38 Kiseleva Maria. Robber Musil: body and word as a way of understanding heroes // Questions of literature. 2009. No. 3. P. 350.
39 Spengler Oswald. The decline of Europe. Essays on the morphology of world history. T. 1. Gestalt and reality. M.: Mysl, 1993. P. 231.
40 Mannheim Karl. Ideology and utopia // Karl Mannheim. Diagnosis of our time. M.: Lawyer, 1994. P. 185.
41 Zamyatin Evg. Paradise // Zamyatin E.I. I'm afraid. P. 53.
42 Wells Herbert. Modern utopia. P. 189.
* We have preserved this word only in the form of a poetic metaphor: chemical composition this substance is unknown to us.
43 Arendt Hannah. People in dark times. M.: Moscow School of Political Research, 2003.P. 21.
44 Shklovsky's etymology is very doubtful. As you know, the name Mephistopheles is possibly Greek. origin - “hating light”, from me - not, phos - light and philos - loving; according to another version, ancient Hebrew. origin - from mefits - spreading (distributing) and tofel - defilement, sin. It does not appear in the Bible. Appeared most likely during the Renaissance.
45 Shklovsky Victor. Ceiling of Evgeny Zamyatin // Shklovsky V.B. Hamburg account: Articles, memoirs, essays (1914-1933). M.: Soviet writer, 1990. P. 259.
46 Zamyatin Evgeniy. About lackeys // Zamyatin E.I. I'm afraid. P. 38.
47 Zamyatin E. I. H.G. Wells// Zamyatin E.I. Izbr. prod. : in 2 volumes. T. 2. M.: Khudozh. lit., 1990. P. 306. In a recent edition, this book was translated as “Modern Utopia.”
48 The benefactor whom the hero compares to Jehovah are “guardians,” that is, intelligence officers whom the narrator compares to guardian angels. The enemies of the system themselves take the name “Mefi”.
49 Stepun F. A. Religious meaning revolution // Stepun F. A. Life and creativity. Selected works. M.: Astrel, 2009. P. 486.
50 Florovsky Georgy. Metaphysical prerequisites of utopianism // Florovsky Georgy. From the past of Russian thought. M.: Agraf, 1998. P. 273.
51 Frank S. L. Heresy of utopianism // Frank S. L. Beyond the right and left. Paris: YMCA-Press, 1972. pp. 86-87.
52 See my article about this: Dostoevsky, Nietzsche and the crisis of Christianity in Europe late XIX- beginning of the 20th century // Questions of Philosophy. 2002. No. 9. P. 54-67.
UDC 18.111.85:7.01
Natalya Alekseevna Terentyeva
Chelyabinsk State Pedagogical University
BALLET AS AN ART AND CULTURAL PHENOMENON: ESSENTIAL CHARACTERISTICS AND APPROACHES TO DEFINITION
The article reveals the main essential characteristics ballet as a cultural phenomenon, the leading cultural approaches necessary to reveal the essence of ballet art are analyzed; the specificity of the cultural reading of ballet as a sociocultural system is determined.
Keywords: ballet, ballet art, synthesis of arts, creativity, stage performance, entertainment.
© Terentyeva N. A., 2011.
Ballet, both ballet in general and a specific ballet performance, can be called a phenomenon cultural life, which has a long historical and cultural tradition of existence, acting as an effective phenomenon artistic culture society. The least controversial is the historical and cultural tradition of ballet, embodied in the galaxy of legendary names of performers, ballet teachers, choreographers, composers, conductors, and artists. The imperial component of Russian ballet for a long time has classified it as a special form of “aesthetic sacrament”, fascinating with its bright theatricality, talented combination of fairy tales with reality, diversity of original dance technique, expressively clear pantomime, the genius of musical accompaniment, lively rhythms of stage action.
It seems no coincidence cultural significance ballet in Russia as a unique brand, aesthetic " business card» Russian art (confirmed by the special status of the Bolshoi Theater; traditional definition ballet as an element of national pride). The word “ballet” in our minds is associated with the theater - golden boxes, rows of velvet chairs, a sparkling chandelier, an orchestra pit, a heavy curtain, which, when opened, shows us a beautiful picture of the kingdom of magical fairies, young princes and princesses, enchanted swans, good and angry, sometimes cunning, sometimes sad, but always unforgettable.
