« Dance » Vyacheslav Samodurov at the Mariinsky Theater
On the stage of Mariinsky-2, as part of a program dedicated to Igor Stravinsky, the premiere of one-act dance scenes took place: the main domestic ballet avant-garde vanguard Vyacheslav Samodurov first composed a choreography for his native theater. How skillfully the former prime minister adapted his talent to the features of the Petersburg troupe. Tatyana Kuznetsova.
The announced premiere was introduced a day earlier than they were going to: “Symphony to Major” by Stravinsky, to the music of which a new ballet was placed, Valery Gergiev wanted to carry out, and he had the only free evening – April 8. It is worth admitting that those who were in the hall were lucky: under the wand of Arseniy Shupyakov, who stood behind the remote control the next day, Stravinsky was not like himself. Even his early, often performed “parsley”: Shrovetide walking in St. Petersburg, under the hands of the maestro Gergiev, boiling in the orchestra, not just faded-it went out of different. It is strange, however, that on both evenings, a fair part of the public “parsley” was pleased – in particular, families with children left the hall, ignoring the premiere. The “dance sites” were saved at the end, showing in the second department relatively fresh “concert dances” in the choreography of the Mariinsky first soloist Alexander Sergeyev – this production was transferred to Petersburg from Rostov only in June last year.
Meanwhile, the « dance sites » earned the closest attention. This is the first ballet of Vyacheslav Samodurov on the stage of his native Mariinsky Theater. A graduate of the Vaganov Academy, who rose to the status of the prime minister, left his native troupe 25 years ago. Premierly in Amsterdam and London Covent Garden, he returned to his homeland as a choreographer and in 15 years of active activity he put at least 25 ballets, becoming perhaps the main domestic specialist in modern classics. His horse is one -act plot of ballets, but he does not shy away from the plot full -length ones. For 12 years he headed the Yekaterinburg Opera and Ballet Theater, actually creating its repertoire. He put it everywhere: in the St. Petersburg Mikhailovsky and Moscow Bolshoi, in the Muzter of Stanislavsky and in the Jacobson Theater. Over the years, instilling in academic Pa, modern relaxation and unpredictability has developed a completely recognizable style in which the allegro pace clearly prevail over Adagio, the classical technique is reduced by bodily “expansion”, the established forms of the dance are crushed into small fragments, and the choreographic action is built on the principle of simultaneity, that is, often everything is often all Dance immediately and at the same time.
In addition, the team of his favorite co-authors got the choreographer Samodurov, which is why his ballets are similar and outwardly. “Dance” was formalized by Alexei Kondratyev – and again, as in the Moscow “Dancing” and the Yekaterinburg “order of the king”, he turned on a series of gigantic “headlights” on the back, above the scene in several rows and at different levels he handed long unwell tubes, and the space was divided by veils from thin rods, thus sharing the “layers of memory” – as if even even of the “layers of memory” – as if even It is not clear: when the partner retires into the back of the backstage, and the partner peers at the hall bewildered, which means that her man is already in the past. However, Konstantin Binkin has so spectacularly set the light that the overall picture looks self-sufficiently beautiful and does not require semantic explanations. The artists, according to the Samodurian habit, are dressed disharmonious: women, as it were, seriously, people seem to be half. This time, the artist Irena Belousova put men in frivolous lilac t -shirts in stripes, leaving “workers” of black coco on her feet. Cordobalet girls in black bodice and transparent white skirts seem to hint at “romanticism”, and having removed the skirts – already in our time. The thought of a change of eras is also supported by soloists: one in a skirt, the second in a soft pack, the third in a black swimsuit with a bodice.
However, choreography is devoid of historical connotations. I must say that, for the first time working with the very academic troupe of Russia, Vyacheslav Samodurov measured bodily liberties, relying at virtuosity and a quick pace – the benefit of three parts of the Symphony in C are very rapid. The choreographer called the symphony « dance scenes », explaining that he « each part is a closed story. » History, of course, is not in a literal, narrative sense, but as a finished work with its structure and even a hint of the relationship of protagonists.
The fast first part is the general exposition with the participation of six male briefings and a women’s corps de ballet of 16 dancers, divided into several groups. Moreover, each of these groups constantly and rapidly moves among the curtains-“memory zones”, each is endowed with its own combinations, and the movements themselves are complex not in the subleum: men have double tours in the air, in women-chains of rotations-shoes extended through the scene, and everyone throws large batmans-in different directions. However, mini-portraits of soloists are still not lost against the backdrop of accompaniment activities. It is clear that the emotional Nadezhda Batoev and Konstantin Zverev, in vain trying to get rid of the role of the prince, made up a more lyrical pair than, say, the irreconcilable Renata Shakirov and Kimin Kim, rivals in temperament and virtuosity. And that Japanese May Nagakhis has the role of a sort of fairy of the XXI century dolls, manipulating her gentlemen. However, they are far from as respectful as their predecessors of 120 years ago: in stalls, a lady from a vertical axis is knocked down with jerks, and in the upper ones they can easily turn upside down.
In the next three parts, the runaway sketches of the leading soloists predictably found emotional colors. The “romantic” couple took shape the story of misunderstanding and separation. The “rivals”, on the contrary, ended with tenderness – Shakirova’s fingers timidly walked along the hand of a motionless kim, he took it in his arms and put it on a bed from corps de ballet bodies. And May Nagakhis, using the line of the hands of fans as a ballet machine, wrapped the main chosen one with wriggling with the body and extension of the legs. The main surprise was covered in choreography: Vyacheslav Samodurov shared his stories between the sections of the ballet class. In the first-romantic-lively adagio prevails: strokes with a partner and solo variations-monologues. The second – May with gentlemen – all male jumps and multi -figure upper support. The third agon is built on all kinds of rotations and large jumps (here the brilliant cimin was finally allowed to soak in a pair of double assembly).
The Mariinsky troupe, for 20 years (since the days of Forsyt’s ballets) has not dancing anything extreme, has not yet been quite mastered at the rapid pace and shaken academic canons. But the enthusiasm with which she rushes at the Samodurovsky whirlpools of the dance indicates that the famous ballet “museum” was waiting for novelty. And although with the current cultural isolation it would be too optimistic to hope for a full -fledged section of modern Tanciscity, it is obvious that the new artistic company Andrian Fadeev still expects to get in the leg with the times. It is possible that it will be possible, because in addition to Samodurov there is also China in stock.
