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The "Stone Flower" is a revolver with whom Yuri Grigorovich, young and early, broke into the sanctuary of the Soviet ballet, in the midst of which there was almost an exaggerated "Dramball", put the trunk to the Mint in the ear and fired. As you understand, the most difficult thing was to dare to enter.

He walked 1957, on the thaws crackled ice, the choreographer reformer was already waiting for as the Messiah, but still worried that he would fall. And here - with ballerinas removed skirts. Instead of scenery, a giant panels in Malachite divorces were put - the best ballet scene of the USSR Simon Virusladze with the unprincipledness of genius created a "flower", after the decades were finished with a magnificent framblates. In the Soviet Union, "Western Art" came for one evening, which artists were represented, who had not yet begun to leave tour abroad. Although the libretto is the domestic bases, the Urals and all that.

When I first saw the "flower", I was struck by how ... Mmmm ... calm. From the manifest you are waiting for greater voyages. For manifest, it has a too smooth pulse and the almost zero level of aggression. So people behave in their right - it is unknown only if it was calm at night (so that theatrical hyenas would not be confused before) or Grigorovich actually believed his star.

At the same time, his tranquility is very clear: Grigorovich built a large "classic" performance, with arches and counterphorties, and tried to not tremble her hand. Strange undertaking, given that the natural modernist format is one-act (and one acts were all the important texts of the 1960s - Balanchi's ballets to illegitimate Soviet masterpieces of Igor Belsky and Leonid Jacobson). But Grigorovich rang rates, because it was in a large format that the "Dramball" worked. Yes, of course, at the same time, he enlighted the target for enemy shelling. However, the risk was justified, the star did not deceive, turning into the star of the laureate of everything that was only in the USSR.

This game with high rates was reflected in the "stone flower" as the alcoholism of the parents (or to without ratings, as their lifestyle) - on children. The impression of him remains some flickering, as if someone in the wind burns matches. Flash: Listening Scene Fair. Then exactly empty, like Tundra, and the same cold dances of gems. Then again the flash ... But what to do! Of all the spectacles, Soviet ballet lovers preferred a big fire in the taste of "Dropball", and Grigorovich tried very much to please them.

Perhaps this is what made the "stone flower" the most celestic masterpiece Grigorovich. In any case, the least popular. He eats damn a lot of human energy from the theater and performers, but returns - in the form of an innocent visual return - much less. And, apparently, therefore, to see the "stone flower" Grigorovich anymore, except in the theater of Stanislavsky and Nemirovich-Danchenko. It has an effort to excessively energy.

In general, the feeling is very developed in the ballet, who is the main one. The ballet hierarchy is in nature. Everyone clearly knows who is the boss, and keeps the equation. Must be, this instinct helps ballet people to keep the line in the dance - as a migratory geese, observing a strict wedge, even in a storm over the Himalayas. In the XIX century, the authorities have sympathetically understood: in each of the capitals, the ballet theater was only one. And in Soviet times it was very surprised when, having stuck with the empire by ballet theaters, they soon discovered the plot of pale copies of a large or marinki. I explain so afar so that you understand how fantastic is what the Stanislavsky Theater is doing today. It puts the "seagull" Neumayer, then resumes the ancient Soviet "Snow Maiden". That is - "Stone". In connection with the reconstruction of the main building (with horses on the roof), the big stands with "Stas" now, in general, on the same street, on Dmitrovka, the longer the shadow from him on the younger fellow. So this "flower" is just looking at the stone. To grow in the midst of Moscow, this fragile thing, imagination courage and belief in their individuality, decent Israel gardeners with their drip irrigation of the desert. Incredible.

Stone Flower. Music Theater. Stanislavsky and Nemirovich-Danchenko. Press about the play

Kommersant, December 15, 2008

Petrified flower

Yuri Grigorovich remembered his first ballet

In the Music Theater named after Stanislavsky and Nemirovich-Danchenko, Yuri Grigorovich set his first play - 50-year-old "Stone Flower" Sergey Prokofiev. The ballet, from which the Grigorovic era began Soviet choreography, studied Tatyana Kuznetsov.

The thirty-year-old dancer of the Kirov Theater Yuri Grigorovich put the "stone flower" on his native Leningrad stage in 1957. Ideanly, a trustworthy performance according to T. Bazhov received universal recognition, art historians proclaimed him with a new stage in the main direction of development of our ballet. " Two years later, the "stone flower" swore into a big one, and in another five years, Yuri Grigorovich became the main ballet mace of this theater. And the next 40 years of its performances really determined the "development of our ballet" - not only Moscow, but also the whole country.

