The history of the creation of the ballet "Romeo and Juliet". Ballet "Romeo and Juliet" by Sergei Prokofiev. Great drama and a happy ending A short message about the ballet Romeo and Juliet

03.11.2019

Among the best Soviet ballets that adorn the stage of the State Academic Bolshoi Theater of the USSR, one of the first places is rightfully occupied by the ballet “Romeo and Juliet” by S. Prokofiev. He invariably captivates viewers with his high poetry and genuine humanism, a bright, truthful embodiment of human feelings and thoughts. The ballet premiered in 1940 at the Leningrad Opera and Ballet Theater named after S. M. Kirov. In 1946, this performance was transferred, with some changes, to the stage of the Bolshoi Theater of the USSR.

The ballet “Romeo and Juliet” (libretto by S. Prokofiev and L. Lavrovsky after Shakespeare) staged by choreographer L. Lavrovsky is one of the most significant milestones on the path of the Soviet ballet theater to realism. Requirements of high ideology and realism, common to everything Soviet art, determined the approach of Prokofiev and Lavrovsky to the embodiment of deep ideological plan Shakespeare's immortal tragedy. In a lively reproduction of Shakespeare's characters, the authors of the ballet sought to reveal the main idea of the tragedy: the clash between the dark forces nurtured by the Middle Ages, on the one hand, and the feelings, ideas and moods of the people of the era early Renaissance, - on the other. Romeo and Juliet live in a harsh world of cruel medieval morals. A feud that passes from generation to generation divides their ancient patrician families. Under these conditions, the love of Romeo and Juliet was supposed to be tragic for them. Challenging the prejudices of the moribund Middle Ages, Romeo and Juliet died in the struggle for personal freedom and freedom of feeling. With their death, they seemed to confirm the triumph of the humanistic ideas of the new era, the dawn of which was flaring up more and more brightly. Bright lyricism, mournful pathos, amusing buffoonery - everything that makes Shakespeare's tragedy live - finds a bright and characteristic embodiment in the music and choreography of the ballet.

Inspired scenes of the love of Romeo and Juliet, pictures of everyday life and the cruel, inert morals of the Verona aristocracy, episodes of vibrant street life come to life before the viewer. Italian city, where casual fun gives way to bloody fights and funeral processions. The forces of the Middle Ages and the Renaissance are figuratively and artistically convincingly contrasted in the ballet music. The sharp, ominous sounds evoke the idea of gloomy medieval customs that mercilessly suppressed human personality, her desire for freedom. Episodes of the clash between warring families - the Montagues and the Capulets - are based on such music; it characterizes typical representatives of the medieval world - arrogant and evil Tybalt, soulless and cruel Signor and Signora Capulet. The heralds of the Renaissance are portrayed differently. The rich emotional world of Romeo and Juliet is revealed in bright, excited, melodious music.

The image of Juliet is most fully and attractively captured in Prokofiev's music. The carefree and playful girl, as we see her at the beginning of the ballet, shows true selflessness and heroism when, in the struggle for loyalty to her feelings, she rebels against absurd prejudices. The musical development of the image goes from the expression of childish spontaneous fun to the most tender lyrics and deep drama. The character of Romeo is outlined more succinctly in the music. Two contrasting themes - lyrical-contemplative and excitedly passionate - depict the transformation of Romeo under the influence of love for Juliet from a melancholy dreamer into a courageous, purposeful person. The composer also vividly depicts other representatives of the new era. In the witty music, full of cheerful, somewhat rough humor, and sometimes sharp sarcasm, the character of Mercutio, a cheerful merry fellow and joker, is revealed.

The musical portrait of Father Lorenzo, a philosopher and humanist, is very expressive. Wise simplicity and calm poise are combined in him with great warmth and humanity. The music that characterizes Lorenzo plays a significant role in creating the general atmosphere that permeates the ballet - an atmosphere of humanity and emotional fullness. Truthfully embodying the content of Shakespeare's tragedy, Prokofiev interprets it in a unique way, which is explained by the peculiarities of his creative individuality.

The first major work, the ballet Romeo and Juliet, became a true masterpiece. It started out hard stage life. It was written in 1935-1936. The libretto was developed by the composer together with director S. Radlov and choreographer L. Lavrovsky (L. Lavrovsky staged the first production of the ballet in 1940 at the Leningrad Opera and Ballet Theater named after S. M. Kirov). But the gradual adaptation to Prokofiev’s unusual music was still crowned with success. The ballet "Romeo and Juliet" was completed in 1936, but was conceived earlier. The fate of the ballet continued to develop complicatedly. At first there were difficulties in completing the ballet. Prokofiev, together with S. Radlov, while developing the script, thought about a happy ending, which caused a storm of indignation among Shakespeare scholars. The apparent disrespect for the great playwright was explained simply: “The reasons that pushed us to this barbarity were purely choreographic: living people can dance, dying people cannot dance lying down.” The decision to end the ballet tragically, like Shakespeare's, was influenced most of all by the fact that there was no pure joy in the music itself, in its final episodes. The problem was resolved after conversations with the choreographers, when it turned out that “it was possible to resolve the fatal ending balletically.” However, the Bolshoi Theater violated the agreement, considering the music non-danceable. For the second time, the Leningrad Choreographic School refused the agreement. As a result, the first production of Romeo and Juliet took place in 1938 in Czechoslovakia, in the city of Brno. The ballet director was famous choreographer L. Lavrovsky. The role of Juliet was danced by the famous G. Ulanova.

Although there have been attempts in the past to present Shakespeare on ballet stage(for example, in 1926 Diaghilev staged the ballet "Romeo and Juliet" with music English composer K. Lambert), but none of them is considered successful. It seemed that if Shakespeare’s images could be embodied in opera, as was done by Bellini, Gounod, Verdi, or symphonic music, like Tchaikovsky, then in ballet because of his genre specificity- it is forbidden. In this regard, Prokofiev’s turn to Shakespeare’s plot was a bold step. However, the traditions of Russian and Soviet ballet prepared this step.

The appearance of the ballet “Romeo and Juliet” constitutes an important turning point in the work of Sergei Prokofiev. The ballet "Romeo and Juliet" became one of the most significant achievements in the search for a new choreographic performance. Prokofiev strives to embody living human emotions and affirm realism. Prokofiev's music clearly reveals the main conflict of Shakespeare's tragedy - the clash of bright love with the family feud of the older generation, characterizing the savagery of the medieval way of life. The composer created a synthesis in ballet - a fusion of drama and music, just as Shakespeare in his time combined poetry with dramatic action in Romeo and Juliet. Prokofiev's music conveys the subtlest psychological movements of the human soul, the richness of Shakespeare's thought, the passion and drama of his first of the most perfect tragedies. Prokofiev managed to recreate Shakespearean characters in the ballet in their diversity and completeness, deep poetry and vitality. The poetry of love of Romeo and Juliet, the humor and mischief of Mercutio, the innocence of the Nurse, the wisdom of Pater Lorenzo, the fury and cruelty of Tybalt, the festive and riotous color of Italian streets, the tenderness of the morning dawn and the drama of death scenes - all this is embodied by Prokofiev with skill and enormous expressive power.

