The Russian choreographer comes from France. Pierre Lacotte is a famous French dancer and choreographer. See what "French ballet" is in other dictionaries

French and Russian ballet have enriched each other more than once. And the French ballet master Roland Petit considered himself the "heir" of the traditions of S. Diaghilev's "Russian Ballet".

Roland Petit was born in 1924. His father was the owner of a diner - his son even had a chance to work there, and later in memory of this he staged a choreographic number with a tray, but his mother had a direct relationship to ballet art: she founded the Repetto company, which produces clothes and shoes for ballet. At the age of 9, the boy declares that he will leave home if he is not allowed to study ballet. Having successfully passed the exam at the School of the Paris Opera, he studied there S. Lifar and G. Rico, a year later he began performing in mimance in opera performances.

After graduating in 1940, Roland Petit became a corps de ballet artist at the Paris Opera, a year later he was chosen as a partner of M. Burg, and later he gave ballet evenings with J. Charr. At these evenings, small numbers are performed in choreography by J. Charr, but here R. Petit presents his first work - "Ski Jump". In 1943 he performed a solo part in the ballet Love the Enchantress, but he was more attracted by the activity of a choreographer.

After leaving the theater in 1940, 20-year-old R. Petit, thanks to the financial support of his father, staged the ballet "Comedians" at the Théâtre des Champs Elysees. The success surpassed all expectations - which made it possible to create his own troupe, called the "Ballet of the Champs Elysees". It existed for only seven years (the disagreements with the theater administration played a fatal role), but a lot of performances were staged: "The Youth and Death" to music and other works by R. Petit himself, performances by other choreographers of that time, excerpts from classical ballets - "La Sylphide" , "Sleeping Beauty", " ".

When the “Ballet de Champs Elysees” ceased to exist, R. Petit created the “Ballet of Paris”. Margot Fontaine joined the new troupe - it was she who performed one of the central roles in the ballet Girl in the Night to music by J. France (the other main part was danced by R. Petit himself), and in 1948 he danced in the ballet Carmen on music by J. Bizet in London.

Roland Petit's talent was appreciated not only among ballet fans, but also in Hollywood. In 1952, in the musical film "Hans Christian Andersen", he plays the role of the Prince from the fairy tale "The Little Mermaid", and in 1955, as a choreographer, participates in the creation of the films "The Crystal Slipper" based on the fairy tale "Cinderella" and - together with the dancer F. Astaire - "Long-legged daddy."

But Roland Petit is already experienced enough to create a multi-act ballet. And he created such a production in 1959, based on the drama by E. Rostand "Cyrano de Bergerac". A year later, this ballet was filmed along with three other productions of the choreographer - "Carmen", "Eater of Diamonds" and "Mourning for 24 Hours" - all of these ballets were included in Terence Young's film "One, Two, Three, Four, or Black Leotards." ... In three of them, the choreographer himself performed the main roles - Cyrano de Bergerac, Jose and the Bridegroom.

In 1965, Roland Petit staged the ballet Notre Dame de Paris to the music of M. Jarre at the Paris Opera. Of all the characters, the choreographer left four main characters, each of which embodies a certain collective image: Esmeralda - purity, Claude Frollo - meanness, Phoebus - spiritual emptiness in a beautiful "shell", Quasimodo - the soul of an angel in an ugly body (this role was played by R. Petit). Along with these heroes, there is a faceless crowd in the ballet, which with the same ease can save and kill ... The next work was the ballet Paradise Lost, staged in London, revealing the theme of the struggle of poetic thoughts in the human soul with a rough sensual nature. Some critics saw it as a "sculptural abstraction of sex." The final scene, in which the woman mourns the lost purity, seemed quite unexpected - she resembled an inverted piety ... Margot Fontaine and Rudolf Nureyev danced in this performance.

Heading the Ballet of Marseille in 1972, Roland Petit takes as a basis for the ballet performance ... the verses of V. V. Mayakovsky. In this ballet, entitled "Light the Stars," he himself plays the main role, for which he shaves his head. The next year he collaborates with Maya Plisetskaya - she dances in his ballet The Sick Rose. In 1978 he staged the ballet The Queen of Spades for Mikhail Baryshnikov, and at the same time - the ballet about Charlie Chaplin. The choreographer was personally acquainted with this great actor, and after his death he received the consent of the actor's son to create such a production.

After 26 years at the head of the Ballet de Marseille, R. Petit left the troupe due to a conflict with the administration and even banned staging his own ballets. At the beginning of the XXI century he collaborated with the Bolshoi Theater in Moscow: "Passacaglia" to the music of A. Webern, "The Queen of Spades" to the music of PI Tchaikovsky, was staged in Russia and his "Notre Dame Cathedral". The audience was greatly interested in the Roland Petit Tells program presented at the Bolshoi Theater on the New Stage in 2004: Nikolai Tsiskaridze, Lucia Lakkara and Ilze Liepa performed excerpts from his ballets, while the choreographer himself spoke about his life.

The choreographer passed away in 2011. Roland Petit has staged about 150 ballets - he even claimed to be "more prolific than Pablo Picasso." For his work, the choreographer has repeatedly received state awards. At home in 1974 he was awarded the Order of the Legion of Honor, and for the ballet The Queen of Spades he was awarded the State Prize of the Russian Federation.

Music Seasons

A ballet master is a director of dance numbers in concerts, ballet performances, choreographic scenes in musical and dramatic performances, the head of a dance ensemble or a troupe of dancers. This is the person who comes up with and brings to life the images of characters, their movements, plastics, chooses musical material, and also determines what the light, makeup, costumes, and decorations should be.

Choreographer

How strong an emotional impact a dance number, a choreographic scene in a musical and drama theater or the entire ballet performance will have, depends on how beautifully and accurately the movements and interactions of dancers and dancers are organized, on the expressiveness and originality of their movements, on how their dances are combined with musical material, with stage lighting, with costumes and make-up - all this together creates a single image of the whole action. And the choreographer is exactly the person who is its creator. He must know all the rules and subtleties of the art of ballet, its history, in order to create such dances that will be interesting for spectators to watch and dancers perform. The director must have knowledge, have the experience and abilities of an organizer, have a rich imagination, fantasy, be original in his ideas, have talent, be musical, understand music, have a sense of rhythm, be able to express emotions with the help of plastic - it is from these components that art is formed choreographer. If all this is in the arsenal of the leader, then his production will be a success with the public and critics.

The word "choreographer" in translation into Russian means "master of dance". This profession is difficult, and it requires a lot of labor and effort, both physical and moral. The director must show all performers their parts, explain what emotions they should express in plasticity and facial expressions. The complexity of this work is also in the fact that the dance script cannot be written down on paper, the choreographer must keep it in his head and show the artists so that they learn their part. Acquaintance of dancers with the role takes place directly at rehearsals, while actors of drama and musical theater have the opportunity to get text and musical material in advance. The choreographer must reveal to the performer the content of his role, showing him what to dance and how. And the more expressively the director demonstrates his idea to the artist, the faster and easier his idea will be understood and assimilated.

