The history of ballet for children will tell you how and where ballet appeared.
When did ballet appear?
The term "ballet" appeared at the end of the 16th century (from the Italian balletto - to dance). But then it did not mean a performance, but only a dance episode that conveys a certain mood.
Ballet as an art form is quite young. The dance that adorns our lives has already come to an end 400 years. The place where ballet originated is Northern Italy, But it happened during the Renaissance. Local princes loved magnificent palace festivities and hired dance masters who rehearsed dance movements and individual figures with noble people.
It is believed that the one who invented ballet was the Italian ballet master Baltazarini di Belgiojoso. He staged the first ballet performance called The Queen's Comedy Ballet, which was staged in France in 1581.
It was in France that ballet began to develop. During the reign of Louis XIV, the performances of the court ballet reached a special splendor.
Brief history of Russian ballet
In Russia, a ballet performance called "The Ballet of Orpheus and Eurydice" was staged for the first time on February 8, 1673. This happened in the palace of Tsar Alexei Mikhailovich. Slow and ceremonial dances were graceful poses, moves and bows, which alternated with speech and singing.
Only a quarter of a century later, along with the reforms of Peter I, dance and music entered the life of the Russian people. In educational institutions for the nobility, classes were equipped for dancing. Foreign opera artists, musicians and ballet troupes began to perform at the royal court.
The first ballet school in Russia was opened in 1731. It was called the gentry Land Corps. It is considered the cradle of Russian ballet. Jean-Baptiste Lande, a French dance master, made a huge contribution to the development of the ballet school. He is the founder of Russian ballet. Lande also opened the first ballet dance school in Russia. Today it is the Academy of Russian Ballet. A.Ya. Vaganova.
Ballet received a further impetus in its development during the reign of Tsaritsa Elizaveta Petrovna. After the invitation of the choreographer from France Didelot to Russia, this art reached a special flowering - elegant productions, poses and decoration made a splash.
What is ballet, history of ballet
“We want not just to dance, but to speak with dance”
G. Ulanova
The amazing, beautiful and multifaceted world of ballet will not leave anyone indifferent. For the first time this word was heard in Italy, the genre itself originated in France, in addition, ballet is the real pride of Russia, moreover, in the 19th century it was the Russian performance created by P.I. Tchaikovsky , has become a true example.
Read about the history and significance of this genre in the cultural enrichment of a person on our page.
What is ballet?
This is a musical and theatrical genre in which several types of art are closely intertwined. Thus, music, dance, painting, dramatic and visual arts are combined with each other, building a well-coordinated performance that unfolds before the public on the theater stage. Translated from Italian, the word "ballet" means - "I dance."
When did ballet originate?
The first mention of ballet dates back to the 15th century; there is evidence that the court dance teacher Domenico da Piacenza proposed to combine several dances for the next ball, writing a solemn finale for them and designating them as ballet.
However, the genre itself arose a little later in Italy. The year 1581 is recognized as the starting point, it was at this time in Paris that Baltazarini staged his performance based on dance and music.In the 17th century, mixed performances (opera-ballet) gained popularity. At the same time, more importance in such productions is given to music, and not to dance. Only thanks to the reformist work of the choreographer from France, Jean Georges Nover, the genre acquires a classical outline with its own “choreographic language”.
Formation of the genre in Russia
Information has been preserved that the first performance of "The Ballet of Orpheus and Eurydice" was presented in February 1673 at the court of Tsar Alexei Mikhailovich. The talented choreographer Charles-Louis Didelot made a great contribution to the formation of the genre. However, the famous composer is considered to be a real reformer. P.I. Tchaikovsky
. It is in his work that the formation of romantic ballet takes place. P.I. Tchaikovsky paid special attention to music, turning it from an accompanying element into a powerful tool that helps the dance subtly capture and reveal emotions and feelings. The composer transformed the form of ballet music and also built a unified symphonic development.The work of A. Glazunov also played a significant role in the development of ballet (“ Raymond
”), I. Stravinsky (“ Firebird
", "Sacred spring", " Parsley
”), as well as the work of choreographers M. Petipa
, L. Ivanova, M. Fokina. Creativity stands out in the new century S. Prokofieva
, D. Shostakovich, R. Gliera
, A. Khachaturian.
In XX, composers begin their quest to overcome stereotypes and set rules.
Who is a ballerina?
