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“Holy Spring.” As shown by the pagan Russia Stravinsky, Roerich and Nijinsky?

Still flying in space American ship “Voyager”. Bears he records music. And along with the music of Is Bach on Board the spacecraft is a recording of the music of Igor Stravinsky’s ballet “the sacred Spring”. And on Earth, in the Swiss town of Clarence, there is a street with a strange name — the Street of Holy Spring. The fact that the street in the city on the shore of lake Geneva is named after the Russian ballet is not surprising. For example, the apartment “Montreux Palace” next door is named after V. Nabokov, who lived there for the last 17 years of his life. It may even seem strange that there is no street Violin concert (which was written in the same place, but before, and Tchaikovsky). Such Russian Switzerland is a small part of it, and yet it is pleasant that there is a whole street named after the famous Russian ballet. The idea of this ballet was born in St. Petersburg, and Igor Stravinsky himself recalled: “…there was a picture of a sacred pagan ritual: wise elders sit in a circle and watch the death dance of a girl they sacrifice to the God of spring to gain his favor. This was the theme of the “sacred Spring”. I must say that this vision made a strong impression on me, and I immediately told about it to my friend, the artist Nicholas Roerich, whose paintings resurrected Slavic paganism. He was delighted, and we began to work together. In Paris, I told about his plan Diaghilev, who immediately became interested in him. Interest in pre-Christian culture in Europe manifested itself in the era of romanticism. In Russia, this topic is also always present (“Ruslan and Lyudmila”, “snow maiden”), the greatest interest in pagan Russia manifested itself most strongly in the pre-revolutionary period. The more interesting is the Union of two ballet writers: Igor Stravinsky and Nicholas Roerich. The revival of images of pagan Russia, the subordination of life to rites, rituals associated with the calendar circle, the expectation of the spring resurrection of nature — the main theme of the ballet. There is no plot in the strict sense in the ballet: “the Bright resurrection Of nature, which is reborn to a new life, the resurrection of the complete, spontaneous resurrection of the conception of the world.” But there are actors: this is the Oldest-the wisest, the Chosen, the Possessed, the elders, boys, girls, and the dance itself, or rather — dance. Dance-dance as the main character. There is a structure: go go scene — Spring fortune-telling. Dancing segala, the Game abduction, Procession of the sage, Kiss land, Vipasyana of the earth, Secret games of the girls, Glorification of the chosen, the Invocation of the hereafter, the Action of the elders, the Great sacred dance. An appeal to a primordial, prehistoric, pagan, natural, but a ragedin a strict and rigid ritual framework, and demanded new music, and new choreography. Primitive dance, the desire not to soar, but to trample into the ground — the main image of the ballet. Stiff, stressed awkward, angular movements of the dancers, elbows to the body, wearable inside — the archaic movements were incredible innovation. In 1913, at the first performance in Paris, the ballet was waiting for a failure and scandal. More precisely, the triumph of failure. The audience whistled and raged. “The hall played the role he was supposed to play: he immediately rebelled. The audience laughed, screamed, whistled, grunted and bleated and, perhaps, in time would be tired, but the crowd of aesthetes and some musicians in excessive zeal began to insult and offend the audience in the boxes. The noise went into melee,” wrote the famous French poet Jean Cocteau, who was present at the premiere. Parisian wit, shocked by what he saw, did not fail to rename the French name of the ballet: “Le Sacre du printemps” (Holy Spring) was “Le Massacre du printemps” — “Beating spring.” The audience can understand. She came to see the beautiful Russian ballet as she always knew and loved it. And suddenly I saw something beyond all known limits. And that’s in a chaste setting Nijinsky and quite “civil” suits Roerich. The jaded Parisian public refused to accept all innovations 100 years ago. In our time, the jaded audience calmly accepts anything. Naked dancers in “Spring” — this is a banality, let’s see what’s next. This scandalous performance was reconstructed in the famous film “Coco Chanel and Igor Stravinsky” in 2009. 30 years later, the music of the “sacred Spring” along with “the Nutcracker” Tchaikovsky became a classic full-length musical animated film “Fantasia” Walt Disney — she went into the part that is painted the history of humankind, preceding the disappearance of the dinosaurs. After another 40 years, music flew into space. And in 2013 in France and Russia there were celebrations dedicated to the 100th anniversary of the first performance in Paris. Sometimes write, that modernism was born with “Spring sacred.” Exaggeration, of course. But the fact that all three of Stravinsky’s “Russian ballets” influenced the whole course of European culture is undeniable. All stereotypes were destroyed — both in music, and in choreography. And this ballet, as the top, ended the “Russian period” of Igor Stravinsky. A year after the premiere, the First world war broke out. Humanity has already begun to make its terrible sacrifice, without any hope of renewal and revival. And the language of art has finally ceased to be “beautiful”. Find some time, listen at least to the Introduction with his “pagan flute” or watch the scene “the earth’s Dance” with its powerful energy.

 

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