The task of the choreographer is also to arrange the dance or the entire performance in such a way as to maintain and increase the audience's interest. By themselves, dance movements are just mechanical exercises, a set of poses that will not tell the viewer anything, they will only demonstrate the flexibility of the performer's body, and they will speak only if the director fills them with thought and feeling and helps the artist to put into them also his soul. To a large extent, the success of the performance and the duration of its "life" on stage will depend on this. The very first performer of all dances is the choreographer himself, because he must first demonstrate to the performers their parts.

Choreographers of the past and present

Famous ballet masters of Russia and the world of the 19th and 20th centuries:

• Marius Petipa, who made a huge and invaluable contribution to Russian ballet;
• Jose Mendes - was a stage director in many famous theaters in the world, including the Bolshoi Theater in Moscow;
• Filippo Taglioni;
• Jules Joseph Perrot is one of the brightest representatives of the "romantic ballet";
• Gaetano Gioia - representative of the Italian choreodrama;
• George Balanchine - laid the foundation for American ballet, as well as modern ballet neoclassicism, believed that the plot should be expressed exclusively with the help of the dancers' bodies, and the scenery and lush costumes were unnecessary;
• Mikhail Baryshnikov - made a great contribution to the world ballet art;
• Maurice Béjart is one of the brightest ballet masters of the 20th century;
• Maris Liepa;
• Pierre Lacotte - was engaged in the restoration of ancient choreography;
• Igor Moiseev - the creator of the first professional ensemble in Russia in the folk genre;
• Vaclav Nijinsky - was an innovator in the art of choreography;
• Rudolf Nureyev;

Modern choreographers of the world:

• Jerome Belle - representative of the school of modern ballet;
• Angelin Preljocaj is a bright representative of the new

Choreographers of Russia of the 21st century:

• Boris Eifman - the creator of his own theater;
• Alla Sigalova;
• Lyudmila Semenyaka;
• Maya Plisetskaya;
• Gedeminas Taranda;
• Evgeny Panfilov is the creator of his own ballet troupe, an enthusiast in the genre of free dance.

All these Russian choreographers are very famous not only in our country, but also abroad.

Marius Petipa

French and Russian choreographer who left a huge legacy. From 1847 he entered the service as a choreographer at the Mariinsky Theater in St. Petersburg and at the Bolshoi Theater in Moscow, at the invitation of the Russian emperor. In 1894 he became a subject of the Russian Empire. Has directed a huge number of ballets such as Giselle, Esmeralda, Le Corsaire, Pharaoh's Daughter, Don Quixote, La Bayadere, A Midsummer Night's Dream, Daughter of the Snows, Robert the Devil "And many others. dr.

Roland Petit

There are famous choreographers who are considered the classics of ballet of the 20th century. Among them, one of the brightest figures is Roland Petit. In 1945 he created his own ballet troupe in Paris, which was named the "Ballet de Champs Elysees". A year later, he staged the famous play "The Youth and Death" to the music of I.S. Bach, who entered the classics of world art. In 1948, Roland Petit founded a new ballet company called the Ballet de Paris. In the 50s, he was a dance director for several films. In 1965 he staged in Paris the legendary ballet Notre Dame de Paris, in which he himself played the role of the hunchback Quasimodo, in 2003 he staged this production in Russia - at the Bolshoi Theater, where Nikolai Tsiskaridze danced the role of the ugly bell ringer.

Gedeminas Taranda

Another world famous choreographer is Gedeminas Taranda. After graduating from the choreographic school in Voronezh, he was a soloist at the Bolshoi Theater in Moscow. In 1994 he founded his "Imperial Russian Ballet", which gave him worldwide fame. Since 2012, he has been the leader and co-founder of the Foundation for the Promotion of Creative Education, President of the Grand Pa Ballet Festival. Gedeminas Taranda holds the title of Honored Artist of Russia.

Boris Eifman

A bright, modern, original, choreographer is B. Eifman. He is the founder of his own ballet theater. Has various titles and awards in the field of art. His first performances in 1960 were: "Towards Life" to the music of composer D.B. Kabalevsky, as well as "Icarus" to music by V. Arzumanov and A. Chernov. Fame as a choreographer brought the ballet "Firebird" to the music of the composer. Since 1977 he has been directing his own theater. Boris Eifman's productions are always original, they are innovative, they combine academic, non-pointe and modern rock choreography. Every year the troupe goes on tour to America. The repertoire of the theater includes children's and rock ballets.

Pierre Lacotte is a dancer and choreographer, a recognized expert in ancient choreography. He is called a ballet archaeologist, a choreographic antiquary. He is a recognized restorer of forgotten masterpieces of the past centuries.

Pierre Lacotte was born on April 4, 1932. He studied at the ballet school at the Paris Opera, took lessons from the great Russian ballerinas - Matilda Kshesinskaya, Olga Preobrazhenskaya, Lyubov Egorova. He got along especially well with his first teacher Egorova - she had an excellent memory, she remembered Marius Petipa's ballets in every detail and told the boy all the roles, both major and minor.

Visiting the Green Living Room - Pierre Lacotte,

At the age of 19, Pierre Lacotte became the first dancer of the main theater in France. He danced with such stars as Yvette Chauvire, Lisette Darsonval, Christian Vossart. At the age of 22, he became interested in contemporary dance, began to stage on his own, abandoned his career as a classical dancer and in 1955 left the Paris Opera. In 1957 he danced at the New York Metropolitan Opera.

In the second half of the fifties and early sixties, Lacotte directed the Eiffel Tower Ballet troupe, which performed at the Théâtre des Champs-Elysees, staged the performances “The Fairy Night”, “The Parisian Boy” to the music of Charles Aznavour and others. In 1963-1968 he was the artistic director of the troupe National Ballet of French Musical Youth, for which he staged A Simple Symphony to the music of Britten, Hamlet to the music of Walton, and Future Passions to the music of Lutoslawski. There, for the first time, the brilliant dancer Ghilen Tesmar, who later became the wife of Lacotte, made herself known.

"Sylphide" is an absolute symbol of romantic ballet. It was in La Sylphide that the ballerina Maria Taglioni first rose to pointe shoes (“not for effect, but for the sake of imaginative tasks”). Taglioni's heroine really seemed like a supernatural being, not a woman, but a spirit that defied the laws of attraction, when the dancer "glided" across the stage, almost without touching the floor, and froze for a moment in a flying arabesque, as if supported by a miraculous force on the tip of her arched foot. It was this "Sylphide", staged for Maria by her father Filippo Taglioni, that French choreographer Pierre Lacotte carefully revived 150 years later.

In 1971, Lacotte unexpectedly reconstructed the ballet La Sylphide, staged in 1832 by Philip Taglioni for his legendary daughter. The performance, made for television, made a splash, was transferred to the stage of the Paris Opera in 1972, spawned a fashion for old ballets and became the first in a long line of Lacotte relaunches. The reconstruction was not one hundred percent - Lacotte could not “sink” to the imperfect technique of the dancers of that era and put all ballerinas on pointe shoes, although in the 1832 La Sylphide Maria Taglioni stood on toes, and the choreography played out this.

