An outstanding choreographer, People's Artist of the USSR Igor Moiseev died in Moscow. This was reported to RBC by a representative of the State Academic Ensemble folk dance.
Igor Moiseev was 101 years old. A civil memorial service and farewell to the artist will be held in the Tchaikovsky Concert Hall.
Igor Moiseev's contribution to world culture highly acclaimed both in our country and around the world. The choreographer has been awarded orders in 13 countries. Also, Igor Moiseev was the owner of many prestigious world awards. In particular, he was awarded the American "Oscar" in the field of dance and an award for a significant contribution to the development cultural relations between the US and Russia.
Father - Moiseev Alexander Mikhailovich. Mother - Gran Anna Alexandrovna. Wife - Moiseeva (Chagodaeva) Irina Alekseevna. Daughter - Moiseeva Olga Igorevna (born in 1943).
“My father was a lawyer. He belonged to the impoverished noble family, and the legal field, one might say, he inherited from his grandfather, who was a justice of the peace. Being fluent in French, my father often visited Paris, where he felt himself in his element. There he met his future wife, my mother. She, half-French, half-Romanian, was a milliner by profession. Soon after they met, my parents left for Russia: my father had a law practice in Kyiv.
Politically, the ideas of anarchism were close to his father. He adhered to the principle that all power is violence. Therefore, in jurisprudence, he often had conflict situations. In tsarist times, because of his seditious statements, he spent quite a bit of time under investigation. for a long time. He went to prison shortly after my birth. When this happened, my mother took me to Paris and left me in a boarding house. And she herself returned to Russia to work for her father.
Life in the boarding house was very difficult. Children of six or seven years old were brought up there, I was two years younger than them. That's why kids always bullied me. And our mentors made the same demands on me as they did on the rest. I even sat alone in a dark punishment cell. The father managed to justify himself: as a lawyer, he was able to competently defend himself, and he was released. With his release, my torment in the boarding house also ended - my mother immediately took me away, and we left for Russia ... "
Alexander Mikhailovich Moiseev greatly influenced the development of his son. From him, Igor inherited a hobby Eastern culture, history. But his creative abilities - for drawing and music - were rather due to his mother. As a child, he had a good voice. But in youth his voice broke and Igor Aleksandrovich remained unsinging.
The father was very afraid of the bad influence of the street and tried to attach 14-year-old Igor to any business. One day, he learned from someone that there was a ballet studio not far from home, where recruitment was taking place just at that time. He invited his son to enter this studio, believing that, whoever he was in the future, he would need posture, demeanor, grace of behavior - the qualities that dance gives. So Igor Moiseev got into the studio former ballerina Bolshoi Theater of Vera Ilyinichna Masolova.
Education in the studio was paid: ten rubles and two logs of firewood per month. After two or three months, Vera Ilyinichna took me by the hand and brought me to the Choreographic College of the Bolshoi Theater. We were received by the director of the technical school, to whom, to my surprise, she said: "This boy should study with you." I remember the director replied that I would have to pass the exam. To this, my teacher, without a shadow of a doubt, remarked: "He will stand it."
As a result of the exams, only three were accepted, including Igor Moiseev. He got into the class of the chief choreographer of the Bolshoi Theater Alexander Aleksandrovich Gorsky. The family then decided that this was only a temporary occupation, and later they were going to send their son to another, more serious educational institution. Then no one could have imagined that he would connect his whole life with dance ...
The Moiseev family then lived in poverty. The father, who completed his legal career, was engaged in a not very profitable occupation - teaching French. Mother constantly altered something from the old, took on any work. On the basis of exhaustion, Igor Moiseev began to get sick often. He didn't dance for almost a year. They wanted to let him out of school for a year ahead of time: artists, and especially ballet soloists, in Bolshoi Theater not enough, because after the revolution, many went abroad. However, due to illness, Igor Alexandrovich became an artist on time. He turned 18 in the year of graduation.
