artists were looking for other means of expression.
At the end of the 18th century, a new trend in art was born - romanticism, which had a strong influence on ballet. In a romantic ballet, the dancer stood on pointe shoes. Maria Taglioni was the first to do this, completely changing the previous ideas about ballet. In the ballet "La Sylphide" she appeared as a fragile creature from underworld. The success was stunning.
At this time, many wonderful ballets appeared, but, unfortunately, the romantic ballet was the last heyday. dance art in the West. From the second half of XIX century ballet, having lost its former meaning, has become an appendage to the opera. Only in the 1930s, under the influence of Russian ballet, did the revival of this art form begin in Europe.
In Russia, the first ballet performance - "The Ballet of Orpheus and Eurydice" - was staged on February 8, 1673 at the court of Tsar Alexei Mikhailovich. Ceremonial and slow dances consisted of a change of graceful postures, bows and moves, alternating with singing and speech. No significant role he did not play in the development of stage dance. It was just another royal "fun", which attracted with its unusualness and novelty.
Only a quarter of a century later, thanks to the reforms of Peter I, music and dance entered the life of Russian society. Compulsory dance training was introduced into noble schools. At the court, musicians discharged from abroad began to perform, opera artists and ballet companies.
In 1738, the first ballet school in Russia was opened, and three years later 12 boys and 12 girls from the palace servants became the first professional dancers in Russia. At first, they performed in the ballets of foreign masters as figurants (as the corps de ballet dancers were called), and later in the main parts. The remarkable dancer of that time, Timofey Bublikov, shone not only in St. Petersburg, but also in Vienna.
At the beginning of the 19th century, Russian ballet art reached its creative maturity. Russian dancers brought expressiveness and spirituality to the dance. Feeling this very accurately, A. S. Pushkin called the dance of his contemporary Avdotya Istomina "a flight filled with soul."
Ballet at that time took a privileged position among other types of theatrical art. The authorities paid great attention to it, provided state subsidies. Moscow and St. Petersburg ballet troupes performed in well-equipped theaters, and graduates of theater schools annually replenished the staff of dancers, musicians and decorators.
Arthur St. Leon
In the history of our ballet theatre, one often encounters the names of foreign masters who played a significant role in the development of Russian ballet. First of all, these are Charles Didelot, Arthur Saint-Leon and Marius Petipa. They helped create the Russian ballet school. But talented Russian artists also made it possible to reveal the talents of their teachers. This invariably attracted the largest choreographers of Europe to Moscow and St. Petersburg. Nowhere in the world could they meet such a large, talented and well-trained troupe as in Russia.
In the middle of the 19th century, realism came to Russian literature and art. Choreographers feverishly, but to no avail, tried to create realistic performances. They did not take into account that ballet is a conditional art and realism in ballet differs significantly from realism in painting and literature. The crisis of ballet art began.
A new stage in the history of Russian ballet began when the great Russian composer P. Tchaikovsky first composed music for the ballet. It was Swan Lake. Prior to that, ballet music was not taken seriously. She was considered inferior view musical creativity, just an accompaniment to dancing.
Thanks to Tchaikovsky, ballet music became a serious art along with opera and symphonic music. Previously, music was completely dependent on dance, now dance had to obey music. New means of expression and a new approach to creating a performance were required.
The further development of Russian ballet is connected with the name of the Moscow choreographer A. Gorsky, who, having abandoned the outdated techniques of pantomime, used the techniques of modern directing in a ballet performance. Giving great importance the picturesque design of the performance, he attracted the best artists to work.
But the true reformer of ballet art is Mikhail Fokin, who rebelled against the traditional construction ballet performance. He argued that the theme of the performance, its music, the era in which the action takes place, each time require different dance movements, a different dance pattern. When staging the ballet "Egyptian Nights" Fokine was inspired by the poetry of V. Bryusov and ancient Egyptian drawings, and the images of the ballet "Petrushka" were inspired by the poetry of A. Blok. In the ballet Daphnis and Chloe, he abandoned pointe dancing and, in free, plastic movements, revived antique frescoes. His "Chopiniana" revived the atmosphere of romantic ballet. Fokin wrote that he "dreams of creating a ballet-drama from ballet-fun, from dance - an understandable, speaking language." And he succeeded.
Anna Pavlova
In 1908, the annual performances of Russian ballet dancers in Paris began, organized by the theater figure S. P. Diaghilev. The names of dancers from Russia - Vaslav Nijinsky, Tamara Karsavina, Adolf Bolm - became known all over the world. But the first in this row is the name of the incomparable Anna Pavlova.
Pavlova - lyrical, fragile, with elongated body lines, huge eyes - evoked engravings depicting romantic ballerinas. Her heroines conveyed a purely Russian dream of a harmonious, spiritualized life or longing and sadness for an unfulfilled one. The Dying Swan, created by the great ballerina Pavlova, is a poetic symbol of Russian ballet at the beginning of the 20th century.