The plot of the ballet is based on the fantastic novella Trilby (1822) by the French writer Charles Nodier. The premiere of the ballet to music by the French composer Jean Schneizhoffer took place in 1832 at the Grand Opera in Paris.
Composer: J. Schneitzhoffer. Stage choreographer: Pierre Lacotte
Set design and costumes: Pierre Lacotte. Mariinskii Opera House. Music - Cesare Puni. Choreography - Pierre Lacotte
Cast: Undine - Evgenia Obraztsova, Matteo - Leonid Sarafanov, Dzhanina - Yana Serebryakova, Lady of the Sea - Ekaterina Kondaurova, Two undine - Nadezhda Gonchar and Tatiana Tkachenko.

The French maestro worked on the ballet "Ondine" for several years - a rare event in the Western world. It began with the fact that he came to St. Petersburg at the invitation of the directorate of the Mariinsky Theater for negotiations - what Lacotte could stage in this theater. Choreographer Nikita Dolgushin found an old score for Ondine, a Petersburg version of the ballet staged by Jules Perrot in 1851. Lacotte realized it was destiny. He took up "Ondine", began to bring together the St. Petersburg and London versions, based on three scenarios Perrault created one, and the ballet turned out to be far from perfect, but giving an idea of ​​the choreography of that time.

For the Paris Opera troupe, Lacotte restored Arthur Saint-Léon's Coppelia in 2001, which premiered in 1870. He himself played the role of the old eccentric Coppelius.

In 1980 with the Moscow Classical Ballet ensemble, the French choreographer staged for Ekaterina Maximova the play Natalie, or the Swiss Milkmaid, another largely forgotten ballet by Filippo Taglioni.

But Lacotte is not a touring choreographer without a troupe of his own. In 1985 he became director of the Monte Carlo Ballet. In 1991, Pierre Lacotte became director of the State Ballet of Nancy and Lorraine. With his arrival, the ballet of the city of Nancy became the second most important classical troupe in France (after the Paris Opera).

He acquired the archive of Maria Taglioni and is going to publish a book about this legendary ballerina. He is full of new ideas ...

belcanto.ru ›lacotte.html

French ballet FRENCH BALET. In France, in the Compare century, the dance was part of the plank beds. games and church. festivities. From the 14th century. he was included in the mountains. theatrical performances and palace interludes, sometimes in the form of inserted scenes. In the 15th century. "momerias" with dances were performed during tournaments and festivities. Prof. dance in Sravn century developed on a folklore basis in the art of jugglers. Another source was the ballroom dancing (bass dance) of the palace festivities. On the basis of a variety of festive amusements, a form of performance was formed, which received in the end. 16th century name "ballet". Palace festivities organizers, Italian. dance masters who mastered the 16th century Italy. dance. school, were stage directors. The Ballet of Polish Ambassadors (1573) and The Queen's Comedy Ballet (1581), staged by Balthazarini di Belgioioso (Baltazar de Beaugoayo), became the first full-fledged examples of a new genre - a performance with a consistently developing action that included words, music, and dance.

Throughout the 17th century. development of "court ballet" has passed several. stages. In 1600-10 these were "ballets-masquerades" ("Masquerade of the Fair of Saint-Germain", 1606), in 1610-1620 - "melodramatic ballets" with singing, based on mythological. plots and productions. literature ("Ballet of the Argonauts", 1614; "The Madness of Roland", 1618), then held out until the end. 17th century "ballets at the exits" (Royal Ballet of the Night, 1653). Their performers were courtiers (in 1651–70 - King Louis XIV) and prof. dancers are "baladens". In the 1660s and 70s. Moliere together with comp. J. B. Lully and ballet. P. Beauchamp created the genre of "comedy-ballet" ("Bourgeois in the nobility", 1670), where the dance was dramatized, imbued with modern. content. In 1661, Beauchamp headed the Royal Academy of Dance (existed until 1780), designed to regulate the forms and terminology of ballet dance, which began to take shape in the classical system. dance. In 1669 it was founded and opened in 1671 muses. tr - Royal Academy of Music, to-ry in 1672 headed by Lully. In his operas ("lyrical tragedies"), which gradually crowded out the court ballet, dance occupied a subordinate position. But within the performance there was a process of professionalizing the dance, polishing its forms in the art of Beauchamp, dancer G.L. Pekura and prof. dancers (and others.>.), who first appeared in 1681 in Lully's ballet "The Triumph of Love". To the end. 17th century achievements of choreography are reflected in the theoretical. works by K. F. Menetrie ("On the ballets old and modern according to the laws of theater", 1682) and R. Feye ("Choreography and the art of recording a dance", 1700). At the turn of the 17th and 18th centuries. famous were the dancers N. Blondy and J. Balon, the dancer M. T. de Subliny.

Moose. tr 2nd floor 17-18 centuries. was classicist, but in the ballet, due to its slow development, the features of the baroque were preserved for a long time. The performances remained lush and cumbersome, devoid of stylistic unity.

At the beginning of the 18th century. there were signs of stagnation in the ideological-figurative content of the ballet with the further enrichment of the dance technique. The general trend in the development of ballet t-ra in the 18th century. - the desire for self-determination, the creation of an integral performance, the content of which would be expressed in pantomime and dance. However, the old forms persisted throughout the 18th century, especially on the stage of the Royal Academy of Music, evoking criticism of the enlighteners (D. Diderot and others). In the beginning. 18th century these were gallant pastorals, from the 30s. - operas-ballets comp. J. F. Rameau ("Gallant India", 1735), where the dance still figured in the form of weakly connected with the plot of the exits. Virtuoso performers became famous in these performances: dancer M. Camargo, dancer L. Dupre, brother and sister of Lani. Attempts to convey a dramatic dance. content was outlined in the act of the dancer F. Prevost (pantomime on the plot of the episode from "The Horatii" by P. Corneille to the music of J. J. Mouret, 1714; "Characters of the Dance" to the music of J. F. Rebel, 1715) and especially M. Salle, edges, working alongside with the Royal Academy of Music also in London, put there "dramatic. Actions" on the antique. themes ("Pygmalion", 1734).

Under the influence of the ideas of the Enlightenment, in the work of the most progressive figures of the ballet theater, entertainment gave way to "imitation of nature", which assumed the naturalness of characters and the truth of feelings. These experiences, however, hardly penetrated the stage of the Royal Academy of Music. The activities of the great reformer of the ballet theater J. J. Nover took place outside this theater and partly outside France (Stuttgart, Vienna, London). The principles of the reform of the ballet t-ra were outlined by Nover in theoretical. the work "Letters about Dance and Ballets" (1st ed., 1760). The ballets he created under the influence of the ideas of the Enlightenment were not an entertaining show, but a serious theater. performance, often on the subjects of classicist tragedies. They possessed integrity, the actions and experiences of the characters were expressed by means of choreography (ch. Arr. Pantomime), without the participation of words. At the Royal Academy of Music in 1776–78 his Medea and Jason and Appeles and Campasp by Rodolphe, Horace Granier and Trinkets by Mozart were staged. In the 2nd floor. 18th century a number of choreographers carried out their experiments in the Parisian theater of the Italian comedy and in the theaters of Lyon and Bordeaux. A follower of Novers, J. Doberval, worked in Bordeaux, the creator of a new type of ballet comedy (A Vain Precaution, 1789). At the end. 18th century famous dancers M. Guimard, M. Allard, A. Geinel, Theodore, dancers G. Vestris, M. and P. Gardel, Doberval.