“Any artist who graduated from the school of the Bolshoi Theater automatically got into the corps de ballet on the very lowest rate. When I was admitted to the theater, it was 20 rubles. But things were very cheap back then. On the day of the first salary, I bought a teapot in the Muir and Mereliz store, opposite the Bolshoi Theatre. Our kettle was leaking, and in order to boil the water, we covered it with window putty every time. When I brought the kettle, there was jubilation at home! My mother boasted to the neighbors: here is the teapot, which was bought with Igor's money.
In 1924 he came to the theater famous choreographer Kasyan Goleizovsky. He prepared for the production of "The Legend of Joseph the Beautiful" to the music of S. Vasilenko and the ballet "Theolinda" to the music of Schubert. In the theatre, he was greeted with hostility. Adherents of the classics did not want to put up with the fact that a subverter of primordial traditions appeared within the walls of the temple of classical art. Many leading artists, in order not to spoil relations with the directorate, refused to participate in his ballets, so only young people were involved in the performances.
The role of Joseph was rehearsed by Vasily Efremov, while Moiseev initially participated in the extras. But somehow he noticed that Goleizovsky was looking at him more carefully, and then, already in the course of rehearsals, he appointed him the leading role in the second cast. After the first two performances, due to Efimov's illness, Igor Moiseev began to conduct this ballet. He performed and main party- the robber Raoul - in the ballet "Theodolinda".
After the death of A.A. Gorsky was going to appoint Vasily Dmitrievich Tikhomirov as the head of the ballet. It was obvious to everyone that under him Goleizovsky could not survive in the theater. The young ballet soloists were so carried away by working with this talented master that they could not remain indifferent to what was happening. They wrote a letter addressed to the director of the theater, in which they asked not to appoint Tikhomirov, but to give Gozeizovsky the opportunity to work with him on an equal footing. The result of the letter was an order to expel a number of young artists from the troupe, including Moiseev.
We were fired without having served in the theater for a year. How to be, where to go? Someone advised me to turn to Lunacharsky, who was then People's Commissar of Education. We found a phone number and called. When we introduced ourselves and said that we would like to meet with Anatoly Vasilyevich on an urgent matter, the secretary asked us to wait, and returning to the phone, he replied that Anatoly Vasilyevich could receive us in fifteen minutes. At the same moment we went to Lunacharsky. He treated us very kindly.
Well, tell me, young people, what brought you to me? What are you fighting for, what are you protesting against?
Everyone somehow hesitated, and the word passed to me. I excitedly told why we fell in love with Goleizovsky (Lunacharsky also liked Goleizovsky very much). During my speech, he nodded his head approvingly and sympathetically, and when I finished, he asked:
And for this you were expelled from the theater?
Yes, for writing such a letter.
You were wrong. Tomorrow come to the theater, you will be restored.
The authority of Lunacharsky helped, and we were accepted back. But, as was to be expected, they did not listen to our opinion, and, having come to the theater, we found out that Tikhomirov had, after all, been appointed director of the ballet. Before the story with the letter, he treated me wonderfully and therefore was terribly offended when he learned that I was in a group that, as he believed, was fighting against him. He was not interested in the details, and he categorically refused to take me in the repertoire.
“My creative downtime lasted over a year. Even the box of make-up, which is given to the artist at the beginning of the season, turned out to be unopened for me. For the young artist, who had already become a theater soloist, the situation was unbearable. I came to the theater every day, did a class with everyone, and after that I was free. Probably the other would give up. But I continued to study in class and read art books in my spare time. The need for this arose in me after talking with Lunacharsky.
The disgrace ended largely unexpectedly for Igor Moiseev. The prima ballerina of the Bolshoi Theater Ekaterina Geltser was left without a partner: her partner Ivan Smoltsov tore his back. (Gelzer was already aged and had a rather dense physique, so it became difficult to lift her.) It was necessary to urgently look for a replacement. Her choice fell on Igor Moiseev, and Tikhomirov had to "pardon" the disgraced artist.
The story of excommunication from the stage changed the consciousness of Igor Moiseev. Previously, it seemed to him that the whole world was enclosed in dance, but now he wanted to prove himself not only as a dancer. In 1926, as a choreographer in the studio of the famous theater director Ruben Nikolaevich Simonov, he successfully staged the comedy "Beauty from the island of Liu-Lu" by S. Zayaitsky. His work on the dramatic stage in collaboration with the Vakhtangov became the events of the theatrical Moscow, and a year later he was invited to take part in the production of the ballet "Football Player" by V. Oransky on the stage of the Bolshoi Theater.
