Спасибо за эту тему, дорогая Prima!
Да, у Нириева так поставлено: Щелкунчик есть он же Дроссельмайер. Называется: никогда не верь глазам своим и никому в жизни не доверяй.

Потрясающее заявление:" Кто в этой стране может станцевть лучше"!

Марго Фонтейн и Рудольф Нуриев репетируют "Приношение ко дню рождения" с Фредериком Эштоном

Rudolf Nureyev. Iland of His Dream

Спасибо дорогой Рома за этот фильм: он помог мне найти ответ на один интересовавший меня вопрос и сделать для себя собственное балетоведческое открытие.
Меня давно заинтересовало, откуда у Нуриева в постановках "Лебединого озера" эти непривычные, неизвестные из других постановок, в том числе и его "родной", сергеевской Кировского балета, пор де бра и "хождения" лебедей в адажио третьего акта. Вот в первой, венской постановке: качающиеся, подобно ветвям, над головой руки и проход друг за другом со склонёнными головами и вытянутыми вперёд руками. Очень как-то хищно и дико. На сцене, кстати, смотрится абсолютно завораживающе. Специально были отсмотрены постановки других хореографов - ни у кого такого нет.

И вот ответ на вопрос нашёлся: самое сильное впечатление детства, поход в Уфимский театр по профсоюзному билету с мамой. Балет "Журавлиная песня". Об этом впечатлении Нуриев потом напишет в своей книге: "«Я никогда не забуду ни одной детали этого спектакля... что-то зажглось во мне, что-то особенное, очень личное... меня унесло далеко от того жалкого мира, в котором я жил, прямо на небеса».
http://kulturarb.ru/images/HW/PDF/jurpesn.pdf
Балетмейстером "Журавлиной песни" была ученица Вагановой Нина Анисимова.

Во второй, парижской редакции "Лебединого озера" параллели с "Журавлиной песней" не так бросаются в глаза. Но если хорошо присмотреться, отголоски той песни увидеть можно.

Вот и я думаю: ну не может быть, помню же, что и во второй версии они так "по-журавлиному" ходили. И вот разгадка: не то "Лебединое" процитировано мною. Это было "Лебединое" Бурмейстера в Париже. А правильный отрывок из второй редакции Нуриева здесь. И всё встало на свои места.

Дорогая Рома!
В "Лебедином" Бурмейстера журавлиные движения можно усмотреть, если этого очень хотеть - как хотелось мне. Поэтому пишу

На что Вы, совершенно справедливо, отвечаете

После чего тема эта не даёт мне покоя, поскольку я точно помню, что и во второй версии были эти чёткие журавлиные проходки.
Я смотрю ещё раз первоисточник моего второго ролика и устанавливаю, что это была версия не Нуриева, а Бурмейстера, которая тоже шла в Париже. Посему журавли там практически отсутствуют, что и я, и Вы увидели.
Одновременно мне удалось, наконец, отыскать соответствующий отрывок из второй версии Нуриева, который чётко демонстрирует этих самых журавлей.
Соответственно имеем:
1. мою ошибку: вместо отрывка из второй версии Нуриева, был приведён отрывок из Бурмейстера, где журавлей по факту не было. Каюсь и прошу прощения.
2. вторую версию Нуриева, где, как и в первой, идут лебеди журавлиным шагом. Всё окончательно встало на свои места: лебеди Нуриева родом из "Журавлиной песни". В обеих версиях.

P.S. Ещё раз добавлю - речь идёт о двух разных версиях Нуриева: первая 1964 года для Венской оперы и вторая  - двадцать лет спустя, 1984 годa для Парижской оперы. Это две абсолютно разные версии. Но "журавлиные" лебеди присутствуют в обеих.

https://www.theguardian.com/stage/2017/ … are_btn_fb

Furious Nureyev threatened me with a knife, ballerina reveals
Autobiography highlights tantrums of one of world’s greatest dancers

Sunday 2 July 2017 00.05 BST
Rudolf Nureyev could transfix his audiences with the grace and beauty of his movement. But a new book reveals how the world’s greatest male dancer was also capable of the most brutal and abusive behaviour, including kicking a ballerina so hard she required medical treatment and threatening another colleague with a knife.

