The history of ballet in Russia begins in the 30s of the 18th century. In 1731, the land gentry corps was opened in St. Petersburg. Since the graduates of the corps in the future had to hold high government positions and needed knowledge of secular manners, a significant place was given to the study of fine arts, including ballroom dancing, in the corps. Jean-Baptiste Lande, who is considered the founder of Russian ballet art, became the dance master of the corps in 1734. In 1738, Jean-Baptiste Lande opened the first ballet school in Russia - Dance Eya. Imperial Majesty school (now the Academy of Russian Ballet named after A. Ya. Vaganova). Ballet in Russia gradually developed and in 1794 began productions of the first Russian choreographer Ivan Valberkh. Under Paul I were published special rules for ballet - it was ordered that there should not be a single man on the stage during the performance and men's roles at that time were performed by women, for example, (1780-1869). Kolosova was one of the first to perform Russian dances on the ballet stage. Another of her innovations was that she changed her puffy stylized costume for an antique chiton. Ballet dancer and choreographer Adam Glushkovsky wrote about Kolosova: “For more than forty years I have been following the art of dancing, I have seen many well-known ballet dancers coming to Russia, but I have never seen such a talent as Yevgenia Ivanovna Kolosova, a dancer of the St. Petersburg theater, possessed. Every movement her faces, every gesture were so natural and understandable that they definitely replaced speech for the viewer. Evgenia Kolosova was on stage from 1794 to 1826, after which she took up teaching.
One of the students of Evgenia Kolosova was Avdotya (Evdokia) Ilyinichna Istomina(1799-1848), sung by Pushkin in "Eugene Onegin":
The theater is already full; lodges shine;
Parterre and armchairs, everything is in full swing;
In heaven they splash impatiently,
And, having risen, the curtain rustles.
Brilliant, half-air,
obedient to the magic bow,
Surrounded by a crowd of nymphs
Worth Istomin; she is,
One foot touching the floor
Another slowly circles
And suddenly a jump, and suddenly it flies,
It flies like fluff from the mouth of Eol;
Now the camp will soviet, then it will develop,
And he beats his leg with a quick leg.
Another famous ballerina of those years was (1793-1810), whose creative way cut short death from tuberculosis at the age of 17 years.
Historians are still arguing which Russian ballerina was the first to dance en pointe (relying only on the tips of her toes). Some believe that it was Maria Danilova, others are of the opinion that it was Avdotya Istomina.
Another student of Evgenia Kolosova was (1804-1857). One of her contemporaries wrote about her: "With the most charming appearance, she had so many feelings and play that she captivated the most impassive spectator." Patron and lover, in fact civil husband Teleshova, was Count, Governor-General of St. Petersburg Mikhail Miloradovich.
Ekaterina Telesheva. Portrait by Orest Kiprensky
A famous Russian ballerina of the 19th century was Maria Sergeevna Surovshchikova-Petip a (1836-1882). The ballerina's husband was the ballet dancer Marius Petipa.
The fruit of the union of the artistic couple Maria Surovshchikova - Marius Petipa was a daughter (1857-1930), who, like her parents, became a famous ballet dancer. Ballet historian Mikhail Borisoglebsky wrote about her: "Happy „ stage destiny“, a beautiful figure, the support of a famous father made her an indispensable performer of characteristic dances, a first-rate ballerina, diverse in her repertoire.
17 years (from 1861 to 1878) on stage Mariinsky Theater spoke Matilda Nikolaevna Madaeva(stage name Matryona Tikhonovna). A big scandal in St. Petersburg society was her marriage to Prince Mikhail Mikhailovich Golitsyn, a representative of one of the most noble Russian families, an officer who rose to the rank of Adjutant General of His Majesty's Retinue. This marriage was considered a misalliance, since the spouses came from different classes, and according to the laws of the 19th century, officers of the imperial army could not be officially married to people from the lower classes. The prince chose to retire, having made a choice in favor of the family.
A prominent representative of the Moscow ballet school of the 19th century was (1839-1917), who for 10 years was the leading dancer of the Bolshoi Theater.
Another famous ballerina Bolshoi Theater was (1857-1920). For two decades, Gaten danced almost all the female roles, having no Big rivals on stage. In 1883, the Bolshoi Ballet Company was significantly reduced, but Gaten turned down offers to move to St. Petersburg theaters in order to preserve the traditions of Moscow ballet. After leaving the stage, Gaten taught at the Moscow Choreographic School.
For 30 years (from 1855 to 1885) she worked on the stage of the imperial theaters of St. Petersburg (1838-1917). Contemporaries wrote about her: "She had outstanding success in characteristic dances, requiring fire and passion, but she also excelled in mimic roles."
In the 60s of the 19th century she shone on the stages of St. Petersburg, Moscow and Paris (1838-1879). Italian choreographer Carlo Blasis wrote that “diamond sparks fall from under her feet during the dances” and that her “fast and constantly changing pas can involuntarily be compared to a string of pearls pouring”.
From 1859 to 1879 she performed at the Bolshoi Theater (1842-1918). Yuri Bakhrushin in the book "The History of Russian Ballet" wrote: "Being a strong dancer and a good actress, Sobeshchanskaya was the first to deviate from generally accepted rules and, speaking in ballet parts, began to apply a characteristic make-up. Blazis, who observed Sobeshchanskaya at the beginning of her activity, wrote that she was “delightful as a dancer and mimeist” and that in her dances “a soul is visible, she is expressive” and sometimes even reaches “frenzy”. Later, another contemporary argued that “it is not the difficulty of jumps and the speed of turns that makes the best impression on the viewer, but the whole creation of a role in which the dance is the interpreter of facial expressions.”
From 1877 to 1893 she danced in the Petersburg ballet troupe of the imperial theaters (1857-1920).
The first choreographic performance in Russia was "The Ballet of Orpheus", shown in the "comedy choir" of Tsar Alexei Mikhailovich in his fiefdom - the village of Preobrazhensky near Moscow (February 13, 1675?). From the 1st half of the 18th century. ballet was inculcated by choreographers and dance teachers from Italy and France. Possessing its rich dance folklore, Russia turned out to be a very fertile ground for the development of the ballet theater. Comprehending the science taught by foreigners, the Russians, in turn, introduced their own intonations into the foreign dance. In the 1730s in St. Petersburg, ballet scenes in court opera performances were staged by J.-B. Lande and A. Rinaldi (Fossano). Petersburg opened in 1738. ballet school(now the St. Petersburg Academy of Dance named after A. Ya. Vaganova), the founder and leader of which was Lande. In 1773 in sinks. The Orphanage opened a ballet department - the forerunner and foundation of the Moscow Choreographic School. One of his first teachers and choreographers was L. Paradise. By the end of the 18th century serf troupes were developed in the estates of the Sheremetevs near Moscow (Kuskovo, Ostankino), etc. By that time, St. Petersburg and Moscow had court and public theaters. Major foreign composers, choreographers and many others worked in them. Russian performers-A. S. Sergeeva, V. M. Mikhailova, T. S. Bublikov, G. I. Raikov, N. P. Berilova. Since the 1760s. Russian ballet developed in the general mainstream of the theater of classicism. The ideal of the aesthetics of classicism was "ennobled nature", and the norm of a work of art was strict proportion, expressed in the form of three unities - place, time and action. Within these normative requirements, the center of action became a person, his fate, his actions and experiences, dedicated to one goal, marked by a single all-consuming passion. The genre of heroic-tragedy ballet corresponded to the basic principles of classicism. The spokesman for the aesthetics of ballet classicism in the West was J. J. Nover, who considered a ballet performance as an independent artistic whole, with a strong plot intrigue, a logically and consistently developed action, with heroes who were the bearers of strong passions. In the 2nd half of the 18th century. in St. Petersburg, ballets were staged by the Austrian F. Hilferding, the Italians G. Canziani, G. Angiolini, who sometimes used Russian subjects (for example, Semira based on the tragedy by A. P. Sumarokov staged by Angiolini and with his music, 1772) . These performances, with their sharp conflicts and extended action, were new on the Russian stage. In Moscow, among others, the Italian J. Solomoni worked, who promoted the ballets of Nover, who staged “ A vain precaution" in the choreography of J. Dauberval (was called "The Deceived Old Woman", 1800).
The heyday of Russian ballet 18-19 centuries.
At the turn of the 18-19 centuries. Russian ballet entered its heyday. Domestic composers appeared - A. N. Titov, S. I. Davydov and Russified foreign composers - K. A. Kavos, F. E. Scholz. The Russian dancer and choreographer I. I. Valberkh outlined the path to the synthesis of the Russian performing style with the dramatic pantomime and virtuoso dance technique of the Italian ballet, as well as with the structural forms of the French school. The principles of sentimentalism were established in his art. Melodramatic ballet became the leading genre Patriotic War 1812 caused the flourishing of divertissement ballets: they were staged in St. Petersburg by Valberg, in Moscow by I. M. Ablets, I. K. Lobanov, A. P. Glushkovsky. The soloists were: in St. Petersburg E. I. Kolosova, in Moscow - T. I. Glushkovskaya, A. I. Voronina-Ivanova. In the 1800s-20s. in St. Petersburg, the activities of the choreographer Sh. Didlo unfolded. A successor to the traditions of Nover and Dauberval, Didlot staged ballets on mythological subjects (Zephyr and Flora, 1808; Cupid and Psyche, 1809; Acis and Galatea, 1816) and heroic-historical themes (The Hungarian Hut, or Famous Exiles » F. Venyuat, 1817 «Raoul de Cracky, or Return from crusades»Cavos and T.V. Zhuchkovsky, 1819). In collaboration with Kavos, he put forward the principle of programming, based on the unity of the musical and choreographic dramaturgy of a ballet performance. In his pre-romantic ballets, ensembles of solo and corps de ballet dances interacted in a complex way. Didelot's heroic and tragic ballets revealed the action by means of psychological pantomime and abounded in contrasting dramatic situations. Diversity means of expression his comedic ballets (The Young Milkmaid, or Nisetta and Luca by F. Antonolini, 1817; The Return from India, or the Wooden Leg by Venois, 1821) possessed. In 1823 Didlot staged a ballet based on A. S. Pushkin's poem " Prisoner of the Caucasus, or Shadow of the Bride. E. I. Kolosova, M. I. Danilova, A. I. Istomin, E. A. Teleshova, A. S. Novitskaya, Auguste (A. Poirot), N. O. Goltz became famous in his performances.