Ballerinas used to be called not everyone who dances in ballet. This is the highest title that dancers received after reaching a certain amount of artistic merit, as well as a few years after working in the theater. Initially, everyone who graduated from the Theater School was accepted as corps de ballet dancers, with rare exceptions - soloists. Some of them managed to achieve the title of ballerina after two or three years of work, some only before retirement.
Main Components
The main components of the ballet are classical dance, characteristic dance and pantomime.Classical dance originates in France. It is incredibly plastic and elegant. Solo dances are called variations and adagios. For example, the well-known Adagio from the ballet by P. I. Tchaikovsky. Moreover, these numbers can be in ensemble dances.
In addition to the soloists, the corps de ballet takes part in the action, which creates mass scenes.
Often the dances of the corps de ballet are characteristic. For example, "Spanish Dance" from "Swan Lake". This term refers to folk dances introduced into the performance.
Films about ballet
Ballet is a very popular art form, which is also reflected in cinema. There are many beautiful paintings about ballet that can be divided into three broad categories:
- Documentaries are a captured ballet performance, thanks to which you can get acquainted with the work of great dancers.
- Film-ballet - such films also show the performance itself, but the action is no longer on the stage. For example, the film "Romeo and Juliet" (1982), directed by Paul Zinner, where the famous R. Nureyev and K. Fracci played the main roles; "The Tale of the Humpbacked Horse" (1961), where the main role was played by Maya Plisetskaya.
- Feature films related to ballet. Such films allow you to immerse yourself in the world of this art and sometimes the events in them unfold against the backdrop of a performance, or they tell about everything that happens in the theater. Among such films, Proscenium, an American film directed by Nicholas Hytner, which the public saw in 2000, deserves special attention.
- Separately, biographical paintings should be mentioned: “Margot Fontaine” (2005), “Anna Pavlova” and many others.
It is impossible to ignore the picture of 1948 "The Red Shoes" directed by M. Powell and E. Pressburger. The film introduces the audience to the performance based on Andersen's famous fairy tale and immerses the audience into the world of ballet.
Director Stephen Daldry in 2001 presented to the public the tape "Billy Elliot". It tells the story of an 11-year-old boy from a mining family who decides to become a dancer. He gets a unique chance and enters the Royal Ballet School.
The film Giselle Mania (1995), directed by Alexei Uchitel, will introduce viewers to the life of the legendary Russian dancer Olga Spesivtseva, who was nicknamed Red Giselle by her contemporaries.
In 2011, the sensational film "The Black Swan" by Darren Aronofsky was released on television, which shows the life of the ballet theater from the inside.
Contemporary ballet and its future
Modern ballet differs greatly from classical ballet in bolder costumes and free dance interpretation. The classics included very strict movements, in contrast to the modern, which is most appropriately called acrobatic. A lot in this case depends on the chosen theme and the idea of the performance. Based on it, the director already chooses a set of choreographic movements. In modern performances, movements can be borrowed from national dances, new directions in plastic arts, and ultramodern dance trends. The interpretation is also made in a new way, for example, the sensational production of Matthew Byrne "Swan Lake", in which the girls were replaced by men. The works of the choreographer B. Eifman are a real philosophy in dance, since each of his ballets contains a deep meaning. Another trend in the modern performance is the blurring of the boundaries of the genre, and it would be more correct to call it multi-genre. It is more symbolic than the classical one, and uses many quotes and references. Some performances use the montage principle of construction, and the production consists of disparate fragments (frames), which together form a common text.
In addition, throughout modern culture there is a huge interest in various remakes, and ballet is no exception. Therefore, many directors are trying to make the audience look at the classic version from the other side. New readings are welcome, and the more original they are, the more success awaits them.
Pantomime is an expressive game with the help of gestures and facial expressions.
In modern productions, choreographers expand the established framework and boundaries, in addition to classical components, gymnastic and acrobatic numbers are added, as well as modern dancing (modern, free dance). This trend emerged in the 20th century and has not lost its relevance.
Ballet- a complex and multifaceted genre in which several types of art are closely intertwined. The graceful movements of the dancers, their expressive play and the enchanting sounds of classical music cannot leave anyone indifferent. Just imagine how the ballet will decorate the holiday, it will become a real gem of any event.
Submitted by copypaster on Wed, 15/08/2007 - 01:11
Ballet is a rather young art. It is a little over four hundred years old, although dance has been decorating human life since ancient times.