Considering ballet in this article as a special cultural phenomenon, it is necessary to highlight a number of characteristic features, defining its specificity. The art of ballet is syncretic and universal: ballet (traditional, classical form) is impossible without music, inexpressive without decoration, poor without a literary source. The universalism of ballet is most clearly manifested in its general cultural presence, ease of penetration even into those cultures that did not know national analogues (naturally, when refracted in national mentality, worldview, traditions of artistic expression). Ballet is a synthetic art or “synthesis of arts”. After all, ballet combines three fundamentals - dance, music and drama - and several “additional” (or “auxiliary”) arts - visual, literary, etc. It is clear that cinema is in the same position. performing arts, partly - architecture, especially not practical, but religious (religious buildings), which also combines the main component itself - architecture with fine arts, with sculpture, indirectly - with music (since Catholic or Orthodox church it is difficult to imagine “silent”, without music or liturgies, and even in moments of silence - this is its purpose that does not allow you to forget about yourself, since the temple is designed taking into account the requirements of acoustics, that is, the musical and sound function is built into it from the very beginning). However, ballet has its own essence in this series - the center of its action is drama, and dance and music are the languages in which the ballet “talks” to its audience.
A ballet performance has a communicative nature of action. It is represented by several sides: communication between dancers who directly express the plot and content of the ballet, its system artistic images; communication between individuals expressive means(music, dancers, etc.); communication between artists (including musicians) and the audience. The first two types of communication allow the third type to emerge - which is the meaning of ballet as a performance, that is, public, communicative, conveying the meaning of the action.
The art of ballet - stage-public - is a creativity that interests not only the author of the ballet (choreographer, composer, librettist, artist, artists), but also
spectators. Art is part of the spiritual culture of all humanity, and ballet as an art is the result of the activity of all humanity. Ballet, as a rule, is not focused on expressing abstract philosophical reasoning; it is intended to demonstrate the simplest and thereby the most complex images - images of sensual, emotional experiences. The art of ballet is extremely popular all over the world. Nationally unique for every nation, it does not require translation into other languages and is understandable to all people, regardless of their place of residence, culture, activity and language of speech.
Thus, we can say that the art of ballet is democratic in perception and removes national barriers (although the perception of the national ballet of another culture requires certain preparation or familiarity with this culture). Dance art in the ballet theater reaches its highest development. It is combined here with dramaturgy, revealing characters and relationships, with music in its highest symphonic forms, with fine art in modern achievements. The synthetic nature of ballet theater combines different arts into a single artistic whole.
An integral feature of ballet is its entertainment (after all, it is not intended primarily for meditative contemplation, like objects visual arts or architecture), which is realized through its scenic character. The spectacular side of the dance is also its design, or its “ ornamental pattern" Hence the need for its visual design and costume is born. Ballet arises where a performance is built on the basis of dance, and choreography becomes a theater phenomenon. Dance develops over time and is capable of expressing states, actions, and actions. A dance that carries effective content acquires dramaturgy. Dance dramaturgy forms the effective core of ballet. The unity of the script and music determines ballet dramaturgy. The script (libretto) of a ballet usually gives a brief verbal summary of the ideas, plot, conflict, and characters of the future performance. Part of the choreography, along with classical dance, is a special ballet means of expression - pantomime.
Great importance for ballet it has its plot, expressed through specific ballet dramaturgy. The dramaturgy of ballet has various external and internal characteristics and depends on the idea of the ballet, plot, conflict, genre, and style of the work. Even the initially given plotless basis of the ballet is always performed sequentially and has its own internal dynamics.
Another feature of the ballet is related to its literary basis, the textuality of the action. In our opinion, this feature gives the ballet a certain mythological component, a verbal and symbolic basis for the action. Scenario dramaturgy connects ballet with literature, since the ballet script is a verbally stated plot. Very often a ballet script is created based on literary work or source-epic, myth. The great J. J. Nover, choreographer, reformer, and ballet theorist, emphasized the importance of literature in ballet in his book “Letters on Dance and Ballets.” Surviving in the modern repertoire works of the XIX century - the ballet “Corsair” by A. Adam, the ballet “Esmeralda” by C. Pugni, are associated with outstanding works romantic literature D. Byron and V. Hugo. The famous masterpieces of P. I. Tchaikovsky have a fairy-tale literary basis (“Sleeping Beauty” by Charles Perrault, “The Nutcracker” by Hoffmann).
