The image of the hero and genre peculiarity of the romantic poem D.G

16.04.2019

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In the big staged "Corsair"

On the new scene, I presented the premiere of the trichat ballet "Corsair". According to Tatiana Kuznetsova, this is the most serious and large-scale work of the theater in the XXI century.

Ballet "Corsair" is already one and a half centuries I will hear a reliable cash hit. Put in 1856 by choreographer Joseph Mazille on the poem of Bayron for the Paris Opera, he had been transferred to Russia in two years. Five years later, Marius Petipa, who improved ballet all his long life. As a result, "Corsair" turned out to be a spectacle for all tastes, combining the imperial luxury of production, a dynamic plot and magnificent diverse dances.

The October Revolution "Corsair" experienced successfully: the story of how Pirate Konrad with his comrades kidnapped his beloved, Grekunky Medor then with a slave market, then from a harem of Pasha, it was easy to issue for the struggle of freedom-loving Greek pirates with oppressors-Turks. But the attractions were dressed. The first victim fell the final shipwreck as a predetermined event. Petipa was also reduced by throwing out as the remnants of the old era and the pantomime, and the "excess" of dances. But all the same "Corsair" remained a pet favorite.

Pluk. Big Aleksey Ratmansky appealed to "Corsaire" not at all for the box office. Together with a classmate and the chief Moscow connoisseur of ballet antiquity, Yuri Burlaka, he decided on an ambitious project: to restore everything that was preserved from the ancient ballet, filling the lacuna with their own director and choreography. In Paris, there was an original partner of Adolf Adana, Petersburg provided sketches of the pre-revolutionary costumes Evgenia Ponomarev, Harvard University shared pre-revolutionary ballet records, and the artist Boris Kaminsky wrote decorations in the style of Academicism and returned the Grand Final Scene in the spirit of "Ninth Vala" Aivazovsky - an enchanting storm with splitting in half nine-meter ship.

The final turned out and in fact hurricane, this did not know the Soviet nor the Novoruska scene. But the previous three-hour spectacle came out dynamic and entertaining. Alexey Ratmansky, without staging on the crowded survival, sacrificed the pantomimen scenes: reduced all the explanations of the heroes exactly so much so that it was possible to understand the plot without resorting to the program. It should be recognized that the producer was right: the talk of the hands would be pulled by the already massive performance, and the art of pantomime the current dancers own badly. Gennady Yanin turned out to be the best actor in the role of the merchant by the Slenniki Jew Lancel. Such a scratching greedy older could play Louis de Fühnes - this tiny work is not inferior to the roles of the Great Comic.

The main content of each act was actually dancing. And if the pearls of the first - Pas Des esclaves and Pa de de Medors and Conrad are familiar to the nazubok, as the indispensable affiliation of any "Corsair" and any ballet competition, the culmination of the second act - the "lively garden" scene is a real revelation. For the first time reconstructed by Yuri Burlaka, she represents the choreography of Marius Petipa in all the magnificence and stunning simplicity. Using only the seven basic movements, the brilliant Frenchman built a colossal 20-minute composition for 68 artists (including young children and prima-ballerina), the architectural perfection of which is easy to easily like the gardens of Versailles. By turning the scene with artificial flower beds, floral arches, as well as the alleys and semicircles of continuously moving cordage, the legendary balletmaster made a reception at the narrow language of advance, jump on the playful Garguyat (archaic jump, almost kinged in the 20th century) from the flower beds on the flower bed and flourish arabeski among the greene bushes . This sophisticated composition, full french charm And Russian magnifier, has nothing to do with the averaged linear abstractions, which are usually issued for the choreography of Petipa.

Moreover, Alexey Ratmansky had to be necessary: \u200b\u200bin the third act he was forced to compose his own choreography in return lost. His Grand Pas Des Eventailles, where the armed versions of six cornese, Prima with a cavalier and the first soloist performed the composition flashed across all the canons, adequately endured the neighborhood with Master of Marius Petipa. The view of the neophyte will not even notice the gap between the ancient choreography and this tactful stylization. And only the beloved by Mr. Ratman's reasons of one movement alternately, all the dancers give him authorship.

The whole grand performance is kept at Prima Ballerina: it literally does not come off the scene, participating in all stage peripeties. Svetlana Zakharova turned out to be created for this ballet, the role of the medor sits on it as the albele. The acting potential of the ballerina is just enough to show the feelings fit without sighing; on her flawless figure Ideally look the jewels of packs; Its adorable legs are very comfortable and large PA Adagio, and picturesque small details. Svetlana Zakharov danced is not safe, you can find fault to detail, but amazingly beautiful. Moreover, from the act to the act, everything is more wonderful, reassuring, having ceased to tear movements and prove its superiority. There was really no equal. And dry Ekaterina Shipulin, who fulfilled the second gyulnary batch with a taller's lively, and the puppet Nina Kapartov, the duct of Pas Des esclaves is also cutely unpretentious as its corona party of Amur in Don Quixote, and even more so three soloists-Odalisky, With Scholar's uncertainty, those who sacrifted their variations, could not not be overshadowed, but even sort with a relaxing rejoice.

Partner, however, Svetlana Zakharova was decent: Denis Matvienko, Denis Matvienko, was playing in love with a big white skirt (even dressed in a Greek white skirt), and danced still freely: his frisky big pirouette, grilling rotations and excellent jETE circles instantly raised degrees In the auditorium from satisfying-complacent to gambling. Successfully danced in Pas Des esclaves Belarusian teenager Ivan Vasilyev, the second acquisition of Big: the costume hid the shortcomings of the physique and the scarecrow, and he performed his tricks famously. Handsome Artem Shpilevsky, the third trophy of the theater, perfectly looked next to Svetlana Zakharova in Adagio of the Third Act, but it would be better not to dance at all - the poor young man and two rounds can not do without blots. In a word, a crowded troupe of the Bolshoi Theater still has over what to work in this ballet: roles are clearly more than those worthy of their performers.

The new "Corsair" is a large - a symmetrical answer to the Mariinsky with its grand restoration experiments. However, Muscovites who do not give out their product for authentic production, look somehow more honest. The experience on the compatibility of Novodek and the old days can be considered a successful: not received by scientific principality, a great manufactured cash chait made. There is only one noticeable drawback: this "Corsaire", with its massive scenery, grand choreographic ensembles and the scope of the soloist dance, is clearly small new scene. In the gilded frame of the historic hall he will look even more effectively. It remains to resurrect the old theater as high quality as the ballet "Corsair".

News Time, June 25, 2007

Anna Gordeva

Triumph Romantics

Ballet Marius Petipa "Corsair" was restored in the Bolt

On shopping area - carefully written and built houses, trays with fruit, carpets and fabrics. In a pirate cave - hanging mighty cliffs, in Pasha Palace - deserted walls goes in heaven. Alexey Ratmansky and Yuri Burlaka, who wring a new version of the Ballet "Corsair" in the Bolshoi Theater, were invited to produce St. Petersburg theater artists - the scenery created Boris Kaminsky, who was already famous for the restoration of "Bayaders" and "Sleeping Beauty" in the Mariinsky Theater, Suits - Elena Zaitseva ( Also working on the "sleeping"). It is not surprising that suitable people had to look at the Bregs of the Neva - in Big performance There was probably sixty years old, perhaps sixty, from the times of Romeo and Juliet.

"Corsair" never disappeared for a long time from repertoires russian theaters "This is not the" daughter of Pharaoh ", which in the twentieth years of the last century decided to forget the commemoration and in this decision succeeded. Ballet George Mazille, converted into mid XIX. A century Marius Petipa was not destroyed radically, but edited by numerous directories so that there was a bit from him. Many dances evaporated; Lost connectedness of the plot - the performance turned almost into a concert, where it doesn't matter who loves whom and who hates whom and where none of the audience thinks, why in the love duel of the pirate and the runner of this pirate itself. Ratmansky and Burlack made a gigantic work. Burlaka has decrypted the archival records of the performance (the version of his version that was on stage in 1899) and restored the amazing beauty of the dancing in the painting "lively garden"; The same dances that were lost irrevocably, choreographers have been composed, stylizing under the handwriting of Marius Petipa.

Earlier it was believed that the "lively garden" - the preserved part of the "Corsalar" is best; But in the booklet published to the premiere, several pages of Petipa manuscripts were reproduced specifically for non-believers - with the location of artists, with French phrases describing the motion of the ballerina. (It should be noted that this book is a sample of research and publishing work.) And now ballet lovers can, like those fans-music lovers, that come to a concert with score, opening a booklet on the corresponding page, trace, whether it passes in the "lively garden" Ballerina Diagonal, whether everything is restored correctly.