Since the 80s. 18th century until the 20s. 19th century P. Gardel was at the head of the troupe of the Academy of Music (in 1789-1814 it changed its name several times). The repertoire included his ballets ("Telemac" and "Psyche" by Miller, 1790; "Dancing" by Megul, 1800; "Paul and Virginia" by Kreutzer, 1806) and ballets by L. Milon ("Nina" to music by Peruis after Daleyrac, 1813 ; "Carnival of Venice" on the music of Perseuis after Kreutzer, 1816). In the 20s. there were ballets by J. Omer: "A Vain Precaution" by Herald according to Doberval (1828), "Somnambul" by Herald (1827), "Manon Lescaut" by Halevy (1830). Of the performers of the 1780-1810s. O. Vestris was especially famous, in the 10–20s. - dancers M. Gardel, E. Bigottini, J. Goslin, dancer L. Duport. During these years, the dance technique changed dramatically: not smooth, graceful, but virtuoso rotational and jumping movements, movements on half fingers became predominant. When in the 30s. the ballet t-r was influenced by the ideas of romanticism, these techniques acquired a new meaningfulness. In F. Taglioni's performances staged for his daughter M. Taglioni (La Sylphide, 1832; The Virgin of the Danube, 1836), ch. the characters were fantastic. creatures dying from contact with reality. A new style of dance was developed here, based on the aerial flight of movements and the technique of dancing on pointe, creating a feeling of weightlessness. In the 30s and 50s. ballet in France reached its highest rise. One of the most meaningful. manuf. this direction was staged by J. Coralli and J. Perrot "Giselle" (1841). Repertoire of the Academy of Music 40-50s consisted of romantic. ballets Coralli (Tarantula by K. Gide, 1839; Peri, 1843) and J. Mazilier (Paquita, 1846; Le Corsaire, 1856). At the same time, Perrault performed outside France (mostly in London, but performed by French artists) his best ballets - Esmeralda (1844), Catharina, the Robber's Daughter (1846), etc. These were performances , close to the art of the romantic poets of the Revolutionary era. ups, to-rye influenced the audience heroic. pathos, the power of passions. Intense action was embodied in the culmination. moments of developed dance, special attention was paid to the characteristic dance. F. Elsler had great success in them. Others have performed in France. famous romantic. dancers - K. Grisi, L. Gran, F. Cerrito. Practice and theory romantic. ballet is reflected in the works of F.A.J. Castile-Blaz and T. Gaultier, who was also the author of a number of scripts.

With the decline of romanticism (70–90s of the 19th century), ballet lost its connection with the ideas of our time. Productions by A. Saint-Léon at the Academy of Music in the 60s. attracted by the wealth of the dance and the abundance of stage performances. effects ("Nemea" Min-kusa and others.>.). The best ballet of Saint-Léon is Coppelia (1870). In 1875 the troupe of the t-ra began to work in a new building built by architect. C. Garnier, and the name of the ballet of the Paris Opera was established behind her. But ballet art in the 80s and 90s. 19th century degraded. At the Paris Opera, ballet has become an appendage to the opera performance. An appeal to the ballets of the composers L. Delibes ("Sylvia" in the post. Meranta, 1876), E. Lalo ("Namuna" in the post. L. Petipa, 1882), A. Messager ("Two Doves" in the post. Meranta, 1886 ) did not change the position. Performances by Merant in the 70s-80s, I. Hansen in the 90s. and at the beginning. 20th century ("Maladetta" Vidal, 1893; "Bacchus" Duvernois, 1905) did not enjoy success, despite the participation of the outstanding dancer K. Zambelli. The revival of ballet in France took place under the influence of the Russian and was associated with the Russian seasons, which S.P.Diaghilev conducted in Paris from 1908 (the first performance of the ballet in 1909), as well as with the activities of the Diaghilev Russian Ballet troupe, which performed in France in 1911 –29. Many artists and choreographers who worked here were later associated with the French. ballet t-rom: M. M. Fokin, L. F. Myasin, B. F. Nizhinskaya, J. Balanchine, S. Lifar. Others also had an impact. Russian troupes and artists: the troupe of I. L. Rubinstein (1909–11 and in the 1920s), for which they wrote K. Debussy (The Martyrdom of St. Sebastian, ballet Rubinstein, 1911) and M. Ravel ( "Bolero", ballet Nizhinskaya, 1928); NV Trukhanov, for a cut was staged by IN Khlyustin, who also worked at the Paris Opera. Rus. troupes turned to the music of the French. comp. (Ravel, Debussy, Duque, in the 1920s - composers of "Six"), for their performances created the scenery of the French. artists (P. Picasso, A. Matisse, F. Leger, J. Rouault and others.). After the 1st World War, pl. Russian artists opened ballet schools in Paris, which brought up more than one generation of French. artists. The director of the Paris Opera (1910–44) J. Rouchet, striving to raise the level of ballet, invited prominent artists to the theater (L. S. Bakst, R. Dufy, M. Brianchon, I. Breyer, M. Detoma), Russian. artists, choreographers. Some revival of the activity of the Opera ballet was outlined back in the 10–20s. A number of post performances. L. Stats ("Bees" to music by Stravinsky, 1917; "Sidaliz and Satyr" by Piernet, 1923), invited Fokine ("Daphnis and Chloe", 1921), O. A. Spesivtseva. After 1929, on the basis of Diaghilev's entreprise, a number of Russian-French ballet companies: "Balle rus de Monte-Carlo" and others. In 1930–59 (break 1944–47) the opera troupe was headed by S. Lifar, who staged St. 50 performances. His activities were of great importance to the French. ballet, which has regained its former prestige. The Opera's repertoire has been completely renewed. Major composers, artists, screenwriters were involved in the creation of ballets. Lifar used antique, biblical, legendary subjects for his performances, sometimes interpreting them symbolically: "Icarus" to the rhythms of Sifer (1935, revived in 1962 with decorations by P. Picasso), "Joan of Tsarissa" by Egka (1942), "Phaedra" Orica (1950, with a script and sets by J. Cocteau), Sauguet's Visions (1947), Delannoy's Fantastic Wedding (1955). From his older contemporaries, the choreographers of the Diaghilev enterprise, Lifar adopted the traditions of Fokin's ballet drama and the traditions of 19th century choreography, where the main means of expression was the classical. dance. Dance. he modernized the language and built images on the basis of rational, not emotional (Lifar's "neoclassicism"). More than one generation of French was brought up on his performances. artists: dancers S. Schwartz, L. Darsonval, I. Shovire, M. Lafon, K. Vossard, L. Deide, K. Bessie; dancers M. Reno, M. Bozzoni, A. Kalyuzhny, J. P. Andreani, A. Labis. However, the abstract rhetoric inherent in Lifar's ballets, the loss of connection with the modern. reality, especially felt after the 2nd World War 1939–45, caused dissatisfaction by this time. Young artists, looking for new ways and rapprochement of art with modernity, began to work outside the Opera, whose repertoire Lifar limited to his own productions. R. Petit created the troupe Ballet of the Champs Elysees (1945–51) and the Ballet of Paris (1948–67, intermittently), where he staged the ballets The Wandering Comedians Soge (1945), The Youth and Death to music. JS Bach (1946), "Carmen" on music. Bizet (1949), "The Wolf" by Dutilleux (1953). Later (in the 60s and 70s), among his best works were Notre Dame Cathedral (1965, Paris Opera) and Light the Stars! to the combined music (1972, "Marseille Ballet"). Petit works in the dramatic genre. ballet (several scenarios for him were written by J. Anouil), which gravitates first to tragedy, then, especially in the early period, to buffoonery comedy, but always built on living characters and combining dance. forms with everyday vocabulary. In the best ballets, he turns to conflicts that reflect the real contradictions of life, and resolves them in a humanistic way. plan (rejection of the inevitability of evil, moral fortitude, faith in a person). Along with Petit himself, dancers N. Vyrubova, R. Zhanmer, E. Pagava, N. Filippar, K. Marchand, V. Verdi, I. Skorik, dancers J. Babile, Y. Algarov, R. Briand. In the 50s. others arose as well. troupes, where searches were conducted in the field of theme renewal and dance. language: Ballet of France and others. troupes J. Charr, "Balle de l'Eguale" under the direction of M. Bejart. Bejart, despite the fact that since 1960 became the head of the Brussels Ballet of the XX century, is one of the leading French ballet masters. He sees choreography in art a means of expressing an attitude to life's problems, sometimes directly, sometimes in a philosophical or mystical aspect.The choreographer shows a special interest in Eastern philosophy, Eastern theater forms and dance (ballet "Bakti" to Indian music, 1968). forms of choreographic spectacle: a kind of "total t-ra" with a predominance of choreography ("Four Sons of Emon" to the combined music, 1961), ballets with verbal text ("Baudelaire" to the combined music and poetry, 1968; "Our Faust" to the combined music, 1975), monumental performances in sports arenas and in circuses (The Ninth Symphony to music by L. Beethoven, 1964). He staged his own versions of famous ballets: The Rite of Spring, 1959; Bolero, 1961; Heat -bird ", 1970. A keen sense of modernity makes Béjart's ballets close before for this claim of the audience, especially the youth.

