THE INFORM-BALLET COLUMN presents three Moscow art exhibitions:
- A coverage of the second one-man show of Dmitri Yevtushenko, who delights in the images of people linked to arts. Among the paintings are portraits of Igor Moiseyev and Ilse Liepa, and “ballet” sketches.
- A story about Gina Lollobrigida’s show A Life in Arts. The Italian movie star presented images of Esmeralda’s fiery dance, almost bacchanalian postures of Prima Ballerina, A Little Dancing Girl, and a romantic composition The First Sentiment that is reminiscent of Picasso’s Girl on a Globe.
- The ballet subject as presented in Lyubov London’s exhibition. Here we have encountered many a legend of Russian ballet as “interpreted” by the painter and sculptor: Anna Pavlova, Natalia Bessmertnova, Marina Semyonova, Natalia Dudinskaya, Maya Plisetskaya, Yekaterina Maksimova.
- One of the sketches relates of the 10th anniversary of the Fouette Children’s Choreography School in Zelenograd near Moscow. The anniversary concert included a number of choreographic miniatures by Leonid Lebedev, who has been long cooperating with the school. While visiting the Ballet magazine’s desk, the choreographer himself and artistic director of the school Oleg Sokolov talked about the history of this cooperation.
- The Ballet in Gnezdnikovsky company has shown at the GITIS Theater a program by three graduates of the Russian Academy of Theatrical Art’s Choreography Department – O. Stekolshchikova, E. Nazarova and P. Apatonov.
In a Paris of Near East is a sketch dealing with the Kremlin Ballet’s tours featuring Yuri Grigirovich’s productions of Romeo and Juliet and Ivan the Terrible. These were the opening nights at the Days of Russian Culture in Bulgaria and also at a newly opened theater in Beirut.
The young Republican Choreography School of Yakutia and its principal, Natalia Poselskaya, have initiated a health study of children’s choreography school students in Yakutsk and Krasnoyarsk. The results were discussed at the First Scientific and Practical Conference on Specifics of Physical Development of Choreography School Students in the Conditions of the Extreme North, Siberia and Far East. The issue of ballet artists’ social welfare was also discussed. Featured at the conference, besides scientific papers, were demonstration lessons, master-classes and collective concerts.
- On the International Dance Day, Vakhtang Chabukiani’s museum apartment received its first visitors. The initiative of the museum’s creation belongs to David Djangveladze. The museum plans to establish contacts with the Bakhrushin Museum and with Balanchine and Nureyev Foundations.
- Natalia Sheremetievskaya’s article informs of the 6th International Step-Parade Festival in Moscow, which featured a competition and master-classes by American and French instructors. The writer concludes, “A trend towards creation of a variety of images is prevailing in what has been shown. Success has been achieved due to performers’ expressiveness and a happy staging idea. Unfortunately, the latter has not been encountered all too often. One only hopes that choreographers would, finally, take notice of the intensively developing and promising step-dance theater.
- Pavlova’s Heirs by Galina Belyaeva-Chelombitko presents the history of the creation of the Russian National Ballet under Sergey Radchenko. The sketch also analyzes the troupe’s repertoire and quotes its leader’s remarks about the propagation of the classical traditions in ballet.
THE BALLET-PARADE COLUMN informs of three ballet performances that have been shown within the framework of the Moscow A. P. Chekhov Festival:
- Jean Juan by performers from Taiwan. “The performance’s very choreographic style was unordinary. Everything here was based on the major features of the oriental martial arts, which is what shapes the composition… This is an interesting phenomena in the framework of the ever expanding contemporary plastique: a combination of a static body, when a performer seems to root himself into the ground, with motions that are always filled with inner energy.”
- A City Map of the West by the Italian troupe Theatrical Machines. It is made up my means of multimedia, where beside the dance and pantomime there exists music, and also spoken word, all of which naturally blends with a deliberate lighting, whose power and uniqueness are overwhelming.
- The Kaze international spectacle. “Kaze” is the Japanese for wind. The wind, as everybody knows, may be different: lights as a baby’s breath; tender as a loving hand’s touch; unstoppable as a crowd in a carnival. That was the kind of many-facetedness that the members of the international troupe have shown in Moscow. The troupe consisted of a composer from Japan; a choreographer from Finland; and musicians and dancers from Japan and Senegal. “Musicians and barefoot dancers constantly exchanged roles, and it was impossible to realize who was in charge: African and Asian rhythms and contemporary plastiques, while intricately interweaving, freely coexisted, as if bringing forth pictures from our subconscious.”
THE BALLET SCENOGRAM COLUMN features Sergey Chuyanov’s report on the premiere performance of Captain’s Daughter, a ballet to the music of Tikhon Khrennikov based on an A. S. Pushkin story. The writer demonstratively explains why it has proved a high spot in the life of the Nizhni Novgorod’s Opera and Ballet House named after great Pushkin. This version’s author, Vataly Butrimovich, has created a dynamic performance in which scenes impetuously replace each other.