"The lively garden" (dances of Odalisok in Palace Pasha, who represents his slave Gurii Paradise) - one of the climats of the performance. Total "shock moments" four: Pa de de Medors and Conrad (the main characters - the young Greek, which the guardian who escaped for big money decided to sell in the harem, and fell in love with her pirate, delivering a girl from this fate), "lively garden" in which it is shining between the green beds in snow-white packs, and the ballerina is jumping over these flower beds, a dance with verses (another picture from a haremantic life that has not survived in the records, but is sensitive and sophisticatedly stylized by the director) and, finally, the famous final shipwreck, The striking spectators of the last century special effects. Thus, it is clear that the performance that focuses on the ideal of the "determining ballet of the XIX century", in which the dancers mostly supported the ballerinas and sometimes they wore them, hopes to make the impression of the fantastic beauty of the design, then the most complicated geometry of the cordiality rebuilding, followed by The work of prima-ballerina and just last the dances of men.

At the premiere and on the day of the second play, everything went, as was conceived: the public is invariably ahala in each change of decorations (immediate overseas guests showed on the prescribed ships and the dome to the fingers); Corregal, realizing his mission, was at the right moments of strict and magnifies, and in the necessary - Lucav (in the harem of Odalisk, almost the cancan dance, giggle, like schoolgirls, and throw each other donated to the patron saint of handkerchiefs like a volleyball ball), and ballerina - Svetlana Zakharova And Svetlana Lunkin - clearly performed the roles of "jewelry". Decorations of the theater, harem decorations - no excessive passions, only carefully executed text. Their partners - Denis Matvienko and Yuri Klevtsov - also worked in good faith and intelligible; But on the stage there were only high-quality artists - and only.

Everything changed on the third day when the scene came out Maria Alexandrov And Nikolai Tsiskaridze.

From ballet end XIX. A century (I remind you that the recorded version is 1899), the ballet is already the order of challenged (soon the Dyagilev Revolution), the ballet accustomed to the fate of rich entertainment, Alexandrov and Tsiskaridze, contrary to the will of the produced, the ballet romantic.

Their heroes were not denoted their proficked interest in each other, as perhaps, demanded the rules of good tone. Tsiskaridze thus rushed to his girlfriend, so the face was treated in her palms, so hugged that he immediately became clear: among them no one becomes - kill. And in the only pa-de-de, that he was released by him, did not measure the politely tricks - he was carried on stage the same wildworker as his solola, and his Albert; This is the real squall that turns all the concepts and only justifies the existence through the artificial ballet theater.

The same impulse, the same force was in Alexandrova, but the sornerable mandatory for this role with light coquets. The girl sold in Harem, but before sending to the destination, the liberated, again abducted and still delivered to Pasha, dangerously fooling the owner for the sake of saving the captive beloved - this girl requires the ability to smell with an elderly gentleman, but in the case of Alexander Pasha looks perfect fool. It is not understood that this particular girl is almost arrogant, smashing almost mocking - not to any agreements will never go, it is impossible. The best moment of the role of Alexander - "Little Corsair", the variation in a male suit, which she dances in the cave of pirates. Believe that this will easily behave robbers on the assault - easy; And the dance of her crying "on the boarding!", from which the hall, accustomed to the fact that the ballet - the art of a wordless, shudders, sounds quite convincing.

As it should be made by romantic artists from the Moochalian times, Tsiskaridze and Alexandrov so believe in all the plot overflows, that even in the most vaporic situations, logic arises and meaning. Here in the Pirates Cave, bad robbers poisoned the sleeping bag of good, and the main character unexpectedly falls asleep for the beloved. Those tender, sneak up to kidnap the girl. Both Svetlana Zakharova, and Svetlana Lunkin rushed to the sleeping hero, pulled out the dagger from her scabbard and hit the leader of the conspirators ... and then carefully embed the weapon back into the hero. Well, apparently, they ordered the director. (It doesn't matter that the wounded villain grabbed the hand, but all the rest did not go anywhere and now we are twisted the girl; no, the heroines are carefully looking for the sheath and put a knife in them.) Alexandrova Weapon instantly put and start shaking the hero: Yes, you wake up ! A little bit of faith in the situation and common sense - and quite another picture is obtained.

Of all the other characters of a multiple ballet, the same faith in circumstances differ only by Andrei Mercuryev as Birbanto (excellent, evil, angry and slightly pitiful villain; when, after defeat in the first collision, someone from the pirates puts him on his shoulder to comfort, he shudders so violently that the waves come from this convulsion, it seems along the entire scene) and Gennady Yanin in the role of a guardian - the seller of the heroine (there is no dancer and forty; the hero must be seventy - and so spelled out The entire plastic is drawn, which seems as if we hear all the poking, and natural, and showing). From the performers of the role of a slave in the first act, the best was, and, Andrei Bolotin: in this Pa de de, where nothing needs to play (in fact, the slave represents the buyers offered to sell the girl, but the "characteristic" slave is not spelled out, he is pure function), his hero was an embodiment of a neat and light dance, that dance, the idea of \u200b\u200bwhich already exists somewhere in the depths of an old ballet and will soon allow Nizhinsky to take off (by the way, the Bolotin looks in the repertoire of Nijinsky - he is a great blue bird in the "Sleeping Beauty").

Ship, striving for final shipwreck, while too loses when leaving the scene, and too see that the video project of the storm waves goes to an inflounted rag. Above the catastrophe should still work, although now she is, of course, it makes an impression, especially when sails and the ship fall apart in the shreds. On the last tackas on coastal stones, the main characters are selected, and the posture reproduced from the old photograph slightly smiles at the leaders: Marius Petipa knew that after any ballet and any special effects, the audience still remember the ballerina and premiere. A hundred more years later, the situation has not changed.

Vedomosti, June 25, 2007

Anna Galaida

On Ploy

"Corsair" of the Bolshoi Theater pleased everyone

This performance also likes the troupe (there is where to shine craftsmanship), and the public (embodies the balletoman dreams about the luxury of the imperial ballet). Alexey Ratmansky and Yuri Burlaka in his editorial office kept the masterpieces of predecessors and created their own.

To master the "Corsair", it took several seasons. The reconstruction of the ancient ballet requires colossal efforts to find documents, creating text and design, financial support for communities. A half a century ago it seemed to be granted that such a luxury, as ballet, eats the colossal part of the means of the imperial yard. One basket, which in the final of the "lively garden" painting for a fraction of a second, is placed by Prima Ballerina, can absorb the annual budget of modern thewriter. The performance lasts three and a half hours, and when the final is wounded in the final and goes to the bottom of the sea huge, in the entire scene the ship, it causes such ovations, which is no doubt: it is worth it.

Miracles of the Machinery - one of the main baits, ensuring happy life "Corsaard" during the Petipa. He put his ballet on the poem of Bayron at the time when the public managed to forget about this once popular masterpiece of romanticism. Petipa began to adapt the cashier successful ballet to new trends - in the understanding of the audience, it was no less genious than in writing variations for his ballerinas. On the performers and made a choreographer's bet. Petipa redid "Corsaard" and each of the dancers gave a corporate room. Over time, the performance retained with the poem of Bairon a little common - the rag of the infants of the slave of Medors and the leader of Korsarov Korsarov in love with her more inconceivable.

It is probably due to the insurmountable loyalty of the libretto after the death of Petipa "Corsair" lost power over the hearts of the public. However, the unthinkable concentration of choreographic masterpieces for one performance (there is no such anything else in a single ballet of Petipa) did not allow him to die finally. "Corsair" almost did not disappear from the stage and continued to turn the improvements of new producers. However, nowhere and never even approached by success, which is accompanied by other Petipa ballets: "Bayadek", "Sleeping Beauty" and "Raymond".

In the formulation of "Corsaard" in the Big Ratmansky and Burlaka, the Petipa method was adopted and tried to take into account the tastes of the modern public. But the main task was the return to "Corsair" the end of the XIX century. The fate itself went to meet: by chance they found a practically a complete set of decorations Evgenia Ponomarev's last editorial office of Petipa 1899, 50 sketches of costumes were found. After recovery in the Marijing "Sleeping Beauty" in the design of Ivan Vsevolozhsky sample, 1890. Eyes are already difficult to blind from luxury, but the modern scene Boris Kaminsky managed to call applause, so impressively the sky of the Eastern Bazaar, so donkely fountains in the garema of Pasha.

Ratmansky and Burlaka, even finding many archival materials, refuse to call their performance authentic, if only because the preserved system of record choreography record is very imperfect, it fixes only the support points of the dance and is designed for those who need to not know, and remember the text. Nowadays, the ideas about the technique of dance have changed, and such an important component of the ancient performance, like a pantomime, is completely close to disappearance. Together with the proportions of the human figure, the fabrics have changed, of which they seize costumes, therefore, unlike decorations, even on the preserved sketches, it is impossible to reproduce their "literally".

