| The Trocadero artists outdid all their colleagues At the Grand Pas festival there were performances by the British - Random dance company - experimenting with computer toys, the Dutch - the Royal Netherlands Ballet - callingigraphically drawing the contours of 20th century ballet, and the Americans - Complexions - taking over the audience with the pressure of a Broadway show. (Today, representatives of all troupes will appear at the final gala concert.) But such success as people without a clan-tribe-name (the troupe is called “Trocadero de Monte Carlo”, is considered American, all the artists are men with female pseudonyms), no one had. The hall at this clown, rude, brilliantly funny show was almost half occupied by artists - from the Bolshoi, from other Moscow theaters, from troupes that had performed before. And if an enthusiastic sob was heard amidst the applause, one could lower one’s eyes to the feet of the ecstatic spectator and discover that his feet were trying to turn as usual at one hundred and eighty degrees.
"Trocadero" is called a theater of parodies, but this is not an entirely accurate word. Yes, of course, they parody the choreographer's style. (In the Moscow program, one of the best numbers is Go to Barocco, which mocks Balanchine’s love for arranging “ribbon” interlacings of small ensembles; of course, the Trocadéro artists, having begun these endless passages under each other’s arms, get confused and tangle into a twitching heap. ) The pathos of the “big” theaters, their conventions and customs are also parodied. In "Swan Lake" - the "white" picture was played on tour - the Evil Genius defiantly lifts a rope from the stage and drags behind him a swan figurine on a stand; in the finale, after the flowers are presented, the lights go out for a second, and when they come back on, we see the prima and the prime minister fighting for the bouquet they just received; Realizing that the audience has noticed them, the heroes put on their sweet smiles again...
All this undoubtedly has to do with reality. As always in a parody, some detail increases in size. It is clear that the prima will not force the gentleman who dropped her to do push-ups right on stage, but there will still be a “showdown” - and without any swan grace. However, the people of the Trocadéro are not sarcastic moralists. For them, classical ballet is the territory of pure buffoonery, gags in the spirit of silent films.
Kitri flips over her head excitedly. In “The Swan,” a squire who has jumped out onto the lake looks around like a rookie policeman in a gangster district and points his crossbow in the direction where he thought he heard a noise. Go to Barocco suddenly starts a morning run. And how many accidental collisions, falls, kicks and delays - there were almost three “little swans”, they urgently ran into the wings and dragged the fourth! At the same time, like real clowns (in order to laugh, you need to be able to reproduce), the artists master real ballerina technique - and variations on the theme of “Paquita” end with fouettés, decisively performed by nine painted beauties.
Packs. Pointe shoes. Wigs that exaggerate the sleek ballerina hairstyles. Pseudonyms (Odette was portrayed by Fernando Medino - in the program "Svetlana Lofatkina"; low fat - that is, low-fat). "Trocadero" once again tested the strength of the great ballet myth. And the creators of the myth shouted with delight. Anna GORDEEVA |
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