In Moscow, since 1806, the ballet troupe of the private theater of M. Maddox came under the jurisdiction of the Directorate of the Imperial Theaters. Until 1812, minor choreographers were repeatedly replaced here. After the expulsion of the French from Moscow, the ballet school and troupe were headed by Didlo's student choreographer A.P. Glushkovsky. A follower of Valbergh and Didlo, Glushkovsky, in his version, transferred the St. Petersburg repertoire to the Moscow stage, primarily Didlo’s ballets, staged anacreontic ballets and melodrama ballets, used the plots of A. S. Pushkin (“Ruslan and Lyudmila, or the Overthrow of Chernomor, evil wizard"Sholz, 1821) and V. A. Zhukovsky ("Three Belts, or Russian Sandrilona" by Scholz, 1826). Glushkovsky prepared sinks. ballet troupe, in which Voronina-Ivanova, T. I. Glushkovskaya, V. S. and D. S. Lopukhins danced, to the creation of a romantic repertoire.
In the 1st third of the 19th century. Russian ballet art reached creative maturity and developed as a national school. A. S. Pushkin most precisely defined the peculiarity of the performing art of Russian dancers when he described the dance of his contemporary A. I. Istomina as “a flight filled with soul”. Ballet took a privileged position among other types of theatre. The authorities gave him close attention provided with government subsidies. In 1825, the Bolshoi Theater was opened in Moscow, and the ballet troupe received a technically equipped stage and at the same time a leading dancer, teacher, choreographer of the pre-romantic direction F. V. Gyullen-Sor. By the beginning of the 1830s. both the Moscow and St. Petersburg ballet companies performed in well-equipped theatres. Russian ballet was organically accepted by the born in the West. European romanticism. By the mid 30s. performances were distinguished by magnificence and harmony, high school skill and coherence of the ensemble.
Themes of romanticism and realism
The conflict of dreams and reality - the main one in romantic art - updated the themes and style of artistic creativity. Two varieties of romantic art emerged in the ballet theater. The first asserted the incompatibility of dreams and reality on a generalized lyrical plane, where fantastic images predominated - sylphs, wilis, naiads. The other gravitated toward tense life situations and sometimes contained motives for criticizing reality (in the center of various, often exotic events, there was a dreamer hero entering the fight against evil). Among the figures of the first branch are the choreographer F. Taglioni and the dancer M. Taglioni; the second is choreographer J. Perrot and dancer F. Elsler. Both directions were united by a new, aesthetically promising relationship between dance and pantomime. The dance came to the fore, became the culmination of the dramatic action. Romantic art was also clearly manifested in performance, especially by E. I. Andreyanova, E. A. Sankovskaya, T. Gerino. The repertoire of the Russian theater includes all the most famous romantic ballets Zap. Europe: "Sylphide", "Giselle", "Esmeralda", "Corsair", "Naiad and the Fisherman", "Katarina, the Robber's Daughter". In the 1860s, the romantic spectacle began to disintegrate in Russia. In the years when Russian literature and art acquired a realistic orientation, ballet remained a court theater with an abundance of extravaganza effects and divertissement numbers. At the same time, A. Saint-Leon enriched the vocabulary of both classical and character dance, expanding the capabilities of deployed dance ensembles, preparing the accomplishments of M. I. Peti-pa. At the same time, C. Blazis improved the technique of dancers at the Moscow ballet school. The poetic height of ballet art was preserved by M. N. Muravyova, P. P. Lebedeva, N. K. Bogdanova, V. F. Geltser.
Historically, it was the Russian ballet that had to revive ballet art in a new quality. Choreographer M. I. Petipa began creative activity in the canons of the outdated aesthetics of romanticism. But he continued the process of enriching the dance, begun in this era. In his ballets to the music of the staff composers of the imperial theaters Ts. Pugni (Tsar Kandavl, 1868) and L. Minkus (La Bayadère, 1877), the substantive basis and culmination of the action were masterfully designed ensembles of classical dance, where the themes of corps de ballet were developed and contrasted and solo dance, faced dance motives-characteristics. Thanks to Petipa, the aesthetics of the “big”, or academic, ballet developed - a monumental spectacle built according to the norms of scenario and musical dramaturgy, and the external action was revealed in pantomime mise-en-scenes, and the internal action was revealed in the canonical structures of classical dance. The search for Petipa was completed in his collaboration with P. I. Tchaikovsky (“Sleeping Beauty”, 1890; “ Swan Lake”, 1895) and A. K. Glazunov (“Raymonda”, 1898; “The Seasons”, 1900), whose scores became the pinnacles of ballet symphonism of the 19th century. The work of choreographer L. I. Ivanov, assistant to Petipa (The Nutcracker, 1892; scenes of swans in Swan Lake, 1895), already foreshadowed a new imagery of dance at the beginning of the 20th century. E. O. Vazem, E. P. Sokolova, V. A. Nikitina, P. A. Gerdt, N. G. Legat, M. F. Kshesinskaya, A. I. Sobeshchenekaya, A. V. Shiryaev, O. I. Preobrazhenskaya, K. Brianza, P. Legnani, V. Zucchi. 
By the beginning of the 20th century Russian ballet took leading place in the world ballet theater. Ballet master-reformer M. M. Fokin updated the content and form of the ballet performance, creating new type performance - a one-act ballet, subordinate through action, where the content was revealed in the indissoluble unity of music, choreography, scenography (Chopiniana, Petrushka, Scheherazade). A. A. Gorsky ("Daughter of Gudula" based on the novel by V. Hugo "The Cathedral Notre Dame of Paris", 1902; "Salambo" based on the novel by G. Flaubert, 1910) also stood for the integrity of the ballet action, the historical authenticity of the style, and the naturalness of the plasticity. The main co-authors of both choreographers were not composers, but artists (they were sometimes the authors of the script). Fokine's performances were designed by L. S. Bakst, A. N. Benois, A. Ya. Golovin, N. K. Roerich; Gorsky - K. A. Korovin. Reformist choreographers were influenced by art American dancer A. Duncan, propagandists of "free" dance. However, along with the obsolete, the valuable was rejected - the generalization of musical and choreographic images. But new things were also acquired - ballet was included in the context of the artistic movements of its time. Since 1909, S. P. Diaghilev organized tours of the Russian ballet in Paris, known as the Russian Seasons. They opened the world to composer I. F. Stravinsky and choreographer Fokine (The Firebird, 1910; Petrushka, 1911), dancer and choreographer V. F. Nijinsky (Afternoon of a Faun, 1912; The Rite of Spring, 1913) and others, attracted famous musicians and artists to the ballet theater.
Russian seasons of Diaghilev abroad
With the beginning of the Russian Seasons Abroad, organized by Diaghilev, Russian ballet existed both in Russia and in Europe. After October 1917, when many artists emigrated, Russian ballet developed especially intensively abroad. During the 1920-40s. Russian artists (A. P. Pavlova with his troupe), choreographers (Fokine. L. F. Myasin, B. F. Nizhinskaya, J. Balanchine, B. G. Romanov, S. M. Lifar) headed the groups (Balle rus de Monte Carlo", "Original Balle rus", "Russian Romantic Theater" and many others), created schools and troupes in many countries of Europe and America, having a huge impact on world ballet. Long years while preserving the Russian repertoire, the traditions of the Russian school of dance, these groups simultaneously experienced the influence of the art of those regions where they worked, and gradually assimilated them.
In Russia, after 1917, the ballet remained major center national art. Despite the emigration of a number of outstanding figures of the ballet theater, the school of Russian ballet survived and put forward new performers. The pathos of the movement towards a new life, revolutionary themes, and most importantly, the scope for creative experiment inspired the ballet masters, allowed them to dare. At the same time, the traditions of the predecessors, the academicism of the performing culture were preserved. The head of the Bolshoi Theater troupe, Gorsky, reworked the ballets of the classical heritage, creating his own stage editions (Swan Lake, 1920; Giselle, 1922). Leading in the 1920s Petrograd troupe FV Lopukhov, a connoisseur of the classical heritage, talentedly restored the old repertoire. Lopukhov staged the first dance symphony "The Greatness of the Universe" (1922), allegorically depicted the revolution ("Red Whirlwind", 1924), turned to tradition folk genres("Pulcinella", 1926; "Tale about a fox ...", 1927).
Intensive creative work, the search for new forms went both outside the academic theaters and within their walls. During these years, various directions have been developed dance art. The studios of Duncan, L. I. Lukin, V. V. Maya, I. S. Chernetskaya, L. N. Alekseeva, N. S. Poznyakov, the workshop of N. M. Foregger, "Heptakhor", "Young Ballet" G M. Balanchivadze, studio "Dramballet". Special meaning had the activity of K. Ya. Goleizovsky, who innovatively developed the genre of pop-choreographic miniature and staged ballets both at the Moscow Chamber Ballet studio and at the Bolshoi Theater (“Joseph the Beautiful”, 1925, Experimental Theater - a branch of the Bolshoi Theater). By the mid-20s. the period of experiments in all Russian art, in particular choreographic art, ended with the closure of a number of studios, campaigns in the press for a return to the traditions of Russian culture of the 19th century.
Socialist realism and its ending
This was the beginning of the formation of the official method socialist realism in the choreographic theater, where performances came to the fore, in which the form of the "big ballet" of the 19th century. combined with new content ("Red Poppy", 1927). The official requirements of realism, the general accessibility of art led to the predominance of performances created in the genre of the so-called drama ballet on the stage. Ballets of this type are multi-act, usually based on the plot of a well-known literary work, built according to the laws of a dramatic performance, the content of which was presented with the help of pantomime and pictorial dance. The most famous masters of this genre were R. V. Zakharov (“The Fountain of Bakhchisaray”, 1934; “Lost Illusions”, 1935) and L. M. Lavrovsky (“Prisoner of the Caucasus”, 1938; “Romeo and Juliet”, 1940). V. I. Vainonen (“The Flames of Paris”, 1932), V. M. Cha-bukiani (“Laurencia”, 1939) strove for greater danceability within the drama ballet. In the 1930s formed new school performance, which was characterized, on the one hand, by lyricism and psychological depth (in the work of G. S. Ulanova, K. M. Sergeev, M. M. Gabovich), on the other hand, the heroic manner of dance, expression and dynamics (in the work of M. T. Semenova and many male dancers, in particular Chabukiani, A. N. Ermolaev). Among the leading artists of the late 20s - early 30s. also T. M. Vecheslova, N. M. Dudinskaya, O. V. Lepeshinskaya.