In the 70s. the Paris Opera was reorganized. Two tendencies have emerged here: on the one hand, to include approved ballets by prominent choreographers (Balanchine, Robbins, Petit, Bejart, Alicia Alonso, Grigorovich) in the repertoire and restore the canonical. edition of old ballets ("La Sylphide" and "Coppelia" in the editorship of P. Lakot), on the other hand, provide an opportunity to experiment with young French. choreographers (F. Blaska, N. Shmuki) and foreigners, incl. representatives of modern dance (G. Tetley, J. Butler, M. Cunningham). The Theater Group was established at the Opera in 1974. searches under the hands. American women K. Carlson. Departing from the usual academicism, the Paris Opera follows the general trend of the French. ballet, where increased interest in the latest theater. forms.

In the 60s and 70s. many people worked in France. ballet troupes: "Grand Balle du Marc de Cuevas" (1947–62), which focused on the traditional repertoire, attracting famous performers (T. Tumanova, N. Vyrubova, S. Golovin, V. Skuratov); Contemporary ballet in Paris (ballet by F. and D. Dupuis, since 1955), French Dance Theater J. Lazzini (1969–71), Felix Blaski Ballet (since 1969, since 1972 in Grenoble), Nat. ballet of muses. youth of France (ballet. Lacotte, from 1963 - to the end. 60-ies.), Ballet troupe under the hands. J. Roussillo (from 1972), Theater of Silence (from 1972). Many troupes work in the provinces: the Modern Ballet Theater (ballet F. Adre, since 1968 in Amiens, since 1971 in Angers), Ballet of Marseille (ballet Petit, since 1972), Rhine Ballet (since 1972 in Strasbourg, ballet P. van Dijk since 1974), at the opera theaters of Lyon (ballet by V. Biagi), Bordeaux (ballet by Skuratov). Leading soloists of the 60s – 70s: J. Amiel, S. Atanasov, C. Bessy, J. P. Bonfoux, R. Briand, D. Ganio, J. Guizerix, M. Denard, A. Labis, C. Motte, J. Piletta, N. Pontois, V. Piollet, J. Rayet, G. Tesmar, N. Thibon, J.P. Franchetti.

School at the Paris Opera was founded. in 1713 (since 1972 its director K. Bessie). In Paris since the 20s. 20th century worked numerous. private schools: M. F. Kshesinskaya, O. I. Preobrazhenskaya, L. N. Egorova, A. E. Volinin, H. Lander, B. Knyazev, M. Gube and others. The Classic Center was opened in Cannes in 1962. dance (founded by R. Hightower). Paris has hosted annual dance festivals since 1963; dance takes a large place at the festival in Avignon and others.

Among ballet magazines: "Archives internationale de la danse" (1932-36), "Tribune de la danse" (1933-39), "Art et danse" (since 1958), "Toute la danse et la musique" (since 1952 ), "Danse et rythmes" (c 1954), "Les saisons de la danse" (c 1968).

The most famous researchers and critics (20th century): A. Prunnier, P. Thugal, F. Reina, P. Michaud, L. Vaya, M.F.Cristu, I. Lidova, Y. Sazonova, A. Livio, Zh K. Dieni, A. F. Ersen. Lifar wrote more than 25 books.