The extraordinary incidents are detailed in the forthcoming autobiography of Dame Beryl Grey, 90, the former prima ballerina who collaborated with Nureyev in the 1970s when she was artistic director of London Festival Ballet (now English National Ballet).

Guardian Today: the headlines, the analysis, the debate - sent direct to you
Read more
Grey has drawn on her previously unpublished diaries, writing “about Rudi as I found him”. “Every day, he was different and unpredictable, so kind sometimes, other times so uncharitable.”

Although his temperamental outbursts are well-recorded – he could be rude even to his dancing partner Margot Fonteyn, whom he adored – Grey is offering further insights into the dancer.

In her book, For the Love of Dance, she describes his “black moods”, “tantrums” and “truculent, offensive behaviour”.

“As a great artist and a fantastic producer, he was an inspiration for our dancers, but I detested his foul language, rudeness and unpredictable bad moods.”

She recalls a performance of Romeo and Juliet in which Nureyev “attacked one of our leading ballerinas … Liliana Belfiore”: “He swore at her and kicked her up the backside so hard that she left the stage in great pain.

Beryl Grey and Rudolf Nureyev in 1976.
Facebook Twitter Pinterest
Beryl Grey and Rudolf Nureyev in 1976. Photograph: Jimmy Jarrett/ANL/REX/Shutterstock
“A doctor was called who, after examining her, said that her coccyx had been damaged and was bent. She was in agony and the doctor advised us that the injury might cause her to act unpredictably and temperamentally.” Belfiore, “in a rage”, reported Nureyev to the police.

Grey confronted Nureyev in his dressing room: “Nureyev was not apologetic. He began running down the company and saying Belfiore had displeased him.

“I said: ‘That didn’t give you the right to kick her.’ He answered: ‘I am the greatest dancer alive and I can do what I want.’ To which I unguardedly retorted: ‘There are other great dancers too, Rudi.’

“He was furious at this and menacingly picked up a knife, but was restrained by his masseur, Luigi. On hearing raised voices, someone threw the door open and I was hustled away … with Nureyev shouting: ‘No more performances!’” He later calmed down and Belfiore was persuaded not to sue him.

Advertisement

“Difficult he certainly was,” Grey said. “He was so unpredictable, so arrogant … One minute he couldn’t be nicer and kinder to everyone, delightful with me. Then, within a second, he could change completely. He’d shout and stamp.”

Nureyev, who died in 1993 aged 54, was one of the greatest and most charismatic artists of the 20th century. He created Romeo and Juliet for her company: “To me, it’s the best Romeo and Juliet there is … It wasn’t like any other ballet.”

His talent, along with “his charm and many kindnesses”, made his behaviour all the more difficult to understand, she said. “Of all the great people I’ve known, he’s the only one to behave like that. They’re usually very modest, because they realise it’s a God-given talent. He was very arrogant.”

She recalls Nureyev being “extremely insulting” to one of her dancers and descending into “one of his black moods” with another. On one occasion, he was so angry he picked up his Thermos flask and hurled it across the room.

But she said: “Once he was on the stage, this mesmerising personality just fixed one … It was so sad that, in his latter years, all he wanted to do was dance. He would force himself all bound up, his feet, his calves, his knees, and his masseur would be waiting for him. I said to him once: ‘You’re a fantastic producer, you’re a choreographer, why must you force yourself to dance?’ He said: ‘I have to dance, I need the public.’ He just wanted the public acclaim. Almost in a funny way, he needed reassurance. He was a very strange person.”

Grey began her dancing career with Sadler’s Wells Ballet, soon taking on leading roles. In the late 1950s, she left the Royal Ballet to pursue a glittering freelance career, becoming the first English dancer to appear as a ballerina at the Bolshoi and the Kirov.

She never danced with Nureyev, though: “I would have been too tall. But I would have been very scared to have danced with him because you didn’t know if he was going to be in a good mood or a bad one.”

For the Love of Dance is published by Oberon Books on 17 July. English National Ballet will perform Nureyev’s Romeo and Juliet at the Royal Festival Hall, 1-5 August

Дааа, Рудольф Нуриев неподражаем...