In the 1930s ballet theater in Russia developed intensively. New opera and ballet theaters with ballet companies were opened in Leningrad (Maly Opera theatre), Moscow (Moscow Art Ballet - later the Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko) and many other cities of Russia. However, despite the successes, the monopoly of one direction in the ballet theater led to an artificially cultivated uniformity. Many types of performances, in particular, one-act productions, including plotless and symphonic ballets, have left the theatrical use. The dance forms and the dance language were impoverished, since the performances used exclusively classical dance and only in some cases - folk-characteristic. As a result of the fact that all searches outside the drama ballet were declared formalistic, Lopukhov, after devastating criticism of D. D. Shostakovich's ballet "The Bright Stream", Goleizovsky, L. V. Yakobson and some others lost the opportunity to stage ballets in leading ballet troupes or pushed back onto the stage. All representatives of non-academic movements, free, plastic, rhythmic-plastic dance stopped staging work. But in the late 1940s - early 1950s. came the crisis of the officially supported drama ballet. Choreographers committed to this direction made futile attempts to preserve it, enhancing the spectacle of performances with the help of stage effects (for example, the flood scenes in " The Bronze Horseman"Zakharova, 1949). Nevertheless, the performing arts and its traditions were preserved. During these years, M. M. Plisetskaya, R. S. Struchkova, V. T. Bovt, N. B. Fadeechev appeared on the scene. The turning point came in the late 1950s, when a new generation of choreographers emerged. The first to embark on the path of innovation were the Leningrad choreographers Yu. N. Grigorovich (“ Stone Flower", 1957; "Legend of Love", 1961; later "Spartacus", 1968) and I. D. Belsky ("Coast of Hope", 1959; "Leningrad Symphony", 1961), who built the performance on the basis of musical and dance dramaturgy, revealing its content in dance. Choreographers N. D. Kasatkina and V. Yu. Vasilev, O. M. Vinogradov are close to this generation. In the same years, Lopukhov and Goleizovsky returned to creativity and created a number of new productions; previously forgotten genres were revived - one-act ballet, ballet-poster, satirical ballet, ballet symphony, choreographic miniature, the subject of a ballet performance was expanded, vocabulary was enriched. In this renewal process, L. V. Yakobson played a significant role. The choreographer tirelessly searched for new means artistic expressiveness, used the imagery of other arts in ballet. A new generation of performers entered the ballet scenes of Russia, in the first years of their work becoming an ally of the choreographers of the new wave: M. N. Baryshnikov, N. I. Bessmertnova, V. V. Vasiliev, I. A. Kolpakova, M. L. Lavrovsky, M.-R. E. Liepa, N. R. Makarova, E. S. Maksimova, R. Kh. Nureev, A. E. Osipenko, A. I. Sizova, Yu. Solovyov, N. I. Sorokina, N. V. Timofeeva. After an intensive rise in ballet art in the 1960s - early 1970s. there was a slowdown in its development, when little new, significant was created on the main stages, many productions were epigone. Nevertheless, experimental work did not stop even during these years, when M. M. Plisetskaya, V. V. Vasiliev, N. N. Boyarchikov, G. D. Aleksidze, D. A. Bryantsev created performances.
In the late 80s - early 90s. the number of tours abroad has significantly increased both for ballet troupes of the largest opera and ballet theaters and for small groups specially created for commercial purposes. Since the 1970s Russian artists, feeling their lack of demand in the outdated and poor repertoire of theaters, began to work more and more often abroad. Nureyev was the first to be forced to stay abroad, followed by Makarova, Baryshnikov; later, when this practice was legalized, Grigorovich, Vinogradov, as well as Plisetskaya, Vasiliev, and others began to work abroad, sometimes staging performances and even heading ballet troupes in the USA and Europe. Russian dancers of the younger generation work in many foreign groups.
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"pFYUYFSHCHBSUSH" RETED chBNY CH DESFEMSHOPUFY ZEOTBMSHOPZP IHDPTSEUFCHEOOPZP DYTELFPTTB, IPYUKH ULBBFSH, YuFP, LTPNE RPUFBOPCHLY "yZTPLB", S RTYZMBUIM CH vPMSHYPK FEBFT ЪBNEYUBFEMSHOP. ZTYZPTCHYUB, VMEUFSEE CHPRMPFYCHYEZP UCHPA CHETUYA "MEVEDYOPZP PETTB". NOE HDBMPUSH PYUYUFYFSH BZHYYH PF UFPRTPGEOFOPK NKHSHCHLBMSHOPK NBLHMBFHTSC (VBMEF "dPYUSH ZHBTBPOB") Y RTEDHRTEDYFSH RPSCHMEOYE ABOUT UGEOE DCHHIUPFRTPGEOPPK NBLHMBFHTSC - VBMEFB d.
rPDZPFPCHLB NYTPCHPK RTENSHETSCH PRETSHCH RTPLPZHSHECHB "yZTPL" CHSCHCHYMB LBFBUFTPZHYUEULHA OEURPUUPVOPUFSH vPMSHYPZP FEBFTB L TEYOYA RPDPVOPZP TPDB ЪBDBYu. terefygypooshchk RMBO, RTYOSFSHCHK DYTELGYEK vPMSHYPZP FEBFTB, VSCHM UPTCHBO ChP CHUEI UCHPYI LPNRPOEOFBI. rPTPK LFP RTPYCHPDYMP CHEYUBFMEOYE PFLTPCHEOOPZP UBVPFBTsB.
rTY PRTEDEMEOYY UPUFBCHCH YURPMOYFEMEK DMS HYBUFIS CH RTENSHETE "yZTPLB" ZEOETBMSHOSHCHN DYTELFPTPN Z-OPN b.z. ILUBOPCHSHCHN VSHCHM RPDRYUBO TSD RTILBCHCH, PRTEDEMSAEYI UPUFBCHSHCH RPYNEOOP. OP GEMSCHK TSD BTFYUFCH FEBFTB OE ЪBIPFFEMY TBVPFBFSH OBD RTEDMPTSEOOSCHNY RBTFYSNNY Y PFLBBMYUSH (!) CHSHCHRPMOSFSH RTYLBЪSHCH DYTELFPTTB (üKEO, zHTSPCH, nBZPNEDPCHB, LHOBECH Y DT). йИ ДЕКУФЧЙС ПУФБМЙУШ ВЕЪОБЛБЪБООЩНЙ, ФБЛ ЛБЛ УПЗМБУОП ФЕЛУФХ РПДРЙУБООПЗП ЙНЙ ЛПОФТБЛФБ У ФЕБФТПН ПОЙ ОЕ ПВСЪБОЩ РПДЮЙОСФШУС ОЙЛБЛЙН РТЙЛБЪБН - ПОЙ ПВСЪБОЩ МЙЫШ ЙОЖПТНЙТПЧБФШ БДНЙОЙУФТБГЙА П УЧПЙИ ЗБУФТПМШОЩИ ЙМЙ ЛБЛЙИ-МЙВП ЙОЩИ ОБНЕТЕОЙСИ.
fBL LPNREOUYTHEFUS OYEEOUULBS PRMBFB UPMYUFCH PRESCH. uFB "UCHPVVPDB" - EDYOUFCHEOOPE, UFP HDETSYCHBEF RECHGPCH PF HIPDB Yb vPMSHYPZP FEBFTB. dB EEE H Y'CHEUFOPK UFEREOY "NBTLB" vPMSHYPZP, CHBTSOBS DMS RPMHUEOIS ЪBZTBOYUOPZP BOZBTSENEOFB. лБЛ ОЙ РТЙУЛПТВОП, УЕЗПДОС МЙЫШ ПДЙО ФЕБФТ Ч тПУУЙЙ - нБТЙЙОУЛЙК - У ЖЙОБОУПЧПК ФПЮЛЙ ЪТЕОЙС ВПМЕЕ ЙМЙ НЕОЕЕ "ВМБЗПРПМХЮЕО", ИПФС ЬФП "ВМБЗПРПМХЮЙЕ" ОЕ ЙДЕФ ОЙ Ч ЛБЛПЕ УТБЧОЕОЙЕ У ХУМПЧЙСНЙ ТБВПФЩ Ч ЪБРБДОЩИ ФЕБФТБИ. reCHGSCH nBTYYOULPZP FEBFTB RPMHYUBAF CHPOBZTBTSDEOYE RTYVMYYFEMSHOP CH FTY TBB VPMSHIEEE, YUEN RECHGSCH vPMSHYPZP. FP "RTYCHYMEZYTPCHBOOPE" RPMPTSEOYE nBTYYOLY PE NOPZPN PVCUMPCMEOP, LBL Y'CHEUFOP, NPEOPC RPDDETSLPK BNETYLBOP-LKHVYOULPZP NHMShFYNYMMMYPOETB. h NPEN PLTHTSEOY OEF FBLYI ZPURPD, B RPFPNH BTFYUFSHCH vPMSHYPZP FEBFTB NPZHF UEV RPCHPMYFSH VSHCHFSH OEHRTBCHMSENSCHNY. th YI NPTsOP RPOSFSH - SING IPFSF EUFSH ...
lBTFPYuOBS LPMPDDB
chNEUFP PVEEBOOPZP 1 SOCHBTS 2001 ZPDB RBTFYFHTH PRETSCH S RPMHYUYM L 10 NBTFB, RTYUEN RETERPMOEOOKHA PYIVLBNY. OP YЪHYUEOYE RBTFYFHTSCH FBLPK UMPTSOPUFY FTEVHEF OE DCHHI U RPMPCHYOPK NEUSGECH, B LBL NYOYNHN RPMHZPDB. yuEFSCHTE YuEMPCHELB FTHDYMYUSH DOSNNY Y OPYUBNY OBD CHSCCHMEOYEN PYVPL Y CHOUEOYEN LPTTELFYCH CH LPNRMELF PTLEUFTPCHSCHI ZPMPUCH, YUFPVSCH HUREFSH L RETCHPK TEREFYGYY U PTLEUFTPN. Defbmsh, OP Pyueosh VKTSOS: On the Ratcheste Ptleuftpesche, RBTFYA OHETPYATPPHCHSHSHSHROMBMI on RHMSHFBI Chide "LBTFPUSHICH LPMPD", LPFPTSHE NPZMI TBCHBMSHSH, BELFBMSHSH, BELSBMSHSH, BELSMSHMSH. ABOUT UVTPYATCHLH OE ICHBFIMP READ...