Ballet was born in Northern Italy during the Renaissance. The Italian princes loved magnificent palace festivities, in which dance occupied an important place. Rural dances were not suitable for court ladies and gentlemen. Their robes, like the halls where they danced, did not allow for unorganized movement. Special teachers - dance masters - tried to put things in order in court dances. They rehearsed individual figures and movements of the dance with the nobles in advance and led groups of dancers. Gradually the dance became more and more theatrical.The term "ballet" appeared at the end of the 16th century (from the Italian balletto - to dance). But then it did not mean a performance, but only a dance episode that conveys a certain mood. Such "ballets" usually consisted of little-related "outputs" of characters - most often the heroes of Greek myths. After such "outputs" a common dance began - the "big ballet".
The first ballet performance was the Queen's Comedy Ballet, staged in France in 1581 by the Italian choreographer Baltazarini di Belgiojoso. It was in France that the further development of ballet took place. At first, these were masquerade ballets, and then pompous melodramatic ballets on chivalrous and fantastic plots, where dance episodes were replaced by vocal arias and recitation of poems. Do not be surprised, at that time the ballet was not only a dance performance.
During the reign of Louis XIV, the performances of the court ballet reached a special splendor. Louis himself loved to participate in ballets, and received his famous nickname "The Sun King" after playing the role of the Sun in the "Ballet of the Night".
In 1661 he created the Royal Academy of Music and Dance, which included 13 leading dancing masters. Their duty was to preserve the dance traditions. The director of the academy, the royal dance teacher Pierre Beauchamp, identified the five basic positions of classical dance.
Soon the Paris Opera was opened, the choreographer of which was the same Beauchamp. Under his leadership, a ballet troupe was formed. At first, it consisted of only men. Women appeared on the stage of the Paris Opera only in 1681.
The theater staged opera-ballets by the composer Lully and comedies-ballets by the playwright Molière. At first, courtiers took part in them, and the performances almost did not differ from palace performances. The already mentioned slow minuets, gavottes and pavanes were danced. Masks, heavy dresses, and high-heeled shoes made it difficult for women to perform complex movements. Therefore, men's dances were distinguished then by greater grace and grace.
By the middle of the 18th century, ballet was gaining great popularity in Europe. All the aristocratic courts of Europe sought to imitate the luxury of the French royal court. Opera houses opened in the cities. Numerous dancers and dance teachers easily found work.
Soon, under the influence of fashion, the women's ballet costume became much lighter and freer, the lines of the body were guessed under it. Dancers abandoned shoes with heels, replacing them with light heelless shoes. The men's costume also became less cumbersome: tight-fitting pantaloons to the knees and stockings made it possible to see the figure of the dancer.
Each innovation made dances more meaningful, and dance technique higher. Gradually, ballet separated from opera and turned into an independent art.
Although the French ballet school was famous for its grace and plasticity, it was characterized by a certain coldness and formality of performance. Therefore, choreographers and artists were looking for other means of expression.
At the end of the 18th century, a new trend in art was born - romanticism, which had a strong influence on ballet. In a romantic ballet, the dancer stood on pointe shoes. Maria Taglioni was the first to do this, completely changing the previous ideas about ballet. In the ballet "La Sylphide" she appeared as a fragile creature from the other world. The success was stunning.
At this time, many wonderful ballets appeared, but, unfortunately, the romantic ballet was the last heyday of dance art in the West. From the second half of the 19th century, ballet, having lost its former meaning, turned into an appendage to opera. Only in the 1930s, under the influence of Russian ballet, did the revival of this art form begin in Europe.
In Russia, the first ballet performance - "The Ballet of Orpheus and Eurydice" - was staged on February 8, 1673 at the court of Tsar Alexei Mikhailovich. Ceremonial and slow dances consisted of a change of graceful postures, bows and moves, alternating with singing and speech. He did not play any significant role in the development of stage dance. It was just another royal "fun", which attracted with its unusualness and novelty.
Only a quarter of a century later, thanks to the reforms of Peter I, music and dance entered the life of Russian society. Compulsory dance training was introduced into noble schools. Musicians discharged from abroad, opera artists and ballet troupes began to perform at the court.
In 1738, the first ballet school in Russia was opened, and three years later 12 boys and 12 girls from the palace servants became the first professional dancers in Russia. At first, they performed in the ballets of foreign masters as figurants (as the corps de ballet dancers were called), and later in the main parts. The remarkable dancer of that time, Timofey Bublikov, shone not only in St. Petersburg, but also in Vienna.