The specifics of the ballet genre required enlargement of the action and its concentration. Cutting off everything secondary or secondary in the tragedy, Prokofiev focused his attention on the central semantic moments: love and death; fatal enmity between two families of the Verona nobility - the Montagues and the Capulets, which led to the death of the lovers. Prokofiev’s “Romeo and Juliet” is a richly developed choreographic drama with complex motivations for psychological states and an abundance of clear musical portraits and characteristics. The libretto concisely and convincingly shows the basis of Shakespeare's tragedy. It preserves the main sequence of scenes (only a few scenes are shortened - 5 acts of the tragedy are grouped into 3 large acts).

"Romeo and Juliet" is a deeply innovative ballet. Its novelty is also manifested in the principles of symphonic development. The symphonized dramaturgy of the ballet contains three different types.

The first is a conflictual opposition between the themes of good and evil. All heroes - bearers of good are shown in a diverse and multifaceted way. The composer presents evil in a more general way, bringing the themes of enmity closer to the themes of rock of the 19th century, and to some themes of evil of the 20th century. Themes of evil appear in all acts except the epilogue. They invade the world of heroes and do not develop.

The second type of symphonic development is associated with the gradual transformation of the images - Mercutio and Juliet, with the disclosure of the psychological states of the heroes and the demonstration of the internal growth of the images.

The third type reveals features of variation, variation, characteristic of Prokofiev’s symphonism as a whole; it especially touches on lyrical themes.

All three named types in ballet are also subject to the principles of film editing, a special rhythm of frame action, techniques of close-up, medium and long shots, techniques of “dissolves”, sharp contrasting oppositions that give scenes a special meaning.

1. The history of the creation of the ballet "Romeo and Juliet". 4

2. Main characters, images, their characteristics. 7

3. Juliet’s theme (analysis of form, means of musical expression, methods of presenting musical material to create an image) 12

Conclusion. 15

References.. 16

Introduction

Sergei Prokofiev was one of the great creators of the 20th century who created innovative musical theater. The plots of his operas and ballets are strikingly contrasting. Prokofiev's legacy is impressive both in the variety of genres and in the number of works he created. The composer wrote over 130 opuses during the period from 1909 to 1952. Prokofiev's rare creative productivity is explained not only by a fanatical desire to compose, but also by discipline and hard work, brought up from childhood. His work represents almost all musical genres: opera and ballet, instrumental concert, symphony, sonata and piano piece, song, romance, cantata, theater and film music, music for children. The breadth of Prokofiev’s creative interests, his amazing ability to switch from one plot to another, and his artistic adaptation to the world of great poetic creations are amazing. Prokofiev's imagination is captured by the images of Scythianism developed by Roerich, Blok, Stravinsky ("Ala and Lolly"), Russian folklore ("The Jester"), the tragedies of Dostoevsky ("The Gambler") and Shakespeare ("Romeo and Juliet"). He turns to the wisdom and eternal kindness of fairy tales by Andersen, Perrault, Bazhov and works selflessly, absorbed in the events of the tragic but glorious pages of Russian history ("Alexander Nevsky", "War and Peace"). He knows how to laugh cheerfully and contagiously (“Duena”, “The Love for Three Oranges”). Selects contemporary scenes that reflect the times October Revolution(cantata "To the 20th anniversary of October"), civil war ("Semyon Kotko"), the Great Patriotic War("The Tale of a Real Man"). And these works do not become a tribute to the times, a desire to “play along” with events. All of them testify to Prokofiev’s high civic position.

A completely special area of Prokofiev’s creativity was works for children. Until his last days, Prokofiev retained his youthful, fresh perception of the world. Out of great love for children, from communication with them, there arose the mischievous songs “Chatterbox” (to the verses of A. Barto) and “Piglets” (to the verses of L. Kvitka), the fascinating symphonic fairy tale “Peter and the Wolf”, the cycle of piano miniatures “Children’s Music” ", a dramatic poem about a childhood taken away by the war, "The Ballad of a Boy Who Remained Unknown" (text by P. Antokolsky).

Prokofiev often used his own musical themes. But the transfer of themes from essay to essay was always accompanied by creative revisions. This is evidenced by the composer’s sketches and drafts, who played special role in his creative process. The composing process was often directly influenced by Prokofiev’s live communication with directors, performers, and conductors. Criticisms from the original performers of Romeo and Juliet led to the dynamism of the orchestration in some scenes. However, Prokofiev accepted advice only when it was convincing and did not run counter to his own vision of the work.

At the same time, Prokofiev was a subtle psychologist, and no less than the external side of imagery, the composer was interested in psychological action. He also embodied it with amazing subtlety and precision, as in one of the best ballets of the 20th century - the ballet "Romeo and Juliet".

1. The history of the creation of the ballet "Romeo and Juliet"

The first major work, the ballet Romeo and Juliet, became a true masterpiece. His stage life had a difficult start. It was written in 1935-1936. The libretto was developed by the composer together with director S. Radlov and choreographer L. Lavrovsky (L. Lavrovsky staged the first production of the ballet in 1940 at the Leningrad Opera and Ballet Theater named after S. M. Kirov). But the gradual adaptation to Prokofiev’s unusual music was still crowned with success. The ballet "Romeo and Juliet" was completed in 1936, but was conceived earlier. The fate of the ballet continued to develop complicatedly. At first there were difficulties in completing the ballet. Prokofiev, together with S. Radlov, while developing the script, thought about a happy ending, which caused a storm of indignation among Shakespeare scholars. The apparent disrespect for the great playwright was explained simply: “The reasons that pushed us to this barbarity were purely choreographic: living people can dance, dying people cannot dance lying down.” The decision to end the ballet tragically, like Shakespeare's, was influenced most of all by the fact that there was no pure joy in the music itself, in its final episodes. The problem was resolved after conversations with the choreographers, when it turned out that “it was possible to resolve the fatal ending balletically.” However, the Bolshoi Theater violated the agreement, considering the music non-danceable. For the second time, the Leningrad Choreographic School refused the agreement. As a result, the first production of Romeo and Juliet took place in 1938 in Czechoslovakia, in the city of Brno. The ballet was directed by the famous choreographer L. Lavrovsky. The role of Juliet was danced by the famous G. Ulanova.

Although there have been attempts in the past to present Shakespeare on the ballet stage (for example, in 1926, Diaghilev staged the ballet “Romeo and Juliet” with music by the English composer C. Lambert), but none of them is considered successful. It seemed that if Shakespeare’s images could be embodied in opera, as was done by Bellini, Gounod, Verdi, or in symphonic music, as in Tchaikovsky, then in ballet, due to its genre specificity, it was impossible. In this regard, Prokofiev’s turn to Shakespeare’s plot was a bold step. However, the traditions of Russian and Soviet ballet prepared this step.

