“ the Seagull “ has flown to MoscowAt Musical theatre of a name of Stanislavsky and Nemirovich - Danchenko has taken place the main premiere of a season: the head of the Hamburg ballet John Nojmajer has transferred on a scene of the Moscow theatre the “ the Seagull “. The play of Anton Chekhov translated into ballet language was studied by TATYANA - KUZNETSOVA.
John Nojmajer, one of pillars of modern ballet, by the first formation - the philologist, on temperament - the scientist, and on calling - the educator. Here and Chekhovian “ the Seagull “ for the first time shown five years ago in the Hamburg ballet, which choreographer heads more than 30 years, it has put not simply on heart call, but also with the scientific purpose: to find “ a new way of transfer of dramatic art “. Considering that dramatic art “ transfer “ by means of ballet pases poltorasta years (in a XIX-th century raised already on “ Hamlet “ And in XX century whom only did not undertake), the invention of the choreographer looked, to put it mildly, not in an original way. Even more obvious the director`s decision to transform Chekhovian actresses in ballerinas, and writers - in ballet masters seemed. By itself opposition of safe classics and doubtful " arose also; new forms “. That has more unexpectedly appeared that to the scientific choreographer who has applied system of Stanislavsky to ballet practice, really was possible to open the “ a new way “. From traditional dramatic ballet it differed approximately the same as “ realistic “ direction of Small theatre of centenary prescription from realism of founders of the Moscow art popular theatre.
Muzteatr Stanislavsky three years exasperated John Nojmajera with requests about “ to the Seagull “ And that has trembled, having counted that the troupe bearing such name, is simply obliged to cope with the play which has glorified the director - the reformer. All actors: from prime ministers to corps de ballet - the choreographer has selected itself, paternal the poster zapestrela unfamiliar names. Prepared performance of more half a year, and the result has appeared is worthy efforts: on naturalness of actor`s game and coordination of ensemble anything similar at us at ballet theatre done not happen.
the First certificate is untwisted with Chekhovian slowness and nojmajerovskoj meticulousness. Any detail, any character is not missed. To not ballet principle “ the fourth wall “ the choreographer follows strictly: “ without noticing “ spectators, frolic young Nina (Valery Muhanova) and Kostja (Dmitry Hamzin); (Arthur Pjutsep) its long-term mistress withering Polina Andreevna (Irina Belavina) wears out cheerful Dorna; Spitefully waving away from mild bores Medvedenko (Michael Pukhov), hopelessly enamoured Masha (Natalia Krapivina) grieves; ignoring inhabitants of a summer residence, fop Trigorin (Georgi Smilevski) saunters with fishing tackles. And only Arkadina performed by prima ballerina Tatyana Chernobrovkinoj does not cease to play and simper, admiring the faultless foot in an accurate pointe.
atmosphere of viscous country idleness with silently decaying passions covers spectators while all these slow stage settings and fluid dialogues in which to each remark the plastic equivalent is found are developed. As well as the Chekhovian text, a choreography looks idle time to banality: in duets effective supports nojmajerovskoj “ Ladies with camellias “ semiacrobatic navorotov it “ the Dream in summer night “. With a fishing tackle Trigorin prosy sits, ploughs at ballet machine tool Arkadina, puts a seagull from a sheet of paper of Kostja. It turns out absolutely on - chehovski: “ People only have dinner, and at this time there is their happiness and their lives " break;.
Among reserved love dramas skilfully played hysterics Arkadinoj especially effectively looks, trying to keep Trigorina: having spat on grace, ugly having sat down and splashing bare feet, it bitingly twists a body of the lover, navzryd clasping that hips a head while statnyj the handsome man does not capitulate definitively - then the unfortunate woman in a trice turns to the arrogant tonic, plastically duplicating arkadinskuju a remark “ Now it mine “.
the choreography Psychologism overshadows the aesthetic conflict - a theme of innovation and traditions. With avant-guard - the ballet play of Trepleva which led by Nina is executed by six characters in elaborate suits under perkussiju well-known Evelin Glenni, - a full fog. Not clearly, who the author of these vymorochnyh a pas and the forced multifigured supports - the layman - loser Kostja or John Nojmajer? Some awkwardness cause and “ dances by Kostinoj of dream “ which Treplev indulges each time when comes to grief with Nina - in these dreams to it young men in the cowards, languidly shaking the bared torsos are.
but with traditional classics mister Nojmajer was quit with all definiteness. The beginning of the second certificate fills scenes of actor`s career absent at Chekhov with Zarechnoj: Nina in feathers and blond parichke works in corps de ballet mjuzik - a hall under music “ Moscow - Cheremushek “ Dmitry Shostakovich. Continuation of this revue - but and Homerically ridiculous - ballet traditsionalista Trigorina " looks even more trite; Death of the Seagull “ at Imperial theatre. Dressed in a white pack and a kokoshnik of Arkadina a dying swan breaks hands and there and then lihachit in Italian fuete, Trigorin in an antique tunic and with gilt onions in hands with inspiration flits in perekidnyh zhete, and corps de ballet, carefully touching legs, accompanies them with all possible obolstitelnostju.
Grown quiet was the Moscow public on this episode quickens unusually: in effect, in the form of a parody to it present behind what it usually goes to ballet and that essentially rejects nojmajerovskaja “ the Seagull “. The Object lesson of the visiting educator does not pass for nothing: after a series of excellent duets of the second certificate and the silent ending (Kostja Treplev without any shots creeps under a small scene on which there is no time its play was played, and disappears there in the dark) spectators are already ready to distinguish classical routine from live ballet theatre. And if imported “ the Seagull “ Will not play that reformatory role which the Chekhovian play in our theatrical history only because the ballet Stanislavsky at the troupe with the same name is not present has played.