It was then, under the influence of the skill of Russian artists, that Western ballet shook itself and gained a second wind.
After the October Revolution of 1917, many figures of the ballet theater left Russia, but despite this, the school of Russian ballet survived. The pathos of the movement towards a new life, revolutionary themes, and most importantly the scope for creative experiment inspired the ballet masters. Their task was to bring choreographic art closer to the people, to make it more vital and accessible.
This is how the genre of dramatic ballet arose. These were performances, usually based on the plots of famous literary works, which were built according to the laws of a dramatic performance. The content in them was presented with the help of pantomime and pictorial dance. In the middle of the 20th century, dramatic ballet was in crisis. The choreographers made attempts to preserve this genre of ballet, enhancing the spectacle of performances with the help of stage effects, but, alas, in vain.
In the late 1950s, a turning point came. Choreographers and dancers of a new generation have revived forgotten genres - one-act ballet, ballet symphony, choreographic miniature. And since the 1970s, independent ballet troupes have arisen, independent of opera and ballet theaters. Their number is constantly increasing, among them there are studios of free dance and modern dance.
in the 16th century, it has come a long way and by our time has become popular all over the world. Numerous ballet schools and theater troupes, whose number is increasing every year, are both classical and modern.
But if there are dozens of famous show ballets, and, in fact, they differ from other dance ensembles only in the level of skill, then national ballet theaters with a long history can be counted on the fingers.
Russian Ballet: Bolshoi and Mariinsky Theaters
You and I have something to be proud of, because Russian ballet is one of the best in the world. Swan Lake, The Nutcracker, the famous plastic ballets that appeared in our country at the beginning of the 20th century made Russia the second home of this art and provided our theaters with an endless stream of grateful spectators from all over the world.
Today, the troupes of the Bolshoi and Mariinsky Theaters compete for the title of the best, whose skills are being improved day by day. The dancers of both troupes are selected among the pupils of the St. Petersburg Academy named after A. Ya. Vaganova, and from the first days of training, all its students dream of one day performing a solo part on the main stage of the country.
French Ballet: Grand Opera
The cradle of world ballet, whose attitude to performances has been unchanged for three centuries, and where only classical academic dance exists, and everything else is regarded as a crime against art, is the ultimate dream for all dancers in the world.
Each year, its membership is replenished with only three dancers who have gone through so many selections, competitions and tests that even the astronauts never dreamed of. Tickets to the Paris Opera are not cheap, and only the most wealthy connoisseurs of art can afford them, but the hall is full during each performance, because in addition to the French themselves, all Europeans come here who dream of admiring classical ballet.
United States: American Ballet Theater
Acquired wide popularity after the release of "The Black Swan", the American Ballet Theater was founded by the soloist of the Russian Bolshoi Theater.
Having its own school, the ballet does not hire outside dancers and has a distinctive Russian-American style. The productions coexist with classic stories, such as the famous Nutcracker, and new dance directions. Many ballet connoisseurs claim that ABT has forgotten about the canons, but the popularity of this theater is growing year by year.
UK: Birmingham Royal Ballet
Curated by the Queen herself, the London Ballet is small in terms of the number of dancers, but is distinguished by the rigor of the selection of participants and repertoire. Here you will not meet modern trends and genre deviations. Perhaps that is why, unable to withstand the harsh traditions, many young stars of this ballet leave him and begin to create their own troupes.
It is not easy to get to the performance of the royal ballet, only the most noble and rich people of the world are honored with this, but once every three months charity evenings with an open entrance are organized here.
Austrian Ballet: Vienna Opera
The history of the Vienna Opera has a century and a half, and all this time Russian dancers have been the first soloists of the troupe. Known for its annual balls, which didn't take place until World War II, the Vienna Opera House is Austria's most visited attraction. People come here to admire the talented dancers and, looking at their compatriots on stage, proudly speak their native language.
It is very easy to get tickets here: thanks to the huge hall and the absence of resellers, you can do it on the day of the ballet, the only exceptions will be the days of premieres and the opening of the season.
So, if you want to see classical ballet performed by the most talented dancers, go to one of these theaters and enjoy the ancient art.