17 NBS, UZMBUOP RMBOH, ABOUT UGEOE DPMTSOSCH VSCHMY VSCFSH HUFBOPCHMEOSCH DEKUFCHHAEYE, HRTBCHMSCHE LPNRSHAFETOSHCHN URUPUPVPN MENEOFSHCH LPOUFTHLFYCHOSCHI DELPTBGYK IHDPTSOILB d.m. vPTPCHULPZP. SING VSHCHMY RTYCHEOEOSCH L UTPLH, OP OE TBVPFBMY. TEREFYGIY MEFEMI PDOB b DTHZPK. nSCH U TETSYUUETPN-RPUFBOPCHEILPN b.v. фЙФЕМЕН ВПНВБТДЙТПЧБМЙ ЗЕОЕТБМШОПЗП ДЙТЕЛФПТБ ФЕБФТБ ДПЛМБДОЩНЙ ЪБРЙУЛБНЙ (ДТХЗПЗП УРПУПВБ ПВЭЕОЙС У ОЙН НЩ ВЩМЙ МЙЫЕОЩ: ПО ОЙ ТБЪХ ОЕ РПСЧЙМУС ОЙ ОБ ПДОПК ТЕРЕФЙГЙЙ - ЧП ЧУСЛПН УМХЮБЕ, С ЕЗП ОЕ ЧЙДЕМ), ОП ОЙЛБЛПЗП ПФЧЕФБ ОЕ РПМХЮЙМЙ. with Ch PVEEK UMPTSOPUFY RTPTBVPFBM Ch vPMSHYPN FEBFTE 23 ZPDB, OB NPEN UYUEFH 53 URELFBLMS, OP OE RTYRPNOA FBLPK UYFKHBGYY, YUFPVSHCH RTPGEUUE RPUFBOPCHLY DYTELFPT PFUHFUFCHPCHBM.
UPFTHDOYL RPUFBOCHPYuOPK YBUFY, TETSYUUETSCH, IHDPTSOYL-RPUFBOPCHEIL TBVPFBMY OEULPMSHLP OPYUK RPDTSD, RSHCHFBSUSH OBMBDYFSH OEYURTBCHOSHE LPOUFTHLGYY, LPFTSHOE BTVBVPFBMY FPBShLP DESHLP!
with RTYMPTSYM OENBMP UYM DMS ChSCHHRHULB L RTENSHETE VHLMEFB: RTYZMBUIM Y'CHEUFOPZP NKHSHCHLPCHEDB, UREGYBMYUFB RP FCHPTYUEUFCHH rTPLPZHSHCHECHB o.r. UBCHLYOH, RTEDPUFBCHYM TEDLYE YLPOPZTBJYUEULYE NBFETYBMSCH. l UPTsBMEOYA, OH S, OH o.r. UBCHLYOB OE VSHMY POBLPNMEOSCH U NBLEFPN VHLMEFB, LPFPTSCHK CHCHYEM H DEOSH RTENSHETSCHCH H 2 YUBUB DOS! h TEEKHMSHFBFE H VHLMEFE RPSCHIMYUSH FBLIE RETMSC, LBL "FEMEZTBNNB u. rtplpzhshechb b. bmsvshechkh" (CHNEUFP v. BUBZHSHECHH) Y F.D.
x LPZP RPCHETOEFUS SHCHL OBCHBFSH CHUE FFP "HUMPCHYSNY" DMS RPDZPFCHLY NYTPCHPK RTENSHETSCH? nPTsOP MY RTY FBLPN RPMPTSEOY CHEEEK OEUFY LBLHA-MYVP PFCHEFUFCHEOOPUFSH bb LBYUEUFCHP URELFBLMEK vPMSHYPZP FEBFTB, bb EZP IHDPTSEUFCHEOOPE UPUFPSOYE H GEMPN?
OE NPZKh OE ULBBFSH P RTECHPUIPDOPN LBYEUFCHE YZTSCH PTLEUFTB vPMSHYPZP FEBFTB. PO YZTBM VMYUFBFEMSHOP, RTYUEN ChP CHTENS URELFBLMS OILFP OE TEYBM LTPUUCHPTDSCH, UFP S U OENBMSCHN HDYCHMEOYEN OBVMADBM CH PTLEUFTE nBTYYOULPZP FEBFTB CHP CHTENS YURPMOEOISHP FBMPTENP PRESCH "OBPMP. рТЕЛТБУОП РПЛБЪБМБ УЕВС Ч "йЗТПЛЕ" ЗТХРРБ БТФЙУФПЧ ИПТБ (ЗМБЧОЩК ИПТНЕКУФЕТ у. мЩЛПЧ), ЧЙТФХПЪОП ЙУРПМОЙЧЫЙИ УПМШОЩЕ РБТФЙЙ Ч ЛБТФЙОЕ "тХМЕФЛБ", ЮФП УЧЙДЕФЕМШУФЧХЕФ П ВПМШЫПН ФЧПТЮЕУЛПН РПФЕОГЙБМЕ ИПТБ вПМШЫПЗП ФЕБФТБ.
dYTELGYS FEBFTB OE UDEMBMB OYUEZP, UFPVShch PTZBOY'PCHBFSH 'BRYUSH "yZTPLB". noe UBNPNKh RTYYMPUSH YULBFSH MADEK, URPUPVOSHI PRMBFIFSH FFPF OEDEYECHSHCHK RTPGEUU. L UYUBUFSHHA, FERETSH POB UHEEUFCHHEF Y UMHTSYF OEPRTPCHETSYNSCHN DPLBBEMBFEMSHUFCHPN LBYUEUFCHB URELFBLMS, TBUFPRFBOOPZP RTEUUPK. pTLEUFT CH FFK ЪBRYUY OY CH LPEN TBIE OE CHPURTPIYCHPDYF "FBRETULY-MEZLPE ЪCHHYUBOYE" (ZBEFB "LPNNETUBOF"), B CHPLBMSHOPE Y DYLGIPOOPE NBUFETUFCHP UPMYUFCHPCH OE "PUFBZFCHMSEF TsYuBOYE". yI TEYUSHOE "UMYCHBMBUSH CH LBYKH", B CHSTBYFEMSHOEKYN PVTBBPN RETEDBCHBMB LTBUPFKh SHCHLB dPUFPECHULPZP Y rTPLPZHSHECHB. пУПВЕООП ИПЮХ ПФНЕФЙФШ ЧЩУФХРМЕОЙЕ Ч РБТФЙЙ рПМЙОЩ ЧЩДБАЭЕКУС РЕЧЙГЩ, УПМЙУФЛЙ фЕБФТБ ЙНЕОЙ уФБОЙУМБЧУЛПЗП Й оЕНЙТПЧЙЮБ-дБОЮЕОЛП пМШЗЙ зХТСЛПЧПК, УРПУПВУФЧПЧБЧЫЕК, Ч БОУБНВМЕ У ДТХЗЙНЙ "УФБОЙУМБЧГБНЙ" - н. hTHUPCHSHCHN, m. хЮБУФЙЕ "УФБОЙУМБЧГЕЧ" Ч "йЗТПЛЕ" Ч УПДТХЦЕУФЧЕ У ЪБНЕЮБФЕМШОЩНЙ УПМЙУФБНЙ збвфБ (ч. чЕТЕУФОЙЛПЧ, р. лХДТСЧЮЕОЛП Й ДТ.) ПЪОБЮБМП ТБЪТХЫЕОЙЕ "ВБТТЙЛБДЩ" НЕЦДХ ДЧХНС ФЕБФТБНЙ, ОБИПДСЭЙНЙУС ОБ ПДОПК ХМЙГЕ. DHNBA, FP PYUEOSH RPMEOBBS LHMSHFHTOBS BLGYS, TBCHOP LBL Y PUHEEUFCHMEOOPE RP NPEK YOYGYBFYCHE CHSHUFHRMEOYE ABOUT UGEOE zbvfB nBTYYOULPZP FEBFTB U PRETBNY nPGBZTFB Y chB.
"UCHPY MADY" - UPYUFENUS
with OBDEAUSH, HCHBTsBENSCHK NYIBYM EZHYNPCHYU, CHBN Y'CHEUFOP, UFP U UBNSHCHI RETCHSHCHI DOEK NPEPZP "CHIPTSDEOYS PE CHMBUFSH" NEOS PVMYCHBMY ZTSSHHA, OECHYTBS OY OB NPK ChP'TBUF, OY OB NPY RHUFSH OYOBYUYFEMSHOSHCHE, OP CHUE-FBLY OELPFPTSCHE BUMMHZY RETED THUULYN YULKHUUFCHPN, UMKHTSEOIA LPFPTMNKh S5 mTSYCHPUFSH Y OELPNREFEOFOPUFSH YI CHSHCHULBSCCHCHBOIK OE RPDDBEFUS PRYUBOYA. NPS TBVPFB Ch vPMSHYPN FEBFTE, NPY UYNZHPOYYUEULYE LPOGETFSHCH, LPNRPYFPTULS DESFEMSHOPUFSH, NPS OPCHBS LOIZB "fTEKHZPMSHOYLY" RPDCHETZBMYUSH TSEUFPLPNKh "TBOPUKH". with DBCE PLBMUS CHYOPCHBFSCHN CH LBYUEUFCHE RTEDUFBCHMEOOOSCHI ABOUT CHCHUFBCHLE CH nFIGHTER DELPTBGYPOOSCHI TBVPF IHDPTSOYLPCH vPMSHYPZP FEBFTB. pDIO YЪ TEGEO'EOFCH RTEGMPTSYM CHPDYFSH ABOUT LFH CHSHCHUFBCHLH DEFEK, YUFPVSHCH CH UMHYUBE YI RMPIPZP RPCHEDEOYS YN NPTsOP VSHMP VSH RPPVEEBFSH CHFPTYUOSCHK CHYYF CH CHYDE OBLBBOYS.
CHOHFTY vPMSHYPZP FEBFTB PTZBOYBFPTSCH FFK FTBCHMY YNEMY "UCHPYI MADEK". rTEUU-GEOFT FEBFTB, OBRTBCHMSS NOE CHSHTEELY YЪ ZBEF, RTPYЪCHPDYM YI "UEMELGYA": RPMPTSYFEMSHOSHOSCHE PFSCHCHSHCHSHCH OE DPCHPDYMYUSH DP NPEZP UCHEDEOYS, PFTYGBFEMSHOSHCHE OENEDMEOOP RPROB NDBMPOY. fBL RTPYYPYMP Y U PFSCHCHBNY ABOUT CHSHCHUFBCHLKH CH nFIGHTER. Yu Rteuu-Jooftb with RPMHYUM FPMSHLP PFTYGBPEME TEGEYYY, B LPZBBEM RP RPPNH RPCHPDH "UPVPMEOPCHBIS" PTZBEBFPTBN, PFLBMYOKHEKHEKHEKHEKHY, KPLBMYKHYA
NPZH RPCHEUEMIFSH CHBU BOELDPFYUEULYN ZHBLFPN. with DYTYTSYTPCHBM H vPMSHYPN ЪBME LPOUECHBFPTYY UYNZHPOYEK zBKDOB? 60. ZBKDO UPYOYOM LFH UYNZHPOYA ABOUT NBFETYBME UCHPEK NKHSHCHLY L RSEUE ZHTBOGHULPZP LPNEDYPZTBZHB TEOSHSTTB "tBUUESOOSCHK". rPFPPNH CH 6-K YUBUFY, RP RSEUE UPPFCHEFUFCHHAEEK RTYIPDH NKHSHCHLBOFPCH, PO OBRYUBM CH RBTFFYFHTE: "PUFBOPCHYFSH PTLEUFT Y RPRTPUYFSH OBUFTPYFSHUS, RPUME YuEZP RTPDPMTSBFSH YEUFHA YUFU". pYUBTPCHBFEMSHOBS Y LBLBS "NPDETOBS" YHFLB ZEOIS! with YUEUFOP CHSHCHRPMOYM BCHFPTULPE HLBBOYE Y ABOUT UMEDHAEIK DEOSH RTPYUEM CH "LPNNETUBOFE", UFP PTLEUFT RPD NPYN HRTBCHMEOYEN YZTBM FBL ULCHETOP, YUFP S UBN CHSHCHOKHTSDEO VSCHM EZP PUFBOPCHYFSH Y!
