How to do the torture dance

Part:
Introduction
Dance in our life
Ladies of dance
Energy of dance
Rhythm
Form of dance

Imagine such a dream: you dance flexibly and rhythmically, with all your soul responding to subtle music. Cheerful cheerful sounds of a violin and, perhaps, sweet touching chords of a harp are heard. The music picks up the pace and its energetic rhythm starts to lift you into the air, higher and higher. You gracefully move above the ground, laughing, bending and twisting, just as you always wanted. You are flying, dancing, like a speck of dust in a beam of light or a star in the sky. But in the midst of the joyful dance that has taken possession of you, the music becomes louder - it just hits your ears. Now it is sharp and not slender - your body becomes heavy and awkward. You descend to the ground again, heavy, unable to move. You try to raise your hand, but you can't. You are like a stone. You seem to have taken root in the ground.

This flight in a dream is depicted in many folk tales, in particular in legends about megalithic circles in Britain and on the European continent. Legends tell that these circles (like the "Merry Maidens" of Cornwall) are actually frozen girls who were turned to stone for doing their ecstatic dance on Shabbat. The "virgins" turned to stone and remained standing, unable to dance any further. According to some researchers, these myths reflect the conflict between early Christianity and the ancient tradition that used stone circles in dance rituals.

Whatever the origin of these stories, they awaken in us an eerie feeling that a dancer is frozen in every stone, waiting to be delivered from centuries of captivity. The dance has stopped, but this frozen moment will someday burst into motion again, celebrating the rotation of heaven and earth.

The mistress of the dance is the spirit of this dance. She enjoys discovering the world through movement, infecting those around her with the joy of dancing, encouraging people to convey the changing colors of the rainbow through mood and gesture. She is seductive, graceful, cheerful and free. Those who recognize only a firmly established order see it as a threat - and they can cast a spell of unfreedom on it.

The dance of our lives

In her book A Soprano on Her Head, Eloise Rystad talks about the need to regain a spontaneous and joyful attitude towards performing arts. The author believes that this approach is characteristic of most of us from birth - after all, in childhood we instinctively move to music, but very often, over time, “training” and complexes fetter us, and we stop enjoying the dance. Rystad does not deny the need to work on himself and develop technique. But she notes that such activities can kill the very spirit they are designed to develop. I suppose if we devoted this entire chapter to looking for analogies between "dance" and "real life", we might find that the same problem manifests itself in other forms. But I chose to write about those aspects of the dance that are most related to the Lady of the Dance archetype, and let the reader draw their own parallels.

First, however, some general observations about the role of dance in our lives should be made. It can be said that the course of each individual life is like the sound of a musical symphony heard by one person. We perform a dance to this music, the figures of which we create ourselves: we need to learn to be our own choreographers. There is a saying: "Who does not hear the music, considers the dancers insane."

Dance is a continuous series of graceful movements, and it serves as a model for us to make changes in our lives. Responding to musical variations (which can be likened to changes in circumstances or our inner state) requires attention and coordination. But most importantly, in order to dance a beautiful and lively dance, you need to enjoy it. You need to have the desire to respond joyfully to the music, no matter how “crazy” our movements look from the outside. Following the impulses, reacting to an unexpected turn of the melody, the readiness to completely surrender to delight - all these are bursts of new energy in the dance.

For women, this means that we must not let the desire for order rule our lives. Organization of everyday life, cleaning, establishing and maintaining a routine - all this occupies an important place in the lives of most of us. We are "multifunctional" beings, performing many duties and solving current problems. We fear disorder and chaos because it makes us feel inadequate. But when a frozen order reigns in our lives, we often lose one important thing that belongs to us by right: the joy of the dance of life. This joy is by no means reserved only for wealthy women or those with a lot of free time. Traditionally, women accompanied chores around the house with singing and dancing. Indonesian women, tired of the monotonous work in the fields, dance in between - to relax. Something similar existed in Britain: until recently, women with a hybrid, making tweed fabric, accompanied themselves with rhythmic singing in order to somehow brighten up the monotonous work. If we now do not have the opportunity to weave singing and dancing into everyday life, then we need to look for other means that allow us to lift the fallen spirit in the same way and release suppressed energy.