Great Britain. Prior to the tour of the Diaghilev and Anna Pavlova troupe in London in the 1910s and 1920s, ballet was presented in England mainly by performances of individual famous ballerinas on the stages of music halls, for example, the Danish Adeline Genet (1878-1970). English ballet owes its birth to two women who worked for Diaghilev: Marie Rambert (1888-1982), a native of Poland, and Ninette de Valois (b. 1898), born in Ireland but trained in London. Rambert, a student of the musician and creator of the system of rhythmic gymnastics Emile Jacques-Dalcroze, was invited by Diaghilev to help Nijinsky when he had to work on the score of Stravinsky's The Rite of Spring, which was very difficult in terms of rhythm. For several years she danced in the corps de ballet of the Russian Ballet troupe, then returned to England and in 1920 opened her own school. Her students performed, first called the Marie Rambert Dancers, then as part of the Ballet Club, at the tiny Mercury Theatre, located in Nottinhill Gate, London. It was at Rambert that many famous English artists began their careers, including choreographers Frederick Ashton and Anthony Tudor. Both turned to dance as adults, but very soon began to stage small ballets at Rambert's. In the 1930s, a whole generation of young English dancers grew up in their productions. De Valois, who also danced in Diaghilev's troupe, after leaving him, opened a school in London, which soon became part of the Sadler's Wells Theatre, and in 1931 the Vic Wells Ballet was formed from her students; in 1948 it was named "Sadler's Wells Balle". Ashton joined forces with Ninette de Valois to create ballets that brought to light the talents of young artists trained by de Valois, Margot Fontaine (1919-1991), Beryl Gray (b. 1927), Robert Helpman (1909-1986), Moira Shearer (b. 1926). With their participation, over the next forty years, a specifically English style of ballet performance and performance was developed, which is characterized by virtuosity, drama and pure classical lyricism. Ashton's productions include those full of humor (Facade, 1931, music by William Walton; Vain Precaution, 1960, music by Ferdinand Herold, arranged by John Lunchbury) and tragic (Ondine, 1958, music by H.W. Henze; A Month in the Country, 1976, on music by F. Chopin), plotless (Symphonic Variations, 1946, to music by S. Frank; Monotony 1 and Monotony 2, 1965, 1966, to music by E. Satie) and narrative (Cinderella, 1948, music by Prokofiev; Dream, 1964, on music by F. Mendelssohn in the processing of Lanchbury). Ashton willingly created ballets based on literary works: for example, his Dream is based on Shakespeare's play A Midsummer Night's Dream, and A Moon in the Country is based on Turgenev's play of the same name. Ashton's muse was Margot Fonteyn, whose talent as a ballerina developed simultaneously with his choreographic experiments. He created his last ballet for her in 1963: this is Marguerite and Armand (based on the Lady with Camellias by Alexander Dumas son and to the music of F. Liszt). At this time, Fonteyn, who was already over forty, experienced, as it were, a second stage youth, finding a new partner in the person of the dancer Rudolf Nureyev, who emigrated from the Soviet Union. Ashton was inspired by the talents of the most different performers: drama characteristic of Lynn Seymour (b. 1939) or Christopher Gable (1940-1998), brilliant technique and at the same time emotionality, manifested in the duet of Anthony Dowell (b. 1943) and Antoniet Sibley (b. 1939). Unfortunately, after Ashton's death (1988), his productions are not preserved with the same care with which Balanchine or Tudor ballets are preserved in America. In the 1930s, Ninette de Valois invited the director of the Mariinsky Theater Nikolai Sergeev (1876-1951), who had emigrated from Russia, to stage classical ballets of the 19th century in order to enrich the repertoire and provide artists with the opportunity to master previously unaccustomed dance forms. By 1956, Sadler's Wells Ballet had become the Royal Ballet and performed at the Royal Opera House, Covent Garden. In his repertoire in the 1960s and 1970s, along with traditional classical works and productions by Frederick Ashton, dramatic ballets by Kenneth Macmillan appeared. His performances are notable for their underlined drama, they are full of acrobatic steps and supports that serve as an expression of intense emotions. Macmillan's most successful performances were the multi-act Romeo and Juliet (music by Prokofiev, 1965) and Manon (1974, to music by J. Massenet, arranged by Leighton Lucas), which are staged in many countries. Ashton, who directed the Royal Ballet from 1963, retired in 1970 after de Valois left. Until 1977, the company worked under Macmillan, then Norman Morris (b. dancer and choreographer Martha Graham (1894-1991). In 1986, Dowell, a dancer who had worked with Ashton, took over as head of the company, while Macmillan remained one of the company's choreographers until his death in 1992. He was replaced by David Bintley (b. 1957), whose ballets, sometimes dramatic, sometimes plotless, very diverse in style and genre. Dowell introduced into the repertoire the productions of Balanchine and Robbins, as well as the works of W. Forsyth and some of the troupe's dancers. He invited dancers from Russia, France and the USA as guests, but at the same time he paid attention to his own artists: under him the talents of Darcy Bussel (b. 1969) Viviana Durante (b. 1967) flourished. In response to criticism pointing to a lack of attention to Ashton's legacy, Dowell organized the Royal Ballet Festival for the 1994-1995 season. Throughout the 1940s and 1940s, the Balle Rambert troupe continued to stage new ballets, keeping the original classical ballets in their repertoire, designed for a small cast. In 1966, the troupe was reorganized, completely abandoning traditional performances and retaining only works in the modern dance style. In 1987, Richard Alston (b. 1948), who was influenced mainly by the style of the American choreographer Merce Cunningham (b. 1919), became its leader. In 1994 this post was taken by Christopher Bruce (b. 1945), former lead dancer and choreographer of the troupe. Other English companies include the English National Ballet, which has its direct predecessor in the company founded in 1949 by former Diaghilev dancers Alicia Markova and Anton Dolin (1904-1983), which for many years bore the name "London Festival Balle". In 1984, the Dane Peter Schaufus (b. 1949), who led the troupe, revived Ashton's ballet Romeo and Juliet, which by this time had been almost forgotten. In 1990, Ivan Nagy became the leader of the troupe. Royal Ballet always maintained a second, small mobile troupe. She settled in Birmingham in the 1990s and is now known as the Birmingham Royal Ballet.