At the same time, ballet largely relies on the classical verbal heritage of culture, on the basic cultural layer of the sacred text (classics) - introduction to the big world classical literature. “The Bakhchisarai Fountain” by B. Asafiev (choreographer R. Zakharov), “Romeo and Juliet” by S. Prokofiev (choreographer L. Lavrovsky), “Laurencia”
A. Krein (choreographer V. Chebukiani), “Taras Bulba” by V. Solovyov-Sedogo (choreographer B. Fenster), “ Bronze Horseman» R. Gliere (choreographer R. Zakharov), “Mirandolina”
V. Vasilenko (choreographer V. Vayonen), “Seven Beauties” by K. Karavaev (choreographer P. Gusev), “Shurale” by F. Yarulin (choreographer L. Yakobson), “Spartacus” by A. Khachaturian (choreographer L. Yakobson) and many other performances where images of outstanding works of literature are revealed on stage.
Another feature of ballet can be defined as canonicity (strict adherence to the canon). The “language” of the ballet performance as a “test” is classical dance. Classical dance is an “exemplary” dance; there is no place in it for anything superfluous or unnecessary, because its system has been crystallized over centuries. All movements (pas) carry a certain content, each pa has only its own imagery, which can be strengthened or weakened, made forte or piano, but cannot be changed to the opposite. Some movements are comic in nature, others are lyrical.
Considering ballet as a cultural phenomenon, it seems necessary to touch upon the correlation of ballet with the categories of “mass - elite”. The idea that ballet can only be experienced by a specially trained audience is incorrect. Prepared - yes, of course, but prepared in what way? After all, a spectator prepared to perceive ballet is not necessarily a choreographer or musician; This is a person who is ready to be spoken to not with the direct text of a classical drama, but with visual images, pantomime, and body language. Both the musician and the dancer, if he is not ready to perceive ballet as a series of dance and musical images replacing each other, will need a libretto.
The ability to perceive ballet is a certain kind of test of a person’s emotional “maturity,” his ability to perceive and understand other people’s feelings, expressed not in the hackneyed words of soap opera characters, but in the image of movement. That is why works devoted to topical and private issues (ballets by D. Shostakovich, F. Krasny, etc.), which tried to express not the idea of human feelings, but the ideology of communist society, did not become ballet classics. Thus, the synthesizing nature of ballet art also lies in the intertwining of the mass-elite component of culture.
Finally, important issue The dichotomy “national - international” in ballet art remains, in other words, the problem of introducing “foreign cultural” components into ballet. Thus, the Russian ballet school still developed within the framework of the pan-European theatrical, dramatic, musical and choreographic traditions. However, modern Russian (and world) ballet demonstrates the introduction of a whole layer of national culture- national and folk music, costumes, dance traditions, etc. This does not indicate the degradation of ballet, its “splitting” into classical and national, but that ballet has become a national-universal phenomenon. It is no longer the addition of certain arts into one cultural tradition, but became global cultural phenomenon, which manifests itself even in those cultures that could not give birth to ballet on their own.
From the point of view of studying ballet as a cultural phenomenon, we can also identify a number of cultural approaches necessary to reveal the essence of ballet art.
The application of the structural-functional approach to the study of ballet art consists in presenting ballet as an institution artistic life society, a complex structure of interaction between creators, distributors and consumers of art. The functional component is seen in the understanding of ballet as a multifunctional phenomenon that affects various areas social reality.
Systems approach is used in the study of ballet as an integral system of synthesis of arts, where all parts are interdependent and do not represent closed subsystems.
stems, but are harmoniously woven into the overall whole, not by simple summation, but by an equally dependent addition. Ballet must be viewed either as special art, which, although “composed” of the methods of dance, music, and drama, is one and indivisible. Ballet in in this case appears on the one hand as a dynamic unity of its parts (music, drama, choreography, scenography), and, on the other hand, as a subsystem of a certain metasystem - a single field of art, a subsystem of artistic life.
The semiotic approach allows us to consider ballet as a unique text, focusing attention on its semiotic component - choreographic language. Within the framework of this approach, ballet action appears as an act of communication - the transfer of meanings using a specific symbolic choreographic system.