A friend of mine, after the birth of her last child, felt tired and overwhelmed, as if all her vitality had been drained from her. She had to manage several children, and even work full time, while her husband insisted that she do even more. Of course, her husband's demands seemed to her somewhat cruel, but in the end she agreed to return to the evening courses that she had attended before. To her own amazement, the friend found that this helped her break through the wall of fatigue and regain her former cheerfulness and vigor. When we are guided only by "You must do this" and "You should look after this," joy disappears from life. Reclaiming joy requires "I will do this" or "I want to do that."

Ladies of the Dance

In ancient mythology, dance was associated with the graceful servants of Venus (Aphrodite). Their role was to bring "joy and charm" to life. Three graces. Their names are Aglaya (Shining), Euphrosyne (Joyful) and Thalia (Blossoming). The dance of grace awakened the onset of spring on earth - it was believed that they inspire the swelling of buds on trees, the flowering of gardens and the ripening of fruits. In addition, they were revered as goddesses of dance born of gratitude for the gifts of life itself. Here is how the poet Pindar (5th century BC) praises the graces:

Ye whose dominion
Beyond the waters of Kefiss,
Dwelling in lands abounding in fine horses,
Sung in song,
Regal graces of the fertile Orchomenus,
Watching the ancient minyans,
Listen. Hear my prayer. For it is you
Helping a person in everything,
What is sweet and joyful -
Be it his skill
Or the search for glory.
For even the gods
Can't make dances or feasts
Without the sacred graces, stewards
of all things of heaven,
whose throne is a radio
with the throne of the owner of the golden bow,
Pythian Apollo, who is
honors the eternal power of the
Father of the Olympians

Based on the book of JEFRIA GRIGSON “The Goddess of Love”

is quite likely that the Graces are depicted in the famous painting by Botticelli La Primavera ("Spring"). These beautiful young women, dressed in translucent clothes, gracefully move in a round dance, holding hands. Each grip is at a different level: above the head, at shoulder level, and at hip level.

Botticelli, familiar with the Neoplatonic teachings of the Renaissance, could well have conceived this group as a symbol of harmony between the three different forces of the Universe. These three forces can be described in different ways. They form the basis of other philosophical systems, such as Kabbalah. In a modern context, we can call them initiation, resistance, and unification or balancing. It is believed that these three forces underlie all created forms - animate and inanimate, visible and invisible - and constantly give impetus to the movement of life itself.

In dance, these forces are manifested in the following way. When the dancer lifts her foot up, it corresponds to the initiating force. Further, continuing to move along the arc, the foot begins to fall down again until it meets the resistance of the earth below - here comes the second force. The dancer's body then adjusts its movement to this force in order to "balance" the resistance. If the dancer is good, then beauty is born as a result of all this.

Thus, the three forces in the dance can be perceived as an impulse to move, a meeting with a limitation (it can be the surface of the earth, the limit of the body, gravity, etc. ) and the harmonization of muscle reactions aimed at moving to the next movement and posture .

All three of these forces can act almost simultaneously, and their continuous interaction gives rise to the flow of the dance. One can take this thought even further and say that the initiating force is the movement of the dance, the force of resistance generates the rhythm, and the unifying force generates the actual pattern of the dance. Let's look at them all in turn.

Dance Energy

The energy that feeds the dance of the Lady of the Dance is sparkling and playful by nature. This is the energy that encourages you to hop instead of walking solidly. The dance is accompanied by a joyful outburst of energy, no matter what movement it is transferred to: sad or cheerful, fast or slow.

This energy can be tapped regardless of your current physical condition: as I have noted, Indonesian women, tired from hard physical work, turn to dance to regain their strength. Most of us remember times when we went to a party, completely exhausted, in full confidence that we did not have enough strength even to lift a finger, let alone dance, but in fact then jumped like goats.