Soviet Russia and other countries. In Russia, ballet did not lose its importance in the years after the First World War and under Soviet rule, even when the political and economic situation seemed to threaten the very existence of the Bolshoi and Mariinsky (named after the October Revolution State Theater opera and ballet, GOTOB, and since 1934 - the name of S.M. Kirov) theaters. The 1920s is a period of intense experimentation both in the form and content of a ballet performance. There are also productions of Proletkult on political and social topics, and in Moscow the works of Kasyan Goleizovsky (1892-1970), and in Petrograd (in 1924 renamed Leningrad) various productions of Fyodor Lopukhov (1886-1973), including his Greatness of the Universe (1922 ) to the music of Beethoven's Fourth Symphony. The Red Poppy to the music of R.M. Glier, a ballet staged in 1927 by Vasily Tikhomirov (1876-1956) and Lev Lashchilin (1888-1955) in Moscow, served as the prototype for many subsequent Soviet ballets: this is a multi-act performance, the theme of which is noble passions and heroic deeds, and specially written music is symphonic in nature. Such ballets as in 1932 The Flames of Paris by Vasily Vainonen (1901-1964), and in 1934 The Fountain of Bakhchisaray by Rostislav Zakharov (1907-1984) - both with music by Boris Asafiev, as in 1939 Laurencia (music by Alexander Crane) by Vakhtang Chabukiani (1910-1992 ) and in 1940 Romeo and Juliet by Leonid Lavrovsky (1905-1967) (music by Prokofiev), can serve as an example of those aesthetic principles that were followed not only by the main troupes - the Theater. S.M. Kirov in Leningrad and the Bolshoi Theater in Moscow - but also all about 50 theaters that worked in the country. Although individual finds of the 1920s were preserved, performances oriented towards Soviet political ideology prevailed, and the manner of performance was distinguished by cantileverness in the performance of movements and flexibility (features in the arms and back), while simultaneously developing high jumps, acrobatic lifts (for example, high lifting on one arm of the gentleman) and rapid spinning, which gave Soviet ballets a special dramatic expression. One of the teachers who contributed to the development of this style was Agrippina Vaganova (1879-1951). A former dancer at the Mariinsky Theatre, she began teaching at the end of her performing career. Having become a teacher at the Leningrad Choreographic School, Vaganova developed a program and a textbook of classical dance and prepared her students so that they could perform both the great romantic ballets of the past and the new Soviet ones, with their virtuoso technique. Throughout the Soviet Union, as well as in Eastern Europe, the Vaganova system was put as the basis for training. Spectators in Western Europe and the United States were practically unfamiliar with Soviet ballet until the mid-1950s, when the ballet troupes of the Theater. Kirov and the Bolshoi Theater for the first time went on tour to the West. Interest in him aroused the amazing skill of the Bolshoi ballerinas Galina Ulanova (1910-1998), who conveyed the feelings of Giselle and Juliet with penetrating lyricism, and Maya Plisetskaya (b. 1925), who struck with her brilliant technique in the role of Odette-Odile in Swan Lake. While the Bolshoi Theater embodied the most spectacular features of the Soviet style, the classical purity of the dancers of the Kirov Theater found expression in such artists as Natalya Dudinskaya (b. 1912) and Konstantin Sergeev (1910-1992), who contributed to the revival of the Petipa tradition. Achieved great success next generations artists: Ekaterina Maksimova (b. 1939), Vladimir Vasiliev (b. 1940), Natalya Bessmertnova (b. 1941) and Vyacheslav Gordeev (b. 1948) at the Bolshoi Theater, Irina Kolpakova (b. 1933), Alla Sizova (b. 1939) and Yuri Solovyov (1940-1977) at the Kirov Theatre. In 1961 Nureyev, one of the leading dancers of the Kirov Theatre, stayed in the West during the troupe's tour of France. Two other prominent artists of the same theater - Natalia Makarova and Mikhail Baryshnikov - did the same (Makarova - in London in 1970, Baryshnikov - in Canada in 1974). In the 1980s, administrative and political pressure on art in the Soviet Union eased, Oleg Vinogradov (b. 1937), who directed the ballet troupe of the Theater. Kirov since 1977, began to introduce the ballets of Balanchine, Tudor, Maurice Béjart (b. 1927) and Robbins into the repertoire. Less prone to innovation was Yuri Grigorovich (b. 1927), who from 1964 headed the Bolshoi Ballet. His early productions - Stone Flower (music by Prokofiev, 1957) and Spartacus (music by A.I. Khachaturian, 1968) - are typical Soviet performances. Grigorovich relies on spectacular effects, confidently manages a large mass of energetically moving dancers, widely uses folk dance prefers heroic stories. For many years, the Bolshoi Theater stage almost exclusively featured Grigorovich's ballets or his adaptations of old plays such as Swan Lake. By the end of the 1980s, Irek Mukhamedov (b. 1960) and Nina Ananiashvili (b. 1963) from the Bolshoi Theater, as well as Altynai Asylmuratova (b. 1961) and Farukh Ruzimatov (b. 1963) from the Theater. Kirov received permission to perform with leading ballet troupes in the West, then became part of these groups. Even Vinogradov and Grigorovich began to look for opportunities to show their talents outside of Russia, where state funding for theaters was significantly reduced after the collapse of the USSR in 1991. In 1995, Grigorovich was replaced as director of the Bolshoi Ballet by Vladimir Vasiliev. Other troupes in St. Petersburg are the ballet of the Maly Theater of Opera and Ballet. M. P. Mussorgsky (until 1991 it was called the Maly Theater of Opera and Ballet), the St. Petersburg "Boris Eifman Ballet Theater", which is headed by choreographer Boris Eifman (b. 1946), the Choreographic Miniatures troupe created by Leonid Yakobson (1904-1975), who worked at the Theatre. Kirov in 1942-1969, whose work became famous in the West. Troupe in Moscow musical theater them. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko, Theater of Classical Ballet. The troupe "Experiment", created in Perm by Evgeny Panfilov (b. 1956), deserves attention. The collapse of the Soviet Union and the ensuing economic crisis brought enormous hardship to the ballet companies, which until then had been generously subsidized by the state. Many dancers and teachers left the country to settle in the USA, England, Germany and other Western countries. During the Cold War, many countries of Eastern Europe, which were part of the Soviet bloc, followed Soviet principles both in training dancers and in staging performances. When the borders opened, many artists from these countries, especially from Hungary and Poland, joined the achievements of the choreography of the Western troupes who came to them, and began to travel outside their countries themselves.
France. French ballet in the early 20th century was in a state of crisis. Russian artists who were invited to the Paris Opera, in particular from the Diaghilev troupe, were much stronger French performers. After the death of Diaghilev, the leading dancer of his troupe, Sergei Lifar (1905-1986), who had once arrived in France from Ukraine, headed the Paris Opera Ballet and remained in this post in 1929-1945, then in 1947-1958. Under his leadership, excellent dancers grew up, especially the wonderful lyrical ballerina Yvette Chauvire (b. 1917), who became famous for her performance of the role of Giselle. The most interesting experiments in the field of choreography were carried out outside the Paris Opera, in particular by Roland Petit and Maurice Béjart. Petit (b. 1924) left the Opera in 1944 and created the "Ballet des Champs-Elysées", where he staged, among other performances, the ballet Youth and Death (1946, to music by J.S. Bach) for the young and dynamic dancer Jean Babilé ( b. 1923). Then for the troupe "Ballet of Paris" he created one of his most famous and long life productions - Carmen (1949, to music by J. Bizet) with Rene (Zizi) Jeanmer (b. 1924). Petit's sense of theatricality has allowed him to work in a variety of genres and to participate in commercial events. In 1972-1998 he led the troupe " National Ballet Marseilles", where he staged many stylish and sharp theatrical performances. Following Lifar, the troupe of the Paris Opera was headed one by one by such famous masters like Harald Lander (1905-1971), Georges Skibin (1920-1981), Violetta Verdi and Rosella Hightower (b. 1920). The repertoire was enriched by the works of Petit and Béjart, Balanchine, Robbins, Grigorovich, Glenn Tetley, as well as representatives of American modern dance Paul Taylor (b. 1930) and Merce Cunningham. In 1983, Rudolf Nureyev was appointed to the post of head. He paid special attention to the development of such ballerinas as Sylvie Guillaume (b. 1965) and Isabelle Guerin (b. 1961), and gave the company the opportunity to try their hand at choreographic works of various directions, while maintaining the classics. After the departure of Nureyev (1989), Patrick Dupont (b. 1959), the former leading dancer, who had the title of "star", returned to the troupe, now as a leader. In the 1970s and 1980s, French provincial troupes began to receive state support and gained international fame. Particularly noteworthy is the company "Ballet of the Rhine Departments", which, under the direction of Jean Paul Gravier, showed several reconstructions of performances of the 18th century, made on the basis of careful historical research undertaken by the Swedish choreographer Ivo Kramer (b. 1921), in particular, the ballets Dauberval's Vain Precaution and Medea and Jason Noverre (music by Jean Joseph Rodolphe). The Ballet de Lyon Opera performs stylized dramatic dance performances choreographed by Magy Marin (b. 1947).
Denmark. Ballet in Denmark entered the 20th century in a state of stagnation. Here, thanks to Hans Beck, the legacy of August Bournonville was preserved, but the lack of initiative led to the fact that the development of the Royal Ballet in Copenhagen stopped. Some revival of his activities came in the period 1932-1951, when the troupe was headed by Harald Lander (Lanner), a student of Beck. Lander kept Bournonville's works, if possible in their original version, but also staged his own ballets: the most famous of them is Etudes (1948, to music by K. Czerny, arranged by Knudoge Risager), where the main components of the ballet training class were brought to the stage and theatricalized. In 1951, Lander appointed Vera Volkova (1904-1975), at that time the most authoritative expert in the West on the Vaganova system, as the troupe's artistic consultant. Through her efforts, Danish dancers have mastered new technology, which opened up new opportunities for them in the performance of works different styles. The troupe came out of isolation, toured Europe, Russia, and the American continent. The grace and joyful animation inherent in the style of Bournonville made the most favorable impression, as did the bravura of the dance, which distinguished the performance of Danish dancers, especially Eric Brun. The training of male dancers has been recognized as one of the main achievements of the Danish school. In the 1960s and 1970s, there was an extraordinary increase in interest in the history of ballet, and Bournonville performances began to be studied as the most authentic example of surviving romantic ballet works, prompting the Royal Danish Ballet to hold Bournonville Ballet Festivals in 1979 and 1992. After Lander, the team worked under the guidance of many artists, including Flemming Flindt (b. 1936), Henning Kronshtam (b. 1934) and Frank Andersen (b. 1954). In 1994, the troupe was directed by Peter Schaufus, and in 1996-1999 by the Englishwoman Maina Gielgud (b. 1945). The repertoire of the Royal Danish Ballet gradually expanded with the work of foreign choreographers, at the same time the ballets of Bournonville began to be included in the repertoire dance groups Worldwide. In 1982, the National Ballet of Canada staged the entire ballet Naples (music by Niels Wilhelm Gade, Edward Mats Ebbe Helsted, Holger Simon Paulli and Hans Christian Lumby), and in 1985 Balle West in the American city of Salt Lake City (Utah). ), directed by Bruce Marks and Tony Lander, showed a reconstruction of the ballet Abdalla (music by Holger Simon Paulli), which had not been performed before for 125 years.
Germany. During the first half of the 20th century in Germany, the most significant phenomenon was the development of free dance, which received the name "expressive" here - Ausdruckstanz. After the Second World War, the governments of the FRG and the GDR paid a lot of attention to supporting ballet troupes. In all the main cities of West Germany, independent ballet groups were created at opera houses, which staged their performances while participating in operas. John Cranko from England (1927-1973), who performed and staged a number of performances in the English troupe "Sadler's Wells Theater Balle", headed the Stuttgart Ballet in 1961 and formed an extensive repertoire of his own multi-act performances, in many respects reminiscent of Soviet ballets in style, rich in dramatized dances . This is Romeo and Juliet (music by Prokofiev, 1962). Onegin (1965, to music by Tchaikovsky, arranged by K. Kh. Stolze) and The Taming of the Shrew (1969, to music by A. Scarlatti, arranged by K.-H. Stolze), ballets, the success of which largely depended on the participation of the wonderful dancer Marcia Heide in them (b. 1939), Brazilian by birth, and her partner, American Richard Craghan (b. 1944). The troupe soon gained worldwide fame; after the untimely death of Cranko, it was headed by Glen Tetley, who staged the ballet Solo on the organ in memory of Cranko (Voluntaries, 1973, to music by F. Poulenc). Among the main achievements of Cranko was the creative workshop he created, where young choreographers could experiment. The Americans William Forsythe and John Neumeier (b. 1942), as well as the Czech Jiri Kilian (b. 1947), began to work here. All of them became leading choreographers in ballet theaters Europe in subsequent decades. Neumeier took charge of the ballet in Hamburg in 1973 and created a rich repertoire there, both from his own editions of classical performances and original productions on religious and philosophical themes, where he used the music of Mahler, Stravinsky and Bach. His ballet Passion for St. Matthew (1981) lasted four hours. Forsythe joined the Stuttgart Ballet shortly before Cranko's death and danced here, while staging performances, until 1984, when he was invited to head the Frankfurt Ballet. Influenced by ideas common in modern literature, Forsyth applied them to ballet. In his choreography, there is the same fragmentation that distinguishes the literature of the postmodern era, verbal passages are often included in the dance, and techniques related to other art forms are used. The dance technique is based on extreme energy, a violation of natural balance, and its goal is to convey romantic relationships in the moment. highest voltage. Such are the ballets Love Songs (1979, folk music) and In the middle, somewhat elevated (music by Leslie Stuck and Tom Wilems), which was staged by Forsythe at the invitation of Nureyev in Paris Opera in 1988. Forsyth willingly used in his productions a sharp-sounding electronic music Dutchman Tom Willems, which contributed to the creation of an atmosphere of alienation and vague anxiety.
Netherlands. Before the Second World War, the influence of German free dance was the strongest in the Netherlands. After the war, audience interest in ballet increased and the troupe "Dutch National Ballet" was created in Amsterdam. In 1959, a number of dancers and choreographers, having left this troupe, founded the "Netherlands Dance Theatre", which settled in The Hague and devoted itself exclusively to contemporary choreography. The two troupes often exchanged both artists and performances. Hans van Manen (b. 1932) and Rudy van Dantzig (b. 1933), artistic director of the Dutch National Ballet, together with Glen Tetley formed the repertoire of the Dutch dance theater". At the heart of Tetley's work are different influences: these are Chania Holm (1898-1992) and Martha Graham, and Jerome Robbins, and American Balle Theater; it is not for nothing that he uses in his productions both the finger technique of ballet, and the excesses of the body and emphatically expressive hands characteristic of modern dance, but do not use jumps and skids developed in classical dance.The ballets of van Dantzig and van Manen are similar to the ballets of Tetley in that they have a mixture of different techniques. 1965, music by Jan Berman) has been performed by many ballet companies around the world.In 1978, Jiri Kilian, who is often compared to Tudor, became the head of the Netherlands Dance Theater, because both of them touch on topics that concern people and prefer to use the music of composers Central Europe. Kilian added new qualities to the mixed style of his predecessors: extensive use of movements performed lying on the floor, dramatic sculptural effects, high lifts and spins. His ballets The Return to a Foreign Land (1974 and 1975 - two editions) and Sinfonietta (1978), created to the music of L. Janacek and performed in many countries, demonstrate the possibilities that open up when the dance pattern is built on dancers close to each other. Interested in culture Australian aborigines, choreographer created in 1983 the ballets The Haunted Place (Stamping Ground, music by Carlos Chavez) and Sleep Time (Dreamtime, music by Takemitsu). In the early 1990s, Kilian joined the main troupe with another troupe - "Netherlands Theater 3". The Scapino Ballet, based in Rotterdam under the direction of Niels Kriste (b. 1946), is another Dutch company that has attracted attention with its modern productions.
Ballet art around the world. As the middle of the 20th century the role of ballet increased, troupes began to be created in almost all countries of the Americas, Europe, Asia, including in some areas Central Asia and Africa, as well as in Australia and New Zealand. Ballet has found a place for itself even in countries with their own rich dance tradition, such as Spain, China, Japan and Asia Minor. Maurice Béjart, who grew up in post-war France, founded the Ballet of the 20th Century in Brussels in 1960. This troupe, as well as a very unusual school organized under it called "Mudra", had the goal of promoting the art of ballet, demonstrating dance dramas based on psychology and modern philosophical ideas. Many performances were held in stadiums so that as many spectators as possible could see them. Béjart refuted Balanchine's oft-quoted assertion that "ballet is a woman" and focused on male dancers: for example, in the ballet The Firebird (to the music of Stravinsky's suite, 1970), he replaced the performer of the main part with a young man who portrays a partisan. Nevertheless, Balanchine's leading ballerina Susan Farrell, who temporarily left the New York troupe after she married, danced in his troupe for five years. In 1987, Gerard Mortier, director of the Théâtre de la Monnaie in Brussels, where the Ballet of the 20th Century worked, suggested that Bejart cut costs and reduce the composition of the troupe. Bejart, who did not agree with these requirements, began to look for another place where he could continue his work. Numerous offers were made to him from different countries of Europe, and he chose Lausanne in Switzerland. Now his troupe is called "Béjart's Ballet". In the last decades of the 20th century the Italian ballerina Carla Fracci, Alessandra Ferri (b. 1963) and Viviana Durante, the leading dancer of the English Royal Ballet, performed with great success outside of Italy, but there was no theater in their homeland where they could find a worthy application for their talents. In Spain, where the traditions of national dance are still stronger than any innovations, nevertheless, a local choreographer committed to classical ballet has appeared - Nacho Duato (b. 1957), who heads the Ballet Lirico Nacional. Duato, a former dancer at the Dutch Dance Theatre, choreographs dances that combine Kilian's cantileverness with fierce passion. In the 1920s, the Swedish impresario Rolf de Mare (1898-1964) founded the Swedish Ballet company in Paris, choreographed by Jean Berlin (1893-1930). This group made bold experiments and for a few years of its existence, from 1920 to 1925, competed with Diaghilev's Russian Ballet. The Royal Swedish Ballet, located in the building of the Royal Opera in Stockholm since 1773, was directed in 1950-1953 by Anthony Tudor. In 1950 Birgit Kulberg (b. 1908) Freken Julia (music by Thure Rangström) premiered here, which is still performed by many troupes around the world. In 1963, Tudor, again invited to the Royal Ballet, staged the Echo of the Trumpets (to music by Bohuslav Martinu). Birgit Kulberg, who studied with Kurt Jooss and Martha Graham, founded her own troupe in 1967 and experimented with combining classical choreography and modern dance in one performance. Her son Mats Ek (b. 1945), who has headed the Kulberg balle since 1990, performed completely new productions of the ballets