Chair, rope and carpetDiana Vishneva after sign silence (performance “ Silenzio “ four-year prescription) “ has got to talking “ “ Dialogues “. Filosofsko - dancing conversation at the Maryinsky Theater was listened by OLGA FEDORCHENKO.
is more exact, in Diana Vishnevoj`s project choreographers spoke - their ardent video recognitions have shown to talent of the ballerina before the beginning of one of parts. To talk, of course, love everything, but, perhaps, for the first time monologues of ballet masters (minutes on 15) have drawn up the high-grade statement of performance, having occupied just twenty five percent “ bodies “ performance. In the remained three quarters - “ the Labyrinth “ March Grem (statement of 1947), “ Dialogues “ John Nojmajera (the world premiere of 2011) and “ Object of changes “ the Floor of Lajtfuta and Salt Leon (statement of 2003) - dance and only sometimes shout.
four dancers in ballet " shouted; Object of changes “ (On Frantsa Schubert`s music). Pol Lajtfut and Salt Leon, soloists of the Netherlands theatre of dance, at the moment of performance creation endured loss of the loved one. At their girlfriend working bebisitterom, have found out to a brain aneurysm. The dancing narration about the girl - klounesse in the ridiculous short dress, very much aspiring not to descend from a life carpet, it is touching and is plain. Life is financially outlined by a red carpet - in a playtime the four of its young men unrolls, in the end - skatyvaet. A carpet in “ Object of changes “ possibly, also there is a main changeable object - it that appears as a tender flower clearing on which frolic enamoured it seems the opened wide muzzle of a volcano. It is a lot of associations, telodvizhenija, defined as “ the plastic decision of performance “ them do not eclipse. The creative authority of the madam Cherry only becomes stronger in this courageous attempt of dancing irony over sentimental pathetics.
the World premiere of ballet of John Nojmajera “ Dialogues “ was outlined as an art dominant of evening. The live classic of traditional ballet theatre has composed a graceful dancing short story about emotional searches of interaction. Searches are promoted by two chairs: them, according to a plot, use on full - on them sit, them throw, from them survey vicinities. A remembered leitmotif “ Dialogues “ - infinite variations on a theme of embraces: the main heroine vainly tries to embrace the partner (Tjago Bordin - the Hamburg ballet), pritulitsja to it is pure on - woman`s, in search of a strong back - walls, and it contemptiously rejects its shy recognitions. Alexey Goribol who has performed part of a piano, has transformed a duet of protagonists into a trio where the left top corner of a scene - there where there was its tool became the highest point of suddenly arisen triangle.
opening the program “ the Labyrinth “ March Grem, ballet of the most respectable age, has appeared, perhaps, the freshest, most dynamical and strongest impression. Twisted on a scene tablet a snow-white rope - a tangible symbol of the inevitable terrible ending. The laconic gloomy choreography in which it is masterful is forced pressure only by one hollowing repetition of the elementary movement. Fragile firmness and makabricheskaja confidence of Ariadny as if express inflexible will and Diana Vishnevoj`s aspiration not to give to modern choreographers minutes of creative rest. Otherwise - a carpet, a chair and a rope.