After the disintegration of the Soviet Union, can Russia, as a big ballet country, continue to maintain its hegemony, and can major dance companies maintain their daily creative activities and carry forward the glorious tradition of Russian dance schools? The author made a one-month field trip in February, 65438 last year. Here are some initial impressions.
There are many new groups, and the good and the bad are mixed.
The Kirov Dance Company and the Jacobson Foundation jointly established a new dance company, the Kirov Theatre Ballet, which recently toured Moscow. According to vinogradov and Irina Jacobson, the artistic directors of the troupe, the purpose of the troupe is to "restore Jacobson's famous dance works and introduce outstanding works at home and abroad to the audience." This time, they presented Jacques Bouzon's masterpieces Rodin Sculpture, Triptych (based on Mozart's music) and Wedding Parade to the Moscow audience, but obviously the rehearsal was not enough, and the performance level was not as good as that of Jacques Bouzon's works before his death. The troupe also staged Derigo, directed by Pitipa, which was also limited by the small theater and the level of actors in Pushkin Theatre, which made this masterpiece not shine as it should.
Another small dance company, the Seven-member Dance Company, is led by Veronica Smirnova. Their five dances, the beginning of the road, were boring.
The Citizen Dance Company, with Lu Chukang as artistic director, invited Mikhail Lavlowski to rehearse the new dance drama Revelation. This is a ballet with the theme of the Bible, composed by Valery Kita. In the play, kirilov, a special dance star, plays the role of demon retreat, which is vivid and well-known. As for the whole work, critics think that Lavlowski is a little overqualified here and can't show his creative potential.
The rise of small dance troupes is a typical phenomenon in Russian dance circles at present, which is the result of the shortage of funds for the National Opera and Dance Theatre and the people's desire to seek financial resources. In addition to the above, there are more than a dozen in Moscow. Their members and artistic directors often change, but they all have one thing in common: they are responsible for their own profits and losses, and their preparation is small, so they can't stage large-scale dance dramas. Generally speaking, it is mainly to perform one-act drama, dance drama and classical ballet. On the one hand, these small dance troupes enlivened the creative atmosphere in the dance industry, introduced the competition mechanism, and broke the original "big pot" system of "national demonstration theater", on the other hand, they also increased the burden on the creative staff in material conditions. Now they spend a lot of time soliciting sponsorship, renting theaters, selling theater tickets, and so on. All this can not but affect the artistry of the performance. Many dance companies have little rehearsal time, especially group dance, which has lost its former harmony and beauty.
The small dance troupe also provided a base for some famous dancers to practice and experiment, breaking the situation that a choreographer's creative style dominated the world in the past. Gordeyev, smirnoff-Golovanoff, Radzenko and other former grand theater dancers have organized their own dance troupes, some of which mainly perform classical masterpieces, some take modern ballet as the main line, and some, such as "festival ballet", whose main purpose is to earn foreign exchange by touring abroad. The Grand Theatre Ballet itself is divided into three parts: the Youth Ballet of the Grand Theatre, with Grigorovic as artistic director, has about 120 people; Ballet of the Kremlin Parliament Theatre, with Petrov as artistic director (Vasilyev and Maksimova are also invited directors and guest stars here); And the middle-aged and old-aged actors who stayed on the stage of the Grand Theatre (the strength is weak and they can only perform some Swan Lake and Swan Lake). The other two large dance troupes, the Moscow Music Theatre Dance Troupe and the Moscow Ballet Theatre, also entered the stage of creative depression due to the outflow of main actors, with few new works and the performance quality of traditional plays declining.
Traditional drama is still very popular.
At present, the whole ballet art is facing a crisis and has lost many audiences. However, traditional ballet masterpieces are still loved by people. Swan Lake, Giselle, Pirates, Don Quixote and so on, classical ballet still occupies a leading position in the performance statistics of various theaters. To commemorate the 0/00th anniversary of the birth of prokofiev, the new dance drama Cinderella (directed by Vasiliev and performed by the Kremlin Dance Company) was very popular, and the audience was amazed at the dazzling costumes and novel choreography. To commemorate the centenary of Nijinsky's birthday (1989), performances such as Shepherd's Afternoon, petrushka and Sacrifice of Spring are also very popular. Not long ago, the Moscow Dance Theatre (President usman Novo) edited and performed "German Dance in the Moonlight" (serenade in D major), and Evman's Requiem adapted for the Petersburg Contemporary Dance Theatre caused a great response. The ballet affiliated to the Petersburg Conservatory of Music (artistic director: dolgushin) resumed the performances of fedor Lopukhov's symphonic ballets How Beautiful the Sky is and The Wedding of Aphrodite (adapted from the version of Dia Gilev Dance Company), which also attracted a large audience.
From relying on the country to winning Du Hui's sponsorship.
This year marks the 80th anniversary of the establishment of Russian Pyatnitski Folk Choir, and its celebration performance in Tchaikovsky Concert Hall was warmly welcomed. Tatiana Ustinova is the representative of the first generation of the troupe's actors and the permanent artistic director. She has created dozens of wonderful dances for this famous dance company, the most famous of which are Voronish Waltz, saratov Competitive Dance and Bo Leske Wandering Dance. These dances are lively, skillful and full of Russian national characteristics. In these performances, the audience saw the Russian national spirit of "always enterprising and optimistic". Similarly, they believe that Russian dance culture, including Russian ballet schools, has strong vitality and will certainly overcome difficulties and achieve rejuvenation.