Meanwhile, the firstborn of Yuri Grigorovich turned out to be on the backyards of the process: he quietly thicked his days in the "Saraj" of the Kremlin Palace of Congresses, and in 1994 he had no chance. Already in the new century, Yuri Grigorovich put the "stone flower" in his Krasnodar troupe. The phenomenon of Raritet in Moscow contributed to the director of Music Museum Vladimir Urin, causing that half a century - the term is sufficient, so that the well-forgotten old has become new to the novelty of the season.

The novelty was not old - for 50 years, the domestic ballet has advanced not so far so that the "stone flower" gained charm of the ancient exotic. Especially tediously looked the first act given to positive characters from the people. The endless dancing "engagement" Danils and Katerina - all these dances, streams, braids in love with ribbons - stretch for so long that it seems it is time to protect the golden wedding. Duets of lovers also do not indulge in variety: completely arabesque, strokes with a shy to the ballerinarian foot and the top support. To revive these dull PA leading soloists "Stasika" Natalia Krapivina and Georgi Smilevski failed, although they tried like first-graders, with an expression reading poems in the lesson of literature.

Two giant dance suite "Underground Kingdom" Yuri Grigorovich built at academic classics - so banal that jumping soloist stones look elements of a ballet lesson, and the five soloist stones seemed to jumped out of some "sleeping beauty." However, traditional Pa here are complicated by acrobatics that penetrates the ballet in the 1920s by the efforts of the teacher Grigorovich Fyodor Lopukhov. All these wheels, swords, "rings", welded feet of soloist, sitting on the shoulders of the cavaliers, together with the fitting overalls of half a century, looked clearly progressively. Yes, and today's artists are mastering the achievements of that era as a new word in choreography.

The same "innovative" series includes the party of the hostess of the copper mountain. Flexible Olga Sizy honestly spread his hands and shouted in decorative poses, depicting the lizard, then the lady of the earthly subsoil, the woman in love. In the hints of women and the Lady, a conscientious girl was inconclusive, especially since Mr. Smilevsky turned out to be not a particularly reliable partner: he performed the top support on the edge of the foul.

The scene of the most archaic - "Fair" looked like the most alive in the play. In it, the progressive choreographer Grigorovich used the tested genres of the old ballet: Perester's Misanessen, Gypsy and Russian scenic dances, he mixed up in a violent Kurthima - the entire troupe of the museum headed with a fierce villain North (Anton Doming) flows into a fairness of neophytes. After this massive flash of temperament, the little junction looks only a formal impedance, necessary in the plot, but is exhausted choreography.

Sketch scenery Simon Virsaladze honestly reproduce a gloomy "stern" style of half a century ago. The giant malachite box in the depths of the scene, whose front wall climbs, opening another place of action, today it looks as relevant as the Czech polished servant. Special longing causes "precious" crystals of the underground kingdom, launching the pencils of the factory "Sakko and Vanzetti".

Typical for the Soviet ballet aesthetics "Stone Flower" today seems to be fresh and unequivocal, which is difficult to imagine what this ballet struck all 50 years ago. It is even harder to understand what the audience came to be delighted. Most likely, this firstborn of Grigorovich comprehensively formulated his style - which fully corresponds to the expectations of the same style of the educational public. As for boredom, her many spectators consider it a mandatory element of high cultural leisure.

Izvestia, December 15, 2008

Svetlana Svetlana

Grigorovich even stones bloom. And dance

In the center of Moscow, the Ural Gems came to life: Ballet "Stone Flower" in the production of Yuri Grigorovich presented the Music Theater. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko.

For the first time, the performance based on the Urals tapes Pavel Bazhova saw the light in 1957 on the scene of the Leningrad Theater. Kirov, current Mariins. Sergey Prokofiev's last ballet was the first major work of the young soloist Troupe Yuri Grigorovich. Soon the "stone flower" bloomed on the stage of the Bolshoi Theater, in Novosibirsk, Tallinn, Stockholm and Sofia. The last time the Master put it four years ago in his Kuban Votchin - in the Krasnodar Ballet Theater.

Grigorovich approached his brainchild, as the master Danila to his beloved flower, "crawled, remingent. Having lost a few pantomimen scenes and beloved Bazhovy fireproofs, the current version became more compact, dynamic, and with the advent of the Waltz, borrowed from the seventh symphony of Prokofiev, and dance. As for the main milestones of the adventurous plot, they remained in integrity.

It begins the action of dancing in the hut, where Katerina's peasant and Kamnezez Danil will handle the engagement. A stone flower rises in the prominent place, which the groom periodically decides with a critical gaze. Dance of brave guys and flirty girls interrupts the phenomenon of Clarifier Nighborne - such a local Rasputin. The villain encroaches both the flower (he was pressed to his chest, as a beloved child), and on Katerina (the hero busy flower, protects her beloved with the cool). The offended bride leaves, and Danila, smashing an adult flower, goes for a new one.

