(A) Causes and Consequences (1909~1977)
In the early 20th century, when classical ballet reached its heyday in Russia, a group of elites dissatisfied with the conservative status quo began to stroke their hands. They can not realize the ideals of ballet in their own country, only with the Russian ballet broker Sergei Jagiyev, in the name of the "Russian Ballet", a powerful drive into Paris, with a number of refreshingly chic, creative new works for the entire history of ballet to open up a "modern ballet", "modern ballet", "modern ballet", "modern ballet", "modern ballet", "modern ballet", "modern ballet", "modern ballet", "modern ballet", "modern ballet", "modern ballet" and "modern ballet". The new era of "modern ballet".
The 20th century is the era of human awakening, but also into the *** bomb, the explosion of common sense, the explosion of information. For the dance, it is an explosion of works, in the original "theater ballet," basically, the birth of a complete "symphonic ballet" and "psychological ballet," the two new The dance varieties.
Wei Wei contours this masterpiece, masterpieces of the modern ballet era, I based on the different spring and autumn and generation, style and characteristics, it is subdivided into three stages: early, middle and late.
Early stage:
The Fountain of Tears is a ballet in four acts, belonging to the early masterpieces of modern ballet in the former Soviet Union, premiered by the Kirov Theatre Ballet of Leningrad on September 28, 1934 at the Theatre, with choreography by N. Volkov, music by B. Asafiev, choreography by R. Zakharov, and set design by V. Khodashevich. Princess Maria of Poland is played by G. Ulanova, Maria's fiancé Vaclav is played by K. Sergeyev, Tatar King Girey is played by M. Dudko, and Crown Princess Zalema is played alternately by O. Jordán and T. Verchezlova. The direct translation of the question is titled "Bakhchisaray's Fountain of Water", and when it was revived and staged in China in 1961, it was translated into Chinese as "Fountain of Tears". The script was adapted from a long poem of the same name and another short poem by the Russian poet A. Pushkin, and its genre was defined from the very beginning as "a long Romantic dance poem", thus striving to convey the "musicality" and "narrative" of the original. Therefore, it strives to convey the high degree of unity between "musicality" and "narrative" of the original work. In order to make the character relationship and dramatic conflict of the dance drama doubly clear, the choreographer added the first act, in order to hand over the first heroine Maria as the identity of the Polish princess; at the same time added her fiancé Waczlaw this ego, in order to in the Tatar sniper tragedy before the occurrence of the pre-marital sweet love for them placed in the double dance, and in the tragedy occurs, placed him and the invaders torn to death, and the night and with the visual, auditory, kinesthetic and movement, the dance is a romantic poem. Visual, auditory, kinesthetic trinity of dance image to convey "the beauty of the public killed for people to see" the characteristics of the tragedy. The plot line of the dance drama is that the Tatar King Gilead sniped the Polish kingdom in three nights, robbed the princess Maria who was about to be married, and returned to the palace in Bachchisaray.