Apparently, in some mysterious way, the dance can connect the physical movement with the life force of our being, calling on some deep source of energy and directing it upwards in a turbulent fountain.

This energy will not necessarily be subtle; it can be raw and rough. It can be quite childish - a stream that nourishes the imagination and transforms the world. Dancing is somewhat like a child's game, because it requires full involvement in the movement. Once the movement is perfect, it disappears forever. The dancer must forget the step she just took and focus on the current one. If she remains satisfied or dissatisfied with the movement she has just made, she will lose the impulse to move now. And if she begins to think too far ahead, she will also be distracted from the current moment.

In non-professional dancing, this sense of moment is especially evident: you simply react to the flow of the music without thinking about the sequence of movements. In professional dance, all movements are staged and worked out in advance, but even here the dancer can know them so well that she spontaneously reacts to the demands of every moment, allowing her memory and skill to lead her behind the music.

The energy of dance can transform a person in an extraordinary way. Very often, people who are slow and clumsy in appearance turn out to be light and graceful dancers, while those who are exaggeratedly serious in the dance suddenly drop all gravity and surrender to the power of pleasure.

It seems that dance allows you to generate a lot of physical energy, but even after exhausting it, the dancer often finds that he has a renewed supply of mental and emotional energy; a joyful and relaxed outlook on life appeared, which is transferred to all spheres of life.

Rhythm

Rhythm is the main ordering factor of dance: it creates a repetitive structure through which we understand the pulse of dance. If, for example, I know that through which we understand the pulse of the dance. If, for example, I know that at regular intervals one strong beat in music is followed by two weak beats, my body can respond to that beat on its own. After all, the body is a child of rhythms: the heart beats in it and many other pulsations occur. There are rhythms of renewal and decay; there are brain rhythms, sleep rhythms, and emotional rhythms.

As I noted above, rhythm is a second force - resistance - and can generate a variety of effects. The rhythm of a dance can be inspiring, sexually arousing, or hypnotizing. Rhythm can be said to mark points of transition where energy is either held back or given a new push, and this pattern of hold and push creates a particular rhythmic effect.

You can change your mood by dancing to one rhythm or another, and it is possible that different rhythms stimulate different centers in us. For example, a very complex rhythm can stimulate mental activity, because it is not easy to follow and we involuntarily try to "penetrate" its structure. Other rhythms may evoke emotional or instinctive responses.

Since ancient times, people have expressed concern about the impact that rhythms have on others. In our century, extreme views on this issue were expressed by Cyril Scott:

After the spread of jazz - which, undoubtedly, was "conceived" by the Dark Forces, there is a noticeable degradation of sexual morality. If before women were limited to purely external flirtations, now many of them are constantly looking for erotic adventures and have turned sexual passion into a kind of hobby. Well, jazz music is responsible for this exaggerated interest in sexuality and the vicious attitude towards sex. The orgiastic element in its syncopated rhythm - which has nothing to do with high music - causes hyperexcitation of the nerves and weakens the powers of self-control. The result is a false revival, a false upsurge and mental instability. All this in combination leads to harmful moral and physical reactions.

S. Scott. Music is its latent influence through the ages, 1933

Although we may find this approach unnecessarily accusatory, there are some interesting points noted. The main idea of ​​the quoted text is that the rhythm is capable of generating certain effects, and we must take responsibility for the rhythms we create. Pretty valuable idea - even if we do not think that sexual promiscuity is a natural consequence of the action of syncopated rhythms (a rhythm with a shift in emphasis from a strong to a weak beat of the bar).

And this topic is not closed yet; more recently, it was again raised by one researcher who wondered if rock music could dull the senses and prevent the achievement of high emotional and spiritual states. Curiously, his publications sparked a wave of violent protests.

Many people seem to be unwilling to admit that rhythms and music can have a positive or negative effect on us, yet trying to find out what effect this or that music has on us causes fear in them.