Lit .: Khudekov S., History of dances, p. 1–3, St. Petersburg – P., 1913–15; Levinson Α., Ballet masters, St. Petersburg, 1914; Sollertinsky I., Life and theatrical work of Jean Georges Noverre, in the book; Noverre J. J., Letters about dance, [trans. from French], L., 1927; Mokulsky S., History of Western European Theater, Part 1, M., 1936; Choreography classics. [Sat], L. - M., 1937; Yu. Slonimsky, Ballet Masters, M. - L., 1937; his, Drama of the ballet theater of the XIX century, M., 1977; Iofiev M., Ballet "Grand Opera" in Moscow, in his book: Profiles of Art, M., 1965; Chistyakova V., Roland Petit, L., 1977; V. Krasovskaya, Western European Ballet Theater. Essays on history. From the origins to the middle of the 18th century, L., 1979; Prunleres H., Le ballet de cour en France avant Benserade et Lully, R. 1914; Levinson H., La vie de Noverre, in: Noverre J. G., Lettres sur la danse et sur les ballets, R.,; him, Marie Taglioni (1804–1884), R., 1929; Beaumont C. W., Three French dancers of the 18th century: Camargo, Sallé, Guimard, L., 1935; Lifar S., Giselle, apothéose du ballet romantique, P.,; Michaut P., Le ballet contemporain, R. 1950; Lidova I., Dix-sept visages de la danse française, R., 1953; Kochno B., Le ballet. , R., 1954; Reyna F., Des origines du ballet, P. 1955; Arout G., La danse contemporaine, R. 1955; Ouest I., The ballet of the Second empire, 1-2, L., 1953-1955; his, The romantic ballet in Paris, L., 1966; his, Le ballet de l "Opéra de Paris, R., 1976; Lobet M., Le ballet français d" aujourd "hui de Lifar à Béjart, Brux., 1958; Tugal R., Jean-Georges Noverre. Der große Reformator des Balletts, V., 1959; Laurent J., Sazonova J., Serge Lifar, rénovateur du ballet français (1929-1960), R., 1960; Christout MF, Le ballet de cour de Louis XIV, R., 1967 ; her, Maurice Béjart, R., 1972.

E. Ya. Surits.

Scene from the ballet "Triumph of Love"

A scene from the ballet "La Sylphide". Ballet. F. Taglioni

"Phaedra". Paris Opera. Ballet. S. Lifar

"Youth and Death". Ballet of the Champs Elysees. Ballet. R. Petit

"Firebird". Paris Opera. Ballet. M. Bejart

Ballet. Encyclopedias. - M .: Great Soviet Encyclopedia. Chief Editor Yu.N. Grigorovich. 1981 .

See what "French ballet" is in other dictionaries:

WORLD BALLET- United Kingdom. Before the tour of the troupe of Diaghilev and Anna Pavlova in London in 1910-1920s, ballet was presented in England mainly by performances of certain famous ballerinas on the stages of music halls, for example, the Danish woman Adeline Genet (1878 1970) ... Collier's Encyclopedia

BALLET UNTIL 1900- The origin of ballet as a court spectacle. At the end of the Middle Ages, the Italian princes paid great attention to the magnificent palace festivities. Dance occupied an important place in them, which gave rise to the need for professional dance masters. ... ... Collier's Encyclopedia

Ballet- Since the mid-30s. XVIII century in St. Petersburg, court ballet performances became regular. In 1738, the first Russian ballet school was opened in St. Petersburg (from 1779 the Theater School), which included ballet classes (now the Choreographic School); ... Saint Petersburg (encyclopedia)

Ballet "Giselle"- Giselle (full name Giselle, or Wilis, French Giselle, ou les Wilis) is a pantomime ballet in two acts to the music of Adolphe Charles Adam. Libretto by Théophile Gaultier, Vernois de Saint Georges and Jean Coralli. The ballet Giselle was created on the basis of an old ... ... Encyclopedia of Newsmakers

Igor Stravinsky's ballet "The Firebird"- The Firebird ballet is one of the earliest works by Igor Stravinsky and the first ballet on a Russian theme in the enterprise of Sergei Diaghilev, an outstanding organizer of the Russian Seasons in Paris. The idea of ​​creating a stage work of such a subject arose ... ... Encyclopedia of Newsmakers

In France on Wed. For centuries, dance was part of folk games and church festivals. From the 14th century. he was included in the mountains. theatrical performances and palace interludes, sometimes in the form of inserted scenes. In the 15th century. "momerias" with dances were performed during tournaments and festivities. Prof. dance on Wed century developed on a folklore basis in the art of jugglers. Another source was the ballroom dancing (bass dance) of the palace festivities. On the basis of a variety of festive amusements, a form of performance was formed, which received in the end. 16th century name "ballet". Palace festivities organizers, Italian. dance masters who mastered the 16th century Italy. dance. school, were stage directors. The Ballet of Polish Ambassadors (1573) and The Queen's Comedy Ballet (1581), staged by Baltazarini di Belgioioso (Balthazar de Beaujouillet), became the first full-fledged examples of a new genre - a performance with a consistently developing action that included words, music, and dance. Throughout the 17th century. development of "court ballet" has passed several. stages. In 1600-10 these were "ballets-masquerades" ("Masquerade of Saint-Germain Fair", 1606), in 1610-1620 - "melodramatic ballets" with singing, based on mythological. plots and productions. literature ("Ballet of the Argonauts", 1614; "Roland's Madness", 1618), then held out until the end. 17th century "ballets at the exits" (Royal Ballet of the Night, 1653). Their performers were courtiers (in 1651-70 - King Louis XIV) and prof. dancers are "baladens". In the 1660s and 70s. Moliere together with comp. J. B. Lully and ballet. P. Beauchamp created the genre of "comedy-ballet" ("Bourgeois in the nobility", 1670), where the dance was dramatized, imbued with modern. content. In 1661, Beauchamp became the head of the Royal Academy of Dance (existed until 1780), designed to regulate the forms and terminology of ballet dance, which began to take shape in the system of classical dance. In 1669 it was founded and opened in 1671 muses. theater - Royal Academy of Music, which in 1672 was headed by Lully. In his operas ("lyrical tragedies"), which gradually crowded out the court ballet, dance occupied a subordinate position. But within the performance there was a process of professionalizing the dance, polishing its forms in the art of Beauchamp, dancer G.L. Pekura and prof. dancers (La Fontaine and others), who first appeared in 1681 in Lully's ballet The Triumph of Love. To the end. 17th century achievements of choreography are reflected in the theoretical. works by K. F. Menetrie ("On the ballets old and modern according to the laws of theater", 1682) and R. Feye ("Choreography and the art of recording a dance", 1700). At the turn of the 17-18 centuries. famous were the dancers N. Blondy and J. Balon, the dancer M. T. de Subliny.

Moose. theater 2nd floor 17-18 centuries was classicist, but in the ballet, due to its slow development, the features of the baroque were preserved for a long time. The performances remained lush and cumbersome, devoid of stylistic unity.

At the beginning of the 18th century. there were signs of stagnation in the ideological-figurative content of the ballet with the further enrichment of the dance technique. The general trend in the development of ballet theater in the 18th century. - the desire for self-determination, the creation of an integral performance, the content of which would be expressed in pantomime and dance. However, the old forms persisted throughout the 18th century, especially on the stage of the Royal Academy of Music, evoking criticism from the enlighteners (D. Diderot and others). In the beginning. 18th century these were gallant pastorals, from the 30s. - operas-ballets comp. J. F. Rameau ("Gallant India", 1735), where the dance still figured in the form of weakly connected with the plot of the exits. Virtuoso performers became famous in these performances: dancer M. Camargo, dancer L. Dupre, brother and sister of Lani. Attempts to convey the dramatic dance. content was outlined in the art of the dancer F. Prevost (pantomime on the plot of the episode from "The Horatii" by P. Corneille to the music of J. J. Mouret, 1714; "Characters of the Dance" to the music of J. F. Rebel, 1715) and especially M. Sallé, who, working alongside the Royal Academy of Music in London as well, staged "dramatic actions" there in antiquity. themes ("Pygmalion", 1734).

