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The Kirov Ballet’s Fokine program also included Le Spectre de la Rose and Scheherazade. As the Golden Slave, Yevgeny Ivanchenko’s pounced into the oriental set designed by Anna Nezhnaya and Anatoly Nezny like a stage animal at his theatrical heights. His entrance reminded me of another Hollywood great—Charlton Heston in Ben Hur. Ivanchenko is beefy, masculine, and fabulously confident. When he jumped, his lines were erratic or plain messy, but his juicy embrace of his role—the sex-mad slave willing to die for erotic pleasure—made me cheer for him. In contrast, Leonid Sarafanov’s interpretation of the Rose in Spectre was fussy, though all of his jumps were beautiful, clean, and proportioned. Sarafanov’s object of interest was not the maiden, danced by Nadezhda Gonchar, but his arms, which he admired with dazed adoration. Before making the famous exit out the set’s window, Sarafanov patted Gonchar’s head like a dog that had gone around the block and done her business well.
Isabel Fokine, the granddaughter of the choreographer, helped reconstruct both Spectre and Scheherazade. Their overall effect was high camp. It’s hard to believe the serious-minded Fokine, who strove for theatrical cohesiveness in his ballets, would have been pleased with their performances. There was little that was soft and lyrical about the dancing in Spectre or Scheherazade. Significantly, Fokine lost artistic control of both of these ballets when he left the Ballets Russes in 1914, eventually moving to New York. And in New York on April 5, they looked burdened by excess, like a party ship carrying too many drunken guests.
Для невладеющих языками и он лайн переводчиками, кузин текст
http://www.kommersant.ru/doc.aspx?DocsID=354581 И это, повторю, первое, что выдает гугль.
Я бы не стал утруждаться ради этих истерических криков в поддержку профнепригодной дирекции и репетиторов, но меня учили аргументировать свои тезисы.
Невежество - это не новость на этой площадке, но всему же есть предел. Проблема с фокинским наследим стоит еще острее, чем с Петипа (по указанным выше причинам) и с какого бодуна поделки Андриса Лиепы стали Фокиным, мировой науке неизвестно.