Очень интересные выдержки из интервью с Тамарой Карсавиной, в котором она сравнивает Вацлава Нижинского и Рудольфа Нуриева.
Вот ведь как: очень многие профессионалы, видевшие Нуриева, утверждают, что он не был виртуозом, а обладал уникальной харизмой, неповторимым сценическим присутствием и непобедимым обаянием.  А Карсавина утверждает, что он был настоящим виртуозом.
Ещё нам показалось интересным, как она описывает Нижинского: он практически не умел говорить и выразить словами, что, как, почему надо сделать на сцене он не мог. Мог только показать. Но для того, чтобы танцевать вдохновенно, этого, по мнению Карсавиной, не достаточно.

https://www.gramilano.com/2017/08/tamar … -nijinsky/

Tamara Karsavina compares Rudolf Nureyev and Vaslav Nijinsky

1 August 2017 By gramilano 2 Comments

Tamara Karsavina and Vaslav Nijinsky in Le Spectre de la rose

Rudolf Nureyev defected to the West in 1961 and later that same year he danced with Margot Fonteyn for the first time, and the following year he joined The Royal Ballet. In 1963, the BBC asked the great Tamara Karsavina to comment on the new Russian dancer and compare him with her Ballets Russes partner Vaslav Nijinsky.

Karsavina and Nijinsky had joined Diaghilev’s troupe for its first season in 1909, with Karsavina continuing the collaboration with Diaghilev well into the 1920s.

Karsavina left Russia in 1918, just as the Bolsheviks launched the Red Terror at the beginning of the Russian Civil War. She was married to English diplomat Henry James Bruce and they moved to London. She became an important force in British ballet helping to found the Royal Academy of Dance in 1920 and the Camargo Society in 1930. When Ninette de Valois created the Vic-Wells Ballet in 1931 (which became the Sadler’s Wells Ballet in 1939 and The Royal Ballet in 1956) her Ballets Russes colleague, Karsavina, became a key advisor.

Karsavina had been taught by Enrico Cecchetti and she in turn coached Margot Fonteyn. De Valois and Marie Rambert were also former colleagues of Cecchetti and the Cecchetti ‘style’ became the foundation of British ballet. Karsavina passed on many of the roles she had created, including Petrushka, Le Spectre de la Rose and The Firebird, to Fonteyn and others.

Karsavina was 78 at the time of her 1963 interview with Carl Wildman for BBC ‘Network Three’, the precursor of Radio 3.

Some who have seen Nijinsky were of the opinion that Nureyev was the heir to the Nijinsky greatness. Of course, as regards technique a standard of comparison can be established. But the actual greatness depends on the way the artist uses his technique and the power with which he projects his personality.

So, was Nureyev’s power of projection as great as Nijinsky’s?

I who have seen both can honestly say it is. It seems to me that Nureyev’s range is wider because of the mobility of his features in dramatics, but this makes me think that it might be caution or just snobbery on the part of people who have not seen Nijinsky and yet say that Nureyev is no Nijinsky.

Karsavina had seen both men as Albrecht in Giselle.

Here I can’t avoid comparison. While Nureyev’s dancing is superlative, Nijinsky’s interpretation of the role made a deeper impression on me.

I wonder if it was not the present tendency of the Russian Ballet towards elimination of mime gestures out of dramatic scenes which may have influenced Nureyev to be sparing of gesture. It seems to me that he missed the great opportunity of expressing grief and contrition at Giselle’s grave in emotional gestures; Nijinsky’s acting of the scene was more poignant.

Tamara Karsavina rehearsing Margot Fonteyn in Le Spectre de la Rose
Tamara Karsavina rehearsing Margot Fonteyn in Le Spectre de la rose
Whereas Nureyev was articulate and witty, dancing was Nijinsky’s only effective method of communication. In her memoir Theatre Street, Karsavina wrote,

Nijinsky had no gift of precise thought, still less that of expressing his ideas in adequate words. Were he called upon to issue a manifesto of his new creed, for his dear life he could not have given a clearer statement that the one he had given to explain his wonderful capacity for soaring in the air. Certainly, at the rehearsals of Jeux he was at a loss to explain what he wanted of me. And it was far from easy to learn the part by mechanical process of imitating the postures as demonstrated by him.