In front of the beauty and weakness of Maria's beauty and kindness, the night is not conquered, he became a captive, and the depths of his heart more bitter gradual change. He proposed hard, but was repeatedly rejected, but still patiently looking forward to the cause. Unexpectedly, his change of heart ignited the jealousy of his favorite girl, Zarema. After a great deal of threatening and confusion, she used a dagger to end Maria's innocent life and was pushed down into the valley by soldiers under the orders of Gillette. In order to inscribe on Maria's eternal love, express their feelings of mourning, but also express their own heart of the night, Gilead ordered the construction of a day and night flow of "tears" spring, for the future generations left a "splendor of the omnipotent" and "love first" legend. The legend of "love above all else" remains for posterity. The libretto of this dance drama was once regarded as "a typical realist ballet libretto" in the former Soviet Union. As far as choreography is concerned, it is not only the choreographer Zakharov's maiden work, but also the first successful work of the Soviet Union's "theater ballet" in adapting excellent literary themes and using Stanislavsky's drama performance system to create a realist ballet, and even more so for the subsequent ballet, "Romeo and Juliet", which has gathered valuable experience. The first success in the creation of a realist ballet was the subsequent ballet "Romeo and Juliet". The success of "Fountain of Tears" is also attributed to the ballet performer Ulanova's excellent portrayal of "Maria", whose soft exterior and strong interior character is somehow similar to that of the heroine; while Maria's dying moment has become a legend in the history of Soviet ballet because of her: her whole body is stabbed in the back at the moment, and only her body is stabbed in the back at the moment. The moment she was stabbed in the back, there was only a subtle spasm, and then she lifted her head up from her shoulder blades at night, and urged her arms, gradually sliding along the stone column, delaying the moment of her body's erection with a dead force to show the steadfastness of her heart; when she was released from this painful spasm at night, she turned her face to Zalema, Gireai, and every member of the audience, to reveal that kind of transcendent tranquility, and showed that the original Pushkin's work was a kind of "Pushkin", which was the same as the original work of Pushkin. Pushkin's original work of the kind of "can separate from this bleak world" when a sense of relief.
The Flames of Paris is a ballet in four acts and five scenes, belonging to the early masterpieces of modern Soviet ballet, November 7, 1932 by the Leningrad State Model Opera and Dance Theatre Ballet premiered in the Theatre, choreographer N. Volkov and V. Amanqeqe Triev, composer B. Asafiev, choreographer V. Vainonen, choreographer V. Amanqeqe Triev, Jerome by V. Amanqeqe Triev, and Jerome by V. Vainonen, and Jerome by V. Amanqeqe Triev, and Jerome by V. Amanqeqe Triev, and Jerome by V. Amanqeqe Triev. Jerome was played by V. Chabukiani, Jenny by O. Jordaan, Therese by N. Anisimova, Mireille Depouvaté by N. Duginskaya, and Mistral by K. Sergeyev. As a ballet on the theme of Amanprop, The Flames of Paris is based on the seething weather of the rebel public of Marseilles, led by Amanprop's leading pointer, as they marched towards Paris after Amanprop's death in France in 1792. The duet in Act IV is often performed sporadically as a fine little program at the gala, while a condensed version of the entire play was made into a film in 1953, along with Swan Lake and The Fountain of Tears at Bakhchisarai, to form a complete feature art film, named Ballet Trilogy. This dance drama had been brought to the stage by the Moscow Night Theater Ballet in 1933.
The Death of the Swan is a solo dance for women, belonging to the early masterpieces of Russian modern ballet, and the most vital classic in the entire history of ballet, premiered on December 22, 1907 in St. Petersburg Noble Concert Hall of charity benefit, music C.C. Saint-Sa?ns, choreography M. Fokine, costume design L. Baxter, performance A. Pavlova. It was inspired by the famous song "The Swan" by French composer Saint-Sa?ns. Accompanied by the piano, the nocturne gradually plays a rising and falling tone pattern, as if stirring up the ripples of the lake, and then leads to the innocent and noble swan - she turns her back to the unattractive audience, and silently makes her entrance on the successive series of broken steps on the toes, and the gradual kneading of the arm movements with the help of the breathing of the lifting and sinking of the lungs, and puts that pleasing and heartfelt melody of the nocturne and the small arm all the way through to the wrist and the wrist. The small arm has always been through to the wrist and fingers, and finally released into the air at night fingertips, and night for the lyrical tone of the work added a few narrative associations. The slender and elevated neck represents the high elegance of ballet art, but also vividly expresses the desire for survival of the animal species and even the entire animal kingdom. Finally, she began to sink, missing control of the hovering and lifting assimilated a few points of helplessness, but until the final collapse on the ground, but also still even the corrective vomiting? The beauty and majesty of life. This women's solo dance, although only a short 4 minutes and 6 seconds, but full of Pavlova's delicate and lyrical performance style, cohesion of ballet's unique fleeting beauty, and show "although death is still alive" such a poignant and pleasing theme, and therefore always give the unattractive viewers have left a bone-deep impression.