“In 1927, the ballet The Red Poppy was staged at the Bolshoi Theater to the music of Reinhold Gliere. He walked with great success; the audience was amazed that just ten years after the revolution, their contemporaries acted on the stage of the former imperial theater. The success of The Red Poppy prompted the Bolshoi Theater to continue the Soviet theme in the ballet. The script "Football Player" was written, where the main characters were the Football Player and the Sweeper, and Nepman and Nepmansha opposed them. The theme is modern, but the plot was built very ridiculously. The ballet was staged by Leonid Zhukov and Lev Lashchilin. But how well the work on the "Red Poppy" was going on, how hard it was on the "Football Player".
In the Bolshoi Theater there was then an artistic council of workers from factories, factories, and public figures. Any performance in the theater had to get his approval. Council met three times dress rehearsal"Football player" and did not accept the ballet.
One day, passing under the stage during a rehearsal, I ran into a little man who, to my surprise, asked me:
- What are you doing here?
I replied that I work in ballet.
- Well, you are the director of Simonov's studio, aren't you?!
- No, I'm a ballet dancer. But once he helped Simonov in staging his performance.
The man realized that I did not recognize him, and introduced himself. He turned out to be the head of the literary part of the Bolshoi Theater Guzman. It was he who owned the idea of staging "Football Player". He suggested that I redo the football scene in the first act. I tried to refuse, remembering my past troubles, but Guzman insisted. I realized that the fate of Guzmán himself depended on whether this spectacle was finally encouraged.
I had to enter someone else's, almost finished work. During the rehearsals, the whole script had to be redrawn. My interference also affected the music. Composer Viktor Oransky at first took my suggestions with hostility. But the result of my intrusion into musical fabric exceeded all expectations.
We have an interest in each other. Oransky was struck by the fact that at the age of twenty-four I was already reworking ballets at the Bolshoi Theatre. I soon felt that his influence was not in vain for me. We started seeing each other almost every day. I redid, as far as possible, the second act and the football scene in the first, and left the third act, completely divertissement, unchanged. As a result, the ballet stayed on the billboard for two and a half years.
Guzman was delighted that the ballet went ahead, and I was appointed ballet master of the Bolshoi Theater. This, of course, is a unique case in choreographer's practice: usually dancers who have completed their performing careers become choreographers in our country. I believe that such an approach is absolutely wrong, because youth has something that you cannot gain by any experience: burning with new ideas and the strength to implement them.
The career of a ballet master, which had begun so successfully, did not continue at that time: the new director of the theater, Elena Konstantinovna Malinovskaya, was deeply indignant that a 24-year-old boy was made a choreographer, and although she did not remove him from his post, she did not give anything to stage. Moiseev worked only as an artist.
At the Bolshoi Theater, Igor Moiseev could have become one of the leading ballet soloists, but he was increasingly attracted to the idea of composing the dances himself. In 1930, remaining a ballet dancer, he became the director of dance suites in the opera "Carmen", and soon his bright, original ballets "Salambo" based on the plot of G. Flaubert (1932) and "Three Fat Men" based on the fairy tale Yu Olesha (1935). The last one had big success and stayed in the repertoire of the Bolshoi Theater for several seasons. Later, it was removed from the repertoire, but by order of the government, it was returned to the poster again. True, by that time Igor Moiseev had already left the theater, and the performance was extremely rare, until he left the stage at all.
« The government has long filed claims against the Bolshoi Theatre. Stalin really wanted a Soviet opera to emerge. But all attempts to create on the stage of the Bolshoi Theater ended in failure. After another failure, the enraged Stalin ordered to appoint Samuil Samosud, who successfully worked in the Leningrad Maly, to the post of artistic director instead of Malinovskaya. opera house. Many choreographers came with him: Fyodor Lopukhov, Pyotr Gusev, Alexander Chekrygin, Rostislav Zakharov, who became the chief choreographer. Moiseev turned out to be the only non-Leningrad choreographer.