At the beginning of the 19th century, Russian ballet art reached its creative maturity. Russian dancers brought expressiveness and spirituality to the dance. Feeling this very accurately, A. S. Pushkin called the dance of his contemporary Avdotya Istomina "a flight filled with soul."
Ballet at that time occupied a privileged position among other types of theatrical art. The authorities paid great attention to it, provided state subsidies. Moscow and St. Petersburg ballet troupes performed in well-equipped theaters, and graduates of theater schools annually replenished the staff of dancers, musicians and decorators.
Arthur St. Leon
In the history of our ballet theatre, there are often the names of foreign masters who played a significant role in the development of Russian ballet. First of all, these are Charles Didelot, Arthur Saint-Leon and Marius Petipa. They helped create the Russian ballet school. But talented Russian artists also made it possible to reveal the talents of their teachers. This invariably attracted the largest choreographers of Europe to Moscow and St. Petersburg. Nowhere in the world could they meet such a large, talented and well-trained troupe as in Russia.
In the middle of the 19th century, realism came to Russian literature and art. Choreographers feverishly, but to no avail, tried to create realistic performances. They did not take into account that ballet is a conditional art and realism in ballet differs significantly from realism in painting and literature. The crisis of ballet art began.
A new stage in the history of Russian ballet began when the great Russian composer P. Tchaikovsky first composed music for the ballet. It was Swan Lake. Prior to that, ballet music was not taken seriously. She was considered the lowest form of musical creativity, just an accompaniment to dancing.
Thanks to Tchaikovsky, ballet music became a serious art along with opera and symphony music. Previously, music was completely dependent on dance, now dance had to obey music. New means of expression and a new approach to creating a performance were required.
The further development of Russian ballet is connected with the name of the Moscow choreographer A. Gorsky, who, having abandoned the outdated techniques of pantomime, used the techniques of modern directing in a ballet performance. Attaching great importance to the pictorial design of the performance, he attracted the best artists to work.
But the true reformer of ballet art is Mikhail Fokin, who rebelled against the traditional construction of a ballet performance. He argued that the theme of the performance, its music, the era in which the action takes place, each time require different dance movements, a different dance pattern. When staging the ballet "Egyptian Nights" Fokine was inspired by the poetry of V. Bryusov and ancient Egyptian drawings, and the images of the ballet "Petrushka" were inspired by the poetry of A. Blok. In the ballet Daphnis and Chloe, he abandoned pointe dancing and, in free, plastic movements, revived antique frescoes. His "Chopiniana" revived the atmosphere of romantic ballet. Fokin wrote that he "dreams of creating a ballet-drama from ballet-fun, from dance - an understandable, speaking language." And he succeeded.
Anna Pavlova
In 1908, the annual performances of Russian ballet dancers in Paris began, organized by the theater figure S. P. Diaghilev. The names of dancers from Russia - Vaslav Nijinsky, Tamara Karsavina, Adolf Bolm - became known all over the world. But the first in this row is the name of the incomparable Anna Pavlova.
Pavlova - lyrical, fragile, with elongated body lines, huge eyes - evoked engravings depicting romantic ballerinas. Her heroines conveyed a purely Russian dream of a harmonious, spiritualized life or longing and sadness for an unfulfilled one. The Dying Swan, created by the great ballerina Pavlova, is a poetic symbol of Russian ballet at the beginning of the 20th century.
It was then, under the influence of the skill of Russian artists, that Western ballet shook itself and gained a second wind.
After the October Revolution of 1917, many figures of the ballet theater left Russia, but despite this, the school of Russian ballet survived. The pathos of the movement towards a new life, revolutionary themes, and most importantly the scope for creative experiment inspired the ballet masters. Their task was to bring choreographic art closer to the people, to make it more vital and accessible.
This is how the genre of dramatic ballet arose. These were performances, usually based on the plots of well-known literary works, which were built according to the laws of a dramatic performance. The content in them was presented with the help of pantomime and pictorial dance. In the middle of the 20th century, dramatic ballet was in crisis. The choreographers made attempts to preserve this genre of ballet, enhancing the spectacle of the performances with the help of stage effects, but, alas, in vain.
In the late 1950s, a turning point came. Choreographers and dancers of a new generation have revived forgotten genres - one-act ballet, ballet symphony, choreographic miniature. And since the 1970s, independent ballet troupes have arisen, independent of opera and ballet theaters. Their number is constantly increasing, among them there are studios of free dance and modern dance.