"Firebird" is a one-act two ballets, belonging to the early masterpieces of Russian modern ballet, June 25, 1910 by the Jagiyev Russian Ballet premiered at the Paris Opera, playwright and choreographer M. Fokine, composer I. Stravinsky, director G. Piène, set design A. Golovin, costume design L. Baxter and Golovin, Firebird by T. Karsavina, Prince I. Karsavina, and Prince I. Karsavina. played by T. Karsavina, Prince I. Chalevich by M. Fou, the beauty Chalevina by V. Fokina, and the demon Kaschei by E. Cecchetti. This one-act modern ballet is based on the Russian popular legends Prince Ivan and The Firebird and the Gray Wolf of the Night, with the root plot being that Prince Ivan Chalevich captures a heavenly firebird of unlimited magical power. In exchange for his freedom, the firebird gives him a magical feather and promises the prince that in times of distress, if he calls out to the feather, she will join him at once and take care of him. Soon, the prince in order to the night of the devil Kaschei hands to rescue beauty Chalevivna, not beautiful really get the rescue of the firebird, and finally completed the good set to win the evil of the positive drama, to realize the lovers into the family of the night of the reunion. The success of The Firebird is due first and foremost to the ingenuity of Gagilev. He chose Stravinsky, who was a newcomer, in response to a delay in the delivery of the original commissioned composer. In his creation, the composer consciously used 7/4 beat, syncopation and other discordant intervals and uneven rhythmic patterns, capturing and recreating the primitive mystery and ancient tension of the Russian plainsong people. Choreography on the night, the work of the night of the structure of the one-act to the dance - theater integration of the style, are marked with a ballet night beyond the "classical" era, and entered the "modern" era. One of the double dance against the classical ballet double dance stereotypes of the love theme and ABA mode, and seize the clues of the plot growth and the need for people to smell Aman Miliao, carefully designed "rivalry" theme and ABC mode, which choreographed the "pursuit",
The Rite of Spring is a ballet in two acts, belonging to the early masterpieces of modern Russian ballet, premiered by the Jagiyev Russian Ballet at the Théatre des Champs-élysées in Paris on May 29, 1913, with choreographers I. Stravinsky and N. Roerich, composer Stravinsky, conductor P. Munthe, choreographer V. Nijinsky, rhythmic staff and rehearsal M. Lambert, scenery and costume designer Roerich Simonsky. Costume Designer Roylich Simonov Introduction, The Maiden of the Sacrificial Spring was played by M. Pilz, the lead footage featured a 300 year old woman declaring war on the Elders of the Infinite Spring, and the nightly group footage searched out 70 men, women, and children **** on all spring seasons. Stravinsky's libretto and self-composed music for The Rite of Spring were drawn from the reproductive veneration ceremonies of the primitive Russian tribes in which young girls were used as a means of human sacrifice, and thus had a strong Russian primitive flavor; the original libretto's locution - "a number of images of Russian pagans in the second act ", it will no longer serve as a classical ballet narrative tradition, there is no character conflict and dramatic conflict between the characters, as a result, with the "Swan Lake" and other romantic and classical ballets before the end of the 19th century to draw a clear divide. The whole drama *** divided into two acts, the focus of the theme is through the process of dance to complete the "unity of man and nature" of the original worship: the first act for the "night reverence", showing the advent of the new year, the entire tribe of people gathered in the outdoors, with a variety of modulation under the dance, solemn and solemn to complete the annual ceremony of reproductive reverence. The second act for the "spring ritual", reproduced the entire tribe every year to elect a most colorful, purest virginity - sacrifice spring girl, and then by her with more than strong dance style ascension, and ultimately married to the sun god such a magnificent scene. Works premiered in the theater caused a huge riot, had to be a large number of police officers into the scene to maintain order, and then only six performances in Paris and London to close the box, the primary reason for Stravinsky's music all the way to the beginning of the appalling, which is a large number of rough and difficult to listen to the dissonant intervals as if to herald the end of the world's imminent; and the Nijinsky's choreography is the use of full of the feet in the buckle, clumsy Nijinsky's choreography uses all the anti-ballet movements with the feet inward and awkwardly downward, which makes the conservative public in Paris, the "capital of ballet", angry and at the same time makes the avant-garde audience here ecstatic.
