Colta.ru

1.

On July 6, the Nureyev ballet worried about the balletomanians who discussed the “scene with the transvestites” and whether the dancers of N and NN can portray the Great Rudolph. Specking joys. After the news about the cancellation of the premiere, mass scabies began. Thanks to Kirill Serebrennikov and Yuri Posokhov, everyone rushed to study the biography of Rudolf Nureyev and once became experts in the history of Russian ballet and Russian dissidentism. The article of Wikipedia “Nureyev, Rudolf Khametovich” was excitedly retold in dozens of analytical texts - and here the terrible one was discovered. That Nureev was homosexual. That he starred naked (and the Bolshoi Theater will now project this pokhabshchin on the back with a three -story house high). That the Motherland did not apologize to Nureyev for his injury: they even managed to compare the fate of the dancer with the fate of director Kirill Serebrennikov.

The most vulgar conclusions of recent days are often made from a pure heart - in an attempt to protect both the performance and the director of the director’s authorities. However, the more hysterical the advertisement of the performance becomes, the more harm is done to him as a work of art. Everyone somehow forgot that the premiere was not canceled, but only transferred -and aesthetic, and not ethical conclusions, only have to be drawn.

Ultimately, the defenders of the performance - which they saw only by excerpts in a bad record or did not see at all - are no different from the conditional persecutors from the Ministry of Culture and activists, who were never seen by the “tangaiser” and “Matilda”. The same indictment rhetoric and the same method of preventive strikes are valid. Excited exclamations such as “the best that the world theater produced in the 21st century” is a curiosity, a pure buffoonery, and they rather talk not about the performance, but about the horizons of speakers. However, everything that is not shouted in today's fever is perceived by society with extreme seriousness: the style of polemics, its melodramatic intonation turned out to be more important than the object of polemics.

2.

Society missed a large myth. We stopped without an adventure exciting the imagination of the riddle. Such as to reveal the head to rush for a clue, offer any price for the secret recording of the performance - the very one that was made from the third tier - and smile slyly, becoming the owner of secret knowledge. It was this thirst for a large myth that gave rise to the Matilda incident , the noise around Nureyev and even the curiosity with incognito in the president’s car .

Perhaps everything is much easier: society was missing not by a large myth, but on a large strawberry - after all, it was not the advantages of the performance, but a photo of Nureyev’s naked. Unlike Matilda and Tangiar, with which the new ballet was compared, the problem of Nureev is by no means in religious paranoia - the fighters for morality this time were silent. The elementary voyeurian instinct, the eternal passion for piquant details of someone else's personal life, worked. And there is no difference: the Uryupinsky housewife and her husband-solid-or Rudolf Nureyev / Kirill Serebrennikov, the AIDS-Info magazine in the train-or the Nureyev ballet in the Bolshoi Theater. In this sense, the abolition of Nureyev has become the most effective state holiday of recent years: few ideological campaigns managed to rally the people.

Will Natasha Makarova be?

3.

None of the cancellation commentators even allowed the thought that the Ballet of the Posokhov could be simply bad products. There was a trouble -free logic: forbidden - it means innovative, ingenious. A thing, a company, must be taken . If you look at the video walking on the network-the most complete record that lasts something for about an hour-it turns out that Nureyev in the worst sense is literary: a book was not based on, but the progress of the performance determines verbal facts without leaving the field for pure musical plastic expressiveness.

The mechanism is the same as in the staging of popular novels is the joy of recognition. How will Rudik's love for men show? Will Natasha Makarova be? We have already overeated with books about Nureyev: we’ll see that somehow his biography will be able to retell in the dance (put a ballet about the great dancer-what kind of sophisticated masochism!). A dozen dramatic performances were played, mostly bad. A documentary was shot, and on the way - a game tape . You can also compose an opera. All this is a test of the technical capabilities of different types of art, that is, it has no special relation to art.

In the play of the Bolshoi Theater, the common facts of Nureev’s biography - a jump into the arms of Parisian policemen, an affair with Danish dancer Eric Brun - are torn from context and hung, like posters along the walls. Here are Soviet people in general - condo, sing in chorus about their homeland, but Parisians in general - liberated, dance under the blues. But in general, a classic ballet that is a beauty castle (“shadows” from the “bayades”). The dance numbers of Yuri Posokhov are only attached to the given top-scenes, literature: letters and archival documents are read out loud for a long time. Dancers are embarrassed by the scenery and fussed under the feet of monitorers and statists.

Search in the plastic text of Nureyev psychologism and argue that the small batman of the protagonist mean a reverent beating of the heart - on such “imagery” and vulgarization of the dance dictionary, the Soviet dramatus was based, which ultimately forgotten how to dance. In the classic ballet, everything is much rougher - and in the best fragments the choreography of the neoclassic of Podsokhov is ornamental, that is, it does not carry any vulgar psychologism, but becomes a pattern, although very whimsical. The combinations of the Podsokhov are difficult to coordinate and endurance, small ensembles are reduced in complex counterpoint, ornaments are infinitely inventive and act hypnotically - their emotion is not literary.

As for eroticism - it is not even in the central male duet, letting Nureev’s novel with Brun. The chastity of this duet colleagues contrasted the erotica in the rupture of the ligaments in the ballets of Boris Eifman. For some reason, they did not recall the extremely sensual male duet from the ballet Roland Petit "Proust" -can not be called him chaste? Does one contradict one in the ballets of Maurice Bezhar? And the "Nizhinsky" sensing any vulgarity of John Neumayer? The girl’s severity from Nureyev turns into everyday boredom, and at all elegant musical quotes scattered according to the performance (from Gizeli to Adagisito Maler) and the score of Ilya Demutsky, “Nureyev”, which was pierced by the pathos, to the face of the fact that the other nomigator designated the word poshlost ' .

It does not give a scale to turn into a literary and musical installation of the school’s lady, as well as constant metamorphoses of space, the schizoid surreal of the action that is happening inside the same pavilion, is the lightness of Capricchio, which attracted so much in the “hero of our time” created by the same team. And, as in the “Hero”, the distance between the authors and the subject of the story remains an unclear: how much Rudolf Khametovich Nureyev is for them - a real historical person, a character in the myth or the fruit of his own imagination.

4.

Even after the premiere appointed on May 4, 2018, it will still be not about choreography. “Nureyev” - what can be judged even by fragments of the performance - has an unpleasant biographical soul. No matter how inventive stoves and silverniks are, any performance about Nureyev is doomed to be in the evening of memories for a long time, show poses are much more than an artistic statement. The historical distance and too many those who personally knew Rudik and now have to say about it are too small.

It is better to leave some cultural heroes alone, even if the relics bring good income. There is no and there can be no “Nurey” ballet - there is only a suffocating sense of nostalgia contraindicated in any creativity; There is an experience of someone else's glory and the desire to take communion of it - the inescapable desire to “get into the TV”, even by watching the ballet, bearing the name of the celebrity.

Pathetic replicas about the fate of the Motherland, in the hearts abandoned words “persecution” and “masterpiece”, hysterical advertising, which turned out to be anti -advertising - all this is a large popular melodrama, which is the Nureyev project itself. Here is a beautiful reaction in its inadequacy: in response to the theater event, society itself turned into a theater. The Russian media with a theatrical anguish began to describe a cultural incident - and at the same time its own reaction to it, as if admiring the situation and reveling in itself: what an intensity, what a beautiful melodrama comes out! Someday, in the 2030s or in the 2040s, it itself will become the subject of the game series, which will be called very noble-for example, “Passion for Nureyev”. In the last series, we will see the reconstruction of the 2018 performance with tears in our eyes.