The following picture opens the magnificent creation of the artist Suliko Virsaladze - the dungeon of the hostess of the copper mountain. There are again dancing, but this time is not folklore - with the tributations and viscos, - and the most classic. The stones in the ballet danced to Grigorovich - enough to remember the jewelry exercises of Marius Petipa in the "Sleeping Beauty". However, Grigorovich invented his own cut. His gems by connecting the classics with acrobatic tricks and groups of a la pyramid of the "blue blouse", are Danile a cherished stone flower. Danila, stoned with stones (solo breakthroughs to the invantzen symbolize outbreaks of inspiration), switches to the hostess. Exotic half-day-semi-drying in the tight green trico - the exact opposite of rustic Katerina, whose charms hides the baggy sundress.

Meanwhile, Locking Katerina is dominated by the Northwow in love. He acts with the grace of the bear, loosely pawing heroine for all places. Proud girl repels the offender and runs to seek the intercessor Danil. Searches lead it to the fair, where traders and other people dance in the way they can only dance Russian in the capitution, that is, before you fall. Desperate Katerina wanders among the crowd, without noticing a strange woman in black. This is a disguise hostess who came to bring order in the human world. The main intruder of Northwane's harmony she fascinates and dries in stone departures. A terrible scene, where the villain, continuously peeling, falls under the ground, is impressive even in the age of bloodthirsty thrillers.

By eliminating a negative character, Grigorovich allows heroes to deal with each other. Katerina, having missed the stone bush, detects the captured Danil. He is a creative nature that requires constant renewal - already tired and the kingdom, and the hostess. To the abandoned bride, he rushes like a son to mother. The hostess first tries to disconnect them, but then it is no longer moving towards, letting them up to the top of the Ural Mountains. In the fact that Danila, thinking to create another flower, it will return to it, it does not doubt.

In 1957, when the country enjoyed the Khrushchev thaw, a story with the departure of earthly depths, and a common expectation and a prosperous return, probably had a social sense. Now only artistic. And he lies in the fact that Grigorovich ballets are similar to collectible wines. They are not aging. And, as good wine, give birth to a long aftertaste. Namely, the image of the performance: elusive, flickering, but one in the organic combination of music, choreography and decorative-costume design. This product has such high consumer properties that receive it in any performance. As in the case of "Statik", served "flower", alas, not an ideal way.

The first theater dancers coped with the dance component of their roles, but had serious problems in the acting. Georgi Smilevsky - Danil instead of the ruled life of the Ural master depicted a sophisticated ballet premiere. Natalia Krapivina in the role of a strong woman of Katerina and could not part with an amplua engine. The hostess of the copper mountain - Olga of the Sizy and Clarifier Nighborne - Anton Doma failed. For such large (in the sense of dramaturgical significance), they are fine characters. And the charizms and energy required to overcome the errors of nature, noticeably not enough by these artists. But there was enough enthusiasm to a few coreshaft. The exhausting "stones" and the horsepower "fair" the guys worked not to bounce feet.

The public, of course, waited for Grigorovich himself and received him on the final bows. According to tradition, there was a mass rise, choral chanting and ohanki colors, reminding shear. Mother looked unworn and tired. It seems that he has long been tired of this Fimiam. And what could be the best reward than the next play delivered on the ninth dozen life?

NG, December 15, 2008

Natalia Zvenigorodskaya

Yuri Grigorovich shifted himself

Ballet troupe of the Music Theater named after K.S. Stanislavsky and Vl.I. Alirovich-Danchenko appealed to one of the iconic ballets of the twentieth century

The program of the jubilee, the 90th season of the musical theater. K.S.S. Stanislavsky and Vl.I. Alirovich-Danchenko began the premiere of the Comedy "Hamlet", Opera written by the Russian composer Vladimir Kobekin. The next festive "step" was stated on Friday and Saturday a ballet premiere - "Stone Flower" in the formulation of Yuri Grigorovich himself. Since last season, Grigorovich is a regular balletmaster of the neighboring, Bolshoi Theater.