Zakharov treated me extremely hostile, seeing me as a competitor, and used any methods to get me out of the theater. He began by hitting my wife, the ballerina Podgoretskaya, who, after Semyonova's arrival, became the Bolshoi's second ballerina. Zakharov removed her from all performances, mocked at rehearsals. I called him a scoundrel in front of everyone, and this gave him reason to persecute me openly. I was warned not to even hope to deliver something. But only the acting field did not suit me anymore.
I had thousands of ideas, but Samosud refused all my proposals. If I offered to stage the classics, he said: “Shame on you, you are a young man, you need to think about the Soviet theme, and you come to me with Shakespeare ((I wanted to stage A Midsummer Night's Dream”). Who is it now do you need it?" If he came with the Soviet theme, in response he heard: "Do you want me to break my neck on the Soviet theme? Everyone burns on it."
I began to think painfully: "Where to go, what to do?" IN drama theaters ballets are not staged. There were no music halls. I was helped by His Majesty the case ... "
Then the new head of the Committee for the Arts, Platon Mikhailovich Kerzhentsev, became interested in the Bolshoi Theater and asked one of the theatrical youth to make a report on the problems and prospects of ballet. The choice fell on 30-year-old Igor Moiseev. Moiseev spoke with enthusiasm to Kerzhentsev about what worried young artists, that the luminaries of the theater blindly adhere to traditions, instead of developing them, and finally, that they want to stage performances that would express the problems of today, but do not know how to implement their intentions. After all, the Bolshoi Theater was inaccessible to him.
Kerzhentsev undertook to help, but Zakharov's position in the theater was so strong that he could not do anything. However, having learned about Moiseev's passion for folk art, he advised him to write a letter addressed to Molotov with a proposal to create a folk dance ensemble, promising support from his side.
“Molotov put a resolution on my letter: “The proposal is good. Instruct the author to implement it.” Still not knowing my organizational skills, I was afraid to leave the Bolshoi Theatre. The first steps in the creation of the ensemble - the recruitment of the troupe, the formation of the repertoire, the definition of the creative line of the future team - I did while remaining on the staff of the Bolshoi. And I retired from the theater only in the thirty-ninth year.
Today, from the height of the past years, I could say about the Bolshoi Theater with the words of Pierre Corneille on the death of Cardinal Richelieu: “He did too much good for me so that I could say bad about him, and did me too much bad for me to say about he's good..."
Igor Moiseev's interest in folk art was formed back in the early 1930s, when he traveled on foot and on horseback throughout the Pamirs, Belarus, Ukraine, the Caucasus, collecting images of dance folklore. His interest did not go unnoticed - in 1936 he was appointed head of the choreographic part of the newly created Theater of Folk Art and soon staged the 1st All-Union Folk Dance Festival. The success of these undertakings paved the way for the creation of the country's first professional folk dance ensemble. The first rehearsal of the ensemble's debut program ("Dances of the Peoples of the USSR") took place on February 10, 1937. Since then, for 65 years, Igor Aleksandrovich has been the permanent artistic director of the State Academic Folk Dance Ensemble.
Ballet "Salambo", 1932
There is another bright and amazing page in the life of Igor Alexandrovich Moiseev, and it would be at least wrong not to tell about it. However, for this it is necessary to go back in the biographical narrative several years ago.
During his disgrace at the Bolshoi Theater, Moiseev, constantly feeling a creative hunger, greedily grabbed any job. One day he was surprised and puzzled by a completely unexpected proposal. In 1936, athletes from the Antipov Malakhov Sports College asked for a performance for a sports parade on Red Square.
Only fifteen minutes were allocated for the performance of the Malakhovites, while the institutes of physical education performed for an hour. The Malakhovites were very upset that they were given so little time. Moiseev, on the other hand, decided to turn the short duration of his speech in his favor and compete with institutions primarily through dynamics. His performance lasted only seven minutes.