When comparing the two men for the BBC, she said, wisely,

Remember too that most of Nijinsky’s parts were created for him to bring into relief his special qualities. And, of course, Nijinsky is judged over his whole career ….

In 1963, at the time of this interview, Nureyev was 25; at that age, Nijinsky’s career was already over.

Nureyev is only just beginning, at least in the West.

She described Nureyev’s qualities thus:

First and foremost, the pure line of his attitudes tending upwards which confer a rare elegance; it can be seen not only in the dancing but also in the way he moves on the stage. The technique on a virtuoso level is there of course, but he uses it as a means to expressiveness. He’s also very musical and has a quality I have seldom before seen in such a degree: his ability to accelerate or slow down his pirouettes in absolute obedience to the rhythm. His jump is excellent and his leaps propel him through the air imparting an exhilarating dynamic quality, in a way the French so aptly describe as “devouring space”. Dévorer l’espace.

I noticed that particularly in Giselle and Swan Lake. To sum up he is an example of what, from time immemorial, has been called a danseur noble.

The interviewer asked for her to explain the difference between danseur noble and demi-caractère?

The word ‘character’ is self-explanatory. But I’ll give you a concrete instance. Viktor Rona – the Hungarian who took part in the Gala Matinee of the Royal Academy –  Rona is a representative of the demi-caractère kind. He comes from the same school as Nureyev and executes the same steps, but whereas everything Nureyev dances has lyricism, Rona gives the impression of joie de vivre; one is almost abstract like pure music, the other earthy-of the earth we love.

Rudolf Nureyev and Margot Fonteyn in Le Spectre de la rose
Rudolf Nureyev and Margot Fonteyn in Le Spectre de la rose
Karsavina was a founding member of the Royal Academy of Dance, and for its gala Rona had danced a pas de deux from Khachaturian’s ballet Gayane with Margot Fonteyn.

A very witty and original dance with a slight Caucasian flavour. The ballet itself is based on the theme of collective farming, but the enchantingly coy courtship of a Commissar may even gain from being taken out of its context.

Original? New steps?

Not exactly new steps. Rather the way in which they are used. For instance, when Margot accompanies her dance with a delightful pantomime with the hands, closing and opening them in front of her face as if peeping through a yashmak, or when Rona leaps upwards touching his toes with his hands while in mid-air.

Undoubtedly Nureyev could dance this pas de deux as Rona could dance some of Nureyev’s parts, but they would be neither’s cup of tea… I mean neither would do of their best in a part which did not fit well with their particular quality.

Nureyev is slimly built but of great muscular strength, of which the spectator remains unaware because it is only used as an invisible spring to his leap. Rona is taller, broad-shouldered-his strength I would call vigour, it attracts attention to a tour de force.

I think that physical build may even determine the style and the stage personality of a dancer.

vaslav nijinsky tamara karsavina in le spectre de la rose cropped

END

"В рамках Всероссийской акции «Ночь кино» в театральном музее им. А.А. Бахрушина пройдёт «Ночь Рудольфа Нуреева».Ведущей вечера станет журналист Ирина Арутюнян, исследователь творчества Нуреева. В программе мероприятия – показ документальных сюжетов о жизни и творчестве знаменитого артиста и экранизированной версии балета «Дон Кихот», созданной Нуреевым в 1973 году. Также зрители смогут увидеть уникальные архивные записи вечеров памяти артиста 2003 и 2008 годов, в которых принимали участие первая партнерша Рудольфа Нуреева Нинель Кургапкина, Роман Виктюк, Андрис Лиепа и многие другие.

«Ночь Рудольфа Нуреева» пройдёт 26 августа в Каретном сарае Театрального музея имени Бахрушина. Начало вечера в 19.00",
http://kino-teatr.ru/teatr/news/y2017/8 … 4/?from=fb

Отредактировано старки (09-08-2017 15:20:53)

Нынче сначала любитель,потом -исследователь-журналист, а потом уже, глядишь, научный работник с о степенью...можно и зарабатывать..

Отредактировано старки (09-08-2017 16:42:57)

Рудольф Нуриев и Эрик Брун