ChPNKHEOOOSCHE BTFYUFSH PTLEUFTB OBRTBCHYMY ZMBCHOPNH TEDBLFPTH RYUSHNP, RPDRYUBOOPE 12 OBTPDOSCHNY Y BUMHTSEOOSCHNY BTFYUFBNY tPUUYY. "NSCH OE RPNEEBEN OILBLYI RYUEN YUYFBFEMEK, - VSCHM PFCHEF, - B OBY TEGEOGEOF OE NPTCEF PYVBFSHUS, X OEE CHUYEE NKHSHCHLBMSHOPE PVTBPCHBOYE". fSTsVB RTPDPMTSBMBUSH NEUSG, RPLB ZBEFB OE PRHVMYLPCHBMB Y'CHYOEOYE. op BCHFPT RBULCHYMS RTPDPMTSBEF FBN TBVPFBFSH.
ч ПДЙО РТЕЛТБУОЩК ДЕОШ С РТПЮЕМ Ч "оЕЪБЧЙУЙНПК ЗБЪЕФЕ", ЮФП ТЕРЕФЙГЙЙ Л АВЙМЕКОПНХ ЛПОГЕТФХ Ч вПМШЫПН ФЕБФТЕ РТПЧПДЙМ ОЕ С, Б ДТХЗПК ДЙТЙЦЕТ, РПЬФПНХ НПЕ РПСЧМЕОЙЕ ЪБ РХМШФПН ВЩМП ВПМШЫЙН УАТРТЙЪПН, Б НПЙ ДОЙ УПЮФЕОЩ: С У ЮБУХ ОБ ЮБУ ВХДХ ХЧПМЕО РТЙЛБЪПН NYOYUFTB LHMSHFHTSCH. UUSCHMBMYUSH RTY FFPN ABOUT "IPTPYP PUCHEDPNMEOOSHCHE YUFPYUOYLYY YOZHPTNBGYY". фБЛ ЛБЛ чЩ, нЙИБЙМ еЖЙНПЧЙЮ, ПЖЙГЙБМШОП ПРТПЧЕТЗМЙ ЧЕТУЙА П РТЙЛБЪЕ, С ОЕ УФБМ ЪБОЙНБФШУС ЬФЙН ЧПРТПУПН, ОП РПРТПУЙМ ЗМБЧОПЗП ТЕДБЛФПТБ ЗБЪЕФЩ УППВЭЙФШ НОЕ ЖБНЙМЙА ДЙТЙЦЕТБ, ЛПФПТЩК ЧНЕУФП НЕОС ЗПФПЧЙМ АВЙМЕКОЩК ЛПОГЕТФ. pFCHEFB ABOUT UCHPE RYUSHNP S CHA RP UEK DEOSH.
CHETUYS P NPEN ULPTPN HCHPMSHOEOYY CHOPCHSH CHP'TPDYMBUSH CH "nPULPCHULPN LPNUPNPMSHGE". h BNEFLE, RPDRYUBOOPK h. LPFSHIPCHSHCHN Y e. lTEFCHPKK, HFCHETSDBMPUSH: "UMKHIY P FPN, YuFP NBUFTP tPTsDEUFCHEOULPZP IPFSF RPRTPUYFSH U CHSHCHUPLPZP RPUFB, LTHTSYMYUSH HCE NEUSGB FTY". CHSHIPDYF, FTY NEUSGB S YOE RPDPIECHBM, UFP OBD NPEK ZPMCHPK OBCHYU HER RTBCHPUHDYS ...
uFTBYOP RPDKHNBFSH P LPMYUEUFCHE YUYFBFEMEK, LPFPTSHCHE RTYOYNBAF ABOUT THE FOUR LPH OECHETSEUFCHEOOHA RYUBOYOH (ZBEFB CHEDSHOE PYYVBEFUS!). rPUFBCHEYLY FBLPK "YOZHPTNBGYY" DEZHPTNYTHAF UPBOBOYE MADEK Y DEMBAF FFP UCHETIEOOOP VEOBBLBBOOP. POI RPCHPMSAF UEVE OBSCCHBFSH ATYS zTYZPTCHYUB "UFBTSHCHN BMLPZPMYLPN", vPTYUB rPLTPCHULPZP - "NBTBYNBFYLPN", zhEDPTB zhEDPTCHULPZP - "UFBMYOYUFPN". DMS OII OEF OYYUEZP UCHSFPZP, POY RPMShKHAFUS RTEDPUFBCHMEOOOPK YN UCHPPVPDPK UMPCHB, RTECHTBFICH HER H UCHPPVPDH MTsY.
h MTsYCHPK UFBFSHE "lBRYFBO UPYEM U LPTBVMS RETCHSHCHN", RPPUCHSEOOOPK NPENKH KHIPDKh Y vPMSHYPZP FEBFTB ("lPNNETUBOF"), e. yuETENOSCHI Y f. LKHOEGPCHB HIYFTYMYUSH DBCE "RTPGYFYTPCHBFSH" NPE "RTPEBMSHOPE RYUSHNP" NYOYUFTH LHMSHFHTSC, LPFPTPE FPZDB EEE OE VSCHMP OBRYUBOP!
тЕЪАНЙТХС УЧПЙ НЩУМЙ П РТЕУУЕ, С ПВТБЭБАУШ Л нПУЛПЧУЛПНХ УПАЪХ НХЪЩЛБОФПЧ, Л уПАЪХ ЛПНРПЪЙФПТПЧ тж, Л уПАЪХ ФЕБФТБМШОЩИ ДЕСФЕМЕК тж, ЛП ЧУЕН МАДСН, ЛПНХ ДПТПЗБ ТХУУЛБС НХЪЩЛБМШОБС ЛХМШФХТБ, У РТПУШВПК ЧЩУЛБЪБФШ УЧПЕ НОЕОЙЕ П УМХЮЙЧЫЕНУС Ч УТЕДУФЧБИ НБУУПЧПК ЙОЖПТНБГЙЙ, ДБФШ ПВЯЕЛФЙЧОХА ПГЕОЛХ ИХМЙЗБОБН , CETFCHPK LPFPTSCHI UEZPDOS UFBM S, B BCHFTB U KHUREIPN NPCEF UFBFSH LBTsDSCHK Yb ChBU.
rEuOS rshsoshchi
y ChPF UFP EEE NOE LBTSEFUUS UFTBOOSCHN. оЙ ЗЕОЕТБМШОЩК ДЙТЕЛФПТ ФЕБФТБ З-О йЛУБОПЧ, ОЙ ЧПЪЗМБЧМСЕНПЕ чБНЙ НЙОЙУФЕТУФЧП, ОЙ чЩ МЙЮОП, ХЧБЦБЕНЩК нЙИБЙМ еЖЙНПЧЙЮ, ОЕ ХДБТЙМЙ, ЛБЛ ЗПЧПТЙФУС, "РБМЕГ П РБМЕГ", ЮФПВЩ РПМПЦЙФШ ЛПОЕГ ЬФЙН БФБЛБН, УППВЭЙФШ П чБЫЕК РПЪЙГЙЙ Ч ДБООПН ЧПРТПУЕ. чЩ ДП РПТЩ ЪБОЙНБМЙ РПЪЙГЙА "УФПТПООЕЗП ЪБ ЬЛЪЕЛХГЙЕА ОБВМАДБФЕМС", Б Ч ПРТЕДЕМЕООЩК НПНЕОФ ЧУФБМЙ ОБ УФПТПОХ ИХМЙФЕМЕК, ПГЕОЙЧЫЙИ ЧЩУФТПЕООХА ЙЪ МХЮЫЙИ ПВТБЪГПЧ ТХУУЛПК ЛМБУУЙЛЙ РТПЗТБННХ ДМС ЛПОГЕТФБ Л 225-МЕФЙА вПМШЫПЗП ФЕБФТБ ЛБЛ "РПМОЩК РТПЧБМ".
ч ЬФЙ ЦЕ ДОЙ С РТПЮЕМ Ч ПДОПК ЙЪ ЗБЪЕФ чБЫЕ ЧЩУЛБЪЩЧБОЙЕ ПВ ПФЛТЩФЙЙ ЖЕУФЙЧБМС, РПУЧСЭЕООПЗП 100-МЕФЙА вПМШЫПЗП ЪБМБ ЛПОУЕТЧБФПТЙЙ, - ЬФП ВЩМ РБОЕЗЙТЙЛ БЛГЙЙ, ЛПФПТХА ЙОБЮЕ ЛБЛ ОБДТХЗБФЕМШУФЧПН РП ПФОПЫЕОЙА Л УЧСФПНХ ДМС НПУЛПЧУЛЙИ НХЪЩЛБОФПЧ ЪБМХ, ИПФС ВЩ ВМБЗПДБТС ХЮБУФЙА Ч ЛПОГЕТФЕ ПДОПЗП Ъ STSCHI ZPOYFEMEK rTPLPZHSHECHB Y yPUFBLPCHYUB - FYIPOB ITEOILPCHB U EZP "REUOEK RSHSOSCHI", OBCHBFSH OE NPZKH. rTPYUFS LFP, S RPOSM, UFP H OBU U chBNY TBMYUOSCHE RTEDUFBCHMEOYS P NOPZYI RPOSFISI H ALREADY YULKHUUFCHB. рТБЧДБ, ОЕЛПФПТЩЕ УППВТБЦЕОЙС РП ЬФПНХ РПЧПДХ РПСЧЙМЙУШ Х НЕОС Й ТБОШЫЕ, ЛПЗДБ чЩ РПРТПУЙМЙ "ПВМЕЗЮЙФШ" АВЙМЕКОХА РТПЗТБННХ, ЧЛМАЮЙЧ ЮФП-ОЙВХДШ "ТБЪЧМЕЛБФЕМШОПЕ" ФЙРБ "РБТБДБ ФЕОПТПЧ" РПУМЕ "уМБЧШУС" зМЙОЛЙ, ДПМЦЕОУФЧХАЭЕЗП, РП НПЕК НЩУМЙ, ЧЕОЮБФШ ЛПОГЕТФ.