Like the master by Danil from the Ural Joy of Bazhov, our ballet theater is the secret of the "stone flower" the post is not immediately. Sergey Prokofiev wrote his last ballet in the 1950s. The first stage version of four years later, Leonid Lavrovsky was presented on the stage of the Bolshoi Theater. The play is lucky. And not only because Katerina danced Galina Ulanova. In the form of nigh-to-the scene came out, perhaps the brightest genius of the era - Alexey Yermolaev. It was created for such roles. Roles, not purely dance parties. As I meant the genre of the platoon. However, in the desire for a civilian pantomime and certainly a motivated gesture to the beginning of the 50s, the dance paradoxically displaced with a ballet scene. Create masterpieces under these conditions was unless that such powerful acting, like Ermolaevsky. But in general, the essence of the matter did not change. Our ballet theater was in a dead end. Somehow a young innovator appeared, daring reminding that the art of ballet is primarily the art of dance. In 1957, the soloist of the Leningrad Theater Opera and Ballet named after S.M. Kirov, Yuri Grigorovich, showed his version of the "stone flower". In 1959, a successful performance was transferred to the scene of the Bolshoi Theater, where he lived several decades. Scene collisions, emotions, culmination and junction Grigorovich passed exclusively by means of dance. His forgotten universalism was struck so much that the "stone flower" since then became a symbol of a new stage in the history of the domestic ballet.

And now, when the crisis of choreographic thought is again in the Fatherland, trying fate in Mamte. Grigorovich ballets have never been here. The scale and the patience was considered an alien to the uniform Moscow theater. But a fabulous plot, a combination of classics and folklore, the picturesque paintings of folk festivities, was believed, were helped by his democratic stylist, a fabulous plot. Like the fact that the total dance of Grigorovich in no way cancels a dramatic characterity.

But the miracle did not happen. "Stone Flower" - 50. And no more circular tips for ages. This is quite recognizable, but still a novice Grigorovich, who has not reached the tops of the "Legend of Love" or "Spartak". The ballet even in the abbreviated version created specifically for the music theater seemed tightened, choreography is too straight and not too expressive. It is especially obvious in paintings representing the owners of the hostess of the copper mountain. If we take into account the global context (and the theater clearly does not think of himself out), then it is not possible not to remember the "jewels" Balanchine. Next to the "emeralds", "Rubins" and "diamonds", blinded by the world ten years after the Leningrad premiere of the "Stone Flower", today its modest Ural Gems do not look even-semi-precious. The performers of the parties of Katerina and Danili Natalia Krapivina and Danili, Natalia Krapivina and Georgi Smileski, having deprived of their heroes of any individual trait. Supported the theater brand, perhaps, only Anton homemade in the role of Clauses Nigh. To prefer him to the lollipop, Danil could only such an inexperienced child as young Katerina, and even then exclusively under the pressure of the director. In the interpretation of the village of Serthend Severnian - exactly curved from the birth of a tree: and ugly, and - alive.

However, that before the liveliness, the event was happening this evening. The Foundation Theater "New Birth of Art" presented the project "Dancing Grigorovich". This is a photo exhibition of unique works by Leonid Zhdanov and the documentary of Leonida Bolotin. For many years, they shot choreographer at rehearsals and shows. The impression really, as some young spectator was expressed, awesome. What to hide, into bending your ballet artist, Grigorovych stars from the sky. But it turned out that the best performer of his own essays is not found. Such sensitivity in the transmission of character, such an infection could envy the largest stars on the ballet chaise. And let the time takes her. Real Grigorovich - there, in these photos and films.

News Time, December 16, 2008

Anna Gordeva

Dummy legend

"Stone flower" Yuri Grigorovich in the theater of Stanislavsky and Nemirovich-Danchenko

With legends it is necessary to handle carefully: stored in a dry cool place, once again not to pull out. Because how to pull out - you will find that it scatters in your hands, nothing from the legend remains. Here in the Music Theater named after Stanislavsky and Nemirovich-Danchenko did not regret the "Stone Flower", the legendary ballet was danced again - and all, one Soviet myth was less.

This myth arose in 1957 - then the young balletmaster Yuri Grigorovich composed this performance in the Kirov Theater. The public rushed to look, the criticism admired: the era of the "Dropball", which contained both the compositions ("Romeo and Juliet" Leonid Lavrovsky, for example), and absolutely miserable (like Zakharovsky "copper rider"). Ballet fashion (like every fashion) is waves: the dancing people fight with a pantomime in the theater, wishes an increasing power to give dance, then proclaims the return to acting and non-measurement game; Then there was a wave of the first type. Grigorovich became the leader and the banner of this movement - and indeed, there were always a lot of dances in his performances.

That is, the relative innovation of his "Stone Flower" was certainly. As for the innovation of absolute, in 1957, George Balanchine put, for example, "Agon", and next to the dances of the "stone flower", it looks like a Japanese high-speed train, which wals the cumbersome steam locomotive. "Symphonic dance," for which in the Soviet years it was accepted by Grigorovich, the Balanchine took up for a couple of decades earlier - and with much greater success. At the premiere in Kirovsky, Grigorovich's dances were happy with a little greater erotic openness (not in such words, of course, about this), but only in comparison with the women looked in a hundred clothes, the women looked defiantly in Trickle. But behind the "iron curtain", Bejar was already working - and our competition was also lost in erotica.