Meanwhile, in many cultures, various rhythmic forms of music and dance are carefully separated, and each of these forms has its own special time and place in people's lives - temple, court, folk dance, etc. These societies recognize that different types of music have different effects on the listener.

History teaches that we can distinguish these effects and use them for our own purposes, excluding those that are harmful to humans. I think the current reluctance to go into such matters is due to the fear that ulterior motives may influence the choice of "recommended" styles, such as governments trying to control the people through music policy and censorship.

However, by generally evading these questions, we thereby evade responsibility for the musical and dance forms that we create and encourage. In addition, we turn away from the widest field of potentialities. There is no doubt that we need to discuss these issues widely and explore them in depth.

After all, we now know for certain that certain rhythms can be harmful. For example, there is an ancient Chinese torture method where water is allowed to drip often enough to attract attention, and OBE not often enough to tune in to the rhythm of the drops. It was the tension of the mind, trying to predict when the next drop would fall, that created the effect of torture.

We all know that a loud, unpleasant rhythm - even the ticking of a clock - can be very annoying, preventing you from concentrating or making it difficult to fall asleep. Apparently, this happened because we, regardless of our desire, react to the rhythm. We anticipate the next sound and feel the pulsation within us.

In everyday life, we also have the opportunity to create new rhythmic patterns that affect our way of being. Perhaps a life built on a rhythm that is monotonous, stable and assertive can be improved if more cheerful rhythms are also introduced into it.

Life with an unstable ragged rhythm will not suck energy out of you as much if you add a little orderly pulsation to it.

Conversations, work, sexual relationships - all these activities are characterized by certain rhythms, and we can vary or emphasize them arbitrarily.

Dance form

Dance is an exploration of possibilities. It potentially allows for any tension in the muscles and limbs, any possible points of balance, any combination of movements. Each type of dance has its own characteristics and features, for example, graceful stretching of the arms, neck and legs is widely used in ballet, intensive movement of the hips in belly dance, and energetic rhythmic movements of the legs in folk dances.

The dance invites us to explore unusual but harmonious ways of reconciling opposites - this is how the third "balancing" force unites impulse and resistance. The forms we create at the same time have certain characteristics that reflect various spiritual truths. In spontaneous dance these characteristics come and go immediately, but in structured dance forms they can be reproduced again and again without change. If the dance form includes symbolic movements understandable to other people, such a dance can be transmitted and spread in society.

Some cultural and religious patterns are traditionally associated with certain dance forms.

The slow three-act pavane, widespread in the Renaissance, was considered an exceptionally majestic dance - it was performed during various processions and court ceremonies.

Galliard is a cheerful, impromptu dance with a fervent and complex rhythm. In the court dance, the dancer was expected to be resourceful and dexterous - picturesque figures that would take the viewer's breath away.

In the theater of masks (an entertainment popular throughout the 17th century), allegorical songs were combined with dances. At the same time, the performance was often a whole cosmos in miniature, inhabited by gods, mortals, fairies, animals, etc. The culmination of the performance was the appearance on the stage of the ruler and the nobility, who were present among the public - they enlivened the performance, joining the final dance.

A wonderful description of such a performance was left to us by the Italian Orazio Busino, who visited Britain in 1816 and attended the play “Reconciliation between Pleasure and Virtue”:

Finally, everyone took turns dancing the spagnoletta with their ladies. The tired guests danced very slowly, and then the King, a choleric by nature, cried impatiently: “Well, why don’t we dance? Why did you bring me here? Dance, damn you!" Then the Marquis of Buckingham, a favorite of His Majesty, entered the stage and performed a whole passage of complex and skillful knees, graceful and dexterous, which not only dispelled the anger of the ruler, but also aroused the admiration of all those present. And then the other participants in the performance, inspired by his dance, also began to demonstrate their skills, dancing with the ladies. All of them ended their performances with complex knees and raised their partners in their arms.