At the pace of a hundred meters, the parade participants ran out onto the square, lined up in a matter of seconds and did exercises at the same pace. The performance was a huge success, and the technical school was even awarded. For Moiseev, this success resulted in many years of work in the field of physical culture and parade during his summer holidays.
To be continued...Moiseev Igor Alexandrovich - the greatest choreographer and choreographer of the twentieth century. He managed to make a revolution in dance. He made folk dance the property of world culture.
Childhood and youth
Igor Moiseev was born on January 21, 1906 in Kyiv in the family of an impoverished nobleman. His father, Alexander Mikhailovich, was a lawyer and practiced law. He was fluent in French and often visited Paris, where he met Igor's future wife and mother, Gran Anna Alexandrovna. She was a fashion designer by profession.
Since Alexander Mikhailovich worked in Kyiv, the couple decided to move to live there. But soon after the birth of his son Igor, his father was imprisoned for seditious statements towards the authorities. At this time, the mother took the boy to Paris and placed him in a boarding school. And she herself returned to Russia to rescue her husband from prison.
Living in a boarding house was not easy for the boy. He was 2 years younger than the other children, so they constantly offended him. And the educators did not take into account his age, presenting the same requirements for him as for older children. For example, they were punished by putting them in a dark punishment cell. As soon as his father was acquitted in Kyiv and he was released from prison, his mother took Igor and returned with him to Russia, to Moscow.
Alexander Mikhailovich was afraid that the street would adversely affect his son, so he tried to interest him in history and oriental culture. Mother taught Igor music and drawing. When the boy was 14 years old, his father decided to send him to a ballet studio. So he began to take ballet lessons from Vera Ilyinichna Masolova, a former ballerina of the Bolshoi Theater.
After 3 months, the teacher took Igor to the choreographic college of the Bolshoi Theater. The woman was sure that the boy should study there, and he was not afraid of any entrance exams. And so it happened, he was enrolled in the class of the chief choreographer of the Bolshoi Theater - Alexander Gorsky.
At this time, the Moiseev family lived extremely poorly. Her father made a living by teaching French, and her mother took on any job offered to her - more often she altered old things. Money was sorely lacking. Igor became emaciated and against this background he began to get sick. For this reason, he was forced to miss the academic year, although he was predicted to graduate from the technical school a year earlier than expected.
As a result, he was 18 when he was taken to the troupe of the Bolshoi Theater. The first roles were inconspicuous, he danced in the crowd, and the salary was appropriate. Having received the first money he earned, the young man immediately went to the store and bought a new kettle. Their old one was already emaciated and flowing constantly, they had to cover it with window grout every time. This purchase in the family caused pride and rejoicing.
Ballet
Soon a new choreographer, Kasyan Goleizovsky, came to the theater. His productions in the team caused heated discussions, they were indignant about the design of the performances, and because of the novelty of plasticity, and the chosen topic - the conflict between the individual and the authorities - did not suit. Many leading artists simply refused to work with him. Therefore, mostly young artists danced in his productions.
First, the main part in the play "The Legend of Joseph the Beautiful" was given to Vasily Efremov. Igor Moiseev was assigned the main role in the second cast. But due to Efremov's illness, Igor Alexandrovich began to dance the main part. Later he got the part of the soloist in the ballet Theodolinda.
But then the unexpected happened. He had to go against the will of the theater management and stand up for Goleizovsky. For this reason, he was first fired, soon reinstated, but no parties were given. He was unemployed for a whole year. Opala ended by accident. The partner of the prima ballerina Ekaterina Geltser tore his back, he was urgently looking for a replacement. They chose Igor Moiseev.
However, this creative simple made the artist think. If earlier he believed that the whole world revolves around dancing, now he wanted to personally stage performances himself. In 1926, Igor Aleksandrovich, together with director Simonov, staged the ballet Beauty from the Island of Liu-Liu. And it became a bright event among the Moscow public.
A year later, he received an offer to become the director of the ballet "Football Player" on the stage of the Bolshoi Theater. At that time he was 24 years old.
In 1937 he organized the country's first folk dance ensemble. In 1943 he opened a school-studio with the ensemble. Later, following his example, folk dance ensembles were created both in former republics our country and abroad.