To this end, some enterprises generously support the dance company to survive and develop. This year, the "Diagilev Art Festival" held to celebrate the 20th anniversary of Diagilev's birthday/KLOC-0 (its activity lasted for three years) was greatly assisted by the Cultural Foundation of his hometown of Perm. Large enterprises and joint ventures in many cities have also established cooperative relations with famous dance companies, funded performances, and dance companies participated in advertising and publicity to enhance their popularity.
In order to cooperate with the commodity economy, many dance academies decided to cancel the past free education system and recruit students at their own expense instead, and at the same time issue scholarships. At present, a foreign dance student has to pay tuition fees ranging from $65,438+0,000 to $3,000 per year. However, due to the desire to admire Russian schools, the applicants are quite enthusiastic. In Tokyo, the Moscow Dance Academy has also set up a branch, the Russian Ballet Academy, which regularly sends teachers to preside over teaching in batches. During the indoor dance competition in Moscow, a modern dance workshop was held for 10 days. Contrary to the usual practice, students register at a fee of 25 rubles per hour. These revenues will be used to improve the conditions of running the college, increase teachers' income and organize related dance activities.
The quadrennial international ballet competition to be held in Moscow in September this year can hardly be held as scheduled due to the shortage of funds. After several rounds of negotiations, it has been decided that it will be hosted by the Ministry of Culture of the Russian Federation, and several large enterprises and international organizations will provide the necessary funds to get rid of the crisis. The final entries in this competition are limited to the Heritage of Pitipa (Remunda, Don Quixote, Dancer and Clown Festival, the three major dance dramas of Tchaikovsky). ) To commemorate the 30th anniversary of the birth of this ballet master/kloc-0. In order to ensure notarization, the organizing committee decided to add a news jury and a "news prize", and invited famous theories and critics from all over the world to serve as judges.
Some opinions
Taking this opportunity, I visited three experts who had worked in our country one by one. Irina, an expert, just returned from Beijing in June, 5438+00, and was deeply impressed. She is very grateful to the relevant leaders of China and her students for their warm reception. After returning to China, she worked as a ballet teacher in an entertainment art school to give full play to her residual heat. Rumiyantseva (Mrs. Guchev) is still teaching at the Dance School (now renamed "Petersburg Ballet Academy") to guide foreign advanced students. Serebrennikov is over 70 years old and weak, but he still insists on teaching activities and teaches duets twice a week.
Three experts are very concerned about China's ballet teaching and creation. They told me earnestly, "It seems that Russian ballet schools may be inherited and carried forward by their counterparts in China. I hope you can make good use of the existing good conditions, innovate and maintain your own national characteristics. " They are all worried about the current crisis of Russian ballet, but tell the author that the teaching activities of major dance schools are normal, and few dance teachers are abroad.
To sum up, after the disintegration of the Soviet Union, Russian ballet was weakened, lack of funds and brain drain. Basically, there are no new masterpieces staged, which can be described as "the end of the road." But they are a big ballet country with a tradition of hundreds of years, and still retain a considerable team of teachers, actors and directors. Once the policy is right and the funding problem is solved, the prospect of a comeback is not far away. At this stage, taking advantage of this opportunity (many Russian ballet masters and heroes are useless and eager to work in China for a short time) is extremely beneficial to the development of ballet art in China. We can organize more talent exchanges and performances, or send our teachers and directors to relevant universities in Petersburg and Moscow for further study. At the same time, we can jointly run schools and make use of the favorable conditions of both sides to achieve greater social and economic benefits. These methods are worthy of further discussion and implementation.
On behalf of:
I only know one Feodor Fogman.
also
Vladimir andropov.
conductor
Russian people actor
Born in Nitzky, hommel, Ukraine. 1968 graduated from the Band Department of the National Resenko Conservatory of Music in Lviv. 1968- 197 1, teaching at the National Luna Kaski Conservatory of Music in Belarus. 1974- 1976, conductor of further study of Belarus National Symphony Orchestra and conductor of Opera Studio of Conservatory of Music.
1977, graduated with honors from the graduate class of Belarus Conservatory of Music, and once conducted Tchaikovsky's opera "Iolanta" in the model theater of Minsk State (present state). 1976- 1978, music editor of Belarus Film Studio.
1978 was hired as the conductor of the Grand Theatre and the artistic director of the stage band. With superb professional level and organizational ability, he formed a wind band and performed many works side by side, including works by classical and modern composers and works of various times and styles. In recent years, the band has successfully held many special concerts in the Grand Theatre, Russia and abroad.
From 2000 to 2002, Vladimir andropov was the artistic director of the Opera Troupe of the Grand Theatre.
He has conducted many operas and ballet works, including Tchaikovsky's operas The Guard, yevgeny onegin, Iolanta, Dargomersky's Mermaid, Rimsky-Korsakov's Mozart and salieri, the Tsar's fiancee, Boris Godonov of Musorgskiy, The Beautiful Miller of Lo, Passier, and Verdi. His ballet works include Schederin's Little Pony and Khachaturian's Cipolli Nuo.
The opera Beautiful Miller and many ballet works have been rehearsed in the Grand Theatre, such as zhukov's Insomnia, Tchaikovsky's The Queen of Spades and Wilbert's Pasacalia.
1988 recorded Fu Ming's opera The American (written by krylov) as the world's first record.
Since 2003, he has been the artistic director of astrakhan National Music Theatre.
200 1 was awarded the Friendship Medal.