Quoted from Four Hundred Songs and Dances of the Stewart Masque, edited by Andrew J. Sabol, 1978

Each dance form serves a purpose, though the dance itself springs from the natural urge to dance for dance's sake. Each dance is structured to best serve its purpose - even if we never wonder why we dance the waltz, country dance or tap dance.

Some dances, such as those performed to rock music, are initially aimed simply at an outburst of energy. So many dances just help men and women get to know each other better.

One day, when I was at a village party, I suddenly realized that dancing is a great opportunity for men and women to feel each other. The dancers constantly changed partners, each woman was circled by a different man in turn, and I was amazed at how different the physical sensations that you experience when dancing with different partners. Some men circled us vigorously and strongly (sometimes even too strongly), while others were sluggish and boring!

In a community where all men and women are constantly communicating with each other, but physical contact is strictly limited, such dances provide an excellent opportunity to understand each other's physical essence without going beyond the bounds of propriety.

Something similar happens in the more refined strata of society. So the novels of the 18th and 19th centuries devote much attention to the ballrooms. At the balls, the most important moments in the development of the plot take place: invitations to dance and refusal of invitations, nuances of the behavior of the main characters during the dance, brief but intimate conversations that can take place precisely because the couple is so close to each other for a while.

(to be continued)
(c) specially prepared for Joissans SST

Deadly dead: about the new production of The Sleeping Beauty at the Vienna Opera 1646

Tags: reviews, ballet, Vienna State Opera, Sleeping Beauty

400 years ago, on August 22, 1622, the first ballet performance was shown in Vienna, organized by the 24-year-old representative of a noble Mantua family, Eleonora Gonzaga, who thus celebrated her marriage to the Holy Roman Emperor Ferdinand II. Brought up in the best traditions of the Italian Renaissance, Empress Eleonora not only composed "social studies" [1] as a choreographer, but also actively danced herself. She also came up with the idea to create a permanent troupe at the imperial court [2].

75 years after ballet appeared in Vienna, Charles Perrault's collection Tales of Mother Goose (1697) appears in France, which includes The Sleeping Beauty.

Perrault's original tale is a symbolic thriller about extramarital affairs, vindictive old women, and the dangers of manual labor for young people.

But the main idea of ​​the tale does not lose its relevance even today: not a single prince is worth waiting for him for a hundred years, since his mother-in-law-cannibal is usually attached to his load. Of course, the bloody drama of the original source was not reflected in the libretto by I. A. Vsevolzhsky for the ballet created in 1889Marius Petipa (musical and choreographic score program) and Pyotr Ilyich Tchaikovsky.

However, the performance shown by the State Ballet of Austria on the stage of the Vienna Opera has nothing to do with everything that has been said: neither the fate of the progenitor of the Austrian State Ballet, Empress Eleonora, nor the plot of Perrault's fairy tale, nor Tchaikovsky's original score found a response in the soul of its creators.

At first glance, going to the opera house for a ballet is not the smartest thing to do.

But, on the other hand, although not the greatest ballet masters worked with the State Ballet of Austria, they were still people who left their mark on history [3]. In addition, Vienna is the musical capital of the world, and if you don’t dance Tchaikovsky’s score, then at least they could play it with dignity here. We could. But they didn't.

From the inexplicable, I would note a lot of technical errors, intonation untidiness, intergroup discrepancies and outright falsity in the orchestra. The horns were constantly knocking and kicking, the string players were mechanically sawing their strings, the drums were working backwards, but for some reason they hit the wrong place where they should have. Their efforts should be directed to the head of the musical director of this strange performance - conductor Patrick Lange [4].

One of the critically unacceptable is the inclusion in the performance to the music of Tchaikovsky of the microtonal composition of Gianchito Scelsi (1905 - 1988) [5]. I have nothing against Schelsi - he is a wonderful micro toner . But the question remained open: why exactly him, and not Pakhmutova, for example?

But let's close our eyes to the sound: after all, a ballet orchestra is, to put it mildly, a second-rate phenomenon.