Even during his lifetime, Moiseev managed to become a legend. He united countries and continents. From each tour, he "brought" a new dance - the Yugoslav dzyurdevka, argentine gaucho, Venezuelan choropa, Mexican suite.
He was not afraid to recall the forgotten roots not only of Russia, but of other countries. In Holland, he was applauded standing up, and after the concert, the local newspaper wrote that Russians dance like devils. The Moiseev Ensemble was expected in France, China, Italy - any of their performances were sold out.
Igor Alexandrovich has a whole museum of prizes and awards. But this is not surprising, because Moiseev can be safely called an inventor - it was he who created and developed his own dance genre- scenic folk dance.
Personal life
Igor Alexandrovich Moiseev was married three times. His first wife was the prima of the Bolshoi Theater Nina Borisovna Podgoretskaya. Their relationship did not last long and eventually ended in divorce.
The second wife of the choreographer was Tamara Alekseevna Seifert, a dancer, Honored Artist of the RSFSR. She was younger than Igor Alexandrovich for 10 years. In marriage, their daughter Olga was born.
The girl decided to follow in the footsteps of her parents and also went into ballet, where she achieved great success. Her son Vladimir, the grandson of Igor Moiseev, also connected his life with dance. He is a soloist of the Bolshoi Theater and the creator of the Russian National Ballet Theatre.
In 1974, the choreographer married for the third time. Irina Alekseevna Chagadaeva became his chosen one. The difference in the age of the spouses was 19 years. She has been dancing in the ensemble since 1943.
Death
The great choreographer lived a long and significant life. He died on November 2, 2007 in Moscow. He was 101 years old. Igor Alexandrovich died in the hospital from heart failure. IN last years the man suffered from ischemic and hypertension diseases.
A memorial service and farewell to Igor Moiseev took place in the Concert Hall named after him - on the stage, where he staged more than 300 productions. This figure is included in the Guinness Book of Records. The artist was buried at the Novodevichy cemetery.
parties
- Joseph – The Legend of Joseph the Beautiful, staged by K. Goleizovsky
- Raoul - Theolinda, production by K. Goleizovsky
- Slave - Corsair, production by A. Gorsky
- Mato - "Salambo", production by A. Gorsky
- Football player - "Football player", production by L. Lashchilin and I. Moiseev
- Uzbek - "Bright Stream", production by F. Lopukhov
Igor Aleksandrovich Moiseev is an outstanding Russian Soviet dancer and choreographer, founder and artistic director State Academic Folk Dance Ensemble and Studio School at the State Academic Folk Dance Ensemble, Hero of Socialist Labor, Laureate of the Lenin and State Prizes of the USSR and Russia, People's Artist of the USSR, professor.
Born on January 8 (21), 1906 in Kyiv (now the capital of Ukraine) in the family of a small estate nobleman. Subsequently, the family moved to Poltava, and then to Moscow. In 1924 he graduated from the Choreographic College of the State Academic Bolshoi Theater in Moscow (class of Alexander Gorsky), in 1933 - the University of Arts.
After graduating from a technical school, he was accepted into the ballet troupe of the Bolshoi Theater, in 1931-1937 he was a soloist of the theater. He performed the parts: Joseph ("Joseph the Beautiful"), Football Player ("Football Player"), Mato ("Salambo"). In 1930, remaining a ballet dancer, he became a choreographer, director of dance suites in performances. Staged ballets: "Football Player" (1930, together with L. Lashchilin), " A futile precaution"(1930, together with A. Messerer), "Three Fat Men" (1935), "Spartacus" (1958). Staged dances in operas: "Turandot" by G. Puccini (1930), "Demon" by A. Rubinstein (1932), "Carmen" by J. Bizet (1936).