From Wikipedia, the free encyclopedia
In modern ballet, other dance techniques are widely used (primarily modern and jazz dance), as well as elements of gymnastics, acrobatics, martial arts, and the like.
History of ballet
The birth of ballet
At the beginning - as a dance scene united by a single action or mood, an episode in a musical performance, an opera. Borrowed from Italy, in France it flourishes as a magnificent solemn spectacle - the court ballet. The beginning of the ballet era in France and throughout the world should be considered October 15, 1581, when at the French court a spectacle was presented, which is considered to be the first ballet - “The Comedy Ballet of the Queen” (or “Circe”), staged by an Italian violinist, “the chief intendant of music » Baltasarini de Belgioso . The musical basis of the first ballets was court dances, which were part of the old suite. In the second half of the 17th century, new theatrical genres appeared, such as comedy-ballet, opera-ballet, in which a significant place is given to ballet music, and attempts are made to dramatize it. But ballet becomes an independent type of stage art only in the second half of the 18th century thanks to the reforms carried out by the French choreographer Jean-Georges Noverre (1727-1810). Based on the aesthetics of the French enlighteners, he created performances in which the content is revealed in dramatically expressive images.
Further development of ballet
Russian ballet
In Russia, the first ballet performance took place on February 8, 1673 at the court of Tsar Alexei Mikhailovich in the village of Preobrazhenskoye near Moscow. The national identity of Russian ballet began to take shape at the beginning of the 19th century thanks to the work of the French choreographer Charles-Louis Didelot. Didlo enhances the role of the corps de ballet, the connection between dance and pantomime, asserts the priority of female dance. A real revolution in ballet music was made by Pyotr Ilyich Tchaikovsky, who introduced into it continuous symphonic development, deep figurative content, and dramatic expressiveness. The music of his ballets Swan Lake, The Sleeping Beauty, The Nutcracker, along with the symphonic music, acquired the ability to reveal the inner course of the action, embody the characters of the characters in their interaction, development, and struggle. The beginning of the 20th century was marked by innovative searches, the desire to overcome the stereotypes and conventions of the academic ballet of the 19th century...
Modern dance
Terminology
Initially, ballet terms were borrowed from Italy, but already in the 18th century, ballet vocabulary and the names of dance movements (various pas, temps, sissonne, entrechat etc.) were based on French grammar. Most of the terms directly indicate the specific action performed during the execution of the movement (pull, bend, open, close, slide, etc.), some indicate the nature of the movement being performed ( fondu- melting gargouillade- murmuring gala- solemn), others - to the dance, thanks to which they arose (pas bourre, pas waltz, pas polka). There are also terms whose name contains a certain visual image (for example, cats - pas de chat, fish - pas de poisson, scissors - pas de ciseaux). Stand out are terms such as entrechat royale(according to legend, the authorship of this jump belonged to Louis XIV, after whom he was named "royal") and sissonne, the invention of which is attributed to Francois de Roissy, Count of Sisson, who lived in the 17th century.
Ballet as art
In its evolution, ballet is increasingly approaching sports, losing the dramatic significance of the role along the way, sometimes being ahead in technique, but lagging behind in content.
In Russia, until the 20th century, choreography, music, dramatic art and various applied theatrical professions were taught in one educational institution - the Imperial Theater School. Depending on the success of the children, they were identified or transferred to the appropriate department. After the revolution of 1917, the schools were divided and ballet education began to exist autonomously. At the same time, a mixed repertoire was maintained in many theaters: dramatic performances alternated with operetta and ballet divertissements. So, for example, in addition to productions at the Bolshoi, Kasyan Goleizovsky staged ballet performances at The Bat and at the Mammoth Theater of Miniatures, among which was the production of Les Tableaux vivants, which means “a picture come to life”, since Goleizovsky was primarily an artist . This phenomenon develops in modern ballet as a "animated picture", "animated photograph" and "animated sculpture".
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Notes
encyclopedias
- 1981 - . - Ballet. Encyclopedia, 1981. - 624 p. - 100,000 copies.
- 1997 - / Editors E.P.Belova, G.N.Dobrovolskaya, V.M.Krasovskaya, E.Ya.Surits, N.Yu.Chernova. - BRE, "Consent", 1997. - 632 p. - 10,000 copies. - ISBN 5-85270-099-1.
- Edition 2012: "Encyclopedia Ballet" / E.P. Belova, A.A. Firer. - to press - 2010. - M ., 2011 - 2012.
