Rus News Journal

Gala John Nojmajera in Petersburg

At the Petersburg Mihajlovsky theatre a concert " Nojmajer W/ O borders " the festival " has come to the end; Dyagilev. A PS " bodily devoted to John Nojmajeru. B4 the beginning of evening have handed over the award " Surprise me! " which name sends these words which have become by a slogan of the new award 2 Sergey Dyagilev, once the told Jean Cocteau. Same Nojmajer became the winner of the award all. OLGA FEDORCHENKO tells. Opened a concert a duet from " Seagulls ". Youth Treplev (Edvin Revazov) in shorts selflessly moulded from sand kulichiki and made of a paper a seagull - origami. W reverent respect ascended to a scenic stage, without daring to rank itself as a choir " creators ". In a word, all SPK that this duet — John Nojmajera`s dancing self-portrait in the beginning of a creative way. The following number — fragments from ballet " Yondering " — Should inform impressions on a youth of the choreographer, carefree and unpredictable, and the final fervent march of young soldiers, students of the Hamburg school of ballet, presented to public of recruits of mister Nojmajera, its future dancing army. And a pas - de - de from " Romeo and Juliette " which beginning — the direct plastic citation from Leonid Lavrovsky`s performance, — ABT respect for great predecessors of the past. If to judge by quantity presented in gala - a concert of numbers the saturation of creative life of mister Nojmajera is not subject to doubt — 13 boundaries in the form of scenes from various ballets (among them " the Lady W camellias " " the Dream in summer night " " the Water-nymph " " Liliom " " Dances under Bernstein " etc.). On ANY1 stage it has been in detail reported at scientific conference nojmajerovedov, taken place within the limits of festival.

meanwhile, from absolutely subjective POV of the correspondent, the main things in creativity of the choreographer can consider " Death in Venice ". Within the limits of festival Nojmajer has presented only 25 - a minute extract from almost three-hour performance of 2003, concentrated the main subject subjects: Gustav`s person a background of Ashenbaha (Lloyd Rigginsa`s tremendous execution!) And its internal conflict - passion 2 Tadzio (Edvin Revazov). John Nojmajera`s product surprisingly " authentic " conformable to the TXT of a short story of Thomas Manna in which in plastic the measured rhythm of a narration is embodied. The dancing story 2 is slow, lexical turns of its heroes are so intricate and seem exact reflexion mannovskogo a syllable. The vestment of Tadzio has appeared unique distinction between the literary TXT and ballet: the striped suit W a red bow at the God-send in performance of Nojmajera is transformed to red pants.

mister Riggins EVN outwardly absolutely corresponds to the description in the book: " Gustav Ashenbah was hardly below medium height, the brunette W a shaved face. Its hair combed BWD which has thinned on a cinciput and on temples already absolutely grey-haired, framed high, as if with hems a furrowed forehead ". From time to time the person of mister Rigginsa stiffened a mask, as if Mahler`s that posthumous mask which Thomas Mann 4 the description of appearance has borrowed a background of Ashenbaha. That B4 Tadzio high Edvin Revazov, of course, is not similar on 14 - the summer young man and health radiates Herculean (the literary background of Ashenbah repeatedly thinks that the young man long will not stretch), but naivety of a plasticity and chastity of shape do not make impression of an art lie. Besides risky dreams a background of Ashenbaha thanks to that mister Revazov did not look the boy - the teenager, have deduced the Petersburg display " Death in Venice " from - under possible blow of fighters W pedophilia.

the megaduet beginning casual collision of Tadzio and a background of Ashenbaha (and to it and coming to an end), made the CTR shown mini - ballet. And all internal space of man`s dialogue — materializatsija thoughts and emotions of the protagonist at the moment of this their unique real contact. In this duet it is danced " fatherlike blagoraspolozhenie " " the touched tenderness " " nepremennost happiness " and " daily updated favour of circumstances " the background of Ashenbaha, and Tadzio at all does not suspect that it — the participant of these duets. It passes by a background of Ashenbaha W the same indifference W which we look from the bus at people standing at a stop. And these strained in the emotional and aesthetic relation of 25 minutes cost all representation, lasting three and a half an hour.