The synergetic approach consists in understanding ballet art as a complexly organized unfolding process in which some subsystems (types, genres, themes) are strengthened, while others are extinguished. Ballet art appears to be an open system, alternating in its development areas of relative calm and increasing excitability (bifurcation points), as a change in states of chaos and order, entropy and its overcoming (which is clearly confirmed in the study of the historical and cultural dynamics of the development of Western European and Russian ballet). Uneven in different eras The relationship between the main components of ballet as an art form was also presented: the relationship between dance and drama has not changed fundamentally over the entire existence of ballet, although the means of expression have changed very seriously, which is manifested, of course, in the external drama of the ballet action, the relationship between music and dance.
Thus, relying on the integrative methodology of understanding ballet as a cultural phenomenon, we can highlight the specifics of its cultural reading, which, in our opinion, is associated with the functioning of ballet as a sociocultural system for the creation, dissemination and perception of artistic and spiritual values, dependent on a complex of cultural and historical conditions and the circumstances in which this system exists.
Daria Olegovna Usanova
Chelyabinsk State Academy of Culture and Arts
A VIRTUAL REALITY:
PROBLEMS OF THE PRESENT IN THE RETROSPECTIVE OF PHILOSOPHICAL AND CULTUROLOGICAL HERITAGE
Today, virtual reality issues are attracting increasing attention from researchers from various disciplines. The concept of virtual reality has become so popular and fashionable that it seems difficult to find a sphere of human activity where it could not be applied. It seems that next to the real world a new one has arisen virtual world. This article examines the history of the formation and development of the concept of “virtual reality” and highlights the approaches of modern scientists in interpreting this term.
Key words: virtuality, virtual reality, virtual culture, postmodernism, simulacrum, hyperreality.
© Usanova D. O., 2011.
The history of ballet for children will tell you how and where ballet appeared.
When did ballet appear?
The term “ballet” appeared at the end of the 16th century (from Italian balletto - to dance). But then it did not mean a performance, but only a dance episode conveying a certain mood.
Ballet as an art form is quite young. The dance that adorns our lives has already reached its end 400 years. The place where ballet originated is Northern Italy, and this happened during the Renaissance. Local princes loved the magnificent palace festivities and hired dance masters who rehearsed dance movements and individual figures with noble people.
It is believed that the one who invented the ballet was Italian choreographer Baltazarini di Belgioioso. He staged the first ballet performance called "The Queen's Comedy Ballet", which was staged in France in 1581.
It was in France that ballet began to develop. During the reign Louis XIV The performances of the court ballet reached special splendor.
Brief history of Russian ballet
In Russia, a ballet performance called “The Ballet of Orpheus and Eurydice” was staged for the first time on February 8, 1673. This happened in the palace of Tsar Alexei Mikhailovich. Slow and ceremonious dances featured graceful poses, moves and bows, which alternated with speech and singing.
Only a quarter of a century later, along with the reforms of Peter I, dance and music entered the life of the Russian people. IN educational institutions Dancing classes were equipped for the nobles. Foreigners began to perform at the royal court opera artists, musicians and ballet troupes.
The first ballet school in Russia was opened in 1731. It was called the noble Land Corps. It is considered the cradle of Russian ballet. In development ballet school a huge contribution was made by Jean Baptiste Lande, a French dance master. He is the founder of Russian ballet. Lande also opened the first ballet dance school in Russia. Today it is the Academy of Russian Ballet named after. A.Ya.Vaganova.
Ballet received a further impetus in its development during the reign of Tsarina Elizabeth Petrovna. After the invitation to Russia of the choreographer from France Didelot, this art reached a special peak - graceful productions, poses and design created a sensation.
It is worth noting that in the development of classical Russian ballet there is no last role played by Pyotr Ilyich Tchaikovsky. He is the author of such brilliant ballets as “ Swan Lake", "The Nutcracker" and "Sleeping Beauty".
We hope that from this article you learned when ballet appeared.
Instructions
The ballet appeared first in Italy, then in France. It is curious that he even knows the date of the first French ballet production. On October 15, 1581, the royal and courtiers saw the production of Circe, or the Queen's Comedy Ballet. The idea of the performance belongs to one of the court violinists - the Italian Baltazarini de Belgioso.