I.A. Moiseev. At rehearsal
In 1937, Igor Moiseev created the country's first professional ensemble folk dance - "Folk Dance Ensemble of the USSR" (now the State Academic Folk Dance Ensemble of Russia), which has no equal in the world to this day. For 70 years (1937-2007) Moiseev was the permanent artistic director of the ensemble. Under his leadership, programs were staged: "Dances of the Peoples of the USSR" (1937), "Peace and Friendship" (1953), "The Road to Dance" (1965), "Away and at Home" (1983) and others. Moiseev staged folklore cycles of various genres: “Pictures of the Past” (1937), “Kolkhoznaya Street” (1938), “Sea Suite” (1943), suite “Jok” (1949), “Partisans” (1950), “Cunning Mokanu "(1952), "Snowstorm" (1965), "Buffoons" (1970), " Polovtsian dances”,“ Labor Day ”(both - 1978),“ At the skating rink ”(1980),“ Night on Bald Mountain ”(1984),“ Tavern ”(1986),“ Through the countries of the world ”(1960-1989), a cycle of foreign dances (1960-1991), "Greek Suite" (1991), "Jewish Suite" (1994). The dancers of Igor Moiseev were the first Soviet artists who began performing abroad: in Finland (1945), China (1954), France (1955), the Middle East (1956), the USA (1958), countries South America(1963) and India (1974).
In 1943, Moiseev created the first in the country vocational school Folk Dance (choreographic School-Studio at the State Academic Folk Dance Ensemble), and in 1966 he organized a choreographic concert ensemble"Young Ballet" (now the State Ballet Theater under the direction of N.D. Kasatkina and V.Yu. Vasiliev), which he directed until 1970.
90th anniversary of I.A. Moiseev. On the stage of the Bolshoi Theater with Vladimir Vasiliev
Decree of the Presidium of the Supreme Soviet of the USSR of January 20, 1976 for outstanding services in the development of the Soviet choreographic art and in connection with his seventieth birthday, the head of the State Academic Folk Dance Ensemble of the USSR, People's Artist of the USSR Igor Moiseev, was awarded the title of Hero of Socialist Labor with the Order of Lenin and the Hammer and Sickle gold medal.
Simultaneously with work in the Moiseev Ensemble in different years carried out the instructions of the Government and the Ministry of Culture of the USSR, and now the Russian Federation. He was the director of gala concerts and cultural programs dedicated to outstanding events. public life countries: 60th anniversary of the founding of the USSR, 40th anniversary of the Victory in the Great Patriotic War and others. Long years Moiseev headed the jury of the television folklore festival "Rainbow", was a permanent member of the jury of many international competitions and festivals of folk dance, participated in the work of the Committee for the Protection of the World. In January 2007, the Igor Moiseev Ensemble celebrated its 70th anniversary.
Igor Moiseev was characterized by universal knowledge and a unique outlook. He was well acquainted with painting, architecture, literature (from the Renaissance to the present day), and spoke French.
Lived and worked in the hero city of Moscow. He died on the morning of November 2, 2007, at the age of 102 from heart failure. He was buried at the Novodevichy Cemetery in Moscow (plot 5). Russian President Vladimir Putin called the death of the legendary choreographer an irreparable loss for national and world culture.
Always success!
He was awarded the Soviet three Orders of Lenin (1958, 01/20/1976, 01/20/1986), the Order October revolution(1981), two Orders of the Red Banner of Labor (10/31/1940, 01/20/1966), the Order of the Badge of Honor (06/2/1937), the Russian Order of Merit for the Fatherland 1st (06/21/2006), 2nd (06/12/1999) and 3rd (12/28/1995) degree, the Order of Friendship of Peoples (04/11/1994), medals, as well as orders and medals of foreign states, including the Bulgarian Order of St. Alexander with a crown (1945), the Romanian Order of the "Officer of Culture" (1945), the Polish Order of Polonia Restitula (1946), the Yugoslav Order of Brotherhood and Unity (1946), the Mongolian Orders of the Polar Star (1947) and Sukhe-Bator (1976), the Hungarian Order "Officer of Culture" 1st (1954) and 2nd (1960) degrees, the Lebanese Order of the Golden Cedar (1956), the Czechoslovak Order of the White Lion (1980), the Commander's Cross of the Order of Merit of the Republic of Poland (1996), the Commander's the badge of the Hungarian Order (1997), the commander's badge of the Spanish Order of Civil Merit (1997), the Ukrainian Orders of Merit of the 3rd degree (1999) and Prince Yaroslav the Wise of the 5th degree (2006). He was also awarded the UNESCO Mozart Medal (2001).