"Romeo and Juliet" is a deeply innovative ballet. Its novelty is also manifested in the principles of symphonic development. The symphonized dramaturgy of the ballet contains three different types.

The third type reveals features of variation, variation, characteristic of Prokofiev’s symphonism as a whole; it especially touches on lyrical themes.

2. Main characters, images, their characteristics

The ballet has three acts (the fourth act is the epilogue), two numbers and nine scenes.

Act I - exposition of images, acquaintance of Romeo and Juliet at the ball.

Act II. Scene 4 – a bright world of love, a wedding. Scene 5 – a terrible scene of hostility and death.

Act III. Scene 6 – farewell. Scenes 7, 8 – Juliet’s decision to take a sleeping potion.

Epilogue.9 picture – death of Romeo and Juliet.

The first scene takes place among the picturesque squares and streets of Verona, gradually filling with traffic after a night's rest. The scene of the main character, Romeo, “languishing with longing for love,” seeking solitude, is replaced by a quarrel and a fight between representatives of two warring families. The raging opponents are stopped by the Duke’s formidable order: “On pain of death, disperse! "

“Can an artist stand aloof from life?.. I adhere to that
beliefs that a composer, like a poet, sculptor, painter, is called
serve the man and the people... He, first of all, is obliged to be a citizen in
his art, to glorify human life and lead man to
bright future..."

In these words genius composer Sergei Sergeevich Prokofiev
the meaning and significance of his work, his whole life is revealed,
subordinated to continuous daring searches, conquering ever new heights on
ways of creating music that expresses the thoughts of the people.

Sergei Sergeevich Prokofiev was born on April 23, 1891 in the village of Sontsovka
in Ukraine. His father served as manager of the estate. From a very early age
Seryozha fell in love with serious music thanks to his mother, who is good
played the piano. As a child, the talented child already composed music.
Prokofiev received good education and knew three foreign languages.
Very early he developed independent judgments about music and strict
attitude towards your work. In 1904, 13 year old Prokofiev entered the
St. Petersburg Conservatory. He spent ten years within its walls. Reputation
Petersburg Conservatory during the years of studying there, Prokofiev was very
high. Among her professors were first-class musicians such
as: N.A. Rimsky-Korsakov, A.K. Glazunov, A.K. Lyadov, and in
performing classes - A.N. Esipova and L.S. Auer. Dates back to 1908
Prokofiev's first public appearance performing his works
at the evening modern music. Performance of the First Piano Concerto
with orchestra (1912) in Moscow brought Sergei Prokofiev a huge
glory. The music amazed me with its extraordinary energy and courage. Real
a bold and cheerful voice is heard in the rebellious audacity of the young
Prokofiev. Asafiev wrote: “What a marvelous talent! Fiery,
life-giving, bursting with strength, vigor, courageous will and captivating
spontaneity of creativity. Prokofiev is sometimes cruel, sometimes
unbalanced, but always interesting and convincing.”

New images of Prokofiev’s dynamic, dazzlingly bright music
born of a new worldview, the era of modernity, the twentieth century. After
After graduating from the conservatory, the young composer traveled abroad - to London,
where the Russian ballet troupe organized by
S. Diaghilev.

The appearance of the ballet “Romeo and Juliet” constitutes an important turning point in
works of Sergei Prokofiev. It was written in 1935-1936. Libretto
developed by the composer together with director S. Radlov and
choreographer L. Lavrovsky (L. Lavrovsky and carried out the first
production of the ballet in 1940 at the Leningrad Opera and Ballet Theater
named after S. M. Kirov). Convinced of the futility of the formal
experimentation, Prokofiev strives to embody living human
emotions, affirmation of realism. Prokofiev's music clearly reveals the main
the conflict of Shakespearean tragedy - the clash of bright love with ancestral love
enmity of the older generation, characterizing the savagery of the medieval
way of life. The music reproduces the living images of Shakespeare's heroes, their
passions, impulses, their dramatic clashes. Their form is fresh and
self-forgettable, dramatic and musical-stylistic images
subject to content.

The plot of “Romeo and Juliet” was often addressed: “Romeo and Juliet” -
overture-fantasy by Tchaikovsky, dramatic symphony with choir by Berlioz,
and also - 14 operas.

Prokofiev’s “Romeo and Juliet” is a richly developed choreographic
drama with a complex motivation for psychological states, an abundance of clear
musical portraits-characteristics. The libretto is concise and convincing
shows the basis of Shakespearean tragedy. It contains the main
sequence of scenes (only a few scenes have been shortened - 5 acts
tragedies are grouped into 3 large acts).

In music, Prokofiev strives to give modern ideas about antiquity
(the era of the events described is the 15th century). Minuet and gavotte characterize
some stiffness and conventional grace (“ceremoniousness” of the era) in the scene
Capulet's ball. Prokofiev vividly embodies Shakespeare's works in music
contrasts of tragic and comic, sublime and buffoonish. Next to
dramatic scenes - the cheerful eccentricities of Mercutio. Crude jokes
wet nurses. Does the line of scherzo sound clearly sound in the paintings?????????????
Verona street, in the buffoon “Dance of Masks”, in Juliet’s pranks, in
funny old lady theme of the Nurse. A typical personification of humor -
merry Mercutio.

One of the most important dramatic devices in the ballet “Romeo and Juliet”
is the leitmotif - these are not brief motives, but detailed episodes
(for example, the theme of death, the theme of doom). Usually musical portraits
Prokofiev's characters are woven from several themes that characterize different
aspects of the image - the emergence of new qualities of the image causes the appearance
new topic. The clearest example 3 themes of love, as 3 stages of development
feelings:

1 topic - its origin;

2 theme - blossoming;

The 3rd theme is its tragic intensity.

The central place in music is occupied by the lyrical stream - the theme of love,
conquering death.

With extraordinary generosity, the composer depicted the world of mental states
Romeo and Juliet (more than 10 themes) is characterized in a particularly multifaceted way
Juliet transforms from a carefree girl into a strong loving one.
woman. In accordance with Shakespeare's plan, the image of Romeo is given: at first he
embraces romantic yearnings, then displays fiery ardor
a lover and the courage of a fighter.

The musical themes that outline the emergence of the feeling of love are transparent,
gentle; characterizing the mature feeling of lovers are filled with juicy,
harmonious colors, sharply chromed. A sharp contrast to the world of love
and youthful pranks are represented by the second line - “the line of enmity” - the elements
blind hatred and medieval????????? - the cause of Romeo's death and
Juliet. The theme of strife in the sharp leitmotif of enmity - a formidable unison
basses in “Dance of the Knights” and in the stage portrait of Tybalt -
the personification of anger, arrogance and class arrogance, in battle episodes
fights in the menacing sound of the Duke's theme. The image of Pater is subtly revealed
Lorenzo - a humanist scientist, patron of lovers, hoping that their
love and marriage will reconcile warring families. There is no
church holiness, detachment. She emphasizes wisdom, greatness
spirit, kindness, love for people.