The Rite of Spring is a ballet in four scenes, but also an early masterpiece of modern Russian ballet, premiered on June 13, 1923 by the Jagiyev Russian Ballet at the Lyric Theatre of Joy in Paris, with lyrics and music by I. Stravinsky, directed by E. Ansermet, choreographer B. Nijinska, set and costume design N. Goncharova, the bride was played by F. Dubrovska, and the groom by N. Sikszentz, and the bridegroom by N. Sikszentz. The groom was played by N. Simonov. This production is not a traditional Shang? It is not a drama in the traditional sense of the word, but an abstract movement art of ballet that reproduces the traditional Russian wedding customs and rituals. The play consists of the first scene: blessing of the bride, the second scene: blessing of the groom, the third scene: the bride's departure from home, the fourth scene: the wedding celebration, and the main characters are the bride, the groom, the valkyries, the mother of the bride, the father of the bride, the father of the groom, the mother of the groom, the bride's bridesmaids, the groom's groomsmen. Nijinska this version of the main features are: in the overall atmosphere and tone, it is through the process of costume and set color simple nuclear contrast to the strong oral two-color approach, a change in the Russian classical ballet colorful and royal style, so that the ballet this aristocratic art returned to the Russian village of the simplicity and gravity of the terroir and local customs; in the action of the space and time and intensity, it is through the process of the In the action of time and space and strength, it coalesces into a straight up and down action point through the process of multiple force target, a change in the line of Russian classical ballet beauty and lightness upward, so that the ballet action of the heavenly texture back to the Russian public in the secular mood, and not only increase the difficulty of the action of the change of the night, but also highlights the sense of ceremony and the sense of sadness of the Russian wedding customs; in the chorus singing, percussion and dance action burst this triple correspondent relations On the visual, auditory, kinesthetic trinity of strength **** vibration and impact is enough to confirm that "the form itself has the content" of this modern dance notion of reasonableness; in the clothing and choreography function, through the process of seemingly everyday clothing and wooden walls of the room and other well-designed for the relatively abstract choreography of dance movements to create a certain kind of real and supportable figurative characteristics.
The ACTION is the first of its kind in the world.
Apollo is a two-act ballet, and belongs to the early masterpieces of Russian modern ballet, premiered on June 12, 1928 by the Gagiev Russian Ballet at the Théatre Sara Bernal in Paris, originally titled Apollo, the Muse's Critic, which was simplified to the current name in 1957, with a libretto and music by I. Stravinsky, choreography by G. Balanchine, and choreography by A. Beauchamp. Apollo was portrayed by S. Lifa, the dance muse Thessicore was introduced by A. Nikitina as Simonov, the ode muse Polyxenia was portrayed by L. Chernicheva, and the epic muse Calliope was portrayed by F. Dubrovska. The plot of the work has been minimized: Apollo, the sun god, is born tomorrow by Zeus and Leto, and in the process of teaching with the three muses, he takes over a thorough artistic and *** education, then starts to mature and eventually yearn for the regular world under Olympus. Balanchine in this work, boldly broke the academy ballet programmed to speak, discarded all kinds of decorative movements, and appropriately accepted the modern dance vocabulary of angular, twisted and deformed features, creating a four together hook feet walking, Muse wrapped toes up and down to sit and twist, Apollo sitting on the ground to support the dance Muse do back legs stretching, Apollo open palms to do radiating and other unheard of in the classical ballet. Brand-new movements, and at night with some kind of bright bottom of the action texture and and witty humane light, accurate and active portrayal of the sun god Apollo the youthful idol of the pleasant image. Dance at the end of the who four stacked reflection of the dance can be called the 20th century ballet in the most evocative of the classic - when Apollo stretched out his arms, in a lunge dance steadily debut moment, the three muse is the beginning of him as a point of support for the forward tilt center of gravity, and in a gradual compass-like angle in his death each extend a hind leg to not only implies the need of life for sunlight, female thirst for men, thus constructing the image of the sun god's radiant light, but also in the most simple way, reflecting the ancient Greek civilization of poetry, music, dance, drama, the