PI Tchaikovsky has already become a hero, having ventured to work in a genre that musicians treat as a non-dusty hack. After all, ballet is, first of all, a spectacle, a parade of lines, curves, rotations and jumps of beautiful half-dressed bodies. But the Viennese "Sleeping Beauty" not only sounded eerie from the pit, but also looked unusual on stage.

Oriental motifs in the scenography were represented by video colors against the background of video leaves appearing and disappearing behind video fences against a black background. This beauty belongs to the decorator Florian Etti (Florian Etti) and is not very repulsive from what is happening on the stage. Unlike suits.

The moth-eaten suits had a diagonal cut and gave the impression that there was not enough fabric for all the patterns.

These reduced outfits were designed by by Catherine Voeffray (Catherine Voeffray). Sluggish tunics, straight cuts and oblique cuts, pantaloons for tail-coat jackets, vests with lurex for turbans with tiaras, elements of business suits combined with folklore ornaments and feathers were framed by a common shaped sorting from the old collections of Laurent and Gaultier and evoked thoughts of vintage sales.

It is impossible to grasp and comprehend the whole range of contrasts and combinations proposed by the artist. Suffice it to mention the costume of the fairy-tale King, whom Ms. Vauefry dressed in the easily recognizable uniform of a samurai waiter from a popular oriental restaurant. The sporty variegation of colors was clearly designed for the tastes of fans of rhythmic gymnastics. Like the plastic concept.

The author of the new choreographic reading — Martin Schläpfer (Martin Schläpfe) — in pre-premiere interviews spoke about the profound dramaturgy of The Sleeping Beauty, about its dramatic psychologism, about the lack of attention of secondary characters and about the fact that the evil fairy Carabosse is also generally then the person is .

It was interesting to listen to. Martin Schlaepfer failed to turn his conversations into an artistic event.

And here's why.

Tchaikovsky's Sleeping Beauty has a complex internal structure, in which each musical phrase is fused with a choreographic program based not so much on the rhythmic coincidence of music and dance as on their special combinatorics. Tchaikovsky created this score, musically illustrating every turn of the head, every movement of the hands, shoulders, feet, eyes, almost eyebrows.

This is the most complex ballet score in the history of the genre. It is even danced at the Bolshoi Theater a couple of times a year, and then only on major holidays. The Sleeping Beauty by Tchaikovsky is a complex, well-coordinated musical and plastic organism.

In other words, to compose some kind of abstract new choreography to this music, without being a master of the level of A. A. Gorsky, F. V. Lopukhov, A. M. Messerer or Yu. N. Grigorovich, is the same, what to pour gasoline into a diesel engine. That is, 20% - 25% of such interference will be digested by the propulsion system, but if the percentage of foreign matter is higher, then everything will stall and will never start again.

The second reason for the failure of the new performance is the eclectic looseness of the proposed dance language.

Martin Schlapfer appears to have some talent, but ballet master talent is not one of them.

Sharpness (of any movement in any direction) can hardly be attributed to self-sufficient plastic statements, but this is the only thing that is present in abundance in M. Schlepfer's dances and that at least somehow determines the originality of his language. In addition to crawling, falling, jerking, slipping and overturning, which also occupy a prominent place among the expressive means of this author, it is the neurotic sharpness of movements that remains in memory as a dominant device.

The transformation of solo variations into duets, the intrusion into Petipa's classical choreographic text and the retouching of climaxes growing out of the musical material exacerbate an already difficult diagnosis [6].

The third reason for the failure can be called the indistinct dramaturgy of the performance, which begins with the bed scene of Princess Aurora's father with Princess Aurora's mother and reaches a self-parody in the duet of Prince Desire with a forest sheep, from which fluff is poured, collected by the ram's girlfriend, a squirrel. Why the prince ignored the squirrel, focusing on the ram, remained, of course, behind the scenes. There is a lot of stuff there, but even that is enough to admire the depth of processing.

For the same reason, I will not analyze in detail what and how the soloists of the troupe

did

with the proposed images - in this dramaturgy this is completely unimportant; I will leave only a couple of general remarks.