Ballet analysis

The ballet has three acts (the fourth act is an epilogue), two numbers and nine
paintings

Act I - exposition of images, acquaintance of Romeo and Juliet at the ball.

Act II. 4th picture - bright world of love, wedding. 5 picture -
a terrible scene of hostility and death.

Act III. Scene 6 - farewell. 7, 8 paintings - Juliet's decision
take a sleeping potion.

Epilogue. Scene 9 - the death of Romeo and Juliet.

No. 1 The introduction begins with the 3rd theme of love - bright and sorrowful; acquaintance
with basic images:

2nd theme - with the image of the chaste Juliet-girl - graceful and
crafty;

Theme 3 - with the image of an ardent Romeo (accompaniment shows a springy
the gait of a young man).

1 picture

No. 2 “Romeo” (Romeo wanders through the pre-dawn city) - begins with
showing the light gait of a young man - a thoughtful theme characterizes him
romantic look.

No. 3 “The street is waking up” - scherzo - to the tune of a dance warehouse,
second syncopations, different tonal juxtapositions add spice,
mischief as a symbol of health, optimism - the theme sounds in different
keys.

No. 4 “Morning dance” - characterizes the awakening street, the morning
hustle and bustle, sharp jokes, lively verbal duels - scherzosn music,
playful, the melody is elastic in rhythm, dancing and rushing -
characterizes the type of movement.

No. 5 and 6 “Quarrel between the servants of the Montagues and the Capulets”, “Fight” - not yet violent
anger, the themes sound cocky, but perky, continue the mood
"Morning Dance" “Fight” - like a “study” - motor movement, rattling
weapons, the sound of balls. Here the theme of enmity appears for the first time, passes
polyphonically.

No. 7 “The Duke’s Order” - bright visual means (theatrical
effects) - threateningly slow “step”, sharp dissonant sound (ff)
and vice versa, discharged, empty tonic triads (pp) - sharp
dynamic contrasts.

No. 8 Interlude - defusing the tense atmosphere of a quarrel.

2 picture

In the center there are 2 paintings “portrait” of Juliet, a playful, playful girl.

No. 9 “Preparations for the Ball” (Juliet and the Nurse) the theme of the street and
The Nurse's theme, reflecting her shuffling gait.

No. 10 “Juliet the Girl.” Different sides of the image appear sharply and
suddenly. The music is written in Rondo form:

1 theme - The lightness and liveliness of the theme is expressed in a simple scale
“running” melody, and, which emphasizes its rhythm, sharpness and mobility,
ends with a sparkling cadence T-S-D-T, expressed by related
tonic triads - As, E, C moving down the thirds;

2 theme - Grace of 2 themes conveyed in the rhythm of gavotte (gentle image
Juliet girls) - the clarinet sounds playful and mocking;

3 theme - reflects subtle, pure lyricism - as the most significant
“facet” of her image (change in tempo, texture, timbre - flute,
cellos) - sounds very transparent;

Theme 4 (coda) - at the very end (sounds in No. 50 - Juliet drinks
drink) foreshadows the tragic fate of the girl. Dramatic action
unfolds against the festive backdrop of a ball in the Capulet house - every dance
has a dramatic function.

No. 11 Guests officially and solemnly gather to the sounds of “Minuet”. IN
the middle part, melodic and graceful, young friends appear
Juliet.

No. 12 “Masks” - Romeo, Mercutio, Benvolio in masks - having fun at the ball -
a melody close to the character of Mercutio the merry fellow: a whimsical march
gives way to a mocking, comic serenade.

No. 13 “Dance of the Knights” - an extended scene written in the form of Rondo,
group portrait - a generalizing characteristic of feudal lords (as
characteristics of the Capulet family and Tybalt).

Refren - a jumping dotted rhythm in arpeggio, combined with a measured
the heavy tread of the bass creates an image of vindictiveness, stupidity, arrogance
- the image is cruel and unforgiving;

Episode 1 - the theme of enmity;

Episode 2 - dance of Juliet's friends;

Episode 3 - Juliet dances with Paris - a fragile, sophisticated melody, but
frozen, characterizing Juliet's embarrassment and trepidation. In the middle
The 2nd theme of Juliet the girl sounds.

No. 14 “Juliet Variation”. Topic 1 - echoes of a dance with the groom sound -
embarrassment, stiffness. Theme 2 - the theme of Juliet the girl - sounds
graceful, poetic. In the 2nd half the theme of Romeo, who for the first time
sees Juliet (from the introduction) - in the rhythm of the Minuet (sees her dancing), and
the second time with Romeo's characteristic accompaniment (springy gait).

No. 15 “Mercutio” - portrait of a merry fellow with a wit - scherzo movement
full of texture, harmony and rhythmic surprises, embodying
brilliance, wit, irony of Mercutio (as if skipping).

No. 16 “Madrigal”. Romeo addresses Juliet - 1 theme sounds
“Madrigal”, reflecting traditional ceremonial dance movements and
mutual expectation. Theme 2 breaks through - naughty theme
Juliet girls (sounds lively, fun), 1 love theme appears for the first time
- origin.

No. 17 “Tybalt recognizes Romeo” - the themes of enmity and the theme of knights sound ominously.

No. 18 “Gavotte” - departure of guests - traditional dance.

Themes of love are widely developed in the large duet of heroes, “Scene at the Balcony”,
No. 19-21, concluding Act I.

No. 19. begins with Romeo's theme, then Madrigal's theme, 2nd Juliet's theme. 1
love theme (from Madrigal) - sounds emotionally excited (from
cello and English horn). This whole big scene (No. 19 “Scene at
balcony”, No. 29 “Romeo Variation”, No. 21 “Love Dance”) is subordinated to a single
musical development - several leitthemes are intertwined, which gradually
become increasingly tense - in No. 21, “Love Dance,” it sounds
enthusiastic, ecstatic and solemn 2 theme of love (limitless
range) - melodious and smooth. In Code No. 21 - the topic “Romeo sees for the first time
Juliet."

3 picture

Act II is replete with contrasts - folk dances frame the wedding scene,
in the 2nd half (scene 5) the festive atmosphere gives way to tragic
a picture of the duel between Mercutio and Tybalt, and the death of Mercutio. Mourning
The procession with Tybalt's body is the climax of Act II.

4 picture

No. 28 “Romeo at Father Lorenzo” - wedding scene - portrait of Father Lorenzo
- a wise, noble, characterized by choral person
a theme characterized by softness and warmth of intonation.