Another thing is that they did not know about this competition. Without access to the "patent basis" of world ballet, our diligently invented the bike and for many years were happy, rushing on it. Very long years - in fact, before the occurrence of the era, when the boundaries were opened at the same time and ballet videos were available on the market; Then there was some enlightenment in the minds and all Soviet idols were neatly inserted into the overall series of world choreography. Some have ceased to be noticeable in this row.

But the legend of the "stone flower" lived. On the innovation of the choreographer, about the amazing scenography Simon Virusladze, about the thunderstorm energy of the performance. Apparently, this legend prompted the Directorate of the Music Theater to call Yuri Grigorovich and his team of tutoring to work. Musical now diligently builds an exclusive billboard - this season is promised "Naples" of August Bournonville and the premiere of the one-acts of Nacho Duato (respectable, virtuoso Danish classics and today's Spanish, one of the most daring choreographers of modernity). It was probably decided that the Soviet classic was necessary, especially since the experience of a successful resurrection of a long-standing performance is already there: in the musical there is a glorious "Snow Maiden" Vladimir Burmeister, the choreographer, at one time there was a lot of the worst for the theater on a small Dmitrovka and the writer no worse than Grigorovich.

The "Stone Flower" was subkurified (there were three acts, it became two), it goes now two and a half hours, but it becomes a test. The setting can be curious to the historians of the ballet: it is interesting to follow, as in 1957 there are those moves that the balletmaster will develop in his subsequent essays (here Danila-Master with two flowers in hand - and Spartak with two swords arises in memory; villain-clerk arises Severnahn is then reborn in Ivan the Terrible). It can be found that the scene of the "stones" is built on the covenants of Marius Ivanovich Petipa, and only completely confused at one time ballet about collective farmers and fishermen could see the unusual innovation. "Fair", a huge scene in the second act, which stops the action and gives to pass out to the Russian people and the people of Gypsy, also appeals to ballet antiquity, to characteristic divertisms. But these are joys for scholars of balletomanians, the usual viewer will fall asleep to the middle of the first action.

Because the duets of Katerina (Natalia Kapivina) and Danilles (Georgi Smilevski) were distilled, purified by the slightest feeling. These are almost ritual dancing, and it is approved in the ritual not belonging to each other, and belonging to the Russian dance tradition. And quite a classic artists who are in good form, diligently denote the movements of Russian folk dance. It is intended, it is likely that it should look touching, it looks ridiculous. The hostess of the copper mountain (Olga Sizy) diligently flies thumbs up, raises the elbows and tries to be string and seductive at the same time; The girl dances perfectly, but the party's drawing itself most likely resembles an erotic dreams of Semenovich Gorbunkov seeds in a "diamond hand". Decoration and suits, praise which at the end of the fifties did not sing only lazy, clarify a member longguard: in the depths of the scene, a giant malachite box is built, the front wall of which opens, closes, and inside the interior of the hut, then the forest bowl, then stone boulders. Traveling in time - there, where the word "design" nobody heard. "Stone" costumes are all in blue-violet tones and this Soviet specifically decentive cut: under the mini skirts are dressed the same color trico, so that no one, God forbid, did not think that the legs are naked.

The Orchestra, driven by Felix Korobov, works fine - in our eyes in Moscow grew by a conductor, capable and proofiev music to play without insulting the memory of the composer, and to blame with ballet, with their amenities and quirks. (The rarest case - when a high-grade conductor seems to truly love the restless art of dance.) There are no serious claims to performers - Georgi Smilevski even clearly added as a job: his heroes are always somewhat relaxed-free, here Danila-master was seriously tormented from - A non-response stone flower and scene cut through decisive energy. But still ... the children do not lead to this performance. First, it is still quite conditional, and it will be necessary to constantly explain the chad, who is this aunt and that uncle. Secondly, at the beginning of the second act, the quarry of Northah (Anton domestic) is diligently dominated by Katerina, and you will have to invent, why this girl wants to go to him with a sickle on ... well, in general, you should not lead children. Send elderly relatives? Yes, perhaps - if they are from the province. There are still appreciated.

Vedomosti, December 15, 2008

Anna Galaida

Fossil

Yuri Grigorovich put in the theater named after Stanislavsky and Nemirovich-Danchenko his debut ballet - "Stone flower". The famous canvas of the left era is still hard troupe

The first ballet Grigorovich was created on the wave of thawing enthusiasm. The 30-year-old dancer of the Kirov Theater offered artists in his free time to put ballet on their own. The success was such that the "stone flower" was not only included in the official repertoire of the theater, but also moved to a large one. Then Grigorovich was rooted there for thirty years and made the whole country to put and dance in his own style, but the "stone flower" remained a symbol of flight, joy, the feeling of infinity of his own forces.