At the dawn of ballet, it was based on dances adopted at the royal court. After about a hundred years, new genres emerge: ballet, ballet-opera and others. The music for such performances is beginning to be identified as a special genre, and the production is trying to be as dramatic as possible. After another century, ballet became an independent art form. A significant role in this was played by the French choreographer Jean Georges Noverre, who carried out a number of reforms and relied on revealing the production through expressive images.
Ballet has always been placed in a special category. The first performance in Russia was staged on February 8, 1673. That day, Tsar Alexei Mikhailovich was in the village of Preobrazhenskoye near Moscow and wanted to have fun. According to legend, he liked the ballet so much that he ordered the development of this art direction.
Russian ballet as a special part of the general ballet art began to take shape in early XIX century. The French choreographer Charles-Louis Didelot made the connection between dance steps and pantomime closer and increased the importance of the corps de ballet. It was he who made women's dance the center of the production. Russian ballet would not be known throughout the world if not for the composer P.I. Chaikovsky. It is he who owns the music that became the basis classical ballets“The Nutcracker”, “Swan Lake”, “Sleeping Beauty” and others. Deep, soulful music gave the dancers the opportunity to more fully reveal the figurative content and express the feelings and experiences of the characters through dramatic means. On stage, the characters grew, developed, fought with each other and themselves, fell in love, killed. Ballet has ceased to be just a type of dance, but has become a real art, understandable to the viewer.
Academic ballet of the 19th century was bound by rules, stereotypes and conventions. At the beginning of the 20th century, not only in Russia, but also in other countries of the world, an intensified search for new forms began. Modernism appeared - an alternative to strict ballet forms, and then free dance. It is believed that free dance was invented by Isadora Duncan. She was convinced that dance is natural, part of every person and reflects the language of the soul. It was Duncan who was the first to step down from ballet pointe shoes and abandon uncomfortable tutus in favor of light and flowing clothes. Free dance has become a worldwide movement, which served as the impetus for the next evolutionary round of ballet.
type of performing arts. The specificity of ballet is the transmission of content through dance, in musical and choreographic images. As a rule, music is composed by composers specifically for a given ballet based on literary script(libretto).
European ballet, whose homeland is Italy, began to take shape during the Renaissance. It was finally formed in the 18th century.
In Russia, ballet performances have become regular since the 30s of the 18th century. Mastering the experience of foreign choreographers, studying folk culture dance, Russian artists gradually created an original style of performance, an original school of dance, which finally took shape in the second half of the 19th century. The pinnacle of this art of the 19th century century was the work of Russian choreographers M. Petipa and L. Ivanov, who created the style of academic ballet ("Swan Lake", "The Nutcracker", "Sleeping Beauty").
Excellent definition
BALLET
French-ballet, from Late Latin. ballo-dancing) - view musical theater. The specificity of B. is the transfer of content through dance, in musical and choreographic images (Choreography). B. is a synthetic art: its content, along with the dance, is determined by the script, music and theatrical means expressiveness (design, direction, acting); sometimes it may include vocals - both as independent numbers and as additional or sole musical accompaniment. As a result of interaction with cinematography, new genre- film ballet. The nature of B. is twofold: on the one hand, it gravitates towards music and corresponding techniques of expressiveness, on the other, it develops as a theatrical art. The history of B. knows periods when k.-l. of the two principles became the leading one, determining the originality of the performances created at that time and their genre: from dance symphony to choreodrama. As a rule, music is composed by a composer specifically for a given music based on a literary script, or, less often, it is selected from finished works. In the traditional European way. B. culture along with classical and folk character dance pantomime may be used. In the 20th century The material for creating choreographic images is also “free dance”, “modern” dance, other types of dance or their elements in combination with classical dance. Europe B., whose homeland is Italy, began to take shape during the Renaissance. Later it appeared in England, Austria, France. It was finally formed in the 18th century. In Russia, ballet performances have become regular since the 30s. XVIII century Mastering the experience of foreign choreographers, studying folk choreographic culture, Russian. Dance masters gradually created an original style of performance, Russian. national dance school, which finally took shape in the second half of the 19th century. The pinnacle of ballet theater XIX V. Russian creativity became choreographers M. I. Petipa and L. I. Ivanov, who created the style of academic ballet (“Swan Lake”, “Sleeping Beauty”, “Raymonda”, “The Nutcracker”). Complex symphonic forms appeared classical dance, B. met with the music of symphonic composers P. I. Tchaikovsky and A. K. Glazunov. By the beginning of the 20th century. B. entered the treasury of national Russian. culture, while ballet theater in the West fell into decline and degenerated into an entertaining spectacle. Foreign tours Russian. B. at that time (the Parisian seasons of S. P. Diaghilev) were, in essence, the rediscovery of this type of art for Western viewers, and gave impetus to the revival of B. in many ways. countries. Soviet B. inherited all the best from the Russians. B., developed his achievements, proposed new ideological and aesthetic principles. Based on Russian B. gave birth to national ballets of the union republics, together with them forming the multinational Soviet ballet art.
The most beautiful of all arts.The most beautiful of all arts, ballet, tells stories of love and death in a language understandable to all people on Earth. Enduring values, repeated crimes and miracles of faith, oath and duty find their expression in dance. “In the beginning there was the Word,” says the Bible, but Maya Plisetskaya objects: “In the beginning there was a gesture!” The art of silent movement does not require human language or translation. The beauty of the body in movement, the body as an instrument for creating art, now themselves serve as “plots” for plotless dances. Ballet is impossible without the technique of classical dance, without the nature of the body, without sacrifice and unconditional love, without sweat and blood. And yet ballet is a perfect movement that makes you forget about everything petty and earthly.
Short story Russian ballet.
The first ballet performance in Russia took place on Maslenitsa on February 17, 1672 at the court of Tsar Alexei Mikhailovich in Preobrazhenskoye. Before the start of the performance, the actor portraying Orpheus came on stage and sang German couplets, translated to the Tsar by a translator, in which the wonderful properties of the soul of Alexei Mikhailovich were extolled. At this time, on both sides of Orpheus stood two pyramids decorated with banners and illuminated with multi-colored lights, which, after Orpheus’ song, began to dance. Under Peter I, dancing in the modern meaning of the word appeared in Russia: minuets, country dances, etc. were introduced. He issued a decree according to which dancing became the main part of court etiquette, and noble youth were obliged to learn dancing. In 1731, the Land Noble Corps was opened in St. Petersburg, which was destined to become the cradle of Russian ballet. Since graduates of the corps in the future were expected to occupy high government positions and needed knowledge of secular manners, the study fine arts, including ballroom dance, the building was allocated significant place. On May 4, 1738, the French dance master Jean Baptiste Lande opened the first ballet dance school in Russia - “Her Imperial Majesty’s Dancing School” (now the Vaganova Academy of Russian Ballet).
In specially equipped rooms of the Winter Palace, Lande began training 12 Russian boys and girls. The students were recruited from children of simple origin. Education at the school was free, pupils were full content. Ballet received further development in Russia during the reign of Elizabeth Petrovna. Among the cadets of the Ground Corps, Nikita Beketov excelled in dancing. Moreover, Beketov, who later became Elizabeth’s favorite, enjoyed the special favor of the Empress, who herself dressed the young man who performed excellently. female roles. In 1742, the first ballet troupe, and in 1743 its participants began to be paid fees. On August 1, 1759, on the empress’s name day and on the occasion of the victory over the Prussian troops at Frankfurt, the ballet-drama “Refuge of Virtue” was solemnly staged, which was a huge success.
During the reign of Catherine II, ballet in Russia gained even greater popularity and received further development. On the occasion of her coronation, a luxurious ballet “Joyful Return to the Arcadian Shepherds and Shepherdesses of the Goddess of Spring” was given in the Moscow palace, in which the most noble nobles participated. It is known that in the court theater in ballet performances The heir to the throne, Pavel Petrovich, often danced. Since the era of Catherine II, a tradition of serf ballets has appeared in Russia, when landowners started troupes made up of serf peasants. Of these ballets, the ballet of the landowner Nashchokin enjoyed the greatest fame.
In 1766, the choreographer and composer Gasparo Angiolini, discharged from Vienna, added a Russian flavor to ballet performances - introduced musical accompaniment ballet performances of Russian melodies, which surprised everyone and gained universal praise. At the beginning of the reign of Paul I, ballet was still in fashion. It is interesting that under Paul I they were published special rules for the ballet - it was ordered that there should not be a single man on stage during the performance; the roles of men were danced by Evgenia Kolosova and Nastasya Berilova.
This continued until Auguste Poirot arrived in St. Petersburg. During the reign of Alexander I, Russian ballet continued its development, reaching new heights. Russian ballet owes its success at this time, first of all, to the invited French choreographer Carl Didelot, who arrived in Russia in 1801. Under his leadership, dancers such as Maria Danilova and Evdokia Istomina began to shine in Russian ballet. At this time, ballet in Russia achieved unprecedented popularity. Derzhavin, Pushkin and Griboyedov sang the ballets of Didelot and his students - Istomin and Teleshova. The Emperor loved ballet performances and almost never missed a single one. In 1831, Didelot left the St. Petersburg stage due to a conflict with theater director Prince Gagarin. Soon a star began to shine on the St. Petersburg stage European ballet Maria Taglioni.
She made her debut on September 6, 1837 in the ballet La Sylphide and delighted the public. Such lightness, such chaste grace, such extraordinary technique and facial expressions have never been shown by any of the dancers. In 1841, she said goodbye to St. Petersburg, having danced more than 200 times during this time.
In 1848, Taglioni’s rival, Fanny Elsler, famous for her grace and facial expressions, came to St. Petersburg. Following her, Carlotta Grisi visited St. Petersburg, who made her debut in 1851 in “Giselle” and had great success, showing herself to be a first-class dancer and an excellent mimic actress. At this time, choreographers Marius Petipa, Joseph Mazilier and others consistently staged luxurious ballets and, by attracting talented artists, tried to put forward ballet performances, which began to cool down thanks to Italian opera. Among the ballet critics of that time was Vissarion Belinsky, who wrote articles about Taglioni, Guerino and Sankovskaya. During the reign of Alexander II, the promotion of domestic talents began in Russian ballet. Whole line talented Russian dancers and dancers were decorated ballet stage. Although great economy was observed in ballet productions, the experience of Mariyca Petipa made it possible to stage elegant ballet performances at low financial costs, the success of which was greatly facilitated by the excellent decorations of the artists. During this period of development of Russian ballet, dancing took precedence over plasticity and facial expressions.
During the reign Alexandra III ballets were given at the Mariinsky Theater twice a week - on Wednesdays and Sundays. The choreographer was still Marius Petipa. At this time, foreign ballerinas were touring in St. Petersburg, including Carlotta Brianza, who was the first to perform the role of Aurora in the ballet “The Sleeping Beauty” by Pyotr Tchaikovsky. The leading dancers were Vasily Geltser and Nikolai Domashev. In the 20th century - A. V. Shiryaev, 1904 A. A. Gorsky, 1906 Mikhail Fokin, 1909. At the beginning of the 20th century, the custodians of academic traditions were artists: Olga Preobrazhenskaya, Matilda Kshesinskaya, Vera Trefilova, Yu. N. Sedova, Agrippina Vaganova , Olga Spesivtseva. In search of new forms, Mikhail Fokin relied on modern fine art.
Anna Pavlova. Invitation to the Dance aka Invitation to the valse.
The choreographer's favorite stage form was one act ballet with a laconic continuous action, with a clearly defined stylistic coloring. Mikhail Fokine owns the following ballets: “Pavilion of Armida”, “Chopiniana”, “Egyptian Nights”, “Carnival”, 1910; "Petrushka", "Polovtsian Dances" in the opera "Prince Igor". Tamara Karsavina, Vaslav Nijinsky and Anna Pavlova became famous in Fokine's ballets. The first act of the ballet “Don Quixote”, to the music of Ludwig Minkus, reached contemporaries in the edition of Alexander Gorsky.
Russian ballet of the twentieth century.
Galina Ulanova in the ballet "Giselle."
Pas de deux from the ballet "Swan Lake" by Tchaikovsky.
Russian ballet of the 21st century.
Pas de deux from the ballet "Corsair" by Adana.
Pas de deux from the ballet "Don Quixote" by Minkus.
Pas de deux from the ballet "La Bayadère" by Minkus.
Adagio and pas de deux from the ballet "Giselle" by Adam.