Whose dance – theatre experiences? By the anniversary of Mahmud Esambayev
“Such people as Mahmud Esambayev, meet at all I don’t know in how many years. He is, in fact, so plastic, so musical and so expressive… that everything he performs, no one else could…” These words, said the famous Soviet ballerina Galina Ulanova, very accurately reflect the essence of the talent of Mahmud Esambayev. It was a unique phenomenon in the world of dance — original and unique. Mahmoud Esambayev http://esambaev.com Today Mahmud Esambayev would have turned 90 years old. His amazing natural talent, great plastic, bright spectacular “eagle” appearance conquered the whole world. I did not happen to visit his concerts — because of age, but my mother talked about her impressions of the performances of this artist. The story was funny. Esambaev has twice been on tour in the city where my mother lived with my parents. She was a teenager, 11-12 years old, and usually children of this age were not taken to evening concerts. But somehow she was lucky — whether excellent grades parents pleased, or something — she can’t remember but the first concert my parents took her with him. The concert didn’t just like it — he’s stunned. “Dances of the peoples of the world” — a good dozen of the brightest miniatures in incredible costumes at that time, well-staged light and shadow play — all this impressed my mother very much. She is inclined to dance was not natural, but it would definitely have moved somewhere to try myself. Where she could, my mother looked for news about the dancer, collected publications in Newspapers and magazines. It took 3-4 years and suddenly on the posters, she again sees the name and figure of your favorite artist. And of course, he asks his parents for a concert. Parents tell her that the concert she had seen, and asked to do not going. Then the young lady shakes out her piggy Bank, runs to the box office of the Philharmonic and becomes the proud owner of a ticket to a magical performance. And it was late spring, during the planting of potatoes. And as luck would have it, parents have allocated land, and had to dig put under potato planting. The girl is no longer a little girl, even — and of course, the parents introduce her to digging in the earth. The day of the concert, by the way. All the pleas, that the ticket is lost, a crash of the iron father — “dig up that area and go where you want”. The site, according to my mother, was very rather big. At first she was very upset. But her character is desperate, soon turned on the internal tractor — and just a couple of hours she Stakhanov all dug up… Tired, but very happy, she managed to return home, wind curls, change clothes — and the Philharmonic. At the second concert, the emphasis of impressions has shifted. The most memorable fact is the thinnest waist of the artist: imagine, only 47 centimeters! And he was very proud of this, told from the stage that he had to strictly monitor the diet and not allow himself any excesses, despite the very tough daily training. The waist of the concert host, the ladies in a black dress, lost very much in comparison with Esambayev’s waist, and therefore she tried not to appear on the stage at the same time. Dance miniatures was still magnificent. Especially my mother remembered the dance “Golden God”. Dance, incidentally, is very difficult. It was the key of concerts and the hallmark of the artist and was created on the basis of the Indian temple ritual dance. The plot of the dance tells the story of how the God Shiva, waking up, watching the events taking place in the lands of India from sunrise to sunset. The dancer started dancing sitting on his haunches on the floor (“full plies” in ballet terminology), to the ankles he attached numerous bells. From this position he had to slowly and very smoothly get up and rise to full height in a minute and a half. And not a single bell on his feet should have sounded. Then six minutes lasted the main dance — and as slowly for fifteen minutes with silent bells on his feet he had to sit in the original position, symbolizing the sunset. Indian consultants argued that dance movements can be studied for at least eight years. Mahmoud mastered them in twenty days! I enjoyed listening to my mother’s stories. Thanks to them, I learned this wonderful artist, watched videos with his dances, read materials about him. He, of course, had an incredible natural talent and enviable performance. Dance had been with him all his life. From the age of seven he quickly danced at Chechen weddings, in 15 he became a soloist of the Chechen-Ingush state song and dance ensemble, and in nineteen he was accepted into the Pyatigorsk operetta. In the forties of the last century, his family was deported and exiled to Kyrgyzstan. And here the talent was not lost — he was accepted as a soloist of the Kyrgyz Opera and ballet theater, and in fact he was at the origins of the Kyrgyz choreography. Here he performed many classical parts. But soon academic framework have become him cramped, and he turned to popular dancing. So gradually arose his famous program “dances of the peoples of the world.” With this program, Mahmud Esambayev traveled the world, and the whole world was conquered by his talent. “Be sure to see Esambayev! Dancing Esambaev is a theatre experience, not performance. Each performance of the master on the stage, each of his miniatures is, I would say, a small finished ballet”, — said the famous ballet master Yuri Grigorovich about Mahmud.