Laureate of the Lenin Prize (1967), Stalin Prize 1st (1942, 1952) and 2nd (1947) degrees, the State Prize of the USSR (1985) and the Russian Federation (1996), the Russian independent award "Triumph" (1998), the "Oscar" award in the field of dance (1961, 1974 ), Prize of the International Foundation "For the development of cultural relations between Russia and the USA" (1995), Prize of the Galina Ulanova Foundation "For selfless service to the art of dance" (2004). Honored with titles People's Artist USSR (1953), People's Artist of the RSFSR (1944), People's Artist of the Buryat SSR (1940), People's Artist of the Moldavian SSR (1950), People's Artist of the Kirghiz SSR (1976), Honorary Member of the People's Assembly of France and Member of the French Academy of Music and Dance (1955) ), professor Russian Academy theatrical art(1997), as well as the title "Man-era" (2005).
In Moscow, a memorial plaque was installed on the house where he lived.
90th anniversary of I.A. Moiseev. In the box of the Bolshoi Theater with E.S. Maximova, R.S. Struchkova, M.T. Semenova
People's Artist of the USSR (1953)
People's Artist of the Moldavian SSR (1950)
People's Artist of the Kirghiz SSR (1976)
People's Artist of the Buryat SSR (1940)
Hero of Socialist Labor (1976)
Laureate of the Lenin Prize (1967)
Laureate of the State Prizes of the USSR and Russia (1942, 1947, 1952, 1985, 1996)
Awarded three Orders of Lenin (1958, 1976, 1986)
Awarded the Order of the October Revolution (1981)
Awarded two Orders of the Red Banner of Labor (1940, 1966)
Awarded the Order of Friendship of Peoples and the Badge of Honor (1937)
Awarded the Russian Order "For Merit to the Fatherland" 2nd and 3rd class (1996, 2001)
Cavalier of the Bulgarian Order "Saint Alexander with a Crown" (1945)
Commander of the Romanian Order of the "Officer of Culture" (1945)
Cavalier of the Polish Order "Polonia Restitula" (1946)
Cavalier of the Yugoslav Order "Brotherhood and Unity" (1946)
Cavalier of the Mongolian Order of the Polar Star (1947)
Cavalier of the Hungarian Order of the "Officer of Culture" I degree (1954)
Cavalier of the Lebanese Order of the Golden Cedar (1956)
Cavalier of the Hungarian Order of the "Officer of Culture" II degree (1960)
Cavalier of the Mongolian Order of Sukhbaatar (1976)
Knight of the Czechoslovak Order of the "White Lion" (1980)
Cavalier of the Hungarian Order of the "Officer of Culture" (1989)
Commander's Cross of the Order of Merit of the Republic of Poland (1996)
Commander of the Hungarian Order (1997)
Commander of the Spanish Order of Civil Merit (the order was presented by the King of Spain Juan Carlos II in May 1997)
Igor Moiseev said about his family: “My father was a lawyer. He belonged to an impoverished noble family, and the legal field, one might say, he inherited from his grandfather, who was a justice of the peace. Excellent command of French, my father often visited Paris, where he felt in his element. There he also met his future wife, my mother. She, half French, half Romanian, was a milliner by profession. Shortly after they met, my parents left for Russia: my father had a law practice in Kiev. Politically, my father were close to the ideas of anarchism. He adhered to the principle that all power is violence. Therefore, in jurisprudence, he often had conflict situations. In tsarist times, because of his seditious statements, he spent a long time under investigation. He went to prison shortly after my When this happened, my mother took me to Paris and left me in a boarding house, while she returned to Russia to take care of her father.Life in the boarding house turned out to be very difficult. Children of six or seven years old were brought up there, I was two years younger than them. That's why kids always bullied me. And our mentors made the same demands on me as they did on the rest. I even sat alone in a dark punishment cell. The father managed to justify himself: as a lawyer, he was able to competently defend himself, and he was released. With his release, