From the title “Balanchine. Taylor. Garnier. Ekman” it is evident that we have before us a collection of one-act ballets of relevant choreographers, and the goal of the project is to some extent a study and outreach: new artistic Director of ballet Stasik ex-Etoile of the Paris Opera Laurent Hilaire decided to introduce the domestic audience with the history of Western choreography of the XX and XXI centuries, from Balanchine to Ekman.
Ballet “Onis” Jacques Garnier. Photo: courtesy of the press service of MAMT.
Anything else is moving, for example, the choreography of Paul Taylor on stage Stasik can not be explained. In front of us, of course, a kind of symbolic gesture. Because in the Russian theatre choreography by the famous American modernist transferred for the first time, and it’s name is a stage in the development of modern dance in General and American in particular. Taylor — the same choreographer that has attracted attention with a performance of “Seven new dances”, triggering a review in which was written a single word in the newspaper, the space available for the text, gaped emptiness. This was the response to the show, in one of the parts which Taylor just came out and stood motionless on the stage, claiming the new possibilities of expression, recognizing the dance is important not only dynamic but also static component. It was then that the choreographer has gained a reputation of “bad boys” of American dance.
The name Taylor in Russia, you know, touring his company passed here repeatedly. The ballet that I chose Hilaire for your troupe, is also the famous “Halo” became one of the foundations of American modern dance, and besides this ballet to the music of Handel, who in the early 70-ies was included in its repertoire Rudolf Nureyev (sought permission from the choreographer dancer for almost 10 years), one of the first that “built a bridge between classical ballet and modern dance” and was a “peace Treaty” between the two prior to this warring systems.
However, as revolutionary as this optimistic and Sunny ballet, performed barefoot at the time of its inception in 1962, all of his “sporty” aesthetics and “digenesis” Arsenal (classic postures connected with “natural” movements, wide waving his hands, deliberate “pad” of the foot, jumping, squatting) entirely in the past and migrating old-fashioned on the modern ballet stage, the decision is quite strange, which can be explained only by the desire to introduce dancers to your troupe with the new technology of movement, quite different from the classical one. But then this requires much more time. Should I be surprised that the dancers of the Musical theater can’t handle it? Evaluating at the time, the results of the development of this technique Nureyev, Paul Taylor he delicately said, “I think if he could take a year off and give performances, but only to learn modern technology, he would have achieved more”. Especially this is true for dancers Stasik.
But if the choreographer Paul Taylor and his ballet “the Halo” still, the phenomenon is extraordinary, even revolutionary for its time, covered with glory and included in the history of choreographic art, it is absolutely impossible to tell about another choreographer and another work included in the new program — ballet “Onis” Jacques Garnier for two accordionists (music for the ballet written by composer Maurice Pasha) and three dancers. Created this work in 1979 for “Theatre of Silence” when France attended to his lag in modern dance from the world of the choreographic process.
Then the choreographer Jacques Garnier and his assistant (who later became, after the death of Nureyev, the boss over the Paris Opera ballet) Brigitte lefèvre began to do these choreographic experiments, which then turned into “the choreographic research Group of the Paris Opera”. Onis is a historical region in the West of France with its capital at La Rochelle (where the ballet was shown for the first time), but he was the 12-minute “Baltic” and remained in his time, and meaning to revive him was no. From the dance of the three promising young soloists, which Hilaire is clearly making a bid (Evgeny Zhukov, innocent Yuldashev and George Smilevski Jr.), meaning also did not appear. Wherefore not set out a stylized folk story about the lives of three fishermen from the province Onis made the audience bored.
The Ballet “Serenade” By George Balanchine.
However, with another adnectomy, which, in fact, opened this year’s premiere event at the Theater of Stanislavsky and Nemirovich-Danchenko, Hilaire didn’t miscalculate. The style of the founder of American ballet and our former compatriot George Balanchine is a stumbling block for many of the world’s ballet companies. From the question of whether the troupe adequate to dance the choreography of Balanchine or she is for her, depends on the tacit status of the company in the ballet world.
In Stas Balanchine had never danced. The former artistic Director of Musical theatre Igor Zelensky, despite his love for the choreographer to give his players this choreography was clearly afraid. Hilaire took the risk. One of the most famous in the twentieth century (and the first for Balanchine to America) ballets — “Serenade” by Tchaikovsky (a ballet created in 1934 for the students of the newly established schools), the company clearly accepted and loved. Most of the problems here at the corps de ballet. However, for three premiere days exactly became of the movement, the smoother the ranks of the corps de ballet, stricter line. And such fine soloists of the theater like Oxana Kardash, Ivan Mikhalev, Denis Dmitriev, Natalia Somova, George Smilevski, just created for this choreography.
Of course, the company has work to do. As with all Russian companies that worked on this ballet (and before that, he was raised in Perm, Mariinsky and Bolshoi theatres, and the ballet Stasik those companies is inferior to), there are visible difficulties, but also visible and a huge desire to work on this style.
The biggest success of the premiere nights in the Stas — ballet the young and trendy (he puts the ballet at the Paris Opera) Swedish choreographer Alexander Ekman’s “Tulle”. Also having a reputation as a “choreographer-bully”, a man with an inexhaustible sense of humor (“Peter pan in the ballet”, calls him Hilaire), Ekman is the choreographer that put for the Norwegian troupe, the ballet “the Lake of swans”, where the scene used 6 thousand gallons of water, and in the absence of more poured a glass of water on the Historic stage of the Bolshoi theatre in his choreographic opus “what was I thinking at the Bolshoi theatre”… In the Russian ballets of the choreographer almost never seen, except one, which was shown at the Chekhov festival and other shown in the Stas on the DanceInversion festival in 2011, is also very funny, “hooligan” ballet “Cacti”, which was brought on tour 6 years ago Netherlands dance theatre NDT-II.
For Stasik fashionable 33-year-old choreographer was moved with the help of the Tutors of ballet, “Tulle”, delivered in 2012 for the Royal Swedish ballet. This performance is shown very rarely, and the ballet troupe of the Stanislavsky Theatre in it literally is “off”. All 12 corps de ballet couples employed in the ballet, all four pairs of Prim and Prime Ministers (for one night you can see almost all the Premier troupe: Denis Dmitriev and Anna Okunev, Ivan Mikhalev and Ksenia Shevtsova, Erika and Georgi Mikirtychev Smilevski, Oksana Kardash and Dmitry Sobolevsky) along with “the head of ballet troupe of the” walking exclusively on Pointe shoes (Anastasia Pershenkova), staged on the scene of a rollicking farce.
Tulle is the stuff from which made the tutus and simultaneously the name for the ballet. Classical ballet dictionary, pointy dance several pas de Deux, perfectly blended not too dramatic developed, loose structure of the ballet — based choreography. In a typical Ekman ironic manner in this bearing the parodic nature of the ballet the skit tells about the backstage side of the ballet life. It is told, or rather danced, under the recorded conversations of the artists about how they began their careers of dancers (it is in Russian, but like a piece of paper). Dance artists and the voice in English telling about ballet history, the sun king Louis XIV, who loved to dance, and recorded by his order Pierre Bosana mandatory five classical ballet positions. The electronic score in addition to recorded calls (which is so typical for the Swedish choreographer) mixed by composer Mikael Karlsson fragments of the famous classical ballets.
This look at ballet, its history, the creative process itself, which is invisible to the viewer. How a ballet is staged, to what is rarely spoken of. Paradoxical, ironic, on the verge of banter.
Here it is important to walk, shaking her hips, and give orders to the ballet boss, the artists think out loud or, like hunted horses, breathing heavily fall on the floor, exhausted from fatigue, and the audience happily smiling and spinning in a pas de Deux as if in a circus under approving exclamations watching the acrobatic “somersaults”. In short, we face the reverse side of “magical” world of classical dance. The world of girls in white tutus and the boys in tights emerging here typical ballet situations, gags, ballet stamps, brilliant pas de Deux and endless repetitions of the same, and in addition, exhausting hard work — that is all that Faina Ranevskaya aptly dubbed the “hard labor in flowers.”