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An excerpt characterizing the ballet
“I will give them a military command ... I will oppose them,” Nikolai said senselessly, choking on unreasonable animal malice and the need to vent this anger. Without realizing what he would do, unconsciously, with a quick, decisive step, he moved towards the crowd. And the closer he moved to her, the more Alpatych felt that his imprudent act could produce good results. The peasants of the crowd felt the same way, looking at his quick and firm gait and his determined, frowning face.After the hussars entered the village and Rostov went to the princess, confusion and discord occurred in the crowd. Some peasants began to say that these newcomers were Russians and no matter how offended they were by not letting the young lady out. Drone was of the same opinion; but as soon as he expressed it, Karp and other peasants attacked the former headman.
- How many years have you eaten the world? Karp shouted at him. - You don't care! You will dig a little egg, take it away, what do you want, ruin our houses, or not?
- It is said that there should be order, no one should go out of the houses, so as not to take out a blue gunpowder - that's it! shouted another.
“There was a queue for your son, and you must have felt sorry for your baldness,” the little old man suddenly spoke quickly, attacking Dron, “but he shaved my Vanka. Oh, let's die!
- Then we will die!
“I am not a refuser from the world,” said Dron.
- That’s not a refuser, he has grown a belly! ..
Two long men were talking. As soon as Rostov, accompanied by Ilyin, Lavrushka and Alpatych, approached the crowd, Karp, putting his fingers behind his sash, smiling slightly, stepped forward. The drone, on the contrary, went into the back rows, and the crowd moved closer.
- Hey! who is your elder here? - shouted Rostov, quickly approaching the crowd.
- Is that the elder? What do you want? .. – asked Karp. But before he had time to finish, his hat fell off him and his head jerked to one side from a strong blow.
- Hats off, traitors! Rostov's full-blooded voice shouted. - Where is the elder? he shouted in a furious voice.
“The headman, the headman is calling ... Dron Zakharych, you,” hurriedly submissive voices were heard somewhere, and hats began to be removed from their heads.
“We can’t rebel, we observe the rules,” said Karp, and at the same moment several voices from behind suddenly began to speak:
- As the old men murmured, there are a lot of you bosses ...
- Talk? .. Riot! .. Robbers! Traitors! Rostov yelled senselessly, in a voice not his own, grabbing Karp by Yurot. - Knit him, knit him! he shouted, although there was no one to knit him, except for Lavrushka and Alpatych.
Lavrushka, however, ran up to Karp and grabbed him by the arms from behind.
- Will you order ours from under the mountain to call? he shouted.
Alpatych turned to the peasants, calling two by name to knit Karp. The men obediently left the crowd and began to unbelt.
- Where is the elder? shouted Rostov.
Drone, with a frown and pale face, stepped out of the crowd.
- Are you an elder? Knit, Lavrushka! - shouted Rostov, as if this order could not meet obstacles. And indeed, two more peasants began to knit Dron, who, as if helping them, took off his kushan and gave it to them.
- And you all listen to me, - Rostov turned to the peasants: - Now the march to the houses, and so that I don’t hear your voice.
“Well, we didn’t make any offense. We are just being stupid. They’ve only done nonsense… I told you it was disorder,” voices were heard reproaching each other.
“So I told you,” Alpatych said, coming into his own. - It's not good, guys!
“Our stupidity, Yakov Alpatych,” voices answered, and the crowd immediately began to disperse and scatter around the village.
The bound two peasants were taken to the manor's yard. Two drunk men followed them.
- Oh, I'll look at you! - said one of them, referring to Karp.
“Is it possible to speak to gentlemen like that?” What did you think?
“Fool,” another confirmed, “really, fool!”
Two hours later the carts were in the courtyard of Bogucharov's house. The peasants were eagerly carrying out and stacking the master's things on the carts, and Dron, at the request of Princess Mary, released from the locker where he was locked up, standing in the yard, disposed of the peasants.
“Don’t put it down so badly,” said one of the peasants, a tall man with a round smiling face, taking the box from the maid’s hands. She's worth the money too. Why are you throwing it like that or half a rope - and it will rub. I don't like that. And to be honest, according to the law. That's how it is under the matting, but cover it with a curtain, that's important. Love!
“Look for books, books,” said another peasant, who was carrying out the library cabinets of Prince Andrei. - You do not cling! And it’s heavy, guys, the books are healthy!
- Yes, they wrote, they didn’t walk! - a tall chubby man said with a significant wink, pointing to the thick lexicons lying on top.