Olga Esina (Queen, angry as a dog, hangs herself on Prince Desire, tired of her husband; dressed in tight-fitting clothes; after 100 years, everything tries to dress as before): a beautiful step, cantilena of movements, school is felt; it is clear that before you - prima.

Masayu Kimoto (King, aka samurai, aka waiter, aka sushi chef; no charisma): jumping, good coordination.

Hyo-Yung Kang (Princess Aurora; perfect for being a carefree creature): beautiful hands, big head, no clean spin, elegant jump. It is clear that there is no prima in front of you.

Brendan Saye (Prince Desire; tall, handsome, loves rams, doesn't like squirrels, doesn't kiss Aurora, doesn't reciprocate her mother, muddy type): aesthetically the artist is picturesque, looks great.

Jackson Carroll (Master of Ceremonies Catalabutte; plastic, hysterical, hermaphroditic, dresses loudly, with a claim to a special status with employers - in a word, staff): good acting work in given conditions.

Ioanna Avraham (The Lilac Fairy — outwardly pleasant, trying to save the main character from the intrigues of her colleague — the bitch Carabosse): stable in poses, does not interfere.

Claudine Schoch (Fairy Carabosse - bitch): perhaps the most successful combination of dance organicity with acting charisma; but even this beautiful ballerina did not look good in this material.

Davide Dato (Blue Bird - appears half-naked, waving her legs and arms): not a single clean serif (those who know what kind of party this is, I'm sure they said something obscene to themselves now).

Kiyoka Hashimoto (Princess Florina - all in bright blue feathers; always having fun with something): dances normally for Vienna.

Daniel Vizcayo (Faun, he is also a forest sheep who corrupted Prince Desire): he is good in character, but there is nothing to dance in this role.

Yuko Kato (Forest Woman, also known as a squirrel with a violin - causes bewilderment; constantly suffers): plastically good work, but conceptually - completely superfluous.

In general, the staff of the State Ballet of Austria is not bad - there is something to work with. And the performances should be staged solely on the capabilities of the troupe, not aiming at heights unattainable for it.

The Sleeping Beauty by Tchaikovsky is beyond the capacity of the Austrian State Ballet.

In the performance of this group, the score gives the impression of a lethargically senseless scarecrow. And a director who does not understand this has no right to work in the profession.

What can be done? In principle, the performance is easy to fix. It is enough

- to remove the noisy gestures,

- to cut out the forest intercourse between the prince and the ram through the bow in front of the squirrel,

- to remove the squirrel itself along with the violin (the bow can be left - they can be launched into the conductor),

- if the bow from the squirrel will not reach the conductor's podium, replace the conductor,

- normally dance the part of the Blue Bird,

- return all classical choreography to divertissements;

- but with the costumes I don't know what to do; well, let them stay already - don’t throw them away, after all ...

In the meantime, all this has not been done - summary : if you have enemies, people whom you would like to take especially cruel revenge or do something like that with them Why would your conscience torment you all your life later - buy them a ticket for The Sleeping Beauty, which will be shown at the Vienna Opera all November and December. Just make sure that those to whom you decide to poison their lives, be sure to sit through to the end: then the torture effect of the performance will really have nothing to compare with.

Notes:

1) A “social etude” in the history of dance is a choreographic installation in which the movements (pas) of the participants are regulated by their social status and/or claims to change it.

2) Choreographic exercises in Vienna even in those days did not lead to good: the marriage turned out to be childless. However, Ferdinand II, who was 20 years older than his wife, already had 4 children from his first marriage, whom Eleanor became a wonderful stepmother.

3) Rudolf Nureyev, for example, who always showed in all his ballets not what was needed, but what he got, without any regard for the content of the score and at least some idea of ​​the basics of acting.

4) Spell again - Patrick Lange: if you see this name on the poster - run.

5) Gianchito Scelsi (1905 - 1988) - Italian composer and poet; in his work, he was guided by the merging of the musical avant-garde with antediluvian spiritual practices.

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