four in one of the ideal of Western classicism, and even more revealing Balanchine's blood and even the male egoism running in the bone! Precisely because of this, Balanchine has always been fond of this work, not to exhaustive processing and continuous staging at the same time, always keep into the field of growth of the overall tendency of "simplification" - ultimately, not only missing the headdresses of the Muses, shorten the costumes of the four characters, but also The final not only removed the headdress of the Muse, but also shortened the costumes of the four characters, and successively cut down the scenery of Olympus and the platforms used to symbolize it, thus reflecting his concern for the "minimalism". This reflects his firm belief in the power of movement to express itself. In the history of ballet development, "Apollo" marks the birth of "neo-classical ballet", because ballet has left the deadlock of "theater ballet" and entered the new scale of "symphonic ballet".
Intermediate stage:
"Romeo and Juliet" this night ballet includes a prologue plus three acts of 13 scenes and epilogue, belonging to the Soviet Union modern ballet in the middle of the masterpiece of Shakespeare's theme ballet competitions, the most prestigious works, January 11, 1940 by the Kirov Theatre Ballet of Leningrad, the premiere of the Theatre, choreographer S. Prokofiev and L. Prokofiev, the ballet of the Kirov Theatre Ballet of Leningrad, the first time. Prokofiev and L. Lavrovsky, composer Prokofiev, choreographer Lavrovsky, choreographer P. Williams, Juliette by G. Ulanova, Romeo by K. Sergeyev, Tybalt by R. Gerbeck, Mercutio by A. Lopukhov. The dance drama strictly follows the path of socialist realism, and is as faithful as possible to the clues and spirit of Shakespeare's original tragedy, revealing the eternal theme of "love above all else" and the root of "turning conflict into peace" between people. The reasoning. The play is a magnificent scale, many characters, suspenseful, pleasing to the ear, the main plot threads are: Montague and Capulet two giant families have a long-standing grudge, but the Meng family's son Romeo and the Kay family's daughter, Juliette, because of love at first sight and private life. However, due to the deep-seated grudges between the two giant clans, the two young people, despite all kinds of efforts, but still unable to break through the obstacles, openly married, and ultimately can only go to the underworld to tie the knot again. In front of the price of blood and life, the two giant clans finally shake hands and make peace. Its night charm in addition to the power of Shakespeare's tragedy, the choreographer boldly breaks the classical ballet pas de deux out of the plot clues, show off the programmed craft of the ABA model, creating a scenario, love dance interaction, step by step, trilogy-style pas de deux is a pivotal identity: the first section of the pas de deux is presented in the fourth scene of the first act, the originality of its ingenuity. The first pas de deux is presented in the fourth scene of the first act, its ingenuity is that, although the two people can not be in the two giant families of the insistence of the air between the sword tensions in the long time and dance together, rao from the unspoken eyes and a beat of tacit understanding, to achieve a complete communication between each other; the second section is presented in the fifth scene of the first act, that is, the famous "balcony pas de deux," this is the ballet company of the countries of the classic dance section of the performance of the two lovers, the typical situation to the two lovers for the first time of the first time of the first time of the first time of the first time of the first time of the first time of the first time of the first time of the first time of the first time. The moment, the dance action strength, amplitude, difficulty and speed design and therefore from small to night, from slow to urgent, night and naturally into the long-lasting soaring; the third section occurs in the first scene of the third act, called "bedroom duo", typical situation for Romeo and Juliet parted on the occasion of the death of the action of the choreography is to be and the rise and fall of the absurd, poignant and pleasing to the ear, the action of the logic of the smooth as running water, The logic of the action is as smooth as running water, connected to the air, and then to the silent speech, foreshadowing the final end of this love tragedy. These dark me, warm and delicate male and female duo dance as the tension of the whole dance drama spread an extreme, with the plaza on the repeated outbreaks of bloodshed, cut teeth between such an extreme, the composition of the contrast can be described as a world of difference, to ensure that the "words speak" Shakespeare's tragedy in the "non-text" ballet.