And yet the new "Corsair" clearly falls closest to famous relatives to the old ballet Petipa. Any neophyte is able in this formulation to evaluate the enchanting beauty of the "lively garden restored by Burglaka", in which 68 children, adult dancers and dancers in black wigs and snow-white costumes form groups sending to the Versailles ensembles. And professionals bring to Qatarsis awareness that this grandiose composition holds on different combinations of all seven Pas. Another surprise - delivered mirror "small" ensemble Pas Des Eventailles - the virtuoso stylization of Ratmansky, for which Corsair became the debut in editing the classics.

Playing the phenomenal simplicity of the ballet of the Petip is incredibly difficult. And not the entire troupe coped at the premiere with the task perfectly. But in this performance, exclusively a lot of successful performing work: from Korifenek Chinars Alizade and Anna Tikhomirova in the "lively garden", from the unsurpassed performer of the Mimic Party Gennady Janina, who replenished his colorful collection of "slave trade" by Lancedem, from the brilliantly continuing the tradition of the Moscow characteristic ballerina Anna Anthropova Forkan to Catherine Shipulina and Andrei Mercuryeva, who brought to the fore secondary characters Gulnara and Birbato.

But still, as it should be in Petipa, "Corsair" - ballerina ballet. And in the new Moscow statement is Svetlana Zakharov. It is in the role of a media that requires conditional acting experiences and endless ballet virtuosity, Zakharova no equal. It gently takes all the choreographic peaks, which half a century composed with his beloved Petipal balletois. He turned his "Corsaard" in the standard of the executive style of the late XIX century. Zakharova danced him as a standard of the century XXI.

Izvestia, June 26, 2007

Svetlana Svetlana

Pirates of the nineteenth century

Bolshoy Theater resurrected an old history about marine robber

In 1856, the essay of the composer Adolf Adana and Choreographer George Mazille saw the public of the Paris Grand Opera. Two years later, "Corsair" appeared in St. Petersburg. Since then, the incendiary tale of marine pirates and beautiful slaves does not come off from scenes of Russia and the world, and this year can be called "Corsary" with full right. Frenchman Jean-Guy Bar set this performance in Yekaterinburg, Czech Ivan Lishka - in the Bavarian ballet, and now, under the curtain of the season, the Moscow achievement is made public.

"Corsair" is large - this is a joint production of choreographers Alexei Ratmansky and Yuri Burlaki, artists Boris Kaminsky (scenography), Elena Zaitseva (costumes), Damira Ismagilov (light) and director-director Pavel Klinineeva. The Petersburg edition of Marius Petipa, dated 1899, is based on the St. Petersburg, but this does not mean that we saw the option that our great-grandfather admired. The director reproduced the descriptions and oral legends that had reached us, but the rest was reproduced, "under the old". The resulting mixture is the author's know-how. Not a perfume of the era, as described by his writings, the famous "authentic" Pierre Lakott, but a batch of old and new flavors. Spilled in ancient bottle - the form of "big" ballet - the product looks very attractive and, no doubt, will be in demand. It is very harmoniously combined dancing, pantomime and their hybrid (the fact that in the old performances was called SCENE Dansante).

Among the dances are good and different - the "lively garden" first is first, for the first time after 1917 shown as Petipa conceived him. Maestro, inspired by versal parks, military parades on a Mars and gentle music Leo Delibe, built a 20-minute composition of seven movements and a variety of displacements. It turned out to be airsfire, like a marshmallow, a spectacle, where Garema girls flute among wreaths and flower. On the balletomanian who was accustomed to the minimalist Soviet "gardens", this "paradise of Magomet" (so called the scene in a violin tutor) produces a stunning impression. Similar feelings should experience the inhabitant of "Khrushche", who fell into the royal chambers.

Puzzles our contemporary and the abundance of the long-disappeared "semaphore" pantomime. For a detailed acquaintance with her, it would be nice to invest in a leaflength program with an explanation of the most running gestures. Moreover, among the "conversations" there are adultery. Here, for example, a sample of ancient ballet erotica.

Pirate Conrad points to the side of the couch, then extends to the beauty of the Medar, hugs himself by the shoulders and at the end of the combination holds the edge of the palm on the throat. All this means: "If you do not love me, I will kill myself." In response, the flirty girl breeds with handles ("here, now?"), Shakes the head ("I doubt ..."), after which it starts with the tall pa. The exhausted Conrad fascinates the charming to the lie, but the medor is in no hurry to hug a beloved and, standing on the couch, raises the leg in the Arabesque pose. The disciplined hero holds her handle and walks around as a cat near the roof.

In the arms of Conrad, proud slave still falls, but later - in the scene of the shipwreck, which brought the spectators of the spectators of the beginning. Konstantin Sergeevich Stanislavsky admitted that "the racing sea of \u200b\u200bpainted canvas, a sinking butt ship, dozens of large and small fountains of living water, floating on the bottom of the sea of \u200b\u200bfish and a huge whale" forced him to "blush, pale, poured it later or tears."

From the list that hit the founder of the MHT, in new version Lost canvas with a ship. Maximum than you can respond to them - polite applause. It's a pity. A bright spectacle requires an enchanting completion, especially since modern stage technologies allow it to do.

In three premiere performances, three compositions seemed, and the ladies on the old tradition danced not to dance legs. Svetlana Zakharov, which was perfect lines, turned out to be the most beautiful nurser. The most touching - Svetlana Lunkina, mitigating the ballerinsky applub of girlish shyness. The most enduring - Maria Alexandrova, overcoming almost all technical reefs. The share of their conrads - respectively, Denis Matvienko, Yuri Klevtsova and Nikolai Tsiskaridze - one pa-de de. The rest of the time, according to the will of the Petipa, the men have mimic and posed.

Marius Ivanovich himself, according to memories, in the pantomime was "completely unforgettable and radiated magnetic currents." To such a state, our heroes have not yet been dosed, but they have someone to learn. The lessons of acting magnetism can give Gennady Janin. Best comic The Bolshoi Theater came out in a small elderly merchant party and clearly proved that there are no small roles for big actors.

Newspaper, June 26, 2007

Yaroslav Sedov

Pirate Nakrashat.

Premiere of the Ballet "Corsair" in the Bolshoi Theater

The Russian Theater of Russia completed the season with the new formulation of the old ballet "Corsair", which sueded this season literally washes. In January, the Bavarian Opera chained the same reconstruction of this performance. A couple of months ago, "Corsaard" with a big pump put in Yekaterinburg Premier Paris Opera Jean-Guy Bar. And by the beginning of the next season, the Kremlin ballet will show the updated version of Yuri Grigorovich.

Perhaps the cause of interest in "Corsair" became the "Pirates of the Caribbean", reminding ballet worldthat for him for more than 100 years has his pirate no worse. And maybe the coming exchange year of Russian culture in France and the year of French culture in Russia. To this event, however, it is impossible to coincide with the revival of "Corsalar" - the last work Adolf Adana composer, the author of "Giselle", which became not only the top of the ballet romanticism, but also the symbol of the interaction of Russian and French cultures.

Corsair can also serve as an example of such an interaction. Appearing in the Paris Opera in 1856, he survived many transformations. The best of them was made by the French dancer and balletmaster Marius Petipa, who was worked for half a century in St. Petersburg and created Russian classic ballet. The role of Conrad in "Corsaire" was the best in the repertoire of Petipa. In 1858, it was in this role that he met at the St. Petersburg scene with Jules Perra - the creator of Dance "Giselle" Adana. Perso resumed "Corsaard" for his benefit, and performed Seid Pasha himself. In the role of Conrad, Marius Petipa rushed with the stage as a dancer, and subsequently composed brilliant classic ensembles in his Petersburg productions "Corsair".

These episodes that are somehow persisted in all subsequent versions of Korsara, became the support points of the Bolshoi Theater. Decoders Alexey Ratmansky and Yuri Burlaka (Artist Troupe "Russian Ballet" Vyacheslav Gordeyev, who has long been fond of studying old choreography) passed the archive of the Petip and the record of his choreography made during the lifetime of the balletmaster. Petersburg theatrical archives provided sketches of scenery and costumes restored under the leadership of Boris Kaminsky and Elena Zaitseva. The lack of scenes of the producer composed themselves, trying to stick to the style of Petipa.

The party of the main heroine of Medors, around which the motley dance sea was splashing, was presented in the current "Corsaire" is pretty extensive and governing than in all known versions. However, Prima Ballerina of the Bolshoi Theater Svetlana Zakharov copes with virtuoso dance passages as easily and artistically, as the musicians of the extra-class - with polidges and walts of Johann Strauss at the famous New Year concerts of the Vienna Philharmonic.