Under the influence of the ideas of the Enlightenment, in the work of the most progressive figures of the ballet theater, entertainment gave way to "imitation of nature", which assumed the naturalness of characters and the truth of feelings. These experiences, however, hardly penetrated the stage of the Royal Academy of Music. The activities of the great reformer of the ballet theater J. J. Novers took place outside this theater and partially outside France (Stuttgart, Vienna, London). The principles of ballet theater reform were outlined by Nover in theoretical. the work "Letters about Dance and Ballets" (1st ed., 1760). The ballets he created under the influence of the ideas of the Enlightenment were not an entertaining show, but a serious theater. performance, often on the subjects of classicist tragedies. They possessed integrity, the actions and experiences of the characters were expressed by means of choreography (ch. Arr. Pantomime), without the participation of words. At the Royal Academy of Music in 1776-78 his "Medea and Jason" and "Appeles and Campasp" by Rodolphe, "Horace" Granier and "Trinkets" by Mozart were staged. In the 2nd floor. 18th century a number of choreographers carried out their experiments in the Italian Comedy Theater in Paris and in the theaters of Lyon and Bordeaux. A follower of Novers, J. Doberval, worked in Bordeaux, the creator of a new type of ballet comedy (A Vain Precaution, 1789). In the end. 18th century famous dancers M. Guimard, M. Allard, A. Geinel, Theodore, dancers G. Vestris, M. and P. Gardel, Doberval.

Since the 80s. 18th century until the 20s. 19th century P. Gardel was at the head of the troupe of the Academy of Music (in 1789-1814 it changed its name several times). The repertoire included his ballets (Telemac and Psyche by Miller, 1790; Dancemania by Megula, 1800; Paul and Virginia by Kreutzer, 1806) and ballets by L. Milon (Nina to music by Peruis after Daleirak, 1813 ; "Carnival of Venice" on the music of Perseuis after Kreutzer, 1816). In the 20s. there were ballets by J. Omer: "A Vain Precaution" by Herald according to Doberval (1828), "Somnambul" by Herald (1827), "Manon Lescaut" by Halevy (1830). Of the performers of the 1780-1810s. O. Vestris was especially famous, in the 10-20s. - dancers M. Gardel, E. Bigottini, J. Goslin, dancer L. Duport. During these years, the dance technique changed dramatically: not smooth, graceful, but virtuoso rotational and jumping movements, movements on the half-fingers became predominant. When in the 30s. the ballet theater was influenced by the ideas of romanticism, these techniques acquired new meaningfulness. In F. Taglioni's performances staged for his daughter M. Taglioni (La Sylphide, 1832; The Virgin of the Danube, 1836), ch. the characters were fantastic. creatures dying from contact with reality. A new style of dance was developed here, based on the aerial flight of movements and the technique of dancing on pointe, creating a feeling of weightlessness. In the 30-50s. ballet in France reached its highest rise. One of the most meaningful. manuf. this direction was staged by J. Coralli and J. Perrot "Giselle" (1841). Repertoire of the Academy of Music of the 40-50s consisted of romantic. ballets Coralli (Tarantula by K. Gide, 1839; Peri, 1843) and J. Mazilier (Paquita, 1846; Le Corsaire, 1856). At the same time, Perrault performed outside France (mostly in London, but performed by French artists) his best ballets - Esmeralda (1844), Catharina, the Robber's Daughter (1846), etc. These were performances , close to the art of the romantic poets of the Revolutionary era. ups that affected the audience heroic. pathos, the power of passion. Intense action was embodied in the culmination. moments of developed dance, special attention was paid to the characteristic dance. F. Elsler had great success in them. Other famous romantic musicians performed in France. dancers - K. Grisi, L. Gran, F. Cerrito. Practice and theory romantic. ballet is reflected in the works of F.A.J. Castille-Blaz and T. Gaultier, who was also the author of a number of scripts.