Shakespeare's tragedy in the "non-textual" ballet competition can also get a full expression.
"Serenade" is a four-movement symphonic ballet, belonging to the United States of America modern ballet in the middle of the masterpiece, on June 10, 1934 by the United States Ballet students premiered in White Plains, New York State, the FM Wahlberg Manor, the music of P.I. Tchaikovsky, choreographer G. Balanchine; on December 8 of the same year, the first public performance of Avery Memorial Theatre, Hartford, Connecticut, and added the G. Balanchine. Public performance, with sets by G. Ronchamp and costumes by J. Lulcart; premiered by American Ballet at the Adelphi Theatre, New York, on March 1, 1935; performances from 1936 onward dropped the sets, and for the 1964 performance B. Kalinska was asked to design the costumes for the first night of performances. As a plotless symphonic ballet, the work's problem is taken from Tchaikovsky's Serenade for Orchestra in C Nocturne, and is choreographed and performed in the sequence of the four movements: the Sinfonia, the Ballade, the Russian Theme, and the Lamentation, although the concluding movement takes on a certain romantic and sentimental tone, especially as the young girl twice discarded by the teenagers eventually collapses and dies, before being The phrasing of the three teenagers lifting themselves up, standing tall, spreading their arms wide, and marching into the sunlight is reminiscent of Giselle or Swan Lake and its timeless themes of life and death. According to the choreographer's own words, "Serenade" in fact did not play to tell any story, such as unattractive you have to say that it is telling a story, it is only music and dance in telling their own stories; it is simple, but a group of dancers in the bright moonlight, followed by a dream serenade dancing only. For the unattractive audience, it is visually, is 28 dancers dressed in light blue sarongs in the blue set dancing; it is in the auditory, is the composer's third and fourth movements inverted order; it is in the kinesthetic, it has presented a female dancer late, and then walked to their own who is very important position on the hands and feet, and the other female dancer is not careful, upside down on the ground these two accidental ******. The two accidental ***, originally Balanchine with the usual mentality of modern artists to take things as they come, will be presented in rehearsal of the real affairs of the truth into the work, but inadvertently for this is not dramatic ballet added a few points of drama and watchability. In addition, seventeen, nine, six and other different numbers of female dancers performance scale, as well as male dancers, such as the unexpected arrival of the wording, has always been in the international dance world, because all of this is not the pursuit of Balanchine's heart, but in accordance with the number of dancers joining the rehearsal every day and the gender of the natural determinants.