His beloved Corsary Conrad in the bassial execution of the virtuoso denis Matvienko Zakharova-Medor attracts not so much conditional faithful coquets, as the dance artistry. Its fascinating plastic lines in slow adagio and glittering with filigree finish minor quick movements this time are filled with festive energy and sly charm, which is glowing every motion of the ballerina.

The main character on the scene framed a grandiose parade of classic dances, picturesque characteristic dancing, gaming scenes and spectacular effects like the famous final shipwreck. Unfortunately, the large-scale composition of Marius Petipa "lively garden", where the coreage groups dance between the Boutaphoric lungs forming the garden labyrinth, while it is cramped with the size of the new Scene of the Bolshoi Theater. And the virtuoso solo of the famous classic trio of Odalist turned out to be inaccessible to the artists selected for these parties. But in Duet, the slave and slave are not lost the charming Nina Kaptsov and temperamental Ivan Vasilyev. And in the role of Gulnara, helping the main characters to escape Seid-Pasha, Ekaterina Shipulin attracts the liveliness, humor, wearing female charms and dance virtuosity.

Culture, June 28, 2007

Elena Fedorenko

Solo for Flibusterki: All on boarding!

New old "Corsair" in the Bolshoi Theater

The artistic dispute of the Mariinsky and the large theaters is enshrined in centuries. There are no events in history, which, which, in the St. Petersburg territory, would not have caused an answer to Moscow. Several years ago, Mariine was fascinated by the restoration of masterpieces, responding to fashionable authentis, and released the "sleeping beauty" and "bayader". Moscow sustained the pause and issued "Corsary" to the music of Adolf Adana. With one significant difference - did not call the ballet with reconstruction, but chose a more accurate definition - stylization. Thereby confusing itself from possible attacks.

Huge trichat ballet showed a few runs, which looked all the ballet people, who made a verdict: "Impressive, but is boring and tightened." The premiere, on the contrary, turned out to be fascinating, and, contrary to forecasts, not to succumb to the charm of this okay bale ballet. The ballet is beautiful, with a variety of diverse dances, fascinating the exquisite simplicity of a composition saturated with drama, besides - certainly contrast. It struck that much of the "stylization" does not look naive. For example, in "Corsaire" there is an image of Paradise - a "lively garden" and hell - "storm and shipwreck" scene. But it is not perceived as "white" and "black". In Paradise is not an easy relationship (the ladies are intriguing and jealous: Sultansh Zulma brings up Odalisok, shawls the slave of Gulnar, and the Greek of Medica resists Pasha's claims). And hell is not "hopeless" - all the same heroes are saved. As they saved in the middle of the XIX century, at the Paris Premiere of Corsaard, who became Josef Mazille on the popular poem Lord Bairon.

In fact, "Corsair" is the perfect adventurous series (love and abduction, the struggle for freedom and poisoning is a real pirate story, albeit not the Caribbean), which has been composed throughout its existence. Russia picked up the French premiere, and the Petipa quicted the whole life as the book of his ballet life. According to "Corsaire" one can judge how the ballet history of this Frenchman became the story and the history of Russian ballet. Petipa is far from the first time, but by many alterations folded the fateful puzzle - the imperial Grand Style of the Ballet Performance. And then with the "Corsair" there was approximately the fact that with life, for example, domestic intellectuals, resettled from the silence of comfortable cabinets in a murderous communal equality. The plot was made all primitive; The luxury of costumes and scenography became pale, the engineering gradually calm, and the bottomless and generous imperial treasury did not exist; The pantomime was shrunk before the minimum, so as not to become an enemy dance, until he was declared archaic (and without her in "Corsaire" just nowhere!). But the ballet about the flibusers was destined to survive: they saved the striking the dance of the dance. They always attracted everyone, but in the harmonious whole in the 20th century no longer folded. Since everyone who had the right to influence the repertoire, he understood that the predecessor of ballet was not amenable, and offered his own option. What happened to Corsary throughout the past century can be described in a separate treatise. The cornerstones are dancing - they were rasting in contests and gala, however, thanks to them and preserved. But in a completely meaningless form. A few years ago, I was bored at the competition from the walking in a row Pa de de de de de de de de de from "Corsara", decided to diversify the impressions and find out what young artists dance for the story. Few could answer.

All the preserved rarities of Kryukruk Bolshoi Theater Alexey Ratmansky and Yuri Burlaka, who have not yet seen in careful attention to the classics (only neophytes may argue with the last accuracy), we decided to collect together, whether to cleanse from layers and show the ballet world tired of the balloon The rarity of a luxury imperial style, which it seems to educated people. So a wonderful stylist Burlaka restored lost links, and the clever choreographer Ratmansky without seams and folds, "under the Petipa", composed new PA.

The boiling work brought its fruits: the score was found in Paris, sketches of costumes - in St. Petersburg, recording choreography carried out by the director Mariinsky Theater Nikolai Sergeyev (True, notation admits the discrepancies), - at Harvard, and Moscow confirmed the lot of photo archives of the Bakhrushinsky Museum.

Read the action of the received "Corsary" easily and not looking into the program. Well, indeed, who will not understand that Isaac Lancel trades a living goods. Gennady Yanin expressively transmits all the flour of greed: as I do not want to sell the beauty of the Medor, the main diamond of his collection, but the treasures offered by Seid-Pasha (Alexey Loparevich) attract so much! All the "pantomimen" characters are picturesque, but while they rescuely changing the grims and wonderful costumes (recovered not only by research skills, but Elena Zaitseva's imaginary fantasy): the liveliness of the acting game is the case of future efforts.

By the way, and dancing soloists confirmed that the pantomemny dialogues are lost art. In the dances they were where how more organic, the benefit that the dances in the "Corsaire" set. In the dance luxury, the ballerina ball rules. Mr. Svetlana Zakharov, who recently became the winner of Svetlana Zakharov and the role of Medors found each other. Zakharov's premiere led with a consciousness of the solemnity of the historical moment, managed to avoid both dramatic anemia, and an exaggerated game - two extremes, characteristic of many preceding images of this incredibly beautiful ballerina with a flawless figure. She dances "Little Corsaard" dances, changing the pirates in the grotto in the male outfit, significantly and extensively holds the whole role. Medor - the Izmotying Party, passes in a complex plastic development through all the ballet, the ballerina is dancing in every action, barely time to change the costumes, - Zakharova submits undoubtedly.

But the dances for the conrad are already ending in the first action - after Pa de de de de de de de de de de De de with a nurse, he has the ability to "break away" in the acting excitement. What Denis Matvienko, who dwells adequately many performances are big, doing with pleasure, offering another image in a popular pirate theme. The dancer greatly imagines and perfectly transfers the spirit of the noble robbery of blockbusters.

The culmination of each action of the Petipa did the deployed dance compositions, the creators of the new performance did not move. PA DE DE DE MATOR AND KONADA Zakharov and Matvienko danced although not flawlessly, but filed as an exquisite decoration of the architectural ensemble. Dance of slaves (Pas Des esclaves) Launched Nina Kapartov - in the best traditions Travel, and flying virtuoso Ivan Vasilyev, who was difficult to know - so much changed his makeup and suit.

Already named "lively garden" - the center of the second act. Not seeing difficult to submit 68 dancing artists and children on stage, decorated with fountains, flower beds with flowers, shrubs, garlands. To carry out this outbreak versal geometry, the old-way of Petipa had to draw the rebuildings of Misaneszen, with the ruler in the hands of calculating the possibilities of the dancer to move from the posture to the posture on a narrow path between the flower beds or jump out from the center of one ornament (laid out on the garland scene) to another. Sheets with these pother-hieroglyphic formulas were one of the archival documents. Tesne (on the new scene artists do not turn around) and, probably, other reasons generated carelessness, especially from Corifenek (in the variations at the premiere they remembered favorably distinguished by the clarity of the dance of Odalisk Anna Leonova and Chinars Alizade). Gulnar Ekaterina Shipulina on this decorative background in modern day, desperately fighting for her future: farther from traditions, but closer to the changed styles, the ballerina builds a batch in the Balacian accents.

In the third action, the focus - dance "with verses" (Grand Pas Des Eventailles), based on the choreography, Mazille, whom the junior companion of Petipa read. True, only crumbs remained, the rest of the Ratmansky deceit, and did it excellently: it is impossible to distinguish the original source from styling. To the duet - the crown of this composition - the second breathing opened at Zaharine, and for its spectacular cavalier, Artem Shpilevsky day the premiere turned out to be clearly unsuccessful.

