Translated material
Three stories
Under the curtain of the Diaghilev festival in Perm comes one of the most anticipated premieres of the current ballet season - three scores of Igor Stravinsky in the production of three leading Russian choreographers. The Khudruk of the Yekaterinburg ballet, Vyacheslav Samodurov issues a “fairy kiss”, Vladimir Barnabas puts “parsley” specifically for Diana Vishneva, in the “Firebird” Alexei Miroshnichenko will enter the stage of the Perm opera, the soloist of the London Covent Garden Natalya Osipova. To talk about the performance, Colta.ru will return to the future week, but for now, the authors and performers tell about the loud project.
Vyacheslav Samodurov
I am not too interesting to the Stravinsky ballet music, but the “Fairy kiss” is just the closest of all - this score is more abstract than others, I find in it what I can correlate myself with. In the stage history of the ballet, there are no accident of canonical versions - this material for the choreographer is too complicated: “Tchaikovsky/Stravinsky”, music with a double bottom - it seems to be melodic and light, but only at first glance. In fact, the "Fairy kiss" is a pure, non -diluted Stravinsky, and dealing with a combination of a characteristic knuckle and a deceptive dunnation is very difficult. Stravinsky is a very specific composer who, by willy, forcing the choreographer, to enter into a dialogue with him: if something changes in music, it cannot be ignored in any case. It was curious, say, to figure out why in the “Fairy Kiss” the approach to what the theater should be changed halfway-the first part of the ballet is more narrative, but it suddenly breaks sharply at some point, and you are released freely. I am very interested in working in this border zone at the junction of the narrative and abstraction - and not only in the "Fairy kiss".
Vladimir Barnava
The genre of our “parsley” - “confession” / “damn clowning” - was invented along with the playwright Konstantin Fedorov. I wanted the devil to appear in the performance with a reference to the figure of Stravinsky: I see it an infernal character, for more than a hundred years to dance to his tune of different authors. At first there was an idea to make a biography of Nizhinsky, but later this decision seemed too obvious to me, and we decided to go towards symbolism. After each performance of our parsley, the devil drags to hell - so that the next morning he will again appear at the fair. Every day, parsley dies and is born again, at some point he even finds his corpse that remains after the previous performance-but the hero’s memory is reset and he has to experience this nightmare again and again. Petrushka is the only living character of our performance, all the others exist in a reality show. Everyone around the hero leads a strange, mysterious game, but he does not even suspect about it - he is busy only with a pursuit of his dream.
The Perm ballet turned out to be a unique program that could decorate the scene of Bolshoi and Mariinka.
Diana Vishneva
The ballets of Stravinsky times of “Russian Seasons” are a serious challenge for choreographers and dancers. What Volodya is doing (Barnabas. - Ed. ), I have closely watched since he became a winner of the Context festival. It was very interesting to work with him: his “parsley” is not just an experiment, but a serious artistic statement. The play has a lot of phantasmagoria, illusoryness - this type of theatricality is closest to me. The Perm ballet turned out to be a unique program that could decorate the scene of the Bolshoi and Mariinsky: the pilgrimage for this premiere - and the tickets, as they say, were
Available in thirty minutes - already in itself says a lot.
Alexey Miroshnichenko
The performances are staged by one generation of Russian choreographers, but they all turned out completely different. The general idea of the project is as follows: we return to our roots in order to eat again from the source and move on. In the Firebird, we travel through era and styles, starting from our days and ending with Fokin, Karsavina and Diaghilev in the world. It turned out quite a balletomanian story, but it does not scare me: the plot of the "firebird" behind all style metamorphoses is very clearly traced.
Natalia Osipova
I dreamed of dancing a “firebird” since childhood and was madly caught fire when I heard Alexei Miroshnichenko’s proposal-in order to fly to Perm, I had to completely turn off my schedule in Covent Garden. The idea to show in the play the development of ballet as a genre seemed fantastic to me - there was nothing like this in my creative biography. This performance requires a huge consumption of internal energy: in a matter of seconds you have to completely rebuild, switch from one dance vocabulary to another.