"Nureyev" as "Matilda"

In the ballet finally there was Nureyev. We remember how it all began: more than two years ago, the production team of silverniks/staff/Demutsky did not need to be presented for the Bolshoi Theater “Hero of our Time” - a cute, cultural performance with unusually high -quality directing for ballet, lyrical choreography, competent music, uniformly embarrassed people with limited capabilities in the role of soldiers of the then soldiers. Caucasian war. Inspired by success, Vladimir Urin offered the same authors of the carte blanche for another ballet-from Nureyev’s biography offered by the general director of large plots. Further, all the participants in the events lived their usual life and, as usual, got to the premiere, however, not so terrible that the curve would not take the orchestral rehearsal. And on it, the Bolshoi Directorate for some reason grabbed her head and, after conferring, decided to “keep hold”-either to abolish, or transfer to an indefinite future; The true background of the July events remained unknown.

Either the scandal turned out to be too loud, or in the kitchen they thought out another presentation of hot, but after last weekend Nureev was still presented to the general public. The first spoiler is for morally weak: with children there is possible, nothing like that. The second spoiler is for those who are trying to monitor fashion: for Nureyev it is worth paying any price, because in the light of it they will be baptized for a very, very long time. The third spoiler - for (about) the cultural community: the handwriting of Serebrennikov, who was serving the premiere under house arrest, is visible in each scene of the performance.

K.’s colleague recently grieved about the tunnel consciousness of criticism - about thinking in the style of “we already saw”, “it was already” the ETC. The more professional the specialist, the more and more often it seems to him that everything that he sees is already reminiscent of the once seen, and only the ability to turn off the “analyzer” and “improvedizer” helps to cope with this professional democification. This is in many ways just the case of Nureyev: auction sessions at which after the death of the hero they sell his personal belongings-exactly the “lady with camellias” by John Neumayer, the fake workshop of even a hammer, go, did not redo it. The class of the Vaganovsky school - you never know the performances with ballet lessons made on stage, even a cursory list will turn out in five lines. Soviet ensembles of songs, where aunts with hills and velvet dole-so Mitya Chernyakov admired them a long time ago, almost in "life for the king." And so on and the like, but ...

The handwriting of Serebrennikov, who was serving the prime minister under house arrest, is visible in each scene of the performance.

Serebrennikov’s auctions are different - there is American, where vanity and gold, but there is French, where old women faithful to the idol are sad, analyzing sentimental trifles. In the ballet class, Rudik is firmly embellished - in the performance of a large one, it is above all on the head and all in white, although it was actually a small ambitious provincial duckling - at first they are listening to portraits of Nicholas II and Agrippina Vaganova. While the lesson lasts, the last Russian king gives way to Lenin, Stalin, Khrushchev - and only the portrait of the “iron pear” remains unchanged, like Battement Tendu . The choir scene generally rebels with horror: the metal barriers that separate the “right” troupe from the traitor from the traitor from the traitor, to this day, faithfully serve the Fatherland-on the premiere evening they blocked the entrance to the large one, and the laser was put in the width of the “letting-no-inein” with the list with the list. The performance, as they say in such cases, began before raising the curtain.

Several times in the evening I had to take my eyes off the stage, watching Yuri Posokhov - if the metal detectors of the Bolshoi Theater reacted to nervous tension, they would greet the Nureyev choreographer with siren. To answer both for himself and for that guy - a test of what to say, not of the lungs. But even if it was the Strokhov who was assigned to the photo shoot with Richard Avedon or Promenade of Parisian Transvestites, Serebrennikov’s theatrical gaze is still felt through the Nureyev. Moreover, the actual choreography of the performance with the species definition of “ballet”, keeping in the leg with directing, exactly does his job. Dance monologues of colleagues and friends Nureyev, mounted with reading the texts of his heroes, ballet class Eric Bruna and Rudy, genius in the sensitivity of the paraphrase adagio with four cavaliers of the ore-star, twitching is not a god the news of which Nureyev-choreographer on the post of chief of the Parisian Opera and the choreoography of a blistular The finals - all this is completely and completely the merit of Posokhov.

The temperamental Ilya Demutsky could not resist and soon after the premiere was lamented on Facebook - and why, in fact, in the reviews the composer’s work is ignored? Let us give Dumutsky the due: his “Nureyev” is the fruit of thorough labor, the score of Dansant, that is, laid out on PA, and absolutely ballet, that is, simultaneously mundane and exalted. Methods of processing and interspersing quotes - from “swan”, “bayades”, “sleeping” and all -conquering adagio from the “click” - are correct and non -linear; The non -leaded composer brought by Serebrennikov by the handle in the hand in the large one and really became an adult.

Even after the “pause for thinking” the performance turned out to be impudent, rich, impressive. Frankly speaking, all his sultry shocking, which would pleased even Nureyev himself, build according to the laws of the spectacle and techniques in the forehead - all this is not close to me, although in the house of the hanging one they do not speak about the rope. There is no buffer zone in the “Nureyev” from the spectacle, as it was in the case of “Dorian Gray”, the worship of Matthew Burn , who is closest to Serebrennikov from the directors of the musical theater known to me. I am much more familiar to me not so spectacular, but more subtle ideas of Alexei Ratmansky in Shostakovich’s “Bolt” are also a more terrible one who is egregious about the special loneliness of man in the era than the cozy sixties of Nureev. But - you won’t throw trembling from the body, and the critic with his tunnel thinking will inevitably be worth the pressure and strength of the emotions broadcast from the stage - let it and the simplest methods. The exclamation mark in the play puts the final: small and miserable, in a tailcoat and white soft cap, Rudy quietly, on braided legs, descends into the hole and conducts the orchestra. And on the stage - thanks to the manor! -In the endless string of “shadows” from the “bayades”, this standard of wisdom, clarity of thought and beauty of academic dance, young men are woven, personifying the male positions fortified by Nureyev in ballet-and his authorship strengthening the meaning of the ballet itself in today's day.

... But, no matter how barricado in the ivory tower, with any soil fluctuations, it shakes it no worse than the usual, the necessary (and much more stable) water. The popular search engine of the village issued the top of the most frequency requests for the outgoing year: in third place - Matilda and the scandal provoked by it. So “Nureyev”, whatever one may say, looks like a “Matilda” for the elite-in the end, she also claims something luxurious and brilliant, with love, as if forbidden plots and all that is customary to mean by the glamor.