The scene shipwreck in an epilogue, when the ship's cozles split off, and the sail breaks the hurricane wind, the artist Boris Kaminsky could safely withstand the tender with the classics marinists, and at the same time with the authors of the film "Titanic". Saving in this nightmare seems impossible, but, as in the Shakespiest "Burea", a miracle takes place: Conrad and the Medicar takes on the shore of the fate. Their happiness and ends ballet, which will soon go on tour to London. No need to be Cassandra to predict the thrill of the British British.

1. The main characteristics of the romantic hero.
2. Creativity J. Byrona as one of the founders of romanticism.
3. The image of Konrad in the poem of Byron "Corsair".

... And he, rebellious, asks the storm,
As if there are peace in the storms!
M. Yu. Lermontov

Romanticism as a direction in literature and art began to form in late XVIII A century as a result of the crisis of the ideas of rationalism that dominated the era of the Enlightenment. Unlike the rationalists, romance did not appeal to the mind, but to feelings, giving priority to personal in front of public, ordinary - before unusual, and often supernatural. Personality, her aspirations and experiences placed in the center of attention of Romance. It should be noted that romance, whose attention attracted all of the series outgoing, was introduced into the literature the image of a person endowed with uncomfortable abilities and strong passions, incomprehensible and driven by society. The hero of romanticism, as a rule, himself demonstratively opposes itself to other people, a crowd, and often challenges a more powerful forces, even to God. The adventures of the romantic hero are unfolding against the background, quite appropriate to his demonic charm: this is either an exotic landscape of distant countries, or an ominous vintage castle, or something, as much on the imagination.

The ideas of romanticism had and continue to have a huge impact on European literature and art. One of the classics of romanticism, his founders, is the English poet J. Bayron, who has lived life, a worthy romantic hero. Creativity Bairon had a huge impact on many outstanding writers and poets. Trends, brightly manifested in his work, got the name of Bayronism. Under this word, we usually understand the grim flavor of disappointment and loss of ideals, the feeling of collapse and protest against the gray partness and reigning in the world of evil. The hero of Bairon is always a convinced individualist, despising the crowd, but at the same time suffering from loneliness and incomprehensibility to others, as well as from deep internal conflict.

Consider the features of the bayronic hero on the example of Conrad from the poem "Corsair". The name itself speaks about the role of classes of the main character of the work: Conrad - pirate, sea robber. However, in the XVIII century, this kind of activity was not yet regarded as certainly criminal and deserving harsh condemnation. The activities of Korsarov became often secretly encouraged and supported by the governments of the European powers: in this case, the dyes of navigate was received by special patents for kaperism and assumed to attack the ships of the enemy country, but not on the courts of their fellow citizens.

However, there were among pirates and those who acted at their own risk. There is no doubt that it is to this category of Corsar who also belongs to the hero of the poem of Bairon. So, we find the first compliance with the canons of romanticism: the hero of the work is a rude, a person is out of law. We can relate differently to the poetry of the seabe-robber image, but it should be remembered that it is exactly the personalities who have broken down with society, all their behavior challenging him, and are the object of attention of the romance writer, which is absolutely uninteresting the right, Pharisee's righteous life of the Compact Burger .

In addition, we will easily find that the hero of the poem of Bairon is by no means some kind of gangster, ready to cut the throat for the sake of a couple of gold coins. Not at all! In the detachment of Conrad, harsh discipline reigns; He himself not only does not drink wine, but also unshakably faithful to his only beloved. In relation to women, Konrad is generally a true knight: during a raider on Pasha Palace, he saves his opponent's wives from the burning building, and not at all with a selfish purpose to use the adorable "living product" for entertainment, his own and his team. This is the image of a "noble robber". It should be noted that such heroes are found in the legends of many nations. So, we discover some more characteristic features of romanticism: the hero of the poem is the personality is exceptional in its organizational, moral and other qualities. In addition, a certain rapprochement with the legendary " noble robber»Also is a feature of romanticism - appeal to folklore traditions And myths for romantic writers are not uncommon.

It is clear that a similar bright person, what is Conrad, according to the laws of romanticism, it is simply obliged to live and act on a background that it is better to let off the unique peculiarity of this irresistible individual. In fact, the secret refuge of the proud exile is located on a picturesque island (probably somewhere in the Mediterranean Sea). Desperate Corsair valiantly fighting Muslim warriors on the background eastern Nature And magnificent palaces - almost like a knight-crusader fighting with "incorrect." However, the romantic flavor of the poem makes almost forget about how prose is the goal of a raider of Conrad: it's just gold, fume terrestrial treasures, and not the shrine of the Holy Sepulcher. Attitude towards God at the hero of Bairon is quite cool: Konrad is aware that in his own illegal activity he is far from God, for which God does not help him. Conrad does not deny the existence of God and does not seek to throw a demonic challenge. He just, and God, according to the hero, is immeasurably far from each other, and this state of affairs seems to be quite natural. Therefore, in captivity, in prison, when Konrad expects a painful execution, he does not support the thought of the grace of God, and pride and hatred of enemies.

However, the hero of Bairon is not absolutely rejected by people and God. In the heart of Gulnar, the beloved Pasha, rescued by Convada, suddenly flashes the love of her Savior. The extremity of the situation and the initialness of the personality of the Corsary awakens the feeling, exceptional in their own strength. Although Conrad does not promise Gulnar mutual love, he is faithful to the medor, even losing hope to see her. Beloved Pasha, besides severely offended by his high-ranking lover, suits Corsaire the escape, having deprived of his life of his Mr.

So, we see an unexpected turn to the destiny of Conrad: he just expected death in the skies and now he is free, like the wind, inflating the sails of the ship. However, the gloomy spirit of romanticism of black clouds loosen on the horizon. Although Conrad attracted the hearts of two women, nor, nor one of them found happiness. His beloved of the medor, the short life of which was alarming for his beloved, died with grief, when they came to her about the captivity of Conrad. Gulnara, for the sake of salvation of Corsair who spattered himself with murder, does not find a response to his feeling, and Konrad himself ... the poem fell off suddenly: we do not know where the hero of Bairon will go, how his further fate will arise, and this is also in the traditions of romanticism. The harsh and proud hero, like a comet, flashed in front of us in a rapid flight of the author's fantasy, and his past and the future we are free to imagine as you like.

"Corsair" is one of the famous "eastern poems" Lord George Bairon.

In winter, 1813, the poet-romantic George Gordon Byron begins his extensive work on the creation of a masterpiece of the English poetry of the poem "Corsair", written by heroic couples. The work is over in 1814. Byron develops genre romantic poemUsing a rhymed feature verse.
Poetry begins from the preface dedicated to a close friend to the author according to Tomas Muura. The story consists of three songs. The poem is developing in the Greek Islands, as well as on the shores of Greece in Koroni. The exact time of the poem does not indicate, but it is not difficult to guess from the songs that this is the era of enslaving Greece of the Ottoman Empire.

As a basis, the poet takes the conflict of the main hero-rebellion with the world. He fights for love and fights with society, which once he was driving, calling the enemy of the people.

The image of the lyrical hero

The main hero of the poem "Corsair" is the captain of the sea pirates Const and his beloved Medor. The poet describes a contest as a strong, gifted nature that could make great good acts, if not exile with society. He prefers to conduct a free life on a uninhabited island, away from the cities. As a brave, wise leader he is a tough and power. He is respected and even fear.

Around, on all seas,
One name in souls sow fear;
He is a stingy speech - knows only the order,
Hand solid, oster and zorkie eyes.

But, despite all this, Const is a single hero, in whose blood is the spirit of struggle and the power of protest. He is ferocious and wild, strong and wise. To distract their thoughts, he rushes into combating society, despite their advantage.

Conrat - a typical bayronic hero. He has no friends and no one knows his last life. Only reading the poem, it can be said that in the past, the hero was a completely different person who did good. The hero is an individualist, not a well-known inner world is immersed in his nobody.

Brief description of the plot

The first acquaintance with the Constitution takes place on the top of the cliff, where he, leaning on the sword, considers the beauty of the waves. Byron introduces us with a hero, pointing a detailed portrait of a conmatrator.

Cheek in tan, white man,
Wave Kudrey - like a wing crow;
The bending of the lips involuntarily issues
Arrogant thoughts secret move;
Even though voice, and the appearance is straight and bold,
In it there is something that would hide him.

In the first song, the action develops on a pirate island, where the leader of the Pirates Convrat receives some of the lead, which makes it say goodbye to a loved ones and raise sails. Where and why pirates went, it is clear from the second song of the poem.

In the second part the main character It is going to make a deadly blow to its enemy Seid-Pasha. Conrat makes his ways to the feast to the enemy. He is going to make his crime at a time when it will be pirates by the Pirates of the Seid Pasha fleet. Since the fleet set fire to the specified time, it begins a cruel and hot battle, where Konrat saves his enemy's beloved wife from the burning Seryal, Gulnar. Allowed a mistake, the pirates are forced to flee, and Konrat himself was captured by enemies and thrown into the dungeon.