Giselle and Swan Lake, which in no way resemble the traditional productions of the ballets Giselle and Swan Lake. In the 20th century three significant Canadian troupes arose: the Royal Winnipeg Ballet, founded under the name Winnipeg Ballet Club in 1938 and by 1949 had become a professional troupe; "National Ballet of Canada", created in Toronto in 1951; and the Great Canadian Ballet, which began operations in Montreal in 1957. The National Ballet of Canada was founded by Celia Franca (b. 1921), who performed with the English companies Balle Rambert and Sadler's Wells Ballet. Drawing on the experience of Sadler's Wells Balle, she began by staging classical ballets from the 19th century. Franca directed the troupe until 1974, when she was replaced by Alexander Grant (b. 1925). Reid Anderson (b. 1949) was the leader of the troupe from 1994-1996, and in 1996 James Kudelka (b. 1955) was appointed to this post. Ballet developed rapidly in Cuba. Alicia Alonso, one of the most famous American ballerinas in the United States, returned to her homeland after the revolution of Fidel Castro in 1959 and created the troupe "National Ballet of Cuba". The stage life of Alonso herself was very long, she stopped performing only at the age of more than sixty years. Many great dancers and choreographers worked in Buenos Aires at different times, in particular Nijinska and Balanchine. Argentines Julio Bocca and Paloma Herrera (b. 1975), who became the leading dancers of the "American balle tietr", began to study dance in Buenos Aires. Many Russian dancers after the revolution of 1917 left the country through the Asian border. Some of them temporarily or permanently settled in China. After World War II, teachers and choreographers from the USSR worked in China. During the period of Chinese cultural revolution 1960 Soviet influence waned, and national works began to be created, such as the Red Women's Battalion or the Gray-haired Girl (both in 1964). These performances are examples of a direction that denies lyricism in ballet as decadence, their remarkable feature is iron discipline and clarity in mass dances performed by the corps de ballet on the fingers. As foreign influence increased in the 1970s and 1980s, new ballet companies emerged in many Chinese cities. They are also created in the main cities of many other Asian countries.
Conclusion. By the end of the 20th century the problems facing the art of ballet became more and more clear. In the 1980s, when Balanchine, Ashton and Tudor died (in the 1980s) and Robbins moved away from vigorous activity, there was a creative vacuum. Most of the young choreographers working at the end of the 20th century were not very interested in developing the resources of classical dance. They preferred a mixture of different dance systems, with classical dance appearing depleted, and modern dance lacking originality in revealing bodily capabilities. In an effort to convey what constitutes the essence of modern life, choreographers use the finger technique as if to accentuate thoughts, but ignore the traditional hand movements (port de bras). The art of support has been reduced to a kind of interaction between partners, when a woman is dragged across the floor, thrown, circled, but almost never supported or danced with her. Most troupes build their repertoire to include the classics of the 19th century. (Sylphide, Giselle, Swan Lake, Sleeping Beauty), the most famous ballets of the masters of the 20th century. (Fokine, Balanchine, Robbins, Tudor and Ashton), popular productions by Macmillan, Cranko, Tetley and Kilian and the work of a new generation of choreographers such as Forsyth, Duato, James Koudelka. At the same time, the dancers receive better training, as there are more knowledgeable teachers. The relatively new field of dance medicine has given dancers access to techniques to prevent injury. There is a problem of introducing dancers to music. Widespread popular music does not know the diversity of styles, in many countries teaching musical literacy is at a low level, when staging dances, phonograms are constantly used - all this hinders the development of musicality among dancers. new phenomenon recent decades ballet competitions began, the first of which was held in Varna (Bulgaria) in 1964. They attract not only prizes, but also the opportunity to show themselves to judges representing the most prestigious organizations. Gradually there were more competitions, at least ten in different countries; some offer together money scholarships. In connection with the need for choreographers, competitions for choreographers also arose.
- - The first performance in Moscow - "The Ballet of Orpheus and Eurydice" was staged in 1673 by the Swede N. Lim. In 1773, a department was opened at the Moscow Orphanage...
Moscow (encyclopedia)
- - the classical first appeared in Japan in 1912, when the Italian choreographer Giovanni Roshi arrived there, who taught dance at the Teikoku Gekijo Theater for three years ...
All Japan
- - ballet, view performing arts: a musical and choreographic theatrical performance in which all the events, characters and feelings of the characters are conveyed through dance ...
Art Encyclopedia
- - - view of the stage. lawsuit; performance, the content of which is embodied in musical-choreographic. images. Based on the general dramaturgy. plan B. combines music, choreography and fine art...
- - Let's open a volume of Pushkin: The theater is already full; lodges shine; Parterre and chairs - everything is in full swing; There is impatient splashing in the paradise, And the curtain, rising up, rustles...
- - a type of theatrical art, where the main means of expression serves the so-called "classical" dance; stage work belonging to this art form...
Collier Encyclopedia