"Lingerie" is a two-part ballet, belonging to the mid-term masterpiece of British modern ballet, premiered by the Royal Ballet on April 25, 1966 at the Royal Opera House in London's Covent Garden, with music by E. Satie, orchestrations by C. Debussy, Roland Manuel, and J. Lenchebeli, choreography by F. Ashton, and costume design by Ashton. , the second of the two trio dances, Moon, performed by two men and one woman, was first introduced on March 24, 1965, performed by V. Lorrain, A. Doyle, and R. Mead, while the subsequent premiere trio, Earth, was placed in front, with two women and one man, performed by A. Sibley, G. Parkinson, and B. Shaw. The work consists of two dance sections, the first of which is titled Moon, and the occasion for its introduction came from a fund-raising gala at the Royal Ballet in 1965. As the company's principal choreographer at the time, Ashton had to create a "not-too-long piece". Coincidentally, American astronauts landed on the moon at the same time, realizing a dream of mankind since ancient times. The news came, he couldn't help but be passionate, and more into the wrong: a set of both dreamlike, but also real and trustworthy dance imagery so, in the three "prerequisites" out of the ordinary, the movement of the strict "standardized", "feeling", "extraordinary delicate," "feeling", "the", "the", "the", "the", "the", "the", "the", "the", "the" and "the". "Extraordinary delicate, very" sculpture beauty "between the ballet dancers stood out, more so that the ballet unique kind of line beauty and human body movements of various organic transformation, and finally sublimated into such a pure night realm. At the same time, Ashton's long-standing love of French composer E. Satie's music, but also finally found the right opportunity to use: the piano piece "Nude Song and Dance" in the hazy, ding ding dong dong music sound, the moon that distant and ethereal imagery depicted in the right place and clear and transparent. The success of "Moon" prompted Ashton to create another dance section named "Earth", and the music was specially invited to the famous British composer and critic J. Lancheberry for Satie's another piece of music "Mystery Song" orchestration and become. Ashton in the "music on the extreme sensitivity" has always been in the international ballet world has a reputation, and in this work has been fully demonstrated, not only to give a person as smooth as the flow of water like the beauty of enjoyment, but also for the sound of the British style of witty and lyrical lyricism set up a hero, which makes the Royal Ballet can slowly enter the "world's six first-class classical night", "the world's six first-class classical night". "The Royal Ballet is one of the world's top six classical ballet companies.
"Lilac Garden" is a one-act ballet, belonging to the British modern ballet in the middle of the masterpiece, but also the psychological ballet of the pioneering work, January 21, 1936 by the Rambert Ballet premiered in London's Merkury Theatre, choreographer A. Tudor and H. Stevenson, music E. Chausson, choreographer Tudor, set and costume design Stevenson, the bride Caroline played by M. Loyd, the bride's old days, the bride's old days, the bride's old days, the bride's old days, the bride's old days. Tudor, choreographer Tudor, set and costume designer Stevenson, Caroline the Bride by M. Lloyd, the Bride's old lover by H. Lane, the Bride's unmarriageable Groom by Tudor, and the Groom's old lover by P.V. Pula. The synopsis of the dance drama is: out of snobbery or some other reason, the heroine Caroline painfully resigned from the true love, ready to marry another person; in addition to the party with the love of the resignation, she was reunited with the fiancé's old lover, previously did not understand, fiancé. The moon in the sky, pale and helpless, a sea of people, to and from the hasty; affectionate, bitter feelings, ghosts, each to the west - although the two pairs of men and women would like to be out of the clutch before the sad and happy, overlapping love triangle, with their own dedication to the old love and then catch the last kiss, but can not be desired, and ultimately can only be full of heart! Embarrassed, unhappy to leave, only to let the poor Caroline fainted in the arms of their fiancé does not really love. The work has left all the mime gestures used in traditional ballet, and only through the process of precise and delicate movement design, the four main characters of the space between the transformation, as well as the pungent and suppressed stage air, they are caught in the red tape of the upper class in the middle of the situation can not be their own, as well as the situation of the blood boiling and mixed feelings, the most vividly demonstrated.