Rostov, not wanting to impose his acquaintance on the princess, did not go to her, but remained in the village, waiting for her to leave. Having waited for Princess Mary's carriages to leave the house, Rostov mounted on horseback and accompanied her on horseback to the path occupied by our troops, twelve miles from Bogucharov. In Jankovo, at the inn, he took leave of her respectfully, for the first time allowing himself to kiss her hand.
“You’re not ashamed,” blushing, he answered Princess Marya to the expression of gratitude for her salvation (as she called his act), “every guard would have done the same. If we only had to fight with the peasants, we would not let the enemy go so far, ”he said, ashamed of something and trying to change the conversation. “I am only happy to have had the opportunity to meet you. Farewell, princess, I wish you happiness and consolation and wish to meet you under happier conditions. If you don't want to make me blush, please don't thank me.
But the princess, if she did not thank him more with words, thanked him with the whole expression of her face, beaming with gratitude and tenderness. She couldn't believe him, that she had nothing to thank him for. On the contrary, for her it was undoubtedly that if he were not there, then she probably would have to die from both the rebels and the French; that he, in order to save her, exposed himself to the most obvious and terrible dangers; and even more undoubted was the fact that he was a man with a lofty and noble soul, who knew how to understand her position and grief. His kind and honest eyes, with tears coming out of them, while she herself, crying, spoke to him about her loss, did not go out of her imagination.
When she said goodbye to him and was left alone, Princess Mary suddenly felt tears in her eyes, and then, not for the first time, she asked herself a strange question: does she love him?
On the way further to Moscow, despite the fact that the situation of the princess was not joyful, Dunyasha, who was traveling with her in a carriage, noticed more than once that the princess, leaning out of the window of the carriage, smiled joyfully and sadly at something.
“Well, what if I did love him? thought Princess Mary.
No matter how ashamed she was to admit to herself that she was the first to love a man who, perhaps, would never love her, she consoled herself with the thought that no one would ever know this and that it would not be her fault if for the rest of her life, no one talking about loving the one she loved for the first and last time.
Sometimes she remembered his views, his participation, his words, and it seemed to her that happiness was not impossible. And then Dunyasha noticed that she, smiling, was looking out the window of the carriage.
“And he should have come to Bogucharovo, and at that very moment! thought Princess Mary. - And it was necessary for his sister to refuse Prince Andrei! - And in all this, Princess Mary saw the will of providence.
The impression made on Rostov by Princess Marya was very pleasant. When he thought about her, he felt merry, and when his comrades, having learned about the adventure that had happened with him in Bogucharov, joked to him that he, having gone for hay, had picked up one of the richest brides in Russia, Rostov became angry. He was angry precisely because the idea of marrying a pleasant for him, meek Princess Marya with a huge fortune more than once came to his mind against his will. For himself, Nikolai could not wish for a better wife than Princess Mary: marrying her would make the Countess, his mother, happy, and improve his father’s affairs; and even—Nikolai felt it—would have made Princess Marya happy. But Sonya? And this word? And this made Rostov angry when they joked about Princess Bolkonskaya.
Having taken command of the armies, Kutuzov remembered Prince Andrei and sent him an order to arrive at the main apartment.
Prince Andrei arrived in Tsarevo Zaimishche on the very day and at the very time of the day when Kutuzov was making the first review of the troops. Prince Andrei stopped in the village near the priest's house, where the commander-in-chief's carriage was stationed, and sat down on a bench at the gate, waiting for the Serene Highness, as everyone now called Kutuzov. On the field outside the village, one could hear the sounds of regimental music, then the roar of a huge number of voices shouting “Hurrah! to the new commander-in-chief. Immediately at the gate, about ten paces from Prince Andrei, taking advantage of the absence of the prince and the fine weather, stood two batmen, a courier and a butler. Blackish, overgrown with mustaches and sideburns, a little hussar lieutenant colonel rode up to the gate and, looking at Prince Andrei, asked: is the brightest here and will he be soon?
Prince Andrei said that he did not belong to the headquarters of his Serene Highness and was also a visitor. The hussar lieutenant colonel turned to the well-dressed batman, and the batman of the commander-in-chief said to him with that special contempt with which the batmen of the commanders-in-chief speak to the officers:
- What, brightest? It must be now. You that?
The hussar lieutenant colonel grinned into his mustache at the orderly, got off the horse, gave it to the messenger and went up to Bolkonsky, bowing slightly to him. Bolkonsky stood aside on the bench. The hussar lieutenant-colonel sat down beside him.
Are you also waiting for the commander-in-chief? said the hussar lieutenant colonel. - Govog "yat, accessible to everyone, thank God. Otherwise, trouble with the sausages! Nedag" om Yeg "molov in the Germans pg" settled down. Tepeg "maybe and g" Russian talk "it will be possible. Otherwise, Cheg" does not know what they were doing. Everyone retreated, everyone retreated. Did you do the hike? - he asked.
- I had the pleasure, - answered Prince Andrei, - not only to participate in the retreat, but also to lose in this retreat everything that he had dear, not to mention the estates and home ... father, who died of grief. I am from Smolensk.
- And? .. Are you Prince Bolkonsky? It’s very cool to meet you: Lieutenant Colonel Denisov, better known by the name of Vaska, Denisov said, shaking Prince Andrei’s hand and peering into Bolkonsky’s face with especially kind attention. Yes, I heard, ”he said sympathetically and, after a pause, continued : - Here is the Scythian war. This is all hog "osho, but not for those who puff with their sides. And you are Prince Andg "she Bolkonsky?" He shook his head. "Very hell, prince, very hell to meet you," he added again with a sad smile, shaking his hand.
- (from the Greek ballizein to dance). Theatrical performances, accompanied by music, in which the characters express various passions not through words, but exclusively through mimic movements and dances. Dictionary of foreign words included in ... Dictionary of foreign words of the Russian language
Since the mid 30s. 18th century Petersburg, court ballet performances became regular. In 1738 the first Russian ballet school was opened in St. Petersburg (since 1779 the Theater School), which included ballet classes (now the Choreographic School); … St. Petersburg (encyclopedia)
- (French ballet from Italian balletto), a type of stage art, the content of which is revealed in dance and musical images. Ballet began to take shape in Europe in the 16th century. Its heyday is associated with romanticism, which put forward, starting from the second third ... ... Big Encyclopedic Dictionary
BALLET, ballet, husband. (French ballet). 1. Theatrical performance on a certain plot from dances and pantomime to music. Go to ballet. || A piece of music intended for such a performance. The orchestra performed a waltz from the popular ... ... Explanatory Dictionary of Ushakov
Dance is the only art for which we ourselves serve as material. Ted Sean Russia: hundreds of miles of fields and ballet in the evenings. Alan Hackney Ballet is an opera for the deaf. Emil the Gentle Ballet: an art that owes its popularity to a large extent to the fact that ... Consolidated encyclopedia of aphorisms
Ex. choreography Dictionary of Russian synonyms. Context 5.0 Informatics. 2012. ballet n., number of synonyms: 6 gala ballet (1) ... Synonym dictionary
BALLET, husband. 1. The art of stage dance. Classic b. 2. Theatrical performance of dances and pantomime, accompanied by music. B. on ice (skating). 3. Artists participating in such performance. | adj. ballet, oh, oh. Explanatory ... ... Explanatory dictionary of Ozhegov
Husband. a spectacle composed of dances and silent action. Ballet, related to such a performance; male ballet dancer female ballet dancer ballet dancer. Choreographer husband. composer, compiler of ballets; owner of the society of ballet dancers; ... ... Dahl's Explanatory Dictionary
Ballet- opera for the deaf ... Skepty's Elephant
Ballet- Ballet portends adultery, as well as failures in business, in commerce, quarrels and jealousy between lovers. In addition, a dream about ballet indicates that in ordinary life you tend to torture yourself. Do you often endure... Big universal dream book
ballet- padishas. p e r i f r. Shara Zhienkulova d.m. Olardyn arasyndan “b a l e t p a d i s h a s y” atanyp ketken ғazhaiyp bishі Shara Zhienқұlovany airyқsha bөlip aytuғa bolady (Kaz. әdeb., 19.10.1971, 4) ... Kazakh tilinin tusindirme sozdigі
Books
- Ballet. Encyclopedia, 1981 edition. The security is very good. The first encyclopedia in the USSR dedicated to ballet art, includes general information about ballet, explanations of the most commonly used terms; ... Category: Dance. Ballet. Choreography Publisher: Soviet Encyclopedia,
- Ballet. 1992. Issue No. 2, BALLET magazine is a publication for true connoisseurs of this wonderful art, which combines plasticity, drama, music and emotionality. The language of dance is universal, understandable to everyone. Magazine… Category: Dance. Ballet. Choreography Series: Ballet (magazine) Publisher:
