Eternal plots. Aram Khachaturian

In his work A.I. Khachaturian relied on the richest experience and traditions of world culture, treasures of folk art and classical heritage. He wrote the works of various genres: music for theater, ballets, chamber and symphonic works, songs, music for movies.

Musical images of Khachaturian full of life, movement, concreteness and broad generalizations. Music of the composer is characterized by romantic emotion and increased emotionality. As a way of artistic mapping reality A huge role in the work of A.I. Khachaturian occupies a lyrical beginning. "The lyrical beginning really plays a big role in my music," A.I. himself said Khachaturian.

For style A.I. Khachaturian is characterized by bright theatricality, vitality, painting. In the work of the composer, genre and compositional patterns of Eastern and European music are converted.

A huge role in music A.I. Khachaturian plays rhythm. Rhythm takes a figurative-dramaturgical role, transmitting the staticity of southern sultium, the heartbeat, the energy of the masses, manifested in the festival, in the dance, in the struggle. Rhythm is the most important element of the national music of the peoples of Transcaucasia with a rich world of gentle, scratosic and courageous dance.

The uniquely lade structure of music A.I. Khachaturian. This is due to the fact that the composer is increasing the lade specificity of folk music and enriched it with the latest techniques of the modern composer letter.

The orchestral palette of the composer is extremely rich. Bright, juicy tools play a big role in the musical dramatic of works. PARTIES A.I. Khachaturian suggests that the composer masterfully owns the drama of the timbre, the ability to saturate the fabric with bright colors, mixing various timbres, conquering new orchestral registers, deep understanding the expressive opportunities of soling tools.

Work on the ballet lasted three years, although the idea arose much earlier, in 1933, When by order of the Bolshoi Theater Librettist N.D. Wolves and balletmaster I.A. Moiseev created the first version of the stage plan. To the composition of ballet A.I. Khachaturian assumed to start in 1941, during the war, but the work had to be postponed for various reasons. Work on the ballet began in 1950. Working on the libretto, wolves turned to several solid sources: testimonies of ancient historians, among whom "civil wars" and "Roman history" were particularly distinguished in the presentation of Appiana, as well as the creations of Plutarch, who supplied the biography of Crassus with detailed information on the so-called "War of Spartak "

Also, in the process of working on Libretto, the wolves involved Satira Juvenola and the "paintings from Rome's household life" of Frelder. He helped the Librettist and the monograph of the Soviet historian Mishulin "Spartakovskoye Uprising". As we see, even before creating a musical material, serious prerequisites were created to recreating historical reliability.
Another portrait of A.I. Khacaturyan made bright impressions of the myths, legends and ancient history, in particular - from the history of Spartak in the statement of R. Giovanoli. Over time, these impressions were enriched with new content, acquiring communication with eternally relevant themes of the struggle for the liberation of peoples.

A.I. Khachaturian wrote: "Spartak" was intimidated by me as a monumental story about a powerful avalanche of an ancient uprising of slaves in defense of the human person, to whom I wanted to give tribute to admiration and deep respect. "

A.I. Khachaturian so expressed his views on the aesthetics and the essence of the ballet: "Ballet I consider great art. In it, you can express all the variety of human life, the wealth of his mental experiences. Ballet causes love for beautiful ... Music in ballet should be the highest quality and viewing about events that are accomplished on the stage. "

The ideal of ballet music Khachaturian considered the works of P.I. Tchaikovsky, I.F. Stravinsky and S.S. Prokofiev. Especially close to him were creative principles of P.I. Tchaikovsky, who in the ballet "Swan Lake", "Sleeping Beauty", "Nutcracker" created the traditions of music-choreographic art, filled with great human feelings, drama, broad generalizations and genuine simphonism. In the music of Stravinsky, he had new plots, unusual images, rhythmic forms, the use of folk topics. Ballet S.S. Prokofiev "Romeo and Juliet" A.I. Khachaturian considered the beginning of a new stage in the development of this genre, recognizing its innovative importance, an amazing accuracy of musical characteristics and theatricality.

Ballet "Spartak" is written in the form of a monumental performance. For his drama, the multiplicity and tensions of development, strong climax and sharp contrasts are characteristic. The main storyline is the rising uprising of the slaves under the leadership of Spartacus, the suppression of this uprising, the death of the main character, and complementary - Love Spartak and Frigia, the passion of harmony to the egin and other auxiliary lines.

In the music of the ballet merge the heroic, tragedy and lyricity. Creating diverse sampling of the ballet, the composer uses all sorts of means of expressive cantilene, declamation, stoning intonation, heroic appeal motives. With all the diversity of contrasting images, the musical and stage action of the ballet "Spartak" is subordinate to the disclosure of the main idea of \u200b\u200bthe work. In the final stage "Death of Spartak", drama reaches its climax.

"The music of the ballet" Spartak "is undoubtedly interesting and exciting, wrote D.D. Shostakovich. "She is written talented, and on it, as on everything that A. Khachaturian writes, is a stamp of bright creative individuality." The ballet "Spartak" was the top of the composer's creativity.

Ballet includes four acts. Conditionally, it can be considered as a music-choreographic symphony, in which all parts are interrelated and there is an exposition of opposing musical those, their development and reprise with the code. A.I. himself Khachaturian called the ballet "Spartak" "choreographic symphony." All ballet numbers are permeated with through symphonic development, intonational unity and leitmotative connections. Leitmotives are played in a large role in ballet symphony, they are bright, convex characteristics of existing characters. Some leitmotifs are distinguished by the development of the construction, such as the leitmotif of gladiators, others, on the contrary, are concise and brief, such as the motive of calling to the uprising. Through motifs, themes, intonations are developing, modified, engage in interaction with each other as the ballet dramagement develops.

Music rhythm players playing great importance in the music of ballet "Spartak". Here are various rhythms of marches - heroic, triumphal, battle, mourning. Dance rhythms are diverse: lyrical and heroic, for the purpose of image, there are rhythmic asymmetry and polyritmia. In the ballet score, the entire richest palette of orchestral registers and timbres was used. The harmonic language of the ballet "Spartak" is coloristic expressive, fresh, saturated with dissonating intervals.

BUT ram Ilyich Khachaturian is an artist bright, peculiar individuality. The temperamental, cheerful, attracting the freshness of harmony and orchestral paints music is permeated by intonations and rhythms of folk songs and dances of the East. It was the folk art that was the source of deeply peculiar creativity of this outstanding composer. In his works, he also relied on the tradition of world, and first of all Russian music.

The image of Spartacus is inextricably linked with the musical material of "folk" topics. These images are not only intonationally close, but often in the musical drama of the ballet themes - the spartacial motifs develop the framework of personal characteristics and are gaining wider importance.

Through intonation, motifs, themes play a huge role in musical drama, in the symphonic development of ballet. The composer approached the creation of music not with styling positions, but with all creative immediacy and sincerity. Many Spartak score pages cause associations with "Gayane" music, and through it - and with Armenian folk musical culture. But in the music of "Spartacus" there are no direct folklore quotes. Intonation relations with folk music here are more mediated.

For the first time, Spartak ballet was put in the Leningrad Opera and Ballet Theater of Kirov. The premiere took place on December 27, 1956. Balleter-director was Leonid Jacobson. The performance had a huge success among the public.

In 1958, the viewer was able to see his favorite ballet in the formulation of I. Moiseeva. This formulation of criticism was accepted quite cold.

L. Jacobson decided to try their directorial talents in Moscow, but the Moscow premiere could not eclipse the success of Ballet in Vomeningrad.

Pretty successful was considered the formulation of Yuri Grigorovich, filled with psychologism and tragic notes. Party Spartak and Frigia performed Vasilyev and Maksimov. Today, more than 20 different versions of Spartak ballet are known. But the most famous remained two edits of the performance - Leonid Jacobson and Yuri Grigorovich.

Ballet "Spartak" is the largest and most striking creation of A.I. Khachaturian. This ballet has become a significant work of Soviet and world ballet arts. Ballet "Spartak" to the present takes great popularity not only among lovers of classic ballet, but also all lovers of music.

List of used literature

1. Khachaturian A.I. About music, musicians, about yourself. Yerevan, 1980.

2. Khachaturian A.I. Letters. Yerevan, 1983.

3. Tigranov G.G. Ballets Khachaturian. L. 1974.

4. Tigranov G.G. Aram Ilyich Khachaturian. L. 1978.

5. Soviet musical literature. Building is vol. 1, the publication. Moscow, 1977.

Action I.
Picture 1.
Invasion
The death of a peaceful life is carried by legions of the Roman Empire, headed by cruel and insidious craft. People captured by him in captivity on slavery. Among them - Spartak.

Monologist Spartak
Spartaka took away freedom, but he could not accept it. Proud and courageous man, he is not Cape Lit his life in slavery.

Picture 2.
Market slaves
Captive chasing slaves to the market. Male and women, including Spartacus with Frigia, are sorely sick.
Spartak protests against the inhumanity of the Romans. But the forces are not equal.

Monologue Frigia
Freegie jeeping about Ut-fermented happiness, with horror thinking about the testimony tests.

Picture 3.
Orgy of Crassa
Mimes and curtains entertain guests while driving above Frigia, the new slave Crassa. Kurtizanku Egina Alerts - His interest in a young girl. And she is - lifting Crassa in a frantic dance. In the height of orgy, Krass orders to bring gladiators. They need to beat to death in the helmets without a cold, without seeing each other. From the winning removal of the helmet. This is Spartak.

Monologist Spartak
Spartak in despair - he became the involuntary killer of his comrade. The tragedy awakens anger and desire to protest. Spartak makes the decision to fight for freedom.

Picture 4.
Gladiator barracks
Spartak calls for gladiators to the uprising. They answer him an oath of loyalty. Resetting the shackles, Spartak and gladiators flee from Rome.

Action II.
Picture 5.
Appeiyeva Road
On the Appia Road to "Spartakov" the shepherds join. All unites the dream of freedom and hatred for slavery. The people proclaims Spartacus Chief of Rest.

Monologist Spartak
All the thoughts of Spartacus are fixed to Frigia.

Picture 6.
Villa Crassa
The search for Frigia lead Spartacus at Villa Crassa. Great joy of meeting lovers. But they have to hide - the patrician procession led by aegina is sent to the villa.

Monologue Egina
She long wraps to seduce and under-clear the Crassus. She must conquer him and legitimately enter the world of Roman nobility.

Picture 7.
Pier at Crass
Crassy celebrates her victories. Patricia is famous for him. But Spartak's troops surround the palace. Guests run away. Run in fear and crafts with aein. Sparuck breaks on the villa.

Monologist Spartak
He is re-fulfilled by the joy of victory.

Picture 8.
Victory Spartak
Crassy is captured to gladiators. But Spartak does not want violence. He offers the Crassus in an open honest match to solve his destiny. Crasus accepts a challenge, but tolerates defeat. Spartak chases him away - let everyone learn about his shame. The rebels are famous for the victory of Spartacus.

Action III
Picture 9.
Revenge of Crassa
Eagina seeks to instill courage to Crassa. The uprising must be suppressed. Crason collects legionnaires. Ajagina rustles him.

Monologue Egina
For her, Spartak is also an enemy, because the defeat of the Crassus promises death and her. Ajagina plots a cunning plan - such a discord in the races of the rebels.

Picture 10.
Camp Spartak
Spartak happy with Frigia. But the sudden misfortune fell about the new campaign of Crassus. Spartak offers to take a fight. But many of his commander managers show weakness and leave their leader.

Monologist Spartak
Spartak Premerch is a tragic end. But freedom is above all. And for her, he is ready to give his life.

Picture 11.
Decomposition
Commissioning to the upstanding gladiators who could still join Spartacus, Eagina, together with the curtains, seduces them and hits a trap, betraying Crasst detachments.

Monologue Crassa
Crasus is filled with thirst for revenge. He is not enough to win. He needs the death of the Spartak who humbled him.

Picture 12.
The last fight
Legionnaires surround Spartacus troops. In a non-unfortunate battle, his friends die and he himself. Spartak fights to the last breath.

Requiem
Frigia finds the body of Spartacus. She pays him to him, full of faith in the immortality of his feat.

Picture 1.

Invasion
The death of a peaceful life is carried by legions of the Roman Empire, headed by cruel and insidious craft. People captured by him are doomed to slavery. Among them - Spartak.

Monologist Spartak
Spartaka took away freedom, but he could not accept it. Proud and courageous man, he does not think his life in slavery.

Picture 2.

Market slaves
Captive chasing slaves to the market. Male and women are separated by force, including Spartacus with Frigia. Spartak protests against the inhumanity of the Romans. But the forces are not equal.

Monologue Frigia
Freegie hurts about lost happiness, thinking about the upcoming tests with horror.

Picture 3.

Orgy of Kras.
Mimes and curtains entertain guests while driving above Frigia, the new slave Crassa. Kurtizanka Egina is alarming his interest in a young girl. And she involves Crassus in a frantic dance. In the height of orgy, Krass orders to bring gladiators. They need to beat to death in the helmets without a cold, without seeing each other. From the winning removal of the helmet. This is Spartak.

Monologist Spartak
Spartak in despair - he became the involuntary killer of his comrade. The tragedy awakens anger and desire to protest. Spartak makes the decision to fight for freedom.

Picture 4.

Gladiator barracks
Spartak calls for gladiators to the uprising. They answer him an oath of loyalty. Resetting the shackles, Spartak and gladiators flee from Rome.

Action II.

Picture 5.

Appeiyeva Road
On the Appia Road to "Spartakov" the shepherds join. All unites the dream of freedom and hatred for slavery. The people proclaims Spartacus Chief of Rest.

Monologist Spartak
All the thoughts of Spartacus are fixed to Frigia.

Picture 6.

Villa Crassa
The search for Frigia lead Spartacus at Villa Crassa. Great joy of meeting lovers. But they have to hide - the patrician procession led by aein is sent to the villa.

Monologue Egina
She long eager to seduce and subjugate the Crassus. She must conquer him and legitimately enter the world of Roman nobility.

Picture 7.

Pier at Crass
Crassy celebrates her victories. Patricia is famous for him. But Spartak's troops surround the palace. Guests run away. Run in fear and crafts with aein. Spartak breaks on the villa.

Monologist Spartak
He is filled with the joy of victory.

Picture 8.

Victory Spartak
Crassy is captured to gladiators. But Spartak does not want violence. He offers the Crassus in an open honest match to solve his destiny. Crasus accepts a challenge, but tolerates defeat. Spartak chases him away - let everyone learn about his shame. The rebels are famous for the victory of Spartacus.

Action III

Picture 9.

Revenge of Crassa
Eagina seeks to instill courage to Crassa. The uprising must be suppressed. Crason collects legionnaires. Ajagina rustles him.

Monologue Egina
For her, Spartak is also an enemy, because the defeat of the Crassus promises death and her. Ajagina plots a cunning plan - such a discord in the races of the rebels.

Picture 10.

Camp Spartak
Spartak happy with Frigia. But the sudden misfortune fell about the new campaign of Crassus. Spartak offers to take a fight. But many of his commander managers show weakness and leave their leader.

Monologist Spartak
Spartak prefers the tragic end. But freedom is above all. And for her, he is ready to give his life.

Picture 11.

Decomposition
Commissioning to the upstanding gladiators who could still join Spartacus, Eagina, together with the curtains, seduces them and hits a trap, betraying Crasst detachments.

Monologue Crassa
Crasus is filled with thirst for revenge. He is not enough to win. He needs the death of the Spartak who humbled him.

Picture 12.

The last fight
Legionnaires surround Spartacus troops. In an unequal battle, his friends die and he himself. Spartak fights to the last breath.

Requiem
Frigia finds the body of Spartacus. She mourns him, full of faith in the immortality of his feat.

In four acts, nine pictures. Libretto N. Volkov.

Characters:

Spartak, Frakiets.
Frigia, Fracik, his wife
Garmody, Young Frakian
Krass, Roman Rich, Communion
Azhagin, Greek dancer, beloved Crass
Elevation of Crassa
Dying slave
Lentul Batiat, the owner of the school of gladiators
Gladiators: Mapmilon (Fish), Retiary (Fisherman), Andbayti (gladiators in driercked helmets), Thracians, Samnits
Helegal
Egyptian dancer
Greek Mime
Old woman, maid Egina
Craftsmen, Germans, Galla, Syrians, Numidians, Thracians, Circarati, Guests on Peir Crassa, Gaditanian Virgin, Gaethers, Dancers, Nymphs, Peasants, Pasta, Roman legionnaires, Roman merchants, Citizens, Pirates

The action takes place in the Roman Empire in 73 - 71 years BC.

History of creation

In December 1941, in the most tragic days of the Great Patriotic War, Khachaturian informed in the newspaper article about his creative plans: "In 1941, by order of the Bolshoi Theater of the USSR, together with the librettist N. D. Volkov and the balletmister I. A. Moiseyev, I proceed To work on the ballet "Spartak". It should be a monumental heroic performance that will show the Soviet viewer of the best person of the entire ancient history, which, in the expression of Marx, is Spartak. " This image that has long attracted Khachaturian, seemed to him particularly relevant in connection with the fierce struggle, which I had to lead to our people. This composer also mentioned in one of the articles: "Some were surprised by the choice of this topic, reproached to care in the depths of history. But it seems to me that the theme of Spartacus and the uprising of slaves in ancient Rome has in our time a great importance and a large public sound.<...> It is necessary that the peoples know and remember the names of those who still at the dawn of human history boldly raised against the enslavers for their freedom and independence. "

Librettist N. Volkov (1894-1965) began work on Spartak back in 1933. He enjoyed consultations by the artist F. Fedorovsky (1883-1955) and Balletmister I. Moiseeva (1906-2007), who has long ever dreamed of putting this performance. In work on the libretto, the wolves turned to testimonies of ancient historians, especially the Satiirs of Juvenal (approx. 60-140) were also used to "life-writings" of Plutarchs (50-120). In addition, Librettist relied on the article L. Friedlander "Pictures from Rome's household life" and the book of the Soviet historian A. Mishulin "Spartakovskoe Uprising", something was asked from the popular novel Jovanoli "Spartak" (description of ristalism) and historical chronicles M. Olivier "Spartak". "Ballet architectonika was composed as a tragedy about Spartak," wrote wolves, "as a story about the elevation and death of the leader, as the story of the hero, whose mind, will and high ideals overcame the limit of their time and<...> Steel immortal symbols of the struggle of oppressed classes and peoples against oppressors. " It is not surprising that the proposed plot received the approval of the authorities. However, the work on the ballet was postponed for many years.

In 1950, Khachaturian visited Italy, saw the Colosseum, the Appiete Road. Perhaps it was with these impressions that the return to the conceived ballet was associated. Work on music lasted three and a half years - the last point in the score was delivered in early February 1954. The premiere of Spartak took place in the Leningrad Opera and Ballet Theater named after Kirov (Mariinsky) on December 27, 1956 in the formulation of one of the most original ballersters of the Soviet Time, the continuer of Fokin's traditions, famous Master of the choreographic miniature L. Jacobson (1904-1975). In the desire to move away from the principles of the "Drambalt" principles in those years on the ballet scene, the sculptural-plastic expressiveness, which was seen in the expression of the fits of fighting gods and titans on the famous Pergamian altar, exposed then in the Hermitage. "The figures came to life in his play, as if concerned with vase drawings, ancient mosaics, bas-reliefs," writes the author of the book about Ascold Makarov, the first artist's role of Spartak, ballet critic M. Ilyicheva. - The composition of the performance was formed as a grand architectural ensemble with temples, palaces, arenas and amphitheaters, in the decoration of their supporting the topics of Spartak, Egin, Crassa. Spartak, who leaves the monument among the rampore and tiny Rome, appeared ... The hero of a peculiar altar composition ... clear steps, sharp attacks, heavy fogging infantry, offensive jumps of riders ... planned the image of a military car ... laconicism and chasingness The movements of the military march, solemnity of the release of senators ... reported spectacular sculpture. These qualities determined the entire composition, deployed on the viewer ... "The ensemble rooms were distinguished by the fact that each artist of the core fee was offered his own individual plastic text. Thus, a peculiar choreographic polyphony was created. Women's parties were not performed on pointes: and the soloists and the core fee danced in sandals.

In Moscow, Spartak appeared only after a year and a half (03/11/1958), in the formulation of I. Moiseeva, one of the most titled masters, glorified by his folk dance ensemble. Ballet acquired broadest popularity, was delivered in many cities of our country and Eastern European countries. In 1968, another master of the Soviet ballet was made in Moscow, Yu. Grigorovich (r. 1927), whimsizing with the play of Jacobson and distinguished by great psychologism, tragic tension.

The plot (sets out by key)

In Rome, the crowds are happily met who returned from the campaign with the victory of Crassus. Among the slaves, pronounced in his chariot, Spartak, Frigia and Garmody. Among those who meet Crassa is the Kurtisana Egygin. Excasioned from fatigue, Frigia falls, the supervisor is waking off by Beach, Spartak rushes on it with such a force that stops the chariot. The people are delighted with its strength and courage.

In the Roman market of slaves, the Egyptian dancer and young Greek Mime show their art. In elegant stretchers, the craft appears, on the other side of the market square - aegina, which throws the cut flower. She buys handsome harmony, wants to buy both Frigia, but that is ready to hit himself with a dagger if she is separated from Spartak. Spartak buys the owner of the school of Gladiators Lentull, he also has to buy both Frigia, as Spartak prefers to kill himself, but not separated with his wife.

The circus. In the central bed, the krass and aigina, behind her back costs Garmody. After the pantomime, the "Abduction of Sabineanok" begin fighting. The last fight - Spartacus with the Samutor. Spectators demanded to finish the defeated selfite, but Spartak is blunting their sword in the sand, refusing to kill the defeated.

In the barracks of gladiators. Frigia leaned over dying. After the grievous meditation Spartak urges gladiators to the uprising. They still destroyed death. It is better to find it in the battle with enslavers than in the arena, on their fun. The gladiators headed by Spartak turn to escape, climb windows of windows and hide.

On the campaign fields near the Appiete Road peacefully spend the shepherd leisure time. There are fucked gladiators. Shepherds join the rebels.

In the Palace of Crassus in front of the dance dance with Garmody. The young man brings it on the bed of Crass. Fearful fun breaks the sounds of the approaching battle. Everyone is running, the Krassa relieves harmony to stay and join the rebel. Spartak appears with warriors and freigia.

In the Spartacus camp on the square in front of his tent, women listens to the noise of a sinking battle. Spartak in the tent holds the Council with the leaders of the detachments of Thracians, Syrians, Germans, Galov. Part of the military managers requires a hike to Rome, others, among whom Spartak himself, want to return home on the ships. Some bosses in irritation leave Spartacus. Freegie is trying to calm him. The square appears merchants and gheeters. Bargaining begins, fun. Spartak ordered from his tent orders expelled outsiders from the camp. An old woman appears on the empty area, the maid of Egina. She fascinates with a passion to the aetus of Garmody.

In the tent, Crassa Eagina is dancing in front of the commander. Specify the captured leaders who have broken from Spartacus. Krass orders to execute them. Old woman, Messenger Egina, comes with harmony. Crassus demands information about Spartak, and the young man reveals his plans for the rebels. Heavy curtains covering huge windows, and harmony sees crucified on the crosses of gladiators.

Coast. Visible masts of ships of pirates. The Romans are hidden behind the stones, which were given by Garmody. Pirates feat. Spartak comes to them. He bribes the leader with the bags of gold, and he promises to transport his troops on his ships. With the removal of Spartacus, the feast resumes. The armed Romans seek the fact that the pirates will lead their ships. With the appearance of the rebels, Romans attack them from the ambush. Spartak dies in cruel battle. Krass orders to suffer Garmody, Aegina, passing by, casually comes to his body. According to the second signal, the Roman army departs, on the empty battlefield at night, Frigia finds the killed Spartacus and silently mourns it. The surviving Thracians raise his body on the shield. Sun rises.

Music

In the music of "Spartak", one of the best works of Khachaturian, embodied the most vivid features of his creativity: catchy, memorable images, lush and brilliant mass scenes, a kind of melody in which European features are organically combined with oriental intonations. The musical playback of the ballet is based on sharp contrasts, but it differs in internal integrity and is aimed at disclosing the main idea. Ballet is characterized by end-to-end symphonic development, large musical and choreographic scenes, intonation unity, widespread use of the leitmotifs system.

L. Mikheeva

Introduction. Song of the hero

The first act

Picture first. Film Spartak

On the battlefield, Spartak alone fights against numerous opponents. Wounded, he is captured to the Romans.

Picture of the second. Triumph Crassa

The ex-dictator of the louches of Cornelius Sulla in the Colosseum takes the parade of the Roman troops. Slave is involved in the ceremony - the Greek Dancer Azerlia in the image of the goddess of Victory - and Mime Metrobius, in the image of the war of war. Among the winners, the concubine Mark Lutsk Crassa Amazon Eutibid; Related Spartak exports to the chariot of a fortunate commander of Crassa. Averalia rushes to Spartak, having learned his beloved in it.

The victory feast continues to fight gladiators: Andyat, Retira and Mirmillon, Thracians and Samutors.

Crassy produces unarmed sports spartaches against several opponents. Spartak wins, but asks to keep the life of defeated gladiators. Spartacus again bind. Eutibida, performing the dance of the "Roman Wolf", removes the opposite of the way and carries the crawl away from the Colosseum. Gladiators Krix, Hannik and Cass, are thrown to Spartak.

Picture of the third. CONSPIRACY

In the tavern "Venus Libitina" (Venus of Fine), slaves, citizens, mimes, beggars are gathering. They are treated by the owner of the tavern Lutation one-eyed and the two servants. Spartak appears with friends. He calls everyone to the uprising. All enthusiastically respond to his call.

Picture fourth. DATE. Spartak and Azerlia

On the streets of Rome Spartak secretly meets with Azerlia. Patricia, invited to the feast of Ex-Dictator Sulla pass by them. The stretchers bring Crassus accompanied by metrobia. Averaliya is forced to join the Speat of Eutibid. Spartak tries to avoid persistent attention of this capricious matron.

Picture fifth. Feast at the ex-dictator

The most notable patricians and matrons gathered in the Roman Patio.

For guests, the ex-dictator Sulla prepared a view. Dance metrobius and mimes, Krass, Metrobius and Eutibid are trying to involve in erotic games and Aureli, but it is possible to slip away. Averaliya, along with a metrobia and mimes, dancing Etruscan dance. During the dance with the snakes of the Gaditan deeds in the patio, Spartaks are broken.

The torches they ignite the hall. Spartak releases all women and Eucibid. She takes from the term Crassus and Metrobia, hiding them among the Gaditan virgins and slaves. The rebels proclaim the Spartacus with their commander.

Act second. "Song of Victory"

Picture of the sixth. Training troops Spartacus and battle

SPARTAK CAMP. Gladiators are taught slaves Roman ranks. Warriors learn to fight on different types of weapons, the crowd of slaves in the eyes turns into a beautifully trained army.

Battle with Romans. Spartakov's victory. Eutibida confesses in love Spartacus. It is indifferent to it. Eutibida is trying to kill him and drank revenge.

Picture seventh. Defeat Crassa

The crafts in rage kills their warriors retreating in a panic and establishes the discipline, Eucibida carries him into the occult Egyptian temple forbidden in Rome.

Picture of eighth. SACRIFICE

In the Egyptian temple, in the ritual dance of Eutibid, he chalves the Virgin Virgin and her blood washes the sword of Crassa, in order to pour out the goddess of Isis victory to the Roman army.

Picture of ninth. Bunct in Spartacus Camp

Slaves buried by victories, rob, are trying prisoners, rape their wives and daughters. After the interference of the outrageous Spartak, part of the troops led by his close friend of the Cryx is separated to go to Rome. Spartak against - his goal to return liberated slaves in their country. But, obeying the decisions of the associates, he remains at the head of the troops.

Spartak, together with Azerlia, is experiencing this night in the premonition of the last deadly fight, "Song of Love".

Picture of tenth. THE LAST FIGHT. "Song of immortality"

In a bloody battle, Spartak dies along with his army. Eucibida hides sorrow. Women-slaves from the conquered Rome countries mourn dead beloved. Aurelia says goodbye to Spartak.

Picture eleventh. Triumph Crassa

Krassa Crassa and Eutibida Womed with new slaves. The crowd welcomes the winners.