Ballet is a poetic art. He is characterized by sublime, heroic, lyrical themes. Fabulous wonderful world dance images deeply excite and awaken noble aspirations.
Ballet performances combine a fascinating plot created by a writer, music composed by a composer, a dance invented by a choreographer and performed by artists, picturesque scenery and costumes made according to the artist’s plans.
The idea of both artists is supported by the existential quartet of Vladimir Sommer. She worked at the National Theater in Brno and was a soloist at the National Theater in Prague. He focuses his projects on collaborations with renowned Czech and foreign visual artists - performances, films, movement or theoretical collaborations. In addition to Prague, her works are mentioned throughout the Czech Republic, as well as abroad. Her interpretive and choreographic work has received awards in competitions both at home and abroad and has been presented at contemporary dance festivals and in the context of the international art scene.
This complex art developed quite late. Ballet is a little over four hundred years old, although the art of dance has existed for several millennia (see article “Folk dance”).
Ballet originated in Italy in the 15th century. From folk dances the name “balletti” (Italian “ballare” - to dance, and “balletti” - dances) passed to more complex dances performed at court balls. At the courts of the rulers, costume performances were often staged with dancing, singing and recitation, in which the courtiers themselves participated. These first ballets consisted of loosely related "entries" of characters, most often taken from Greek mythology. One richly and sumptuously dressed couple was replaced by another. After all the “exits,” the general dance, or “grand ballet,” began.
The interaction of art and movement or dance is also studied by theoretical, cultural and historical study of the period and century. There are many ways to do ballet. Some of them are simple roads that lead to the interests of parents, the passions of teachers, the “friend of a friend” who will guide, show, comment and, above all, be drawn into this extraordinary world. Others are tangible roads, full of coincidences and incidents, and in today's world where pop culture mixes into "high" culture, what is useful, what is exceptional - anything is possible.
Such a performance was staged in Italy at a grand feast in the city of Tortona (1489). The ancient gods and heroes danced and served food to the guests. Sea deities brought fish dishes, fertility goddesses served fruits and sweets. This gastronomic ballet ended with the magnificent entrance of Bacchus, the god of wine. Such performances also appeared in many European courts.
The most valuable thing is that you could see that a dancer, especially this class and experience like Maxim, has a lot to say not only about her work and art, but also about the world around us. The most valuable thing is that after the meeting many people declared their readiness to go to the show and see Maxim on stage as soon as possible!
This has been confirmed by numerous educational projects conducted among the youngest. Something learned directly, it becomes closer, friendly, attracts attention. Therefore, it is worth organizing such meetings in different environments, groups, different cases and on various topics.
Gradually, in court ballets, mythological heroes are replaced by comic masks depicting people from the people - laundresses, innkeepers, shoemakers, etc. All roles in the ballet were performed only by men.
The robes and masks of the court ballet participants were bulky and uncomfortable. For example, a shoemaker had to dance in a huge shoe that covered his head, and a violinist’s costume consisted of a large violin. Heroes of antiquity were also dressed in a heavy suit that resembled court dress. It was very difficult to dance in such costumes, so all ballet movements were limited to smooth walking, graceful bows and graceful poses. In addition, if women participated in court balls along with men, then on stage female roles performed by boys wearing masks and wigs.
This is a "ballet release" for the people - one of the few commercials available in today's world where "no one is interested in ballet" and "it won't sell." Max also remembered that not everyone is a classical dance model and is familiar to us, the obvious terminology is not equally obvious and clear to everyone. Much has been said about ballet training and education in vocational schools - what it looks like, how it changed after Maxim graduated from school in Belarus, what are the mistakes and problems of Polish ballet schools.
The courtiers danced at random, since the rules for performing dance movements did not yet exist.
By decree of the French king Louis XIV, the Royal Academy of Dance was founded in 1661 to develop rules and a system of dances. It included thirteen dance teachers appointed by the king. In 1069, a musical theater (Royal Academy of Music) was founded, where at first only courtiers danced in operas and ballets. At first, ballet performances were almost no different from court performances. Music, dance and singing were loosely connected with each other and did not produce a coherent artistic impression. The dances were the same as at court - slow minuets, gavottes, far from their folk source. Women were allowed to appear on stage only in 1681. They had to dance in heavy long dresses and wearing shoes high heels. Such costumes prevented dancers from performing complex virtuoso dances, and therefore the mastery of men's dances surpassed women's dances in grace, elegance, smoothness and technique.
Max has the opportunity to observe the work of ballet school students as a Ballet Pedagogy student and has also taught repertoire at the ballet school. He spoke about the role of discipline and consistency in teaching ballet, which in modern conditions is often a fiction and, unfortunately, does not bring the expected results.
According to Maxim, the most important thing is the sincerity of the students and the way they are mobilized to work. There were many questions about the so-called issues. competition and relationships in a ballet ensemble. It is a pity that true art and the best artists often suffer from such issues that have nothing to do with art and professionalism. Luckily, there were also stories of collaborations with great choreographers, dancers and dancers that Max appreciates the most. For fans of the Warsaw ballet, it was nice to remember the great soloists and soloists who had already finished their careers on the stage and such magnificent performances as Carmen and something like Mac Eka and Jiri Kijan's On the Bridges of Time.
In Italy, the fashion for court ballet passed much earlier, and the art of dance became completely professional. Italian dancers were famous for their virtuosity of dance technique. But there was still a lot that prevented ballet from becoming a real art - the texts accompanying the dance, the bulky costumes, and the mask that hid the entire face of the artist.
Unforgettable events of the highest order! Much attention focused on the situation of dancers on the Polish labor market and their problems with work and retraining after finishing their career. In a situation where dancers, like everyone else, have to work until they are 67, every artist should think about this. The problem is even more important that in the past, in a fairly stable environment and situation in Polish ballet, many people found a natural continuation of their careers as teachers, choreographers, etc. today, on the one hand, the limitations are the requirements of pedagogical education and the less stable situation in the teams themselves.
It was not until 1773 that the dancer Maximilian Gardel threw off the traditional mask for the first time. A little later, the ballerina Marie Camargo achieved some freedom of movement by shortening her skirt to just above the ankle and abandoning the heels, and Marne Salle began dancing in loose, light clothes reminiscent of a Greek tunic. The dancing gradually became more and more meaningful.
One can only hope that private dance education will develop more dynamically and, as in the West, with the enrichment of ballet society, it will become a popular hobby for children and young people who are not necessarily associated with their professional lives. The meeting on Saturday was exceptional not only because of the location, but also because of the climate. As it turns out, in a very different way, you can expand the niche that cultural ballet plays in our cultural life, and the artists who practice this unique art.
It's a shame that many people still don't notice that in the Polish music and dance scenes we have authentic stars who could promote ballet more widely if only the media showed knowledge, professionalism and ingenuity. It is a pity that only a few, for example, Polish singers, who have received publicity in the world, can count on the interest of the press. Maxim Voitiul dances at numerous venues around the world, has worked with the best choreographers, created the most beautiful, most complex ballet parties - few people say this, and few people want to see him.
A particularly great contribution to the development of Western European ballet was made by the French choreographer Jean-Georges Noverre (1727-1810). In his “Letters on Dance” (1760), he called for the creation of “effective”, that is, meaningful and expressive dance, in which feelings, thoughts and events would be revealed in pantomime and dance movements. Noverre managed to implement these advanced ideas only partially in ballet performances staged at the ducal court in Stuttgart and on other stages.
He is not the only one deserving of wider interest and appreciation - we have great ballet dancers who, after their careers end, disappear, remembered only by the fuss of a handful of enthusiasts! Gardzina-Kubala is a graduate of the Faculty of Applied Linguistics and East Slavic Philology at the University of Warsaw and postgraduate studies at the same university, as well as Dance Theory at the Academy of Music. Fryderyk Chopin in Warsaw. Passionate journalist, music and ballet critic. She collaborated with most professional Polish music magazines, opera house magazines in Warsaw and Poznan.
Noverre's views had a huge influence on the further development of ballet. The traditional costume and mask were abandoned. Ballet dancers began to dance in loose, light clothes. Their dance movements became more natural, expressive and varied. Noverre's students and followers created the first ballet Performances in the history of choreography, where music, costume, scenery and meaningful, spiritual dance merged together. The ballet “Vain Precaution,” staged by Dauberval more than a hundred and fifty years ago, continues to live on the stages of ballet theaters today.
She published over 3,000 texts and interviews with opera and ballet artists quarterly at the Troubadour Club. Slulacki in Warsaw, as an opera and ballet teacher, visited numerous primary and secondary schools with lectures on ballet art. Participated in editing programs for opera and ballet performances and concerts, editing posters and information publications of the theater, writing original texts for programs and editing the theater website.
He is also co-author of the studio children's book series Ballet Tales. She held her own series of meetings with opera and ballet artists. About opera for dessert at the club. Commercial spaces in Warsaw's Old Town and within the Terpsichore Foundation meet dances and workshops for children in the Warsaw Art Pharmacy Gallery. Author of the ballet blog “On Your Toes”. Currently working with the film Chikaneka.
During the years of the French bourgeois revolution, ballet art was enriched with elements of folk dance, previously unacceptable for court artists. The art of the revolutionary era turned to the heroic images of antiquity.
One of the remarkable choreographic productions of that time, “Offering to Freedom,” was created by choreographer Pierre Gardel. A dance was introduced into it, performed to the music of the Marseillaise.
The art of ballet would not have flourished without the king's passion for dancing. It is the result of improvements and transformations that began in France more than 350 years ago in the court of a monarch called the Sun King. He ensured that ballet, his great passion, was raised to the rank of a royal art through institutionalization, with the creation of the Royal Academy of Dance in March, a unique initiative with no equivalence in other countries. The Royal Academy of Dance was the third academy founded in France, after the French Academy and the Royal Academy of Painting and Sculpture, and before the Royal Academy of Sciences and the Royal Academy of Music.
In the 18th century choreography was enriched with expressive means. Ballet dancers, dressed in light tunics and sandals, could already dance on high half-toes. Hand movements have become free and flexible; in facial expressions, movements, and gestures, the actors sought to convey the feelings of their characters.
Around 1800, the leotard was invented (a tight-fitting knitted suit that fits the legs and body flesh-colored), and the dancers' movements were given complete freedom. The level of dancing skills has increased significantly. However, men's dance still continued to be more virtuosic than women's.
Interestingly, the Royal Academy of Dance never merged with the Royal Academy of Music, and later became the Paris Opera. The first scientists, including 13, were the most prominent choreographers in France at that time. Among them were Henri Prévost, Louis's choreographer, and François Galland du Desert, the Queen's choreographer.
The Royal Academy of Dancing ceased operations within a year. Its creation remains the first political act in favor of the art of dance. Unfortunately, although the purpose of the institution was to formalize and normalize dance, no documents were provided as evidence of its work. It is known that gradually the members of the Academy began to be recruited from the Paris Opera Ballet, devoting their activities to training ballet dancers and thereby contributing to the creation of a French ballet school.
Based on the achievements of ballet art, the Italian dancer and teacher Carlo Blasis (1803-1878) developed a dance teaching system based on five starting positions of the legs. Blazis used an “arsenal” of movements borrowed by generations of artists and choreographers from folk and court dance, from ancient art. This system was later called “classical”.
The pastor moved to the Łódź Wilki Theatre. The soloist has played key roles in classical, non-classical ballets and modern dance performances. The pastor became an internationally recognized choreographer. Pastor, together with Hans van Mann, became Dutch ballet choreographers. Edinburgh, Scotland, together with the ballet troupe, the choreographer showed his very original version of Romeo and Juliet of Moving Rooms and Scheherazade. The last two performances at the Dutch festival were performed by that country's National Ballet Company.
In the first half of the 19th century. The Italian and French schools of classical ballet were finally formed.
The Italian ballet theater was characterized by virtuosic technique, complex jumps, and sharp, rigid hand movements. Sometimes, for the sake of external brilliance and virtuosity, performers sacrificed the meaningfulness and expressiveness of the dance. The choreographer S. Viganò, who successfully staged serious and complex ballets to the music of Beethoven, based on the plots of Shakespeare's tragedies, etc., remained alone at the La Scala Theater in Milan.
His last works in Amsterdam are Dumbarton dances, and Nijinsky is a dancer, a clown, a god. He also developed smaller scale projects for specific ballet soloists. The Australian Ballet danced in Paris for its Symphony Fantastique. Pastor was held in Groningen as an international jury member of the Choreography of the Eurovision Young Dancers Competition in Warsaw, New York International Ballet Competition and a jury member of the Polish National Dance Competition in Gdansk. The pastor returned to the Polish National Opera in Warsaw.
Thematic abstract in Lithuanian
Here he built a trilogy based on the music of Richard Wagner. The pastor was presented with a prestigious award from the Union of Artists of the Polish Theater in Terpsichore. The topic is intended to provide a thorough introduction to the basic forms and techniques of movement, the historical development of dance and the main creators. Introducing the most important forms art movements from ballet, modern and postmodern dance to dance theatre, physical theatre, performance. The article analyzes the role of movement in the art of movement and the role of movement in modern interdisciplinary stage menus.
Unlike the Italian, the French ballet school was famous for its grace, plasticity, softness of lines, but at the same time it was characterized by coldness of execution. Ballet performance in France in the 18th century. usually based on an ancient or mythological plot.
The artists of the royal theater did not even strive to truthfully reproduce historical or national features, but imitated court manners and costumes. Ancient Greek shepherds appeared on stage in shoes with red heels, modeled after court dandies, and in powdered wigs with curls. All this gave rise to disappointment in classicism among many choreographers and artists, pushing them to search for new means that could more fully convey the truth of life.
The goal is to teach students to recognize the most important forms of dance and art and movement techniques, analyze the art of dance, use movement in dramatic theater and non-traditional performing arts, evaluate works of dance and movement, and present them to audiences.
Thematic abstract in a foreign language
This course is designed to analyze the basic forms and techniques of theatrical movement and dance. It explores theater and dance, including topics such as classical ballet, modern and postmodern dance, dance theatre, movement in traditional dramatic theatre, physical theater and the performing arts. Teaching strategies include lectures, videos, and discussions. Upon successful completion of the course, students should be able to give important facts, definitions, and characteristics various forms dance; and analyze the role of movement in various theater practices.
In Russia, professional ballet art appeared in the 18th century. Although at first the teachers and directors were foreigners, Russian dancers creatively perceived from them what met the requirements of Russian dance culture, which was closely related to folk dance, what enriched and ennobled it. They sought to imbue the borrowed elements with a national spirit.
This is how the Russian school of classical dance was formed. The most important stage of its development is associated with the stay in Russia of the French choreographer Charles Didelot (1767 - 1837), one of the creators of romanticism in ballet art. Living human feelings, the poetic sublimity of the content of artistic paintings, the free and bold manner of performance - this is what was especially attractive in his ballets and was a new word in art. He helped the artists create historically truthful images, reinterpreted the content of old myths, staging the ballets “Acis and Galatea”, “Zephyr and Flora”, “Cupid and Psyche” based on them.
Didelot introduced “flying ballet” as a means of artistic expression, that is, flights of performers over the stage, carried out with the help of mechanical devices.
While still on the English stage, Didelot began staging genre realistic ballets. But Didelot’s most outstanding creations were the dramatic ballets “Prisoner of the Caucasus” (based on A.S. Pushkin), “The Hungarian Hut”, and “Raoul de Crequy” that he staged in Russia. Didelot, whom his contemporaries called “the Shakespeare and Byron of the ballet stage,” skillfully alternating funny and dramatic episodes, forced the viewer to follow the fate of the heroes with deep sympathy. True, in Didelot’s ballets there was still a lot of pantomime, and the dance was of an auxiliary nature, since the characters danced mainly at feasts and all kinds of celebrations.
In Russia, Didelot raised such famous ballerinas, like Avdotya Istomina and Maria Danilova. After Didelot, with each new generation, Russian ballet became more original.
Russian choreographers Walberch and Glushkovsky introduced national themes into ballet.
Not a single ballet performance can be created without a choreographer. He reveals the content of the music written by the composer in dance images, thinks through the composition and combination of dances, and develops all the roles. The artistic form of dance images conveys complex emotional experiences, mighty highs of the human spirit. Sometimes in dance a choreographer manages to express no less thoughts and feelings than can be done with words. Didelot's creative imagination gave rise to a romantic ballet, expressing the desire for the sublime, poeticizing dreams and fairy tales. The heroes of the romantic ballet itself were all kinds of fantastic creatures - elves, sylphs, ghosts and shadows. Ballerina Maria Taglioni and her father, choreographer Philippe Taglioni, were in the 30s. XIX century the most typical representatives of this new ballet.
The best ballet of the romantic era - “Zh, n-zel” was staged in 1841 in Paris. It depicts the tragedy of a pure, trusting peasant girl, deeply shocked by the infidelity of her beloved. Giselle dies of grief and turns into a forest fairy-wilisa. This eternally youthful ballet speaks the language of dance about great feelings and is still included in the repertoire of Soviet and foreign theaters.
No less exciting creation of the era of romanticism is the ballet “Esmeralda”, staged by the outstanding French choreographer J. Perrault (1810-1892) based on the novel “Notre Dame Cathedral” by V. Hugo. There was not a single fantastic creature here. Perrault sought to directly express dramatic action in dance. The talent of this choreographer did not receive recognition in his homeland and truly blossomed in England and especially in Russia.
The history of Russian ballet is closely connected with the development of Russian classical music. Before the advent of ballet music by P. I. Tchaikovsky, music served only as an accompaniment to dancing: only a certain tempo, rhythm and a memorable melody were required of it. Tchaikovsky's symphonic ballet music, deep, colorful, expressive, helped the viewer to imagine what cannot be expressed in dance. In the ballet “The Nutcracker” the composer revealed the bright, joyful world of children’s dreams; in “Swan Lake” he spoke about love that breaks evil spells; in “Sleeping Beauty” he showed the triumph of good over evil. The beauty and purity of the inner world of man, glorified by Tchaikovsky, forever became the main content of Russian ballet art.
While working on The Sleeping Beauty, Tchaikovsky more than once turned for advice to the wonderful choreographer Marpus Petipa (1822-1910). French by birth, he devoted almost sixty years to Russian ballet. A great connoisseur of classical dance, Petipa was especially successful in the ballets “The Sleeping Beauty”, “Don Quixote”, “La Bayadère”, in which the dances seemed to merge with the music.
Another outstanding director of Tchaikovsky's ballets, Lev Ivanov (1834-1901), created amazing lyrical dances of swans in Swan Lake (acts 2 and 4 of the ballet). Ivanov sought to express in dance all the richness of the content of music.
The complete fusion of music, dance and painting in a ballet performance was achieved at the beginning of the 20th century. choreographers M. Fokin and A. Gorsky. They managed not only to truthfully reproduce life on the ballet stage, but also to find unique means of expression for each ballet that corresponded to the content. Collaborating with the best artists, Gorsky and Fokin raised the high level the art of performance design.
In the West in the second half of the 19th century. ballet fell into decline, lost its independent meaning and became an appendage to opera, while Russian ballet art continued to develop the best features of classical ballet.
Classical ballet It is distinguished by a strict pattern of movement, noble purity and spirituality of execution.
All means of expression in classical ballet serve to reveal the deep content and complex experiences of the characters. The tours of the Russian ballet in Paris and London (at the beginning of the 20th century) made a stunning impression on Western audiences. The outstanding Russian ballerina Anna Pavlova was recognized as one of the greatest dancers of the classical school. In the dance “The Dying Swan” (music by Saint-Saëns, choreographed by M. Fokin), which lasted only three minutes, Pavlova revealed a whole range of experiences. The brilliant skill of Russian choreographers and artists, the inspired art of Lina Pavlova had a huge influence on the revival of European ballet. Pavlova, and after her other teachers, opened classical dance schools in England. The talented artists they trained formed professional troupes that still exist today (Marie Rambert Ballet, Royal Ballet - former Sadler's Wells). Their repertoire includes not only ballets by Russian composers, but also wonderful works by Tchaikovsky.
In the 30s XX century The national ballet was revived in France, Italy and other countries. He borrowed a lot from the Russian and Soviet school of classical dance, which is extremely popular in the West.
The best of the classical heritage of the Russian school was further developed in Soviet ballet. His by right. can be considered a new, higher stage of choreographic art. Classical dance in Soviet ballet, in accordance with the requirements of our era, is continuously developing, improving and enriching, absorbing best features dance art of our country.
“Swan Lake”, “Sleeping Beauty”, “Giselle” live on the Soviet stage new life. Having preserved everything valuable from past productions, they are imbued with a different perception of music, a new idea of the greatness and beauty of life, and are filled with special dramatic tension. Soviet ballet art strives to reveal the best in a person, all the richness of his inner world. It not only pleases the eye, but also awakens noble aspirations, high feelings and thoughts in the audience.
Each art, through its own means, tells people about human experiences, thoughts, feelings, about all kinds of events - real, today, historical or fantastic. And each art is conditional in its own way. And perhaps musical theater - opera and especially ballet - is the most conventional. Why “especially ballet”? Because even in opera, where instead of the usual speech the characters sing, they sing words. And the words are easy to understand - they are familiar.
Not so in ballet. Ballet is wordless. Its basis is dance and pantomime. The dance consists of individual movements, of which dances arise that make up a ballet performance that can tell about different events and different states of mind of the characters... Tell it silently. Only by body movement, the artist’s facial expression, facial expressions.
But to become such an artist who is able to conduct a conversation in the language of dance and sign, you need to have special natural abilities, talent and study in a special school.
The main subject in ballet school is classical dance. There are many other special disciplines: music, acting, duet dance, i.e. dance together, historical and everyday, folk stage, character dance, etc. All of them are necessary for a school student to become a ballet dancer. During his studies, the body of an artist in dance becomes flexible and expressive. In addition, all subjects are taught here according to the regular school curriculum.
A ballet performance consists of several components: a literary basis (libretto, script), music and choreography, from which the composer (author of the music) and the choreographer (choreographer) who composes the dances proceed. All dance scenes must correspond to the content of the libretto and the mood of the music. Libretto, music and choreography need appropriate design. The artist finds him.
The scenery not only creates a specific scene of action, but also an atmosphere that helps the viewer understand the character of the characters and the idea of the work. Costume plays a special role in ballet. It should be light and its color and shape should correspond to the personality of each character. But at the same time, only a hint and very conditionally approaching everyday or historical costume: a ballet dancer on stage should be dressed in such a way that it does not interfere with, but helps the movement. All the authors of the performance - composer, choreographer and artist, starting from the content presented in literary form, create, as it were, an independent work of their art - musical, dance, visual. But they harmoniously merge with each other, and then, in the presence of talented performers, a whole arises - ballet, ballet performance.
Thus, just like in drama or opera, the creation of a ballet begins with a play. But the play here is special: the libretto (script) sets out the main events relatively briefly. The libretto is most often based on a work of great literature and uses its main dramatic “milestones*.” And the choreographer, focusing on them, composes dances that reveal the very essence of the literary work.
Who among you does not remember the fairy tales of your recent childhood - Perrault’s “Sleeping Beauty” or Hoffmann’s “Nutcracker”? They served as the basis for wonderful ballets to the music of Tchaikovsky. You have all read or will soon read Pushkin’s poem “The Fountain of Bakhchisarai” and Shakespeare’s tragedy “Romeo and Juliet”. I would like you to know about the existence of the ballets “The Bakhchisaray Fountain” (music by B. Asafiev), “Romeo and Juliet” (music by S. Prokofiev). These ballets are inspired by the genius of the world's greatest poets - the Englishman William Shakespeare and the Russian Alexander Pushkin...
But there are ballets for which the libretto is not taken from literary sources, but is specially composed. Thus, the French poet of the 19th century. T. Gautier wrote the libretto of “Giselle” (music by A. Adam), only partly related to the legend of the jeeps mentioned by Heine.
And there are ballets without any literary basis at all. Their basis is only music, its content, its thought. The talented Russian choreographer Mikhail Fokin created the work, expressing his understanding of Chopin's music in the wonderful dances of the ballet “Chopiniana”.
And now, using the example of the most popular ballet, which is staged in almost all theaters in the world, we will try to analyze the components of a ballet performance.
You probably guessed that we will be talking about Tchaikovsky's Swan Lake. He created this first ballet in 1876 to a libretto by V. Begichev and V. Geltser.
The libretto is fabulous: the evil wizard turned beautiful girls into swans. The Swan Queen Odette tells the lost Prince Siegfried about the grief of her friends, about her own misfortune. Only true love can get rid of it. Siegfried vows to save Odette and her sad retinue. But the evil wizard appears at the court ball with Odette’s double, Odile. The young man thinks that this is the one he met on the enchanted lake of swans, and unknown to himself, he breaks his oath of allegiance to Odette. Her despair is boundless. But Siegfried, realizing his mistake, rushes to the lake. In a terrible battle, he defeats the wizard and, having freed the swans from evil spells, atones for his involuntary guilt before their beautiful queen.
The music turned out to be as poetic, sublime and bright as the plot. She amazed everyone by the fact that, while revealing the fairy-tale content, she conveyed real, human feelings, noble and complex. Compassion, fidelity, confusion of the soul, repentance, courage, sadness and joy - everything was revealed in these then unusual melodies... For the first time in the history of choreography, ballet received symphonic music: it was as deep as ever, full of thought and a wide variety of moods - from the aching sadness and lyricism in the kingdom of swans to the joy and triumph of the insidious Odile.
The dances, composed by the outstanding choreographers of the St. Petersburg theater Marius Petipa and Lev Ivanov, staged in 1895, conveyed the essence of the events and mood characters, so perfectly embodied in music. In “Swan Lake” all types of dances accepted in classical ballets appeared: here and pure classic swan paintings, and character dance(Neapolitan, mazurka, etc.), and grotesque(the jester's part), and historical and everyday dance(polonaise, etc.). They all have one common basis: the Russian school of classical ballet.
The scenery of Swan Lake, like other old productions, now looks completely different than when the ballet was born. Different artists from different eras are always looking for their own visual solution to the theme of ballet, the idea of music.
However, not only the scenery and costumes change over time. Time leaves its mark on the entire performance.
Ballet is a living art. It develops and changes along with life. And this is one of his most attractive features.