With the decline of romanticism (70-90s of the 19th century), ballet lost its connection with the ideas of our time. Productions by A. Saint-Léon at the Academy of Music in the 60s. attracted by the wealth of the dance and the abundance of stage performances. effects ("Nemea" by Min-kus, etc.). The best ballet of Saint-Léon is Coppelia (1870). In 1875 the troupe of the theater began to work in a new building, built by architect. C. Garnier, and the name of the ballet of the Paris Opera was established behind her. But ballet art in the 80-90s. 19th century degraded. At the Paris Opera, ballet has become an appendage to the opera performance. An appeal to the ballets of the composers L. Delibes ("Sylvia" in the post. Meranta, 1876), E. Lalo ("Namuna" in the post. L. Petipa, 1882), A. Messager ("Two Doves" in the post. Meranta, 1886 ) did not change the position. Performances by Merant in the 70-80s, I. Hansen in the 90s. and at the beginning. 20th century ("Maladetta" Vidal, 1893; "Bacchus" Duvernois, 1905) did not enjoy success, despite the participation of the outstanding dancer K. Zambelli. The revival of ballet in France took place under the influence of the Russian and was associated with the Russian Seasons, which S.P.Diaghilev conducted in Paris from 1908 (the first performance of the ballet in 1909), as well as with the activities of the Diaghilev Russian Ballet troupe, which performed in France in 1911-29 ... Many artists and choreographers who worked here were later associated with the French. ballet theater: M. M. Fokin, L. F. Myasin, B. F. Nizhinskaya, J. Balanchine, S. Lifar. Influence was also exerted by other rus. troupes and artists: the troupe of I. L. Rubinstein (1909-11 and in the 1920s), for which K. Debussy ("The Martyrdom of St. Sebastian", ballet. Rubinstein, 1911) and M. Ravel ("Bolero ", ballet. Nijinska, 1928); N.V. Trukhanov, for which was staged by I.N. Khlyustin, who also worked at the Paris Opera. Rus. troupes turned to the music of the French. comp. (Ravel, Debussy, Duque, in the 1920s - composers of "Six"), for their performances created the scenery of the French. artists (P. Picasso, A. Matisse, F. Léger, J. Rouault and others). After the 1st World War, pl. Russian artists opened ballet schools in Paris, which brought up more than one generation of French. artists. The director of the Paris Opera (1910-44) J. Rouche, striving to raise the level of ballet, invited prominent artists to the theater (L. S. Bakst, R. Dufy, M. Brianchon, I. Breyer, M. Detoma), Russian. artists, choreographers. Some revival of the activity of the Opera ballet was outlined in the 10-20s. A number of post performances. L. Stats ("The Bees" to music by Stravinsky, 1917; "Sidaliz and Satyr" by Piernet, 1923), invited Fokine ("Daphnis and Chloe", 1921), O. A. Spesivtseva. After 1929, on the basis of Diaghilev's entreprise, a number of Russian-French. ballet companies: "Balle rus de Monte-Carlo" and others. In 1930-59 (break 1944-47), the troupe of the Opera was headed by S. Lifar, who staged St. 50 performances. His activities were of great importance to the French. ballet, which has regained its former prestige. The Opera's repertoire has been completely renewed. Major composers, artists, screenwriters were involved in the creation of ballets. Lifar used antique, biblical, legendary subjects for his performances, sometimes interpreting them symbolically: "Icarus" to the rhythms of Sifer (1935, revived in 1962 with decorations by P. Picasso), "Joan of Tsarissa" by Egka (1942), "Phaedra" Orica (1950, with a script and sets by J. Cocteau), Sauguet's Visions (1947), Delannoy's Fantastic Wedding (1955). From his older contemporaries, the choreographers of the Diaghilev enterprise, Lifar adopted the traditions of Fokin's ballet drama and the traditions of 19th century choreography, where the main means of expression was the classical. dance. Dance. he modernized the language and built images on the basis of rational, not emotional (Lifar's "neoclassicism"). More than one generation of French was brought up on his performances. artists: dancers S. Schwartz, L. Darsonval, I. Shovire, M. Lafon, K. Vossard, L. Deide, K. Bessi; dancers M. Reno, M. Bozzoni, A. Kalyuzhny, J. P. Andreani, A. Labis. However, the abstract rhetoric inherent in Lifar's ballets, the loss of connection with the modern. reality, especially tangible after the 2nd World War 1939-45, caused dissatisfaction by this time. Young artists, looking for new ways and rapprochement of art with modernity, began to work outside the Opera, whose repertoire Lifar limited to his own productions. R. Petit created the ballet of the Champs Elysees (1945-51) and the Paris Ballet (1948-67, intermittently), where he staged the ballets The Wandering Comedians Soge (1945), The Youth and Death to music. JS Bach (1946), "Carmen" on music. Bizet (1949), "The Wolf" by Dutilleux (1953). Later (in the 60s and 70s), among his best works were Notre Dame Cathedral (1965, Paris Opera) and Light the Stars! to the combined music (1972, "Marseille Ballet"). Petit works in the dramatic genre. ballet (several scenarios for him were written by J. Anouille), which gravitates first to tragedy, then, especially in the early period, to buffoonery comedy, but always built on living characters and combining dance. forms with everyday vocabulary. In the best ballets, he turns to conflicts that reflect the real contradictions of life, and resolves them in a humanistic way. plan (rejection of the inevitability of evil, moral fortitude, faith in a person). Along with Petit himself, dancers N. Vyrubova, R. Zhanmer, E. Pagava, N. Filippar, K. Marchand, V. Verdi, I. Skorik, dancers J. Babile, Y. Algarov, R. Briand. In the 50s. other troupes arose, where searches were conducted in the field of renewing themes and dancing. language: Ballet of France and other troupe J. Charr, "Ballee de l" Eguale under the direction of M. Bejart. Bejart, despite the fact that since 1960 became the head of the Brussels troupe Ballet of the XX century, is one of the leading French ballet masters. He sees in the art of choreography a means of expressing an attitude to life's problems, sometimes directly, sometimes in a philosophical or mystical aspect.The choreographer shows a special interest in Eastern philosophy, Eastern theater forms and dance (ballet "Bakti" to Indian music, 1968 He created new forms of choreographic performance: a kind of "total theater" with a predominance of choreography ("Four Sons of Emon" to combined music, 1961), ballets with verbal text ("Baudelaire" to combined music and poetry, 1968; "Our Faust "to the combined music, 1975), monumental performances in sports arenas and in circuses (" The Ninth Symphony "to music by L. Beethoven, 1964). He staged his own versions of famous ballets:" The Rite of Spring ", 1959;" Bolero ", 1961 ; "The Firebird", 1970. A keen sense of modernity makes t ballets by Bejart are close to the audience previously alien to this art, especially the youth.

In the 70s. the Paris Opera was reorganized. Two tendencies have emerged here: on the one hand, to include approved ballets by prominent choreographers (Balanchine, Robbins, Petit, Bejart, Alicia Alonso, Grigorovich) in the repertoire and restore the canonical. edition of old ballets ("La Sylphide" and "Coppelia" in the editorship of P. Lakot), on the other hand, provide an opportunity to experiment with young French. choreographers (F. Blaska, N. Shmuki) and foreigners, incl. representatives of modern dance (G. Tetley, J. Butler, M. Cunningham). The Theater Group was established at the Opera in 1974. searches under the hands. American women K. Carlson. Departing from the usual academicism, the Paris Opera follows the general trend of the French. ballet, where increased interest in the latest theater. forms. In the 60s and 70s. many people worked in France. ballet companies: "Grand Balle du Marc de Cuevas" (1947-62), which focused on the traditional repertoire, attracting famous performers (T. Tumanova, N. Vyrubova, S. Golovin, V. Skuratov); Contemporary ballet in Paris (ballet by F. and D. Dupuis, since 1955), French Dance Theater J. Lazzini (1969-71), Ballet by Felix Blasky (since 1969, since 1972 in Grenoble), Nat. ballet of muses. youth of France (ballet. Lacotte, from 1963 - to the end. 60-ies.), Ballet troupe under the hands. J. Roussillo (from 1972), Theater of Silence (from 1972). Many troupes work in the provinces: the Modern Ballet Theater (ballet F. Adre, since 1968 in Amiens, since 1971 in Angers), Ballet of Marseille (ballet Petit, since 1972), Rhine Ballet (since 1972 in Strasbourg, ballet by P. van Dijk since 1974), at the opera houses of Lyon (ballet by V. Biagi), Bordeaux (ballet by Skuratov). Leading soloists of the 60-70s: J. Amiel, S. Atanasov, C. Bessy, J. P. Bonfoux, R. Briand, D. Ganio, J. Guizerix, M. Denard, A. Labis, C. Motte, J. Piletta, N. Pontois, V. Piollet, J. Rayet, G. Tesmar, N. Thibon, J.P. Franchetti.

School at the Paris Opera was founded. in 1713 (since 1972 its director K. Bessie). In Paris since the 20s. 20th century worked numerous. private schools: M.F.Kshesinskaya, O.I. Preobrazhenskaya, L.N. Egorova, A.E. founded by R. Hightower). Paris has hosted annual dance festivals since 1963; dance takes a large place at the festival in Avignon, etc.

Among ballet magazines: "Archives internationale de la danse" (1932-36), "Tribune de la danse" (1933-39), "Art et danse" (since 1958), "Toute la danse et la musique" (since 1952 ), "Danse et rythmes" (from 1954), "Les saisons de la danse" (from 1968).

The most famous researchers and critics (20th century): A. Prunnier, P. Thugal, F. Reina, P. Michaud, L. Vaya, M.F.Cristu, I. Lidova, Y. Sazonova, A. Livio, Zh K. Dieni, A. F. Ersen. Lifar wrote more than 25 books.

Ballet. Encyclopedia, SE, 1981