The Ural Tale of Kamnerise Danile, who bursts between love for the peasant Katerina and the call of the mysterious mistress of the Copper Mountain, turned around the parable of the artist, making a choice between the knowledge of the secrets of the Great Art and the ministry of people. The revolutionary appeared the image of the play, found with the help of the artist Simon Virusladze, and his style: despite the detailed plot and literature, the complex relations of the heroes were transmitted exclusively to the dance.

The dance ideas of Grigorovich demanded from performers of virtuosity and excerpts sometimes at the detriment of academity, courage instead of sophistication, persuasiveness, not acting nuances. Adequately embody this style for only a huge traded company. Stanislavsky never treated the troupes who brought to this task - on the contrary, even during the absolute hegemony hegemony, Grigorovich continued to cultivate exactly the style that fell under the onslaught of the "stone flower": they remained correct by the Dramballue with its concentration on acting expressiveness And love for details, dancing not by a virtuoso, but pleasing eye by the variety of plasticities. Only the tragic loss of the long-term leader of Dmitry Bryantsev, which coincided with the homeless wardings of the troupe during the reconstruction and change of generations, changed the situation - the company lost his own person.

Now "Stanislavsky" drifts to the Eurostandard, which involves the development of the Classics of the XIX and XX centuries. Working with Grigorovich turned out to be the second in this row after a last year's "seagull" John Neumayer. And just as in the case of a German classic, the theater managed to take the choreographer to go with the troupe almost the entire stage of the preparation of the performance. And this is the main achievement of the current premiere.

A variety of corps, assembled from provincial schools and private Moscow schools, although not found the ideality of lines, but for the first time in recent years has received an idea of \u200b\u200bthe reference dysparios of actions. It is not yet too expressive in folk dances - where before the dancers of Stanislavsky were unsurpassed, but it already feels their scope and delets.

The weaker link of the premiere turned out to be the performers of the main parties, dancing "stone flower" with the "swan" frozenness. But even she only testifies to the desire to jump above the head. The flower of Danil from Stanislavsky came out, but still stone.

New Izvestia, December 15, 2008

Maya Krylova

Malachite in Kokoshnik

Yuri Grigorovich restored the ballet of half a century ago

At the Music Theater named after Stanislavsky and Nemirovich-Danchenko, the premiere of the Ballet "Stone Flower" was held. For more than half a century ago, the play on the music of Sergey Prokofiev put a beginner choreographer Yuri Grigorovich. Now the living classic personally resumed his long standing.

Libretto ballet according to the Bazhov tale tells about the Ural Master Danil, bursting between creativity and passion for the bride Katerina. The main villain, Severian, too, "inciting wedges" a beautiful girl. The story is equipped with a fabulous element in the form of an immigracy of the middle of the hostess of the copper mountain. This green snake falls in love with Danil and manits his beauty of minerals, but the hero, in the end, refuses to live in the kingdom of the dead stone and returns to Earth. And Nighborne - the will of the hostess - on the contrary, falls under the ground, because he praised to Katerina.

For the first time ballet "Tale about the Stone Flower" was set in 1954 by choreographer Leonid Lavrovsky. The version of Grigorovich arose in the controversy with Lavrovsky, confessed by the official aesthetics of the "Dropball". According to her, the ballet was proclaimed the "play without words" and demanded from him the truth of life, which was expressed in the abundance of the domesticism and the diminishing role of dance as such. The performance of Grigorovich this to a certain extent responded to a certain extent, changing the proportion in the opposite direction. Co-author of the choreographer, an artist Simon Virusladze, created a huge Malachite casket on stage, from which the peasants with merchants come out, then the Gypsies with the Bear, the dancing minerals in Kokoshniki.

As a result, the "headprory" reviewers are rarely indignant, and the youth and part of the "advanced" criticism were enthusiastic. The main thing is that Grigorovich was made in merit - the refusal of boring retelling the plot was accused of Lavrovsky. That, for example, there were dances on the engagement, and Grigorovich, as one of his apologists noticed, there is a "engagement in dance", that is, artistic generalization.

