When did Russia host the very first ballet performance? What was it called?
In Russia, the first ballet performance Ballet about Orpheus and Eurydice was staged 8 February 1673 at the court of Tsar Alexei Mikhailovich. Ceremonial and slow dances consisted of a change of graceful poses, bows and moves alternating with singing and speech. He did not play any significant role in the development of stage dance. This was just another royal fun, attracting its unusual and novelty.
Only a quarter of a century later, thanks to the reforms of Peter I, music and dance entered the everyday life of Russian society. In the noble educational institutions have introduced compulsory training to dances. At the court began to perform written from abroad musicians, opera artists and ballet troupes.
In 1738, the first ballet school opened in Russia, and children from palace servants became the first professional dancers in Russia. At the beginning of the XIX century Russian ballet art reached its creative maturity. Russian dancers have brought to the dance expressiveness and spirituality. This invariably attracted to Moscow and St. Petersburg the largest choreographers of Europe. Nowhere else in the world could they meet such a large, talented and well-trained troupe, as in Russia.
A new stage in the history of Russian ballet began when P. Tchaikovsky first composed music for the ballet. It was Swan Lake. Before that, they did not take seriously ballet music. Thanks to Tchaikovsky, ballet music became a serious art along with opera and symphonic music. Previously, music completely depended on the dance, now the dance had to obey the music.
Further development of the Russian ballet is associated with the name of the Moscow choreographer A. Gorsky, who, refusing the obsolete methods of pantomime, used in the ballet performance techniques of modern direction. Attaching great importance to the scenic design of the play, he attracted the best artists to work.
But the true reformer of the ballet art, Mikhail Fokin, rebelled against the traditional construction of a ballet performance. He argued that the theme of the play, his music, the era in which the action takes place, requires every time other dance movements, a different figure of dance. In the ballet Daphnis and Chloe, he refused to dance on the pointe shoes and in the free, plastic movements revived the antique frescoes.
In 1908, annual performances of Russian ballet artists in Paris, organized by theater actor SP Diaghilev, began. Among them, the most outstanding tansovschitsey was the incomparable Anna Pavlova. The dying swan, created by the great ballerina Pavlova, is a poetic symbol of the Russian ballet of the early 20th century.
IT IS INTERESTING. In the ballets of the past there was a whole system of notation. If the artist, for example, held his forehead on his forehead, implying that he had a crown on his head, this meant the king; crossed his arms crosswise on the chest, then died; pointed to the ring finger of the hand where one usually wears a ring I want to marry or married; began to make wavy movements in his hands, so he sailed on the ship and so on. Of course, all these gestures were understood only by choreographers, artists and a bunch of ballet dancers of regular ballet dancers.