| American ballerina Julia Kent performed a “Soviet” ballet at the Mariinsky Theater Julia Kent appeared in St. Petersburg as an afterword to the Mariinsky Festival: the ball was over, all the guests had long since gone home, the hosts sighed and got busy with their daily rehearsal work (two premieres in the near future), and then suddenly a girl came running and said: oh , I also want to dance with you. Well, of course, they answer her politely, how would she do without you. Here's Giselle, please. And your partner is exemplary - Andrian Fadeev.
The girl, however, did not condense out of thin air - she is a ballerina of the American Ballet Theater, and it is not just anyone who works with her at AVT, but Irina Kolpakova - the idol of St. Petersburg residents of the fifties and sixties. That is, the audience, who bought up all the tickets for this tour, was driven not by simple balletomanic curiosity - to look at the prima of a distant theater, but by considerations of “exporting heritage”, “transmitting tradition”, etc. Simply put, how does our ballerina trim these American women?
It turned out according to a well-known canon. Take out some film from the fifties and you'll see Julia Kent's style.
The dance is presented as an exhibit in a museum - here, pay attention, an arabesque. Injecting at least a drop of sincerity, a little spontaneity (Giselle, after all, is a peasant girl dying of deceived love) is considered bad form. Therefore, the main thing in the variation of the first act is the demonstration of aplomb. The ability to hold a pose (but Giselle is all about movement). Any emotions are plastered over in a “big style” and painted over again. The simple-minded air kiss sent to Count Albert during the variation is so significantly “pronounced” by the hand that it seems boldly operetta-like. The fact that Giselle has a bad heart is emphasized, repeatedly emphasized; The almost clinical fatigue of a person with a heart defect is played. The viewer needs to explain why the girl is dying. And when Giselle goes crazy before her death, the mental disorder is divided into phases (in the finale there is a violent hysteria with feverishly tearing off the petals of imaginary flowers). But between the phases, momentary gaps-voids shine, and a soulless wind blows into this emptiness.
With Julia Kent's tour, we took a look into the legendary past (taking into account, of course, the difference in schools and the technical capabilities that arise from this). A ceremonial past, which by the eighties preserved the Mariinsky Theater into a “ballet Hermitage”. But after the wild, confused Giselle, Diana Vishneva, who breaks through somewhere beyond the line of suffering, and the half-childish and radiantly clear Giselle, who recently toured the Mariinsky Theater, Alina Cojocaru, it is absolutely impossible to look at Julia Kent. Now it's common to be sincere. The past has finally become history. But it still sells well in America. Anna GORDEEVA |
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