The author, making a new edition of the performance, strengthened the dynamics of action, shorting the ballet from three actions to two. Otherwise, despite the fact that from the moment the premiere passed more than half a century, almost nothing was changed. But the struggle with the Stalinist "Dramball" today is irrelevant. And in general, the fact that in art is revolutionary in one era, it becomes too easy and sad-serious in another. The current "flower" reports that it is bad, but to create - well. As for the notorious dance "generalizations", the main pride of the director, then they no longer work in such quality: the scenes of engagement in the hut and the peasant fair in the village, like the dances of minerals in the kingdom of the hostess of the copper mountain, look just big ballet divertisses. There are no advantages to the surface, and the drawbacks of the formulation, although the artists of the musical theater, having time to quickly change costumes in the course of the action, cope with the "densely populated" performance, and the performers of the main parties of Georgy Smilevsky, Natalia Krapivina and Olga Sizy, do everything possible to support reputation ballet.

Now in the "Stone Flower" noticeably not the wealth of vocabulary (the dance is just a scanty, besides very similar to other Ballets of Grigorovich), but the signs of the exemplary Soviet performance. Increased the image of a "man from the people" with spiritual requests, the class oppression of the workers in the face of the Barsk Customer Northwas. There is a "vital truthfulness" - for example, sprouts with sundresses or a vase in the form of a stone flower, which beat the hammer, imitating the creativity of Kamneris. In the presence of "Nativity" - classic PA with elements of Russian dance, winch girls, falcon guys, corps in the form of carousel, dances and bows, Napti on the legs of artists are adjacent to pointers. According to the standards of our days, the dance is too illustrative: for crystals - angular cocks with tolia of sportiness, meaning the edges of the stones, for biargers' comrades - "crawling" and "drunk" pa. There is both in the forehead "ideological content" - the Creativity of Creativity Danil is endowed with the "calling forward" jumps and ascended with their hands, but at the same time he looks at the front of the production plays.

It is clear that with the choreographers we have tight in the country, and Yuri Nikolaevich Grigorovich - Matt. How not to invite it to produce? But it is a pity that in his youth choreographer caught the need of time, and now lost this quality. However, if you are a fan of Valentina Tolkunova and the Choir named after Pyatnitsky, "Stone Flower" will probably like it.

Culture, December 18, 2008

Elena Fedorenko

Half a century later

"Stone flower" - the last ballet Sergey Prokofiev and the first - Yuri Grigorovich

By contacting the "stone flower" Music Theater named after Stanislavsky and Nemirovich-Danchenko set several difficult tasks. To master the choreography new for the collective (Ballets Yuri Grigorovich Troupep never previously danced). Return to the scene the performance, whose age stepped over half a century anniversary and the historical value is impossible to overestimate. In addition, the theater seems to have decided to collect rarities: Own (recently resumed the "Snow Maiden"), Western modern ("Chaika"), ancient ("Naples"). And finally, he decided to reconcile two camps: the horsepower fans of the Grigorovich theater (not so long ago, the Krasnodar ballet Grigorovich showed "Ivan Grozny" on this stage, and the choreographer was shaking the walls) and its irreconcilable opponents.

The ballet was put by Yuri Grigorovich in the Kirov Theater in 1957 (in a large play appeared two years later), and among the masterpieces of the period thawed in different types and genres of art turned out to be hardly the most revolutionary. The performance on the Urals tested Bazhov was loved by everyone and immediately, if not to consider those whose efforts in the field of ballet, he left. One of the main merits of the current premiere of the opportunity to see the "fact of history" and, accordingly, make their own conclusions.

It became absolutely clear how a crushing blow at one time received the "Dramball" - once a very useful direction, which, having completed his mission, was to give way to the "Stone Flower" road and all that followed performances. At one point, all the Dramblet principles collapsed: no conflicts are explained with the help of gestures in an extended ballet specificity of mhatage reliability - only dance and exclusively dance; Instead of a high-politude and decorative patheauxiety design - Scenography metaphoricity (Simon Wirzaladze - the director co-author - invented a malachite casket in the depths of the scene, her wearing face shows that the hill is hubby, then the carousel on the square, the rich owners of the hostess of the copper mountain); Instead of severe historical robes - sundresses and spacemen, packs - tight overalls.

And it also turned out that real art is born in a single cultural and historical context, as if the director of mass dances of the "stone flower" extended the hand of Marius Petipa, because those who are likely to bring scores, those who determine the development paths - converge. Rectively interlacing the roots of their corpulation constructions with plastic themes, voices and pegs, but the crown of Grigorovich's opuctions flourished by strokes of graphic drawings and acrobatic liberation - new time signs.