Late Stage:
Spartacus is also a magnificent ballet, covering four acts and nine scenes, belonging to the late masterpieces of modern ballet in the former Soviet Union, April 9, 1968 by the Moscow Night Theater Ballet in the theater, choreographer N. Volkov, composer A. Khachaturyan, choreographer Y. Grigorovich, set and costume design S. Vilsaladze, choreographer N. Volkov, composer A. Khachaturyan, choreographer S. Vilsaladze, and choreographer S. Vilsaladze, and choreographer S. Vilsaladze, and choreographer S. Vilmov. Vilsaladze, Spartak played by V. Vasiliev, Phrygia by E. Maximova, Crassus by M. Ljepa, and Crassus' concubine Aegina by N. Timofeyeva. The dance drama is primarily based on the ancient Greek writer Plutarch's long historical novel of the same name, depicting a true and tragic story that took place in 73 BC during the decline of the ancient Roman Empire, but there are additions and deletions in the setting of typical characters and typical situations. The main plot line is: many of the Thracian slaves in order to satisfy the aristocrats of the blood fetish and have lost their lives in the gladiatorial arena; in order to purge all kinds of inhumane treatment, the head of the night to obtain personal freedom, they are in the slaves under the leader of the righteous soldiers Spartacus blood, with Crassus as the head of the Roman legion opened this powerful, heroic and righteous war. Although finally outnumbered and destroyed by three armies, their spirit of fighting for freedom has survived through the ages and has been engraved, celebrated, admired and moved by future generations. ...... Grigorovich's version has achieved the success of the previous version of the death of the death of the death of the death of the death of the death of the death of the death of the death of the death of the death of the death of a former Soviet Union, the "theater ballet" and "symphonic ballet". "and" symphonic ballet "the two night tradition of smooth through through, and night and ensure that like to see the" drama "of the audience can be in the rising and falling in the absurdity of the theater in the world of conflict in the play through all the addiction, and keen to see the" dance "of the audience". The "dance" of the audience can also be in the spirit of renewed tension in the action of the satisfaction of the audience.
Outstanding dance section should first be cited as an example of "Spartak's solo dance", and each act have, and the whole play's solo dance is **** as many as nine; choreographers and directors in the dance and the relationship between the mood, as far as possible to go to the mood of the dance to dance, to dance with the mood to ensure that the excitement of each ***, the character of the problem of Spartak can be a complementary, skillful and difficult outstanding dance in order to go to the venting of the depths of the heart. monologue, portraying the heroic character and emphasizing the impact and contagion of masculinity. The hero and heroine "Spartacus and Flugia's duo" also do each act; choreographer through the process of male and female love in the life and death of the time of expression, for the slaves Spartacus shaped a doubly full and pleasing to the ear of the positive image; dance section also borrowed a lot of acrobatics and skills of the difficult action, not only will the male and female protagonists of the heart and *** imply the heart and *** implied the fullest, and greatly enrich the classical ballet duo Enrich the classical ballet duo original lifting skills. In the creation of group dance, the show can be said to be the peak, such as the first act of the "40 slaves of the men of the night group dance", fully demonstrated the many slaves in the Spartak call to rise up, smash the chains, run to freedom when the fire-like ***, as well as for the fight for the release of Che adjusted to fight to the death of the determination of the determination of the fight; this night of the men of the group dance of the scale of the huge, the night of the flame, can be unprecedented after the progress, for a radical change in the ballet, the ballet is a new ballet.
Today there is an agreed-upon familiarity, based on the impact of modern artistic thinking on ballet in the early 20th century as a demarcation line, before this to follow the original program of ballet norms and characteristics of the work, whether it is a dance drama or a small-scale work, can be said to be classical ballet; and in recent times a lot of ballet works, or in the choice of subject matter on a scale different from the previous material, or in the form of a long growth and innovation, or in the form of a new work. In the form of long growth and innovation in a night in the life of a refined action speech, or night other sister dances to learn from the dance vocabulary and implied techniques, the formation of a difference in the classical ballet style, which is the so-called "modern ballet", "modern ballet". Belonging to the change of subject matter, such as the "Red Detachment of Women", depicting the story of China in the 30th century, so labeled as "modern ballet" means that it is a dance drama that spins out of the modern life. The transformation of the subject matter will inevitably bring about a change in form, "Red Detachment of Women" received the military life hook calculation and the Chinese plains dance material; according to the content of the drama and have a night break. According to the modern aesthetic concept of the action combination of some deformation of the wording.
On the original traditional ballet form on the growth of a strong change in the ballet works, when the use of symphonic choreography "symphonic ballet" (such as "Serenade", "Concerto", etc.), and accept the modern dance choreography and techniques, movement works (such as), and (including changes in clothing, more sophisticated and more sophisticated or even only wearing dance practice clothes on stage).
Representative works: "Firebird", "Rite of Spring", "Times Dancer"
.