In the third song, Seid Pasha is going to execute the main character, inventing him the most painful death. Gulnar, who was saved by the captain of Pirates, falls in love with him. In secret from Seid Pasha, she tries to persuade the Conrt to arrange him escape. The captain did not want to be owned to her, since she did not love her. His heart belongs only to one girl in the light of the Floor. Plentered by true love, Gulnar kills her husband and, who will fight the guard, suits the escape for Construction. They run together on the ship, which is heading to the island of Pirates. Upon arrival, the captain learns about the death of his beloved, which did not postpone the news of his captivity.

In vain, all - day rolls after day,
There is no conrad, and there is no Westa about him,
And there is no deceased of his track anywhere:
Did he died Ile disappeared forever?

Losing the meaning of your life, Konrat disappears without a trace and no one else saw him. It remains a mystery what happened to the main character.

It is not in the tower, no on the shore;
They shake the whole island on the run,
Fruitless ... night; And again the day came
Only Echo responded to them.
Searches each hidden grotto;
Scraps of the chain fixed by the bot
Inspired hope: Brig will go behind him!
Barrel! Days passes a series,
No conrad, he disappeared forever.

The poem "Corsair" is one of the classical samples of romanticism.

About Joseph Conrad can not, perhaps, say that he is not lucky with us in criticism or translated. They wrote a lot about him and almost all of his books were transferred to Russian.

Critics in the evaluation of the conrad were separated - some scolded, others praised. By the thirty-fifth year, this dispute was, it was possible to say, I was brought to the end - Conrad ceased to print, and the critics ceased to prove, alone - that Conrad Romantic and, it means good, and others - that he, Conrad, Romantic, and, it is bad.

The reader who accidentally falls under the arm of the novel of this author, with difficulty, probably will be able to relate it to those or other familiar literary "phenomena. Konrad wrote about the sea, about the adventures in the distant uncharted countries, about the audacity of the discoverers, about people of strong passions, and at first glance it is easiest to consider the authors of adventure novels.

However, the person who wished to see the second Stevenson in him, Konrad will not satisfy. His heroes will seem too complicated, the effect is sometimes too stretched. To the novels and small stories of Conrad (such as the famous "Freya Seven Islands", "End of slavery", "Typhoon", a wonderful anti-imperialist story "Civilization") this refers to a lesser extent to novels - more. In the final score, all the work of the conrad is very far from the genre of adventure literature. Too complicated the problems to which the writer is drawn. Tasks are too complex - ideological and creative, which he puts in front of him.

In one, as we saw, the enemies and friends of Konrad condensed - in the fact that he was a romantic. The life he lived was also a romance life.

Theodora Josefu Conrad by Kozhenevsky, the future English writer Joseph Conrad, turned five years old when his father, a little-known Polish writer, was exiled to Vologda for participating in the preparation of the uprising of 1863. The boy Theodore Joseph found himself in Ukraine, a teenager - in Galicia, the young men came to the French ship and several years later passed the exam for the title of officer of the English Trade Fleet. A few years later, we meet theodore of the Kozhenevsky captain of the ship. In 1895, the British readers met the first novel of Joseph Konrad.

Conrad was at this time about forty years. He had impressions accumulated on the rest of his life. The literary experience of him by that time was also a lot. For many years now this is a few, discreet and strict marine officer, I get from my seat at the head of the table of the cabin company, stuck in the cabin and, moving away the chronometers, put the leaf of the started manuscript, which it was necessary to rewrite, then edit and rewrite again. He only once for all these years read another person written. Among the passengers of his ship, he met somehow a young lawyer who specializes in nautical law. They talked - first about the sea, then about literature that was interested in the passenger significantly more of his own profession. Konrad led him to his cabin and read him for a long time. The young man-1-eyelid listened, praised, but did not mention the word that he was also going to write. A few years later, a young man appealed to the trial of a conducer with a request to help him print a collection of stories "Four winds", written in a manner, very close to Konradovskaya. Surname young man There was a Golsuorussi. They stayed friends for life.

For several years later, Golzourssi has been diligently so diligently and hid the preserved copies of their first romantic selection. Conrad to the end remained Romantic Novel. And yet, in a certain sense, Conrad and Golzouvorsi did one thing.

At the end of the nineteenth century, English literature began to get more and more from the specifically English tradition of "grotesque realism", from the principles of filding. Smollett, Dickens. The circumstances of the life of heroes are commonplace, more detailed psychological analysis. English Realism gradually comes closer to the realism of French and Russian. The names of Turgenev, Maupassant, Flaubert, and Later, Tolstoy and Chekhov become central names in Roman and Novella.

In motion OT. realism XIX. To the realism of the 20th century, from the realism of the "free" bourgeois development to the realism of the era of imperialism is considerable, although very specific, the role was played by Conrad.

Other critics even refused to recognize Konrad by the English writer, announcing it with a certain "Slavic soul" or, in best case, "The pan-European writer", chance by writing in English. These critics referred to the fact that, listed by the authors, which he most must, Conrad talks about Turgenev, Maupassan, France, Dodé, Flaubber, but does not mention a single Englishman. At the same time, they forget that Golzourssi also did not call any of his teachers english writer. Neither, in no case, this, of course, does not mean that there were no such. Just the English tradition was assimilated by Conrad and Golzóws so organically that it was possible to talk about it; Conrad, studied english In literature, and first of all, on Dickens, the "cold house" of which remained his favorite work forever, learned this tradition, maybe even more organically than his young friend. Golsuorussi, along with Hardy, was the creator of English realistic novels. Conrad, despite the fact that he did a very significant way from the nineteenth century to the twentieth, continued to work in the old English tradition of the nomella romantic. It is enough to read at least one story of the Conrad to make sure how fully and deeply learned the lessons of style and skill, taught by the English classics of the de Valthnitum century.

Conrad stressed and allocated the romantic elements of Dickens. But the extraordinary in Dickens becomes the usual in Conrad, because the situation in which his heroes act is unusual, and, moreover, if Dickens has a psychological analysis in cases where the hero is experiencing the most stressful, crisis moment of his life, in Conrad He is present everywhere, for his heroes live a life in which every moment is the most tense. Psychology becomes Conducted, as well as Golzouorsi, the lot of everyday, but his herself is unusual for him because of his heroes is not the passion of people sitting at the home of the heart. They are munched on the sea and unusual on land.

Konrad's heroes are always as if before a decisive act. Everything they do is internal preparation for this action. They live in the feeling of this main, final act, although they still do that only the most ordinary things. The spiritual life of the hero is not just rich, but purposefully tense. He lives in a world saturated with events. He fights the elements. He often assigned some shares of seconds to take the most important solutions.

From here, a psychological subtext is born in Conrad, which made one of the most important conquests of the realism of the XX century. This subtext is characteristic, for example, for the "quiet American" Graham Green or, going beyond the actual English literature - for Hemingway. It is impossible to say that this method has already crystallized by Conrad. Although his heroes are a few, the author very often introduces us with one, or even a few storytellers explaining the actions of the hero. But the less explains by Konrad, the more stronger.

However, is there too many names of realist artists appeared around the name Romance Conrad? It is not surprising that Konrad himself does not number among his predecessors, not a single romance, "there are no them among those who paved the path. No, there is nothing surprising. The path from the realism of the enlighteners to the realism of the nineteenth century was lying through romanticism. The path or at least a portion of the path from the realism of the nineteenth to the realism of the twentieth century was lying through the temporary strengthening of romantic trends in the literature. And every time passing through romantic trends, realism went out psychologically rich.

He led his heroes to countries bright Sun.where a person is not composed with so many conventions where wider soul Movements and freight are poured passion, - led away from the front world of bourgeois meanness and bourgeois pests little that he writes almost exclusively about the sea and distant countries; he races about those long last times When there were "still considered with individuals." But, isolating a person as far as possible to study it separately from society, Conrad in the process of study reveals the complete conditionality of his fate all the same society.

Konrad's hero can get away from London's slums - he will not leave the problems that were born in these slums.

We can say that if Conrad was not a romantic, he would not enter the tradition of realism. Conrad wrote in the period when decadent literature on all the frets developed the themes of decline, the crisis, the decay of human ties. And if we have the right to consider Conrad today as a writer, in many ways the tearing frame of decadent literature, then solely because the romanticism of Conrad managed to ultimately try to triumph over pessimism and unbelief in humans.

Conrad in the true sense of the word was the son of his century. It is difficult to find a writer who would so acutely felt the crisis of his era, almost physically felt a dead end, in which the bourgeois thought came. When the public ideals of the past is hijacked, when the ideals of the future are unclear or unacceptable, the main theme of literality becomes the main theme of literature. She is the focus of Conrad. Every person speaks in his own language; Everyone pursues their mercenary purposes; No one is given to understand the other.

The doomedness of a person for loneliness was declared already in the first novel of Conrad "Caprice Olmeyer" (1895). Olmeier's Dutchman lives in one of the distant principalities of the Malay archipelago. He here is the only white; Some invisible partitions stand between him and all others. But in their own family Almeyer alone. His wife despises, does not respect his daughter - and for what to respect this weak, lowered man? However, Kuina, the daughter of Olmeyer, suffer with loneliness - suffer from the fact that there is no person who can understand her, suffer that he cannot love her unfortunate father and help him with his love. However, Nina has a way to get rid of his loneliness, a method affordable only by young. She runs out of the house with the Malay Prince Dane - runs, taking the last attachment from another person, his father, runs to, when love passes, feel the whole of the measure of human loneliness.

Having read the novels of the conrad, you are striking how often his heroes are one on one with nature somewhere in the distant corners of the Earth, on uninhabited islands, among people of another language, other customs, other life.

On uninhabited islands ... Is it not Robinsonada?

Yes, this is a kind of Robinsonad, only a catastrophe, scattered the heroes of Konrad, was worse than the crash of the ship, on which a merchant from Iorka was sailed, Robinson Cruzo, is the collapse of all the illusions of the century, or rather, two centuries.

The XVIII century announced humanity with numerous robinsons Cruise, each of whom fights for himself, but thereby contributes to the blessing of all mankind, Robinsons, which concluded a public contract. Conrad knows that the public contract has long ceased to bear fruit. Feudal cruelty was curbed, but the cruelty of Cleft came to replace it.

Obviously, one material interest does not use the healthy basis for the life of society. Corress is unable to raise people before awareness of the great temper- | Principles nor merging them. Robinsonada is loneliness. But Robinsonada remains, together with the fact of the life of a bourgeois society, and for Conrad - any society, because society, in the end, cannot be based on something else than material interests. Hence the longing to the truly human, which is imbued with all the novels and the story of the Conrad, from here a deep pessimism, which serves as a starting point for all its constructions. The starting point, but not the final output.

Konrad is guarded by the sea. Few, with such love, with such knowledge and skill, described the calm days and terrible storms, the rocks of the coastal surf and the quiet shift of the paints on the sea stroy, through which the immeasurable ocean depths seem to be viewed. But Conrad loved the sea and for the fact that the power and fear of man are revealed.

"Do you need to tell you what it means to go on the ocean in an open boat? I remember the night and the days of a full calm, when we rowed, and the boat seemed to not moved from the place, as if the doomed was immune to remain in the empty horizon of the seas. I remember heat and shower, threatened to flood us (but filling our barrel), I remember the last sixteen hours behind the steering paddle, which was directed by my first vessel. And how my mouth is all right, like an ash. Before that I did not suspect that I am for a person. I remember the shoes, the crust of my two sailors and remember our youth and feeling that will never return - the feeling that I will live forever, survive the sea, land and all people ... "(" Youth ", 1898).

Conrad, unlike Stevenson, does not hide from the reader all the marine life. He does not hide all her dangers from him. His sea is not a picturesque sea with blue lithography. His villains are not the picturesque pirates of Stevenson, who are constantly poured from the pistols, but never fall into the goal. Close pastries, massacled clothing, dirty, wakey heavy networks in water - and labor, continuous hard work ...

And for this, Conrad loves the sea even more, loves him as he never could love the tourist, as the sea loves the sea, forever tied himself with him, how he could love him only a person who led to the shore of his first vessel - a small boat When the ship on which he served, caught fire in the middle of the sea.

The world, by conrad, like the sea, is the same huge, the same incomprehensible, uncontrolled and requires all of us entirely, all of our forces and all our thoughts. And every time Conrad writes about how people overcome the elements, we learn how a person knows how to defend himself and all that is expensive to him from cruel confrontation. In the sea on the ship a man is not alone. Here he works side by side with others, here people have common joys and common dangers, here they have a common fate, and she is in their hands from each team members.

Marine stories, stories and novels of Conrad, emerging some others after his first novel, show that Conrad increasingly approves his ideals. Romance of the sea, romance big human fate - Such is the topic and novel "Negro with Narcissus" (1897), and the lead "Youth", and the novel "Lord Jim" (1900), and the story "Typhoon" (1903). Their heroes are often very simple people With very large disadvantages, but the value of a person is determined by what he is at the moment of testing. Then the wonderful, often not visible to a simple eye, which is hidden in man. Captain Makuir ("Typhoon"), sullen stupid, most worried about the locks on the steamer in order and so that the elephant on the flag (the vessel goes under the Siamese flag) did not raise somehow mistakenly upside down, at the moment of the storm shows itself a real hero. He thinks not about himself. When the entire deck team was clogged into secluded corners, he idle on the captain's bridge, continuing to repelly stubbily: "I would not like to lose it," my ship.

The heavy burden carry sailors, the heroes of the novel "Negro with" Narcissa ", but in the time-free time they pour out to the deck, with the delight of the course of their vessel," beautiful creature ", created somewhere on the shores of Clyde under the roar of Molotov, in Black waterways of smoke and floating in a sunny world to conquer the hearts of people ...

In 1904, Konrad released the novel "Nostromo" - its most social and specific and, one can say, a realistic novel. Conrad tells the story of the South American Republic, for some decade that has done the way from feudalism to capitalism. The heroes of this novel are destined to make sure that their dreams about the approval of a fair system go to the rush, facing the reality of bourgeois pure. So much blood was praised, so many lives are ruined so that the cruelty of capitalism came to replace the feudal cruelty ...

After writing "Nostromo", the lifts of the Conrad all the time alternate with decals. In 1911, Konrad publishes the novel "In the view of the West", written under the explicit influence of the poorly understood Dostoevsky, and just a year later he produces one of his best books - "Fryray of Seven Islands" - a story about the beauty and strength of human love. In the collection of stories of "riding and flow", which appeared in 1915, next to a wonderful, humane story "because of dollars" there is a typical "horror story" - "Hotel of two witches."

In 1915, twenty years later after the "Caprise of Olmeyer", Konrad published a novel "Victory", in which the writer summed up his results spiritual development Over the past - the most creative - two decades of their lives.

Axel Gaist, the hero of "Victory", in his youth left Europe and wandered over the islands of the Malay archipelago for many years. But here he did not find his place. Preparing bourgeois, he was delivered in man at all. Back to wildness? But the wildness is enough and in modern "civilized society", didn't he run from her? Gaist wanders in the light by the observer, causticing any action, for it, in his opinion, is inevitably worn. In the end, he settled on an uninhabited island and only occasionally visits people.

However, is it just to get away from society? A big soul man, Gaist saved the poor girl Lena, who was chased by the Tavercaster Schomberg, and transported it to his sharp. Now they are alone, away from people. But soon they are "Messengers of the Company" - Jones Ricardo adventurers (perverted mind and primitive cruelty hand in hand). Gaist probably burned on the island of treasure. We must force it to post money ... Jones and Ricardo, maybe not so strong, but the Geyst, poisoned by disbelief in people who are not able to resolutely, is unable to resist them, unable to protect either themselves nor Lena . He has no real will to life. Behind both have to fight Lena. And here, it may be too late, Gabist is given to make sure that the bourgeois is not yet human. The power of a spiritual impulse, which is capable of a man, the beauty of active humanity, Gaist conscious only when Lena sacrifices his life for him, "... Mount to man, whose heart did not have to hope to hope and believe in life!" - These are the last words of Geista. It is a victory of Lena - the victory of love, loyalty, honor - over the meanness of society, over the unbelief of Genst. This is the victory of a geasta man over a gesting thinker.

The Conrad artist won the mystery conduclear much earlier - in two decades before, and let this victory was not final - it turned out to be quite significant that the theme of his works became, in contrast to decadent literature, not poetry and not the suffering of loneliness, And the search for exit from it. Loneliness disgusting human nature. Robinsonada - absurdity. Loneliness kills how it killed one of the heroes "Nostromo" - Martin Deca, who was on the uninhabited island and after a few days who committed suicide. A person must deal not to fight in order to better live himself, but in order to be better lived in other people. And Konrad's heroes are not reveling with their loneliness - they are looking for exit from it. Together with the author.

Sometimes it is difficult to judge at the first reading, a sentence of this or that way or did not succeed, - even the most, it would seem, a little designed O0s are imbued with some extraordinary, difficult to catch with charm. Maybe the secret of this lies in the exclusive interest of the author to the fate of his heroes. No matter how the author is far from the hero, we will not feel for a minute in Conrad for a minute that cold and somersone hitting him, which is so unpleasant to affect the works of naturalists .. "He was one of us," this phrase often repeats ! The writer, said Konrad, should have such a force of penetration into the soul of heroes, which is given only sympathy and sympathy. Is it definitely defined by Conrad's character of his attitude towards heroes? Not really. Rather, it was not sympathy and sympathy, but love - demanding love. In relation to literature, this means, perhaps, the same thing in life. Require the person to possess its own charm and universal advantages. Love a man for the fact that he is so, and not other, to love him in all of his originality and at the same time demand that he did not shy away from the ideal that everyone creates in love. Feel the joy of love - not just the joy of contemplation or the joy of possession, but also the joy of recognition, the measure of recognition of another person, which is given only by love.

Such love loves the Konrad of the Young Seaman Jim ("Lord Jim"), a man who made a challenged act and redeemed him with his whole life. Once Jim smallery and jumped overboard from a sinking ship, leaving the fate of the fate of helpless passengers. At a decisive moment, Jim thought only about himself and therefore lost himself. To gain his human "I", Jim succeeds again only when he devotes himself to serving people abandoned the Narrow Principality, sacrifices with his love for them, and then life.

Such love loves Konrad Starik Captain Wali, the hero of the story "End of slavery" (1902), who, hiding his blindness from everyone, continues to drive a ship because it is nothing to live on his daughter, and dies in her last flight.

Such love loves Konrad Captain Davidson, the hero of many of his works, cruising on his rolling ship in the seas and shipping rivers to help people abandoned by the will of fate in the distant corners of the Earth. He is a life life, this good sailor, he knows that it will not come up with evil, ungrateful, lie, but he also knows that being a person means to be faithful, bold generous. It always remembers Conrad.

In the fact that the theme of Conrad is loneliness becomes, is the most important sign of the epoch, in which Konrad lived, signs that bourgeois communications are elegted for all people with a real conscience. However, the fact that Conrad does not recognize the inevenivity of loneliness, although the exit from it is drawn to him painful, sometimes tragic, through death for the celebration of humanity, - in this, in fact, - overcoming the rotten philosophy of decades.

Conrad, like many others, did not know where to take the dirt, which covered the bourgeois society. The enthusiastic supporter of national liberation movements, he did not recognize the social revolution, did not believe that she would be able to change anything in the relationship between people in the bourgeois society, indignantly against the socialists for the fact that they intend to "fight against capitalists their own weapons." But Conrad, in contrast to many others, hated this dirt and did not see her source in man. To the question of who is to blame - a person or society - he gave an answer, the opposite of the one who was given decadents. He wrote a lot about the patient, and there is nothing surprising in this, for he wrote about the sick century. But he did not savor his disease, but hated her.

Konrad remained a major artist until the end of the First World War. In the future, his defeat becomes more often, victories - more and less. He was looking for a long time ago, but when a significant part of mankind found this way out, he was not delighted. He fully identiced himself, if it is possible to say so, the "romantic" period of searching by the Western intelligentsia. The disbelief in the fact that the social revolution can change anything in relations between people, he retained and then when the revolution has already changed a lot. And from that moment on, Conrad was destined to cease to be a major artist.

About Conrad can not be said that he survived his glory. The number of his reprint around the world is now hundreds now, only in England there were five collections of his writings, a dozen movies were filmed on the plots of Conrad. But Konrad survived himself as a writer. He continued to speak and then when he had nothing to say.

Konrad did not give himself a teacher of life. He knew that something that his predecessors were taught, turned out to be in a mistake, and he did not know what truth to learn. But Konrad considered himself an educator - the educator of real human feelings. "My goal," he wrote, "the power of a printed word to make you hear, make you feel and - first of all - to make you see. This is a bit, but that's all. " We agree here for the writer what he told his novels, the leaders, the stories: you will hear the voices of the world. Hell feel the mountain and the joy of the world. You will die to see paints of the world - and you yourself are looking for your way with your eyes. He can not specify it. But so, with open eyes, it is easier to look for it.

"Make you hear ... make you feel ... make you see ..."

It's not all. But it is a lot.

Topic: Features of romanticism in the poem of Bybaron "Corsair"

And he, rebellious, asks storm

As if there are peace in the storms!

M.Yu.Lermontov

Preliminary preparation for the lesson

Repeat what the features of the direction of romanticism are.

Objectives:

Introduce students to S. characteristic features romanticism in the work of D. Baron
Develop skills independent work with text, including poetic, the ability to express your opinion and argue it
Educating love for literature, interest in the work of Bairon.

Equipment: Text of Work, Tutorial, Interactive Complex, Presentation for lesson (9 slides)

Type of lesson: Applications and Improvement of Knowledge

View of the lesson: Lesson study

During the classes

Organizing time

- Message themes and lesson purposes

2. Repetition studied

Teacher: Today we have to get to know the poem of D. Baron "Corsair" (Slide 1 portrait Byrona). In the work of this English poet, the most brightly manifested specific traits Romanticism. Byron tried to imitate the Great Russian Poets - Pushkin, Lermontov (Slide 2.3 Portrait of Pushkin and Lermontov). But before we try to find out what the attraction of the so-called bayronic hero is the attraction, let's remember what romanticism is and what is his features as a literary direction

What romantic works you read7

Name the signs of romanticism in the works of Russian writers

What traits of character is endowed with a romantic hero?

List the features of romantic works

Output: Romanticism as the direction of development of culture has shown a great interest in personality, its experiences and perception of reality. For romanticism, the oppression of the hero of the world around him is characteristic. The romantic hero is a strong, bright person, not fit into the close framework of the ordinary, established traditions and customs. The rebellious position is closely connected with loneliness. Along with the cult of individualism, romanticist writers used images of an unkurified element, in something similar with a rolling soul of the romantic hero. Another feature of romantic works is the special background, which turns out the action. (Slide 4 images of exotic landscapes, vintage ships)

3. Work over new material

Teacher: Let us turn to the poem of Bayron Corsair. Does it have those features that are inherent in romantic works? (Slide 5)

Students work according to the text, lead evidence, list signs of romanticism, draw out. The output is written to the workbook.

Output: (Slide 6)

Conflict hero with society
Exotic background
Immediateness of the personality of the hero
In the poem a lot of inactive

Teacher: Thus, we found out that romance writers paid close attention to the identity of the hero.

What is the romantic hero of Bairon?

Who were Corsairs? (Slide 7 Portraits of famous pirates Francis Drake, Henry Morgan)

Pupil gives brief certificate About Corsary

Corsairs are sea robbers who attacked ships with the goal of robbery. Sometimes Corsairs made raids and settlements located on sea coasts. The "flourishing" piracy fell on the 17-18th century. In addition to the pirates who act independently, there were so-called capers who acted with the sanctions of their country, attacking the ships of the military opponent. Pirates, often accompanied by special cruelty, gave rich food for creative fantasy writers.

Work in groups. (2 groups)

1 group - indicates negative qualities and actions of the hero.

Sea robber, busy dangerous illegal activities

From a legal point of view, he enters the prison is quite justified.

Bringing misfortune to both girls. Medor dies from longing, having received the fatal news. Gulnar because of a suddenly broken love for a conducer becomes a criminal.

2 Group - objects and indicates the advantages of Conrad.

He does not seek drunk rag in the company of one-day girlfriends

He is faithful to his beloved

He behaves in a knight, saves Gulnar, risking life.

It has charm. Both women who loved him themselves chose their destiny.

Conclusion: (Slide 8)

Conrad - the personality of contradictory, cannot be estimated unequivocal.
The image of Gulnar, as well as the image of the Conrad itself, is set aside in a romantic tradition, she has a strong, decisive character. She is hard to survive the fate of the slave, despair and love pushed her to murder.

4. Apply the outcome

Teacher: Byron left the reader to the scope for the manifestation of fantasy, suddenly breaking the thread of the narration. This is due to the fact that romance writers saw their task in the image outstanding personality, nontrivial destiny. The open finale only enhances the impression of the image of the Conrad and the poetic pattern of the poem. We repeated what the features of romanticism were concluded, they found these features in the poem of Bairon Korsar, analyzed the nature and actions of the heroes.

Conclusion: (Slide 9)

There is no external greatness in his appearance ("he is thin, and he is not a giant"), but he is able to subjugate anyone, and his look "burns fire" one who dares to read the mystery of the soul of Conrad. But "on the eyes up, by trembling hands,<...> on the thrill, on sighs without end,<...> By insecure steps, you can guess that the peace is unknown to him.

5. Maximum task

Reply writing to questions

What is the meaning of the epigraph to this lesson?

Do you see the similarity between the "Caucasian prisoner" A.S. Pushkin and "Corsary" of Bairon? 6. Estimation and comment on estimates