And as a result: Yuri Grigorovich, as anyone else, was followed by numerous epigal, on the expanses of the Soviet Power there were circulation of dances "under Grigorovich", which, by the way, partly prevented the perception of the first action of the current premiere of the Ballet. Russian girls in the sundresses and guys in the noodles, walking on the engagement of Danilles and Katerina, looked like a chapter product, and a clear simplicity and the crown temperament of village Russia were incomprehensible to modern artists. Especially performers role roles. Georgi Smilevski is a fit, as a prince from the academic ballet, and dances correctly, but not in his Danil of the toastful peasant mind and that Russianness that floats on "maybe". Natalia Krapivina, a fairy-tale Alyonushka, the creature of kindly and submissive - up to the loss of individuality; Olga Sizykh (the hostess of the copper mountain) is broken by a lizard, singing her soft hands, having fading in sophisticated poses, but, alas, to add Charizma. The acting energy is enough only to Anton home, whose scoundrel nighborne is the image and grotesky, and parody, becomes a central character.

It's time to remind Stabulu: Nighwoman - Clerk, and him Mila peasant maiden Katerina, beloved Ural Guy Danil. But Danil himself disappeared in the kingdom of the hostess of the copper mountain, blinded by her with an inflexible wealth. Danil the hostess is not sensible, and she opens his treasurers to him, but blinding passes, and he strives for Earth. The hostess shows nobility - not only releases his prisoner, but also punishes his enemies Severyan hero is undoubtedly negative. Not only in actions: Let Hamwat, but it has the full right to fall in love, and how to seek her beloved - it happens in different ways. The meaning of the performance, I think in another. In the eternal clash of creative freedom (Danilla) and the power of power (Nighborhood). In this case, art wins a victory Severyan for which the creative impulses - an empty phrase, that is lawlessness. And this is in times (as already without current alloculations!), When libraries are closed, and museums are doomed to extinction, "alive accents put. Forces evil are much brighter today than high creativity with its reflexes, doubts, torment. So Fabul turns around the plot - new and modern.

If performers of the main parties are worth gaining energy, then mass scenes are executed emotionally. Suits "The Underground Kingdom" with "Amethystami" and "Gems" are diligently and with understanding, and the "fair" is unrestrained, simply and touching. The performance was a good manner, performers on stage at least hundreds, and everyone dance with such a horty return, which is not necessary to doubt an ensemble interest. The merchants, Gypsies, fairing people - their incendiary dances look with the plexuses of the Fate. It is technically technically, played by everyone, in my opinion, all without exception is happiness from participating in this spectacular feast, from collective sincerity. And this universal joy, splashing through the edge, supports the orchestra under the control of Felix Korobov, and the audience, hoarsely in the final from enthusiastic shouts.

But this evening happened another story. The first who met the audience was Yuri Nikolaevich Grigorovich. Concentrated, in-depth, wounded, crazy, happy - he looks different with wonderful photos of Leonid Zhdanov, who made up the project "Dancing Grigorovich" project, deployed in the foyer of the theater. And the same-named documentary of Leonida Bolotina, who twisted in the atrium before the start of the performance and in the intermission, showed the choreographer in working on performances, at rehearsals with those who are marked today by the legend halo. Nostalgia gave testimile effect. "See: Natasha, Katya, Volodya, Misha," whispered from all sides. And all this is an amazing story from past life, without which there is no today.

Ballet Stone flower is the legendary Urals, embodied in the dance. He tells about how the Ural Master Danil wants to convey the beauty of the living colors with the help of a stone. But will it make it a hostess of the copper mountain? And how will his story with the beloved?

It is easy to understand that this formulation is based on a sufficiently well-known product of the famous domestic composer of Sergey Prokofiev. It was written in 1950. When creating his masterpiece, the Great Maestro used the famous stories of the "Ural Square" of the famous Russian writer Pavel Bazhov. In his hands, these stories have become even more chagging and romantic. Many musical solutions of the maestro turned out to be innovative. But in this case, the unique elements of the native musical folklore were also used. In addition, as everyone noticed, who in 1954 wished to order tickets for ballet stone flower, and on choreography, he also became innovative for domestic art. The production turned out to be realistic and romantic. In it, classical art is incredibly combined with an amazing folk heritage. The famous performance was created by the famous domestic balletmaster Yuri Grigorovich. For many years, his work has enjoyed a noticeable success in our country. She also was able to gain international fame. In this beautiful performance in different years, many outstanding masters of the domestic ballet, including the genius Maya Plisetsk, participated. But in 1994, a popular performance for various reasons unexpectedly left the metropolitan scene. In addition, it was not so often it became possible to see in other Russian cities. But the interest of the public to this magical and romantic history embodied in a beautiful dance, even after that did not decrease in no way.

The resumption of this wonderful choreographic performance in the Russian capital took place only in 2008. His premiere was then long-awaited and noticeable. And now the production occupies an important place in the repertoire of the theater. It features colorful design and interesting choreographic solutions. This action can be called a new word in the history of domestic ballet.