h UCHSHY U NPYN 70-MEFYEN Y 50-MEFYEN FCHPTYUEULPK DESFEMSHOPUFY RTEDRPMBZBMUS AVIMEKOSHCHK CHEYUT H vPMSHYPN FEBFTE. with IPFEM RPPUCHSFYFSH EZP FCHPTYUEUFCHH tBINBOYOPCHB Y RTPDYTYTSYTPCHBFSH PRETPK "zhTBOYUEULB DB TYNYOY", VBMEFPN "rBZBOYOY" Y chFPTPK UYNZHPOYEK. пДОБЛП РПУМЕ ЛПОГЕТФБ Ч вПМШЫПН ЪБМЕ ЛПОУЕТЧБФПТЙЙ 17 БРТЕМС, ЗДЕ ЧП ЧТЕНС НПЕЗП ЧУФХРЙФЕМШОПЗП УМПЧБ С ВЩМ "ЪБИМПРБО" ЗТХРРПК РПДУБЦЕООЩИ ИХМЙЗБОПЧ, ЛТЙЮБЧЫЙИ: "иЧБФЙФ, НХЪЩЛХ ДБЧБК!", Б ЛТПНЕ ФПЗП, РПМХЮЙЧ УЙЗОБМЩ ПФ "ИПТПЫП ЙОЖПТНЙТПЧБООЩИ ЙУФПЮОЙЛПЧ" П ЗПФПЧСЭЕКУС ПВУФТХЛГЙЙ CHTENS AVYMEKOPZP CHEYUETB, S PFLBMBMUS PF EZP RTPCHEDEOYS, OBRYUBCH PZHYGBMSHOPE RYUSHNP U PVYASUOEOYEN RTYUYO PFLBB ZEOETBMSHOPNKH DYTELFPTH FEBFTB. ChShch, NYIBYM EZHYNPCHYU, RP CHUEK CHETPSFOPUFY, OYUEZP PV LFPN OE OBMY - CHP CHUSLPN UMHYUBE, OILBL OE PFTEBZYTPCHBMY.
with OE DKHNBA, YuFP NPK CHSHCHOKHTSDEOOSHCHK HIPD Yb vPMSHYPZP FEBFTB ChBU PYUEOSH PZPTYuYM, ZhBLFSH UCHYDEFEMSHUFCHHAF PV PVTBFOPN. with OE DHNBA FBLTSE, YuFP ChBU PЪBVPFYF UHDSHVB "VEETTBVPFOPZP" TPTSDEUFCHEOULPZP, BEUMY LFP FBL, FP, RPTSBMHKUFB, OE ZPTAKFE. oEUNPFTS ABOUT UCHPA RPMOEKYHA "FCHPTYUEULKHA DEZTBDBGYA" (RP HFCHETSDEOYSN NPULPCHULPK RTEUUSCH), S YNEA NOPTSEUFCHP RTYZMBYOEOYK PF MKHYUYI PTLEUFTCH Y PRETOSHCHI FEBFTCH NYTB, CH FPN YUYUYUME PL. уФБОЙУМБЧУЛПЗП Й оЕНЙТПЧЙЮБ-дБОЮЕОЛП, ПТЛЕУФТБ уБОЛФ-рЕФЕТВХТЗУЛПК ЖЙМБТНПОЙЙ, уЙНЖПОЙЮЕУЛПК ЛБРЕММЩ тПУУЙЙ, вПУФПОУЛПЗП ПТЛЕУФТБ, НЙМБОУЛПЗП ФЕБФТБ "мБ уЛБМБ", ЗПММБОДУЛПК оБГЙПОБМШОПК ПРЕТЩ Ч бНУФЕТДБНЕ, рБТЙЦУЛПЗП УЙНЖПОЙЮЕУЛПЗП ПТЛЕУФТБ, ФПЛЙКУЛПЗП ПТЛЕУФТБ "йПНЙХТЙ" Й НОПЗЙИ ДТХЗЙИ. fBL UFP TBVPFPK S PVEUREYUEO DP 2004 ZPDB, OEUNPFTS ABOUT FP UFP NOE RTYYMPUSH CH YUFELYEN UEPOE PFNEOYFSH NOPTSEUFCHP LPOFTBLFPCH, UFP VSCHMP OERTPUFP. pDOBLP FFP OE RPNEYBMP RTYUSTSOSCHN PUFTSLBN HCE CH OBYUBME UEKPOB RTYUCHPYFSH NOE CHBOYE "CHYTFHBMSHOPZP THLPCHPDYFEMS", IPFS BL CHEUSH UEPO S PFUHFUCHCHPCHBM CH PVEEK UPTSOLPUFY.
RP CHUEK CHETPSFOPUFY, HCHBTsBENSCHK NYIBYM EZHYNPCHYU, CHBN RTYDEFUS PFCHEYUBFSH OB CHPRTPUSCH MADEK, YOFETEUKHAEYIUS RTYYUYOBNY NPEZP KHIPDB YB VPMSHYPZP FEBFTB. yNEOOP RPFPNKh S YЪVTBM ZHPTNKh PFLTSCHFPZP RYUSHNB, UFP RTEDPUFBCHMSEF chBN RTBCHP UDEMBFSH EZP DPUFPSOYEN ZMBUOPUFY. uBNP UPVPK TBHNEEFUS, S PUFBCHMSA FBLPE RTBCHP Y b UPVPK.
CHPF CHLTBFGE FE RTYUYOSCH, LPFPTSHCHCHCHOHDYMY NEOS RPDBFSH chBN ЪBSCHMEOYE.
dHNBA, YI WPMEE YUEN DPUFBFPYUOP DMS PYASUOEOYS NPEP RPUFHRLB.
h BLMAYUEOYE RTPYH chBU RP CHPNPTSOPUFY ULPTEE HDPCHMEFCHPTYFSH NPA RTPUSHVKh P TBUFPTTSEOY LPOFTBLFB.
rTYNYFE, Z-O NYOYUFT, NPY HCHETEOYS H UCHETIEOOPN RPYUFEOYY.
ULTEOO OE BBY
ZEOOBDYK tpcdeufcheoulik,
OBTPDOSHK BTFYUF uuut,
MBHTEBF MEOYOUULPK RTENYY,
ZETPK uPGYBMYUFYUEULPZP fTHDB,
RTPZHEUUPT
nPULPB, 17 YEAS 2001 ZPDB
ryushnp nyoyuftb
RHVMILHS Yofhetchsha Zeoobdys Titsdeufcheolpzp Ryushnp, "Ycheufse" Oe NPZMI OE RTEDPUFBCHIFSHEPSHEPHSHBULBFSHUS. UPDETTSBOYE PRHVMYLPCHBOOPZP CH ZBEFE RYUSHNB OE BLMAYUBMP OILBLPK OPCHPUFY. pV LFPN PO ULBBM CH PFCHEF ABOUT UCHPOPL OBYEZP LPTTEURPODEOFB
S RPMHYUYM RYUSHNP ZEOOBDYS OILPMBECHYUB TPTSDEUFCHEOULPZP CH RSFSH YUBUPCH CHEYUETB 18 YAOS. i FPMSHLP HFTPN 19-ZP RPOSM, RPYUENKh FBL RPDOP: S RTPUYFBM EZP CH ZBEFE. ZEOOBDYK OILPMBECHYU RYUBM EZP DEUSFSH DOEK, U NPNEOFB ЪBSCHMEOYS P EZP HIPDE, OP, PRHVMYLPCHBCH EZP, MYYM NEOS CHUSLPK ChPNPTSOPUFY PFCHEFIFSH ENH MYUOP.
hCHBTsBENSCHK ZEOOBDYK OILPMBECHYU!
uFP-FP RPDULSCHCHBEF NOE, UFP SOE DPMTSEO PFCHEYUBFSH OB CHBYE RYUSHNP, F.L. POP RP UHEEUFCHH SCHMSEFUS MYYSH RPRSHFLPK VPMEE YMY NOOEE VMBZPTPDOP PVYASUOYFSH chbykh LBRYFHMSGYA RETED FENNY FTHDOPUFSNY, U LPFPTSHNY chsch UFPMLOKHMYUSH H vPMSHYPN FEBFTE. OP FTEVPCHBOYS YUEMPCHEYUEULPK Y, EUMY HZPDOP, YUFPTYUEULPK URTBCHEDMYCHPUFY BUFBCHMSAF NEOS PFCHEFYFSH ChBN.
with RPUFBTBAUSH, YUFPVSCH PFCHEF FFPF VSCHM UCHPPVPDEO PF LBLII VSC FP OY VSCHMP NEMLYI PVYD Y - OE ULTPA - PF ЪBIMEUFSHCHCHBAEYI NEOS YNPGYK.
Chchim is a vamym -boss of the VPMSHYPK Febft Ch Lbuefchaeufzefcheoopzp Dilfbfptb, RPMHyUich Chuee RTBCHB, LPFPTI RPCHPMIMI VSHBN Blofyyufspguu Khoylbmshop xCE ABOUT UFBDYY RPDRYUBOYS LPOFTBLFB U chBNY NEOS OBUFPPTSYMP chbye TSEMBOYE YЪVETSBFSH LBLYI VSC FP OY VSCHMP PVSBFEMSHUFCH ЪB UHDSHVKh vPMSHYPZP FEBFTB H GEMPN. пЗПЧПТЙЧ ЧУЕ РТБЧБ ЗЕОЕТБМШОПЗП ИХДПЦЕУФЧЕООПЗП ДЙТЕЛФПТБ вПМШЫПЗП ФЕБФТБ (ЬФБ ДПМЦОПУФШ ВЩМБ УРЕГЙБМШОП УПЪДБОБ ДМС чБУ), чЩ ЧЪСМЙ ОБ УЕВС АТЙДЙЮЕУЛХА ПФЧЕФУФЧЕООПУФШ МЙЫШ ЪБ ФЕ РПУФБОПЧЛЙ, ЛПФПТЩЕ ВХДХФ ПУХЭЕУФЧМЕОЩ МЙЮОП чБНЙ. fPZDB, CH BCHZHUFE 2000 ZPDB, NOE LBMBPUSH, UFP FFP MYYSH ZHPTNB PUFPPTTSOPUFY. rPUME RTPYUFEOYS chBYEZP RYUSHNB RPOSM, UFP LFP VSCHMB RTYOGYRYBMSHOBS RPYGYS ZPUFS, RP UFEYUEOYA PVUFPSFEMSHUFCH RPMHYUYCHYEZP RTBCHB IPSYOB.
h YOPN UMHYUBE chshch DPMTSOSCH VSCHMY VSH OBFSH, YuFP RETEZPCHPTSHCH U a.o. ZTYZPTCHYUEN P CHPCHTBEEOYY H vPMSHYPK S OBYUBM EEE CH LPOGE BRTEMS 2000 ZPDB, BDPMZP DP FPZP, LBL chshch RPMKHYUYMY RTYZMBYOYE CHPZMBCHYFSH IHDPTSEUFCHEOOHA YUBUFSH FEBFTB. чЩ ДПМЦОЩ ВЩМЙ ВЩ ЪОБФШ, ЮФП ЗМБЧОПК ЪБДБЮЕК, РПУФБЧМЕООПК РЕТЕД ОПЧПК БДНЙОЙУФТБГЙЕК вПМШЫПЗП ФЕБФТБ нЙОЙУФЕТУФЧПН ЛХМШФХТЩ, УФБМП ЙЪНЕОЕОЙЕ УФТХЛФХТЩ ХРТБЧМЕОЙС ФЕБФТПН Й ЙЪНЕОЕОЙЕ ФТХДПЧЩИ ПФОПЫЕОЙК Ч ЛПММЕЛФЙЧЕ, ЛПФПТЩЕ УЕЗПДОС НЕЫБАФ ФЧПТЮЕУЛПНХ ТБЪЧЙФЙА ФТХРРЩ. чЩ ДПМЦОЩ ВЩМЙ ВЩ ЪОБФШ, ЮФП ТБВПФХ ФЕБФТБ, ЛПФПТХА чЩ ЧПЪЗМБЧМСЕФЕ ИХДПЦЕУФЧЕООП, ОЕУЛПМШЛП НЕУСГЕЧ ЙУУМЕДПЧБМБ ПДОБ ЙЪ МХЮЫЙИ ЛПОУБМФЙОЗПЧЩИ ЖЙТН НЙТБ - ЛПНРБОЙС "нБЛ-лЙОЪЙ", РТЙЮЕН УПЧЕТЫЕООП ВЕУРМБФОП, Й ЮФП ТЕЪХМШФБФЩ ЬФЙИ ЙУУМЕДПЧБОЙК РПЪЧПМЙМЙ ЧЩТБВПФБФШ ОПЧХА УФТБФЕЗЙА ТБЪЧЙФЙС вПМШЫПЗП.
чЩ ДПМЦОЩ ВЩМЙ ВЩ ЪОБФШ, ЮФП нЙОЙУФЕТУФЧП ЛХМШФХТЩ ЧНЕУФЕ У БДНЙОЙУФТБГЙЕК ФЕБФТБ ХЦЕ РПМЗПДБ ТБВПФБЕФ ОБД НПДЕМША ПУПВПЗП ЬЛПОПНЙЮЕУЛПЗП НЕИБОЙЪНБ, ЛПФПТЩК РПЪЧПМЙФ ТЕЫЙФШ НОПЗЙЕ ЖЙОБОУПЧЩЕ РТПВМЕНЩ ФЕБФТБ. мЙЮОП чЩ ДПМЦОЩ ВЩМЙ ВЩ ЪОБФШ, ЮФП НОЕ РТЙИПДЙМПУШ ТБУРХФЩЧБФШ НОПЗЙЕ ЛПММЙЪЙЙ Ч ВБМЕФОПК ФТХРРЕ ФЕБФТБ, РПУМЕ ФПЗП ЛБЛ чЩ, ОЕ ЪБДХНЩЧБСУШ П РПУМЕДУФЧЙСИ, ПФРХУЛБМЙ Ч ЕЕ БДТЕУ СЪЧЙФЕМШОПУФЙ, ЛПФПТЩЕ чЩ УБНЙ ОЕ ИПФЙФЕ ФЕТРЕФШ ПФ РТЕУУЩ. Chshch DPMTSOSCH VSHCHMY VSH OBFSH, RP LBLPK RTYUYOE FBL NHYUYFEMSHOP YMB TBVPFB OBD DELPTBGYSNNY "yZTPLB" Y ZDE OBIPDYMUS DYTELFPT FEBFTB PE CHTENS UGEOYYUEULYI TEREFYGYK. й, ОБЛПОЕГ, ЕУМЙ ВЩ чБУ ДЕКУФЧЙФЕМШОП ЧПМОПЧБМБ УХДШВБ ФЕБФТБ, чЩ ВЩ ОБЫМЙ ЧТЕНС ДМС РПУЕЭЕОЙС ФЕИ ЛППТДЙОБГЙПООЩИ УПЧЕФПЧ, ОБ ЛПФПТЩИ Ч ЦБТЛЙИ УРПТБИ ПВУХЦДБАФУС Й РПОЩОЕ ТБЪМЙЮОЩЕ РПДИПДЩ Л ТЕЛПОУФТХЛГЙЙ ПУОПЧОПЗП ЪДБОЙС вПМШЫПЗП.
ffp OE HRTELY - ffp MYYSH LPOUFBFBGYS ZhBLFPCH.
uFPK NPK UYUEF L UBNPNKH UEVE - S OBDESMUS, UFP ZTBODYPЪOBS FCHPTYUEULBS TBVPFB RP TEZHPTNYTPCHBOYA vPMSHYPZP FEBFTB HCHMEYUEF chBU Y ChPЪPVMBDBEF OBD EUFEUFCHEOOOSCHN ZPYOPLPNN. hChShch - ffp NPS PYVLB.
UEZPDOS chshch NSHUMYFE FEBFT RTEINHEUFCHEOOP LBL HDBYOP YCHHYUBEYK PTLEUFT. OP FEBFT - LFP OE FPMShLP NKHSHCHLBMSHOBS RBTFFYFHTB, - FPZDB VSC chsch UNPZMY TBZMSDEFSH LBTFPOOSHCH OELPZDB CHEMYLPK FTBDYGYY, LPFPTSHHE RTPDENPOUFTYTPCHBM LPOGESHA VPCHK2EETF.
ChBU HDTHYUMB NPS RTPUSHVB rytufbchikhi hbpni lpogetfe VBMEF, LPFPSHK RPOFFBCHMSEF UMBCH UGECHESH TPUUII, b -tsbuhmbs yeephm -tsuutulpzp b -tshnesch. yI OE UNPZMB RTEPDPMEFSH DBCE NBZYS chBYEK DYTYTSETULPK RBMPYULY.
DMS NEOS NKHSHCHLBMSHOSHCHK FEBFT - CHSHUYBS ZHPTNB IHDPTSEUFCHEOOPZP UYOFEFEYNB, LPFPTSCHK FTEVHEF UCHETEYOUFCHB CHUEI EZP UPUFBCHMSAEII.
with OE UFEUOSAUSH FPZP, YuFP X OBU U chBNY TBOSCHE IHDPTSEUFCHEOOOSCH RTEDUFBCHMEOYS Y RTEDPYUFEOYS. GENERAL DYULKHUYY ABOUT LFH FENH VSCHMY CHUEZDB RMPDPFCHPTOSCHNY RPYFYCHOSCHNY.
ChShch, CHETPSFOP, OBEFFE, UFP VPMSHYKHA Y, OCHETOPE, MHYuYKHA YUBUFSH UCHPEK TSOYOY S BOINBMUS FPMSHLP IHDPTSEUFCHEOOOPK (RP RTEINKHEEUFCHH FEBFTBMSHOPK) LTYFYLPK. y CHNEUFE U ChBNY NPZH LPOUFBFYTPCHBFSH, YuFP OSHOEYOSS TSKHTOBMYUFYLB RPTPK OBTKHYBEF RTPZHEUYPOBMSHOSHCHE Y FYYUEULYE OPTNSCH RPCHEDEOYS. OP CH FP TSE CHTENS OE NPZKH OE BNEFYFSH, YUFP RPSCHIMPUSH OENBMP FBMBOFMICHSCHI MADEK, LPFPTSHCHE DEMBAF YUEUFSH FFK RTPZHEUUIY.
рТЙ ОЩОЕЫОЕН НОПЗППВТБЪЙЙ РЕЮБФОЩИ ЙЪДБОЙК Й ЬМЕЛФТПООЩИ УТЕДУФЧ НБУУПЧПК ЙОЖПТНБГЙЙ ОЕЧПЪНПЦОП РТЕДУФБЧЙФШ ЮША-ФП ЕДЙОХА ЪМХА ЧПМА, ЛПФПТБС РПДЮЙОЙМБ ВЩ УЕВЕ ЧУА РЙЫХЭХА Й ЧЕЭБАЭХА ВТБФЙА Й ПВТХЫЙМБ ЕЕ ОБ чБЫЕ ФЧПТЮЕУФЧП. eEE FTHDOEE UEVE RTEDUFBCHYFSH CHPNPTSOPUFSH NYOLKHMSHFB Y DBCE NYOREYUBFY DEKUFCHEOOP RTPFYCHPUFPSFSH FPK UCHPPDE IHDPTSEUFCHEOOOSCHI UHTsDEOYK, LPFTBS EUFSH PDOP YЪ CHSHCHUYICHCHPUYBCHYBCH. rTEDUFBCHMSA UEVE, UFP chshch PVTBEFEUSH H zPUDERBTFBNEOF uyb YMY CH UPCHEF RP YULKHUUFCHH OSHA-kPTLB U FTEVPCHBOYEN BDNYOYUFTBFYCHOPZP PLTYLB BL LTYFYLH "OSHA-kPTL FBKUMYCHMU" Ch.
uFP CE LBUBEFUS NPEK RPYGYY CH FFPN CHPRTPUE, FP chsch EE RTPUFP RETEDETZYCHBEFE. TBCHE CHBU OE VSHMP OB UREGYBMSHOPN UPCHEEBOYY CH BRTEME UZ, ZDE RP NPEK YOYGYBFICHE NSC PVUHTsDBMY RMBO RHVMYLBGYK Y CHSHCHUFHRMEOYK, RPCHSEOOOSCHI CHSHCHRHULKH "YZTPLB", ChBN MYUOP Y VV th TBCHE SOE RTEDMBZBM chbn TBMYUOSCHE CHBTYBOFSHCH "RTYNYTEOYS" U RTEUUPK, LPFPTBS RPMKHYUYMB L FPNH READING OE BMP "HVPFSHCHYUYO" PF ChBU, - Y S OE UPNOECHBMUS CH HER CHBYNOPUFY?!
new YULTEOOOE TsBMSh, UFP chshch OYUEZP OE BIPFEMY KHUMSCHYBFSH Y RPOSFSH. x OBU CHUEI VSHCHM IBNEYUBFEMSHOSHCHK YBOU UDEMBFSH OBYUBMP XXI CHELB CH vPMSHYPN FEBFTE "URPIPK TPTSDEUFCHEOULPZP", Y CHYDYF vPZ, Y b.z. ILUBOPCH, J S VSHMY ZPFCHSHCH UDEMBFSH CHUE, YUFPVSCH CHPCHTBEEOYE vPMSHYPZP VSCHMP UCHSBOP U chBYN YNEOEN.
чУЕ ЪБЛПОЮЙМПУШ чБЫЙН РЙУШНПН, РПМОЩН ОЕУРТБЧЕДМЙЧЩИ ХРТЕЛПЧ нЙОЙУФЕТУФЧХ ЛХМШФХТЩ Й ДЙТЕЛГЙЙ вПМШЫПЗП ФЕБФТБ, ОЕРПЪЧПМЙФЕМШОЩИ ЧЩРБДПЧ Ч БДТЕУ ЧБЫЙИ РЕФЕТВХТЗУЛЙИ ЛПММЕЗ (ОБУФПМШЛП ОЕРПЪЧПМЙФЕМШОЩИ, ЮФП ЗБЪЕФБ "йЪЧЕУФЙС" ОЕ ТЕЫЙМБУШ ЙИ ОБРЕЮБФБФШ).
ULTEOOOE UTCBMEA PV LFPN.
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In the eighteenth (XVIII) century, there were no independent ballet performances yet - ballet existed in the theater insofar as it was necessary when staging very fashionable and beloved operas. These could be inserted dance episodes that continue the action of the opera performance. But more often the dance was introduced into the opera in the form of a divertissement - a chain of dance numbers formally linked together: for example, representatives of the main characters danced at a ball or at the wedding of the main characters. different peoples. Ballet interludes were often staged - dance scenes with an independent plot, having almost nothing to do with the main plot. Sometimes the ballet or pantomime briefly repeated the content of the opera just shown. But it happened that, with which the evening at the theater usually ended, they were staged as a separate work.
It was only in the sixties of the eighteenth century that ballet grew into independent genre and became a multi-act performance.
Dancers and dancers of that time would seem to us at least strange. If today a high step, impeccable eversion, a high jump, perfect stretching, dexterity in performing pirouettes, tours and jettes are required from a ballet premiere or a ballerina, then grace, the ability to take graceful poses and expressively gesticulate were expected from the soloists of the Paris Opera in the time of Louis XV to make beautiful bows and curtsies. They had their own jumping technique, based on low jumps with skids - entrecha royal, entreche trois, entrecha quatre. It is interesting that any courtier could compete with professional dancers - children from noble families were taught complex techniques from childhood. ballroom dancing, and then there was not much difference between ballroom and theatrical dance.
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A fast, complex and dynamic dance was also impossible because of the costumes. They were voluminous, in our opinion - bulky and clumsy, and wigs, feathered headdresses and masks made the trouble even worse.
In the end, the educated public strongly opposed the decorous and monotonous ballets. Then the scientists-educators put forward the slogan: the theater should be a school of morals. This also applies to ballet. In order to attach ballet to the high genres of art of that time, it was necessary to turn it from the amusement of aristocrats into a synthesis of all the arts related to it, and main goal deliver public recognition.
As the famous encyclopedist Denis Diderot wrote, “it is necessary to distinguish it from other imitative arts, to closely associate pantomime with dramatic action, to give the dance the form of a real poem.
Small theatres, where many young dancers and choreographers began their careers, later became recognized masters, became the testing ground for the planned reforms. They were John Weaver in London, Frans Hilferding in Vienna and Jean Georges Nover in Paris.
Weaver, who was later called the "father of English ballet", advocated ballet performances based on effective pantomime, for turning to plots that require great passions and events, for breaking stage dance from ballroom dancing. He himself took the first steps in this direction - in 1717 he staged the plot ballet "The Love of Mars and Venus", in which the dance was closely connected with pantomime. He, believing that dances should be built on knowledge of the human body, published his work “Anatomical Art” in 1721 - this was the first attempt at a scientific approach to choreography.
Young choreographers dreamed of reforming the ballet costume - its pomposity and pomp went to the detriment of the dance. They urged to remove the painted masks that prevent seeing the expression on the face of the dancer, to throw voluminous wigs into the landfill, to stop depicting pastoral shepherds in helmets with sultans. It is curious that the masks lasted on the ballet stage for quite a long time. For the first time he removed them from the dancers Hilferding. This happened in 1752.
Finally, the famous Marie Camargo was the first to shorten her skirt and give up high heels. And in the 1790s, heelless shoes appeared. The finger technique began to improve, and soon they invented pointe shoes (from the French pointe - point) - a special ballet shoes with a hard toe, with the help of which the dance acquired the character of flight. But very little is known about experiments with pointe shoes. By the end of the eighteenth century ballet costume under the influence of fashion, inspired by the imitation of antiquity, it became much lighter and freer, which to a large extent contributes to the rapid development of dance technique.
Nover, Parisian choreographer Comic Opera, became famous for the book Letters on Dance and Ballet, which brought him European fame. The basis of his performances were dance pantomimes, rich in tense situations and violent passions. He banished from the ballet scene what he called "flat caricatures" and "clumsy farces."
The main principles of the ballet, which is familiar and understandable to us, were laid down by Nover.
A significant role in the triumph of his ideas was played by the victory in the art of sentimentalism. In literature and dramaturgy, the main character was a man, not an ancient god or hero. ballet theater
became a public spectacle of the townspeople and a type of performance appeared, in which pantomime turned out to be in the foreground. She, pushing danceability into the shadows, turned ballet into a choreodrama, in connection with which interest in literary basis actions. Then the first ballet librettos appeared.
We owe the first professional Russian ballet dancers to ... Empress Anna Ioannovna. An experienced dance teacher, Jean-Baptiste Lande, who performed in his youth on the stages of Paris and Dresden, began to teach dances in the gentry corps, and so successfully that his pupils-cadets shone in court performances. In September 1737, Lande filed a petition in the name of the Empress. He asked to give him six boys and six girls for training, promising to make them professionals of the "broad profile" - not only dancers, but also dramatic artists. In 1738, the first ballet school in Russia was opened. The empress became generous - Lande received twelve boys and twelve girls, children of the palace servants.
Here are the names of the best students of the first set of the St. Petersburg ballet school: Aksinya Baskakova, Avdotya Timofeeva, Elizaveta Zorina, Afanasy Toporkov, Andrey Nesterov. Lande staged with them the so-called "serious ballets" on pastoral and mythological subjects. Here is an example. In 1742, for the coronation of Empress Elizabeth Petrovna, a solemn courtier was appointed performance"Russia, overjoyed by sadness." The music was composed by court violinist Domenico Daloglio. The prologue of the performance ended with the ballet "Joy of the peoples about the appearance of Astrea on the Russian horizon and the restoration of golden time." For the same event, the ballet "The Golden Apple at the Feast of the Gods and the Judgment of Paris" was staged.
There is little information about the first Russian professional dancers. It is known that Toporkov already at the age of sixteen performed leading roles in the court ballet, and then was appointed court dance master. The art of Aksinia Baskakova was also highly valued by her contemporaries, but in 1753 she left the stage due to illness and soon died.
Competitors to Russian dancers were Italians - masters of jumps and pirouettes. When Empress Anna Ioannovna ordered an Italian opera troupe to St. Petersburg in the thirties of the eighteenth century, ballet dancers arrived along with the singers - the choreographer and comic dancer Antonio Rinaldi, nicknamed Fusano (which means spinner) and his troupe. Unlike Lande, Fusano staged mainly comic ballets - unpretentious in content, with characters from the Italian commedia dell'arte, with "peasant" dances. It was Fusano who brought his passion for jumping to the ballet scene.
His wife Tonina Constantini was a wonderful dancer, but Lande's graduates, especially Aksinya Sergeeva, were in no way inferior to her.
Subsequently, other Italian dancers also came to Russia. In 1756, Giovanni Battista Locatelli arrived with his opera and ballet troupe. He performed both at the court and in the Summer Garden. The audience was delighted with the skill of the dancers Anna Beluzzi, Libera and Andreana Sacco. Each of them had their own fans among the courtiers and noble residents of the capital. These first Russian balletomaniacs brought to the theater boards tied with a ribbon with the name of the chosen one, and the crackling of these boards replaced the applause.
In 1741, the daughter of Peter I, Elizabeth, issued a decree establishing a Russian ballet troupe. Thus, the Russian ballet theater moved from episodic performances of guest performers to regular performances of its own troupe, with its own repertoire, together with the most talented guest performers.
Thirty-five years after the founding of the St. Petersburg ballet school, in 1773, a Moscow one also appeared. Her story is rather unusual.
As early as 1764, an Educational Home was opened in Moscow. Orphans, foundlings and homeless children under the age of four were accepted there. It was assumed that by the age of eighteen these children would have been trained in the trade and, having received a small "dowry", they would begin adult life. Soon, Empress Catherine and the main patron of the Orphanage, Ivan Ivanovich Betskoy, decided that it was quite possible to educate future artists there. In 1773, a stage for dance exercises was built, on which 54 pupils, both boys and girls, were engaged. They were taught to dance four times a week for four hours - that is, quite seriously, taught them music and singing. Ballet soloists and figurants were trained from children - the so-called corps de ballet dancers who made “figures”, that is, they made up beautiful groups on stage. Lessons added later acting skills. That is, the Orphanage gradually became a theater school.
Since the children were taught to dance by Italian teachers, technicality and virtuosity, rotations and various jumps were in the foreground.
In 1780, the Moscow Orphanage released the first group of older pupils onto the stage - seven dancers and nine dancers. Among them stood out the main comic dancer Arina Sobakina, the main comic dancer Gavrila Raikov, the first comic dancer Vasily Balashov, the second comic dancer Ivan Eropkin. All of them were sent to St. Petersburg, to the theater of the private entrepreneur Karl Knipper. A few years later, the ballet school at the Orphanage was taken over by the Moscow Petrovsky Theater.
At the end of the eighteenth century, a fortress ballet appeared in Russia. At first, home theaters were arranged by noble nobles to demonstrate their wealth, they amazed the audience with magnificent scenery and luxurious costumes of the artists.
Then the fashion for ballet penetrated into the provinces. The theater of Counts Sheremetevs is especially famous. They were invited there the best teachers and that time, and dancers and dancers were selected very early from their parents and brought up in the strictest way. Under Nikolai Petrovich Sheremetev, the troupe knew no equal. He gave nicknames to his actors and actresses after the names of minerals and precious stones - and here are the best Sheremetev dancers: Tatyana Shlykova-Granatova, Mavra Uruzova-Biryuzova, Avdotya Ametistova, Matrena Zhemchugova, Arina Khrustaleva.
Subsequently, the directorate of Moscow theaters bought out, or even received as a gift, the most talented serf artists.
D. Truskinovskaya