No. 29 “Juliet with Father Lorenzo” - the emergence of a new theme in
flutes (Juliet's lead timbre) - duet of cello and violin - passionate
a melody full of speaking intonations - close to the human voice, like
would reproduce the dialogue of Romeo and Juliet. Choral music,
accompanying the wedding ceremony, completes the scene.

5 picture

In the 5th film there is a tragic plot twist. Prokofiev masterfully
reincarnates the most fun topic- “The street wakes up”, which at 5
The picture sounds dark and ominous.

No. 32 “Meeting of Tybalt and Mercutio” - the theme of the street is distorted, its integrity
destroyed - minor, sharp chromatic echoes, “howling” timbre
saxophone

No. 33 “Tybalt fights with Mercutio” themes characterize Mercutio, who
fights dashingly, cheerfully, cockily, but without malice.

No. 34 “Mercutio dies” - a scene written by Prokofiev with great
psychological depth, based on a constantly rising theme
suffering (manifested in a minor version of the street theme) - together with
the expression of pain shows the pattern of movements of a weakening person - with effort
Mercutio's will forces himself to smile (in the orchestra there are fragments of previous themes,
but in the distant upper register of the wooden ones - oboe and flute -
returning themes are interrupted by pauses, the unusualness is emphasized by strangers
final chords: after d minor - h and es minor).

No. 35 “Romeo decides to avenge the death of Mercutio” - battle theme from picture 1 -
Romeo kills Tybalt.

No. 36 “Final” - grandiose roaring copper, density of texture, monotonous
rhythm - bringing closer to the theme of enmity.

Act III is based on the development of the images of Romeo and Juliet, heroically
defending their love - special attention to the image of Juliet (deep
the characterization of Romeo is given in the scene “In Mantua”, where Romeo is exiled - this
the scene was introduced during the production of the ballet, and the themes of love scenes sound in it).
Throughout Act III, the themes of the portrait of Juliet, the themes of love,
acquiring a dramatic and mournful appearance and new tragic-sounding
melodies. Act III differs from the previous ones in greater continuity
end-to-end action.

6 picture

No. 37 “Introduction” reproduces the music of the formidable “Duke’s order”.

No. 38 Juliet’s Room - the atmosphere is recreated with the subtlest techniques
silence, night - farewell to Romeo and Juliet (the flute and celesta pass
theme from the wedding scene)

No. 39 “Farewell” - a small duet full of restrained tragedy - new
melody. The theme of farewell sounds, expressing both fatal doom and lively
impulse.

No. 40 “Nurse” - theme of the Nurse, theme of the Minuet, theme of Juliet’s friends -
characterize the house of Capulet.

No. 41 “Juliet refuses to marry Paris” - 1 theme of Juliet the girl
- sounds dramatic, scared. 3rd theme of Juliet - sounds mournful,
frozen, the answer is the speech of Capulet - the theme of knights and the theme of enmity.

No. 42 “Juliet is alone” - indecisive - the 3rd and 2nd theme of love sounds.

No. 43 “Interlude” - the theme of farewell takes on the character of a passionate
appeal, tragic determination - Juliet is ready to die in the name of love.

7 picture

No. 44 “At Lorenzo’s” - the themes of Lorenzo and Juliet are compared, and at the moment,
when the monk gives sleeping pills to Juliet, the theme of death is heard for the first time -
musical image exactly corresponding to Shakespeare's: “Cold
languid fear drills into my veins. It freezes the heat of life,”

automatically pulsating movement???? conveys numbness, dull
heaving bass - growing “languid fear”.

No. 45 “Interlude” - depicts Juliet’s complex internal struggle - sounds
3 the theme of love and in response to it the theme of knights and the theme of enmity.

8 picture

No. 46 “Back at Juliet’s” - continuation of the scene - Juliet’s fear and confusion
expressed in the frozen theme of Juliet from the variations and theme 3
Juliet girls.

No. 47 “Juliet is alone (decides)” - the theme of the drink and the 3rd theme alternate
Juliet, her fatal fate.

No. 48 “Morning Serenade”. In Act III, genre elements characterize
the setting of the action and are used very sparingly. Two graceful miniatures -
“Morning Serenade” and “Dance of Girls with Lilies” were introduced to create
the finest dramatic contrast.

No. 50 “At Juliet’s Bedside” - starts with Juliet’s theme 4
(tragic). Mother and Nurse go to wake Juliet, but she is dead - in
the 3rd theme sadly and weightlessly passes through the highest register of the violins
Juliet.

Act IV - Epilogue

9 picture

No. 51 “Juliet’s Funeral” - the Epilogue opens with this scene -
wonderful music for the funeral procession. Death theme (violins)
takes on a sad character. The appearance of Romeo is accompanied by theme 3
love. Death of Romeo.

No. 52 “The Death of Juliet.” Juliet's awakening, her death, reconciliation
Montagues and Capulets.

The finale of the ballet is a bright hymn of love, based on gradually
the increasing, dazzling sound of Juliet's 3rd theme.

Prokofiev's work continued classical traditions Russian
ballet This was expressed in the great ethical significance of the chosen topic, in
reflection of deep human feelings in a developed symphonic
dramaturgy of a ballet performance. And at the same time the ballet score
"Romeo and Juliet" was so unusual that it took time to
“getting used to” it. There was even an ironic saying: “There is no story
sadder in the world than Prokofiev’s music in ballet.” Only gradually everything
this gave way to the enthusiastic attitude of the artists, and then the public, towards
music. First of all, the plot was unusual. The appeal to Shakespeare was
a bold step for Soviet choreography, since it was generally believed that
that the embodiment of such complex philosophical and dramatic themes is impossible
through the means of ballet. Prokofiev's music and Lavrovsky's performance
imbued with the Shakespearean spirit.

References.

Soviet musical literature edited by M.S. Pekelisa;

I. Maryanov “Sergei Prokofiev life and work”;

L. Dalko “Sergei Prokofiev popular monograph”;

Soviet music encyclopedia edited by I.A. Prokhorova and G.S.
Skudina.

"Romeo and Juliet" in the language of Terpsichore

“Soul-filled flight.”
“Eugene Onegin” A. S. Pushkin.

The immortal story of Romeo and Juliet, undoubtedly, has long taken its unshakable place on the Olympus of world culture. Over the centuries, the charm of the exciting love story and its popularity have created the preconditions for numerous adaptations in every possible way. artistic form. Ballet couldn’t stay away either.

In Venice back in 1785, E. Luzzi’s five-act ballet “Juliet and Romeo” was performed.
The outstanding choreographer August Bournonville, in his book “My Theatrical Life,” describes the curious production of “Romeo and Juliet” in 1811 in Copenhagen by choreographer Vincenzo Galeotte to the music of Schall. In this ballet, such an essential Shakespearean motif as the family feud between the Montagues and the Capulets was omitted: Juliet was simply forcibly married to the hated count, and the heroine’s dance with her unloved groom at the end of Act IV was a great success with the public. The funniest thing was that the roles of the young Verona lovers were assigned - according to the existing theatrical hierarchy - to artists of very respectable age; the performer Romeo was fifty years old, Juliet was about forty, Paris was forty-three, and Friar Lorenzo was played by the famous choreographer Vincenzo Galeotti himself, who was seventy-eight!

VERSION BY LEONID LAVROVSKY. USSR.

In 1934, the Moscow Bolshoi Theater approached Sergei Prokofiev with a proposal to write music for the ballet Romeo and Juliet. This was the time when famous composer, frightened by the emergence of dictatorial regimes in the heart of Europe, returned to the Soviet Union and wanted one thing - to calmly work for the good of his homeland, which he left in 1918. Having concluded an agreement with Prokofiev, the management of the Bolshoi Theater hoped for the appearance of a ballet in the traditional style at eternal theme. Fortunately, in the history of Russian music there have already been excellent examples of this, created by the unforgettable Pyotr Ilyich Tchaikovsky. The text of the tragic story of the Verona lovers was well known in the country where Shakespeare's theater enjoyed popular love.
In 1935, the score was completed and preparations for the production began. Immediately the ballet dancers declared the music “non-danceable,” and the orchestra members declared it “contradictory to the techniques of playing the musical instruments" In October of the same year, Prokofiev performed a suite from the ballet, arranged for piano, during a recital in Moscow. A year later, he combined the most expressive passages from the ballet into two suites (a third appeared in 1946). Thus, the music for the never-staged ballet began to be performed in symphony programs by the largest European and American orchestras. After the Bolshoi Theater finally broke the contract with the composer, the Leningrad Kirov (now Mariinsky) Theater became interested in the ballet and staged it on its stage in January 1940.

Largely thanks to the choreography of Leonid Lavrovsky and the embodiment of the images of Juliet and Romeo by Galina Ulanova and Konstantin Sergeev, the premiere of the production became an unprecedented event in cultural life second capital. The ballet turned out to be majestic and tragic, but at the same time romantic to the point of awe. The director and artists managed to achieve the main thing - the audience felt a deep internal connection between Romeo and Juliet and Tchaikovsky’s ballets. On the wave of success, Prokofiev later created two more beautiful, although not as successful, ballets - “Cinderella” and “The Stone Flower”. The Minister of Culture expressed the wish that love in ballet would triumph over the criminal villainy of the authorities. The composer was of the same opinion, although for different reasons related to the requirements of the stage production.

However, the influential Moscow Shakespeare Commission opposed this decision, defending the rights of the author, and the powerful adherents of socialist optimism were forced to surrender. In an atmosphere that was deliberately folk and realistic, and, therefore, opposed to the avant-garde and modernist trends of contemporary ballet at that time, the new stage in art classical dance. However, before this flowering could bear fruit, the Second World War began, suspending any cultural activities both in the USSR and in Western Europe.

First and main feature The new ballet was its duration - it consisted of thirteen scenes, not counting the prologue and epilogue. The plot was as close as possible to Shakespeare's text, and the general idea carries a reconciling meaning. Lavrovsky decided to minimize the outdated facial expressions of the 19th century, widespread in Russian theaters, giving preference to dance as an element, dance that is born in the direct manifestation of feelings. The choreographer was able to present in basic terms the horror of death and the pain of unfulfilled love, already clearly expressed by the composer; he created living ones crowd scenes with dizzying fights (to stage them, he even consulted a weapons specialist). In 1940, Galina Ulanova turned thirty years old; to some, she might seem too old for the role of Juliet. In fact, it is unknown whether the image of a young lover would have been born without this performance. The ballet became an event of such significance that it opened a new stage in the ballet art of the Soviet Union - and this despite the strict censorship by the ruling authorities during the difficult years of Stalinism, which tied Prokofiev’s hands. At the end of the war, the ballet began its triumphal march throughout the world. It entered the repertoire of all ballet theaters of the USSR and European countries, where new, interesting choreographic solutions were found for it.

The ballet “Romeo and Juliet” was first staged on January 11, 1940 at the Kirov (now Mariinsky) Theater in Leningrad. This is the official version. However, the true “premiere” - albeit in a shortened form - took place on December 30, 1938 in the Czechoslovakian city of Brno. The orchestra was led by the Italian conductor Guido Arnoldi, the choreographer was the young Ivo Vania-Psota, who also performed the role of Romeo together with Zora Semberova - Juliet. All documentary evidence of this production was lost as a result of the Nazis' arrival in Czechoslovakia in 1939. For the same reason, the choreographer was forced to flee to America, where he tried unsuccessfully to stage the ballet again. How could it happen that such a significant production was staged almost illegally outside of Russia?
In 1938 Prokofiev last time toured the West as a pianist. In Paris he performed both suites from the ballet. The conductor of the Brno Opera House was present in the hall, and was extremely interested in the new music.

The composer gave him a copy of his suites, and the ballet was staged on their basis. Meanwhile, the Kirov (now Mariinsky) Theater finally approved the production of the ballet. Everyone preferred to hush up the fact that the production took place in Brno; Prokofiev - so as not to antagonize the USSR Ministry of Culture, the Kirov Theater - so as not to lose the right to have the first production, the Americans - because they wanted to live in peace and respect copyrights, the Europeans - because they were much more concerned about serious political problems that had to be resolved. Only a few years after the Leningrad premiere did newspaper articles and photographs emerge from the Czech archives; documentary evidence of that production.

In the 50s of the twentieth century, the ballet “Romeo and Juliet” conquered the whole world like a hurricane epidemic. Numerous interpretations and new versions of the ballet appeared, sometimes causing sharp protests from critics. No one in the Soviet Union raised their hand to Lavrovsky’s original production, except perhaps Oleg Vladimirov on the Maly stage opera house Leningrad in the 70s still brought the story of young lovers to a happy ending. However, he soon returned to the traditional production. You can also note the Stockholm version of 1944 - in it, reduced to fifty minutes, the emphasis is on the struggle of two warring factions. One cannot ignore the versions by Kenneth Mac Milan and the London Royal Ballet with the unforgettable Rudolf Nureyev and Margot Fonteyn; John Neumeier and the Royal Danish Ballet, in whose interpretation love is glorified and extolled as a force capable of resisting any coercion. It would be possible to list many other interpretations, starting with the London production by Frederick Ashton, the ballet on the singing fountains in Prague to the Moscow performance by Yuri Grigorovich, but we will focus on the interpretation of the brilliant Rudolf Nureyev.

Thanks to Nuriev, Prokofiev's ballet received a new impetus. The importance of Romeo's party increased, becoming equal in importance to Juliet's party. There was a breakthrough in the history of the genre - before this, the male role was certainly subordinated to the prima ballerina. In this sense, Nureyev is indeed the direct heir of such mythical characters as Vaslav Nijinsky (who reigned on the stage of the Russian Ballets from 1909 to 1918), or Serge Lefar (who shone in the grandiose productions of the Paris Opera in the 30s).

RUDOLF NURIEV'S VERSION. USSR, AUSTRIA.

Rudolf Nureyev's production is much darker and more tragic than Leonid Lavrovsky's light and romantic production, but that makes it no less beautiful. From the very first minutes it becomes clear that the sword of Damocles of fate has already been raised over the heroes and its fall is inevitable. In his version, Nureyev allowed himself some divergence from Shakespeare. He introduced Rosaline into the ballet, who is present in the classic only as an ethereal phantom. Showed warm family feelings between Tybalt and Juliet; the scene when young Capulet finds herself between two fires, having learned about the death of her brother and that her husband is his killer, literally gives you goosebumps; it seems that even then some part of the girl’s soul dies. The death of Lorenzo's father is a little jarring, but in this ballet it is quite in harmony with the overall impression. Interesting fact: the artists never fully rehearse the final scene, they dance here and now as their heart tells them.

VERSION BY N. RYZHENKO AND V. SMIRNOV-GOLOVANOV. USSR.

In 1968, a mini ballet was staged. Choreography by N. Ryzhenko and V. Smirnov - Golovanov to the music of “Fantasy Overture” by P.I. Tchaikovsky. In this version, all characters except the main ones are missing. The role of tragic events and circumstances that stand in the way of lovers is performed by the corps de ballet. But this will not prevent a person familiar with the plot from understanding the meaning, idea and appreciating the versatility and imagery of the production.

The film - the ballet "Shakespearean", which in addition to "Romeo and Juliet" includes miniatures on the theme of "Othello" and "Hamlet", is still different from the miniature mentioned above, despite the fact that it uses the same music and the directors are the same or choreographers. Here the character of Father Lorenzo has been added, and the rest of the characters, although in the corps de ballet, are still present, and the choreography has also been slightly changed. A wonderful frame for a picture is an ancient castle on the seashore, within the walls and surroundings of which the action takes place. ...And now the overall impression is completely different....

Two simultaneously so similar and so different creations, each of which deserves special attention.

VERSION OF RADU POKLITARU. MOLDOVA.

The production of the Moldavian choreographer Radu Poklitaru is interesting in that Tybalt’s hatred during the duel is directed not so much at Romeo as at Mercutio, since at the ball he, disguised as a woman, in order to protect his friend, flirted with the “cat king” and even kissed him, thereby exposing him to universal ridicule. In this version, the “balcony” scene is replaced by a scene similar to a scene from a miniature set to Tchaikovsky’s music, depicting the situation as a whole. The character of Father Lorenzo is interesting. He is blind and thus, as it were, personifies the idea voiced first by Victor Hugo in the novel “The Man Who Laughs”, and then by Antoine de Saint-Exupery in “ The Little Prince” about the fact that “only the heart is vigilant,” because despite blindness, it alone sees what sighted people do not notice. The scene of Romeo’s death is eerie and at the same time romantic; he places a dagger in his beloved’s hand, then reaches out to kiss her and, as it were, impales himself on the blade.

MAURICE BEJART'S VERSION. FRANCE, SWITZERLAND.

The ballet Dramatic Symphony “Romeo and Juliet” to the music of Hector Berlioz was staged by Maurice Bejart. The performance was filmed in the Boboli Gardens (Florence, Italy). It begins with a Prologue set in modern times. In the rehearsal hall, where a group of dancers have gathered, a quarrel breaks out, turning into a general brawl. Here from auditorium Bejar himself, the choreographer and author, jumps onto the stage. A brief wave of the hands, a snap of the fingers - and everyone goes to their places. At the same time as the choreographer, two more dancers emerge from the depths of the stage, who were not there before and who did not participate in the previous fight. They wear the same suits as everyone else, but white. These are still just dancers, but the choreographer suddenly sees his heroes in them - Romeo and Juliet. And then he becomes the Author, and the viewer feels how a plan is mysteriously born, which the Author, like the Creator-Demiurge, conveys to the dancers - through them the plan must be realized. The author here is the mighty ruler of his stage-universe, who, however, is powerless to change the fate of the heroes he has brought to life. This is beyond the power of the Author. He can only convey his plan to the actors, only initiate them into part of what is about to happen, taking upon himself the burden of responsibility for his decision.... In this performance, some heroes of the play are missing, and the production itself rather conveys general essence tragedy rather than telling a Shakespearean story.

VERSION BY MAURO BIGONZETTI.

The innovative design of a charismatic multimedia artist, Prokofiev's classical music and Mauro Bigonzetti's vibrant, eclectic choreography, which focuses not on the tragic love story but on its energy, create a show that merges media art and the art of ballet. Passion, conflict, fate, love, death - these are the five elements that make up the choreography of this controversial ballet, based on sensuality and having a strong emotional impact on the viewer.

MATS EKA VERSION. SWEDEN.

Submitting to every note of Tchaikovsky, Swedish theatergoer Mats Ek composed his own ballet. In his performance there is no place for Prokofiev's ebullient Verona with its crowded holidays, riotous fun of the crowd, carnivals, religious processions, courtly gavottes and picturesque massacres. The set designer has built today's metropolis, a city of avenues and dead ends, garage backyards and luxurious lofts. This is a city of loners who flock together just to survive. Here they kill without pistols or knives - quickly, quietly, routinely and so often that death no longer evokes either horror or anger.

Tybalt will smash Mercutio's head against the corner of the portal wall, and then urinate on his corpse; the enraged Romeo will jump on the back of Tybalt, who has stumbled in the fight, until he breaks his spine. The law of force reigns here, and it looks frighteningly unshakable. One of the most shocking scenes is the Monologue of the Ruler after the first massacre, but his pathetic efforts are meaningless, no one cares about the official authorities, the old man has lost touch with time and people. Perhaps for the first time, the tragedy of the Verona lovers has ceased to be a ballet for two; Mats Ek gave each character a magnificent dance biography - detailed, psychologically sophisticated, with past, present and future.

In the scene of Tybalt's mourning, when his aunt escapes from the hands of her hated husband, one can read the whole life of Lady Capulet, married against her will and tormented by a criminal passion for her nephew. Behind the adventurous virtuosity of the timid little Benvolio, trailing like a dog behind the outcast Mercutio, his hopeless future is visible: if the cowardly fellow is not stabbed to death in the gateway, then this stubborn man from the bottom will receive an education and a clerk position in some office. Mercutio himself, a luxurious shaven-headed fellow in tattoos and leather pants, tormented by unrequited and timid love for Romeo, lives only in the present. Periods of depression are followed by bursts of furious energy, when this giant soars in twisted leggings or acts like a fool at a ball, performing the classic entrechat in a tutu.

Mats Ek gave the kindest Nurse a rich past: you just have to watch how this elderly lady juggles four guys, wringing her hands in Spanish, swaying her hips and swinging her skirt. In the title of the ballet, Mats Ek put Juliet's name first because she is the leader in the love couple: she makes fateful decisions, she is the only one in the city who challenges the unforgiving clan, she is the first to meet death - at the hand of her father: there is no Lorenzo's father in the play , no wedding, no sleeping pills - all this is unimportant for Ek.

Swedish reviewers unanimously connected the death of his Juliet with the sensational story of a young Muslim woman in Stockholm: the girl, not wanting to marry the chosen one of the family, ran away from home and was killed by her father. Maybe so: Mats Ek is convinced that the story of Romeo and Juliet is the DNA of all humanity. But no matter what real events inspired the production, what is more important is what takes the performance beyond its relevance. No matter how trite, for Ek it is love. The girl Juliet and the boy Romeo (he looks like a “millionaire from the slums”, only some Brazilian) did not have time to understand how to cope with irresistible longing. Ek's death is static: in a thoroughly dance performance, the death of teenagers is staged purely as a director and therefore hits home - Juliet and Romeo slowly disappear underground, and only their legs, twisted like withered trees, stick out above the stage as a monument to murdered love.

GOYO MONTERO VERSION.

In the version of the Spanish choreographer Goyo Montero, all the characters are just pawns acting at the will of fate, in a game twisted by fate. There is neither Lord Capulet nor the prince here, but Lady Capulet embodies two aspects: either she is a caring mother, or she is an imperious, cruel, uncompromising mistress. The theme of struggle is clearly expressed in the ballet: the emotional experiences of the characters are shown as an attempt to fight against fate, and the final adagio of the lovers is shown as Juliet’s struggle with herself. The main character observes the plan to get rid of the hated marriage as if from the side, in the crypt, instead of stabbing herself, she opens her veins. Breaking all stereotypes, the dancer performing the part of Fate skillfully recites and even sings excerpts from Shakespeare.

JOEL BOUVIER'S VERSION. FRANCE.

The Bolshoi Theater of Geneva Ballet presented a version of the ballet by Sergei Prokofiev. The author of the production is French choreographer Joelle Bouvier, who made her debut at the Grand Theater of Geneva with this performance. In her vision, the story of Romeo and Juliet, “a story of love strangled by hatred,” can serve as an illustration of any war fought today. This is an abstract production, there are no clearly defined events of the play; rather, the internal state of the characters is shown more, and the action is only slightly outlined.

In due time great composer Hector Berlioz, experiencing a feverish fascination with Shakespeare, which later led him to the daring plan of “Shakespeareanization of music,” wrote excitedly from Rome: “Shakespeare's Romeo! God, what a plot! Everything in it seems to be destined for music!.. A dazzling ball in the Capulet house, these frantic fights on the streets of Verona... this inexpressible night scene at Juliet's balcony, where two lovers whisper about love, tender, sweet and pure, like the rays of the night stars... piquant buffoonery of the careless Mercutio... then a terrible catastrophe... sighs of voluptuousness, transformed into the wheezing of death, and, finally, a solemn oath of two warring families - over the corpses of their unfortunate children - to end the feud that caused so much blood to be shed and tears..."

THIERRY MALANDIN'S VERSION. FRANCE.

In his production, Thierry Malandin used Berlioz's music. In this interpretation, the parts of the Verona lovers are performed by several pairs of artists simultaneously, and the production itself is a set of scenes from the famous tragedy. The world of Romeo and Juliet here consists of iron boxes, which become either barricades, or a balcony, or a bed of love... until, finally, they turn into a coffin, containing a great love that is not understood by this cruel world.

SASHA WALTZ'S VERSION. GERMANY.

The German choreographer Sasha Waltz did not want to convey the literary version, but like Berlioz, whose entire story is told in the prologue, stops at the moments dedicated to strong emotions. Sublime, spiritual, slightly out of this world, the heroes look equally harmonious both in lyrical and tragic scenes and in the playful scene “at the ball”. The transforming scenery turns into a balcony, a wall, or becomes a second stage, thereby allowing two scenes to be shown simultaneously. This is not a story of struggle with specific circumstances, this is a story of confrontation with the inevitable fate of fate.

VERSION BY JEAN-CHRISTOPHE MAILOT. FRANCE.

In the French version by Jean-Christophe Maillot, set to music by Prokofiev, two teenage lovers are doomed not because their families are feuding, but because their blinding love leads to self-destruction. The priest and the duke (one person in this ballet), a man who acutely experiences the tragedy of the enmity of two irreconcilable clans, but has given up, resigned himself to what is happening and has become an outside observer of the daily bloodbath. Rosaline, restrainedly flirting with Romeo, although much more willingly responding to the hot manifestations of Tybalt’s feelings, whose ambitions as a womanizer become another impetus for the conflict with Mercutio. The scene of Tybalt's murder is done in slow motion, which resonates with the fast, fierce music, thereby visually demonstrating the state of passion under which Romeo commits a terrible crime. The widow, the vamp Lady Capulet, is clearly not indifferent to the young count, who would prefer to become a stepfather than the groom of the young heiress of the family. And also forbidden love, youthful maximalism and much more become the reason that Juliet tightens the noose around her neck and falls lifeless on the body of her lover.

ANGELAN PRELJOCAJ'S VERSION. FRANCE.

Angelin Preljocaj's performance is imbued with leitmotifs from Orwell's novel 1984. But unlike Orwell, who described a totalitarian society under the supervision of “big brother,” the choreographer was able to convey the atmosphere of a prison in a caste society. In a society experiencing a dramatic breakdown in declassification. Juliet is the daughter of the head of the Gulag prison, from the elite Capulet clan, fenced off from the outside world with barbed wire and guarded by shepherd dogs, with whom guards with searchlights walk along the perimeter of the zone. And Romeo is an upstart from the outskirts of the proletarian lower classes, the unbridled world of the mob on the outskirts of the metropolis, where stabbing is the norm. Romeo is aggressively brutal, and he is not at all a romantic hero-lover. Instead of the absent Tybalt, Romeo, sneaking on a date with Juliet, kills the guard. He sweeps away the first cordon, jumps over the hierarchical level, penetrating into the elite world, as if into an alluring “Kafkaesque” castle. In Preljocaj, it is deliberately unclear whether the whole world is a prison, or whether the powers that be are rigidly defending themselves from the declassed world, conserving themselves in ghettos and using violence against any encroachments from the outside. Here all the concepts are “inverted”. It's a siege of everyone against everyone.

It doesn’t matter in what language great stories are told: whether they are played on stage or in cinema, whether they are conveyed by singing or sounded with beautiful music, frozen on canvas, in sculpture, in a camera lens, whether they are built along the lines of human souls and bodies - the main thing is that they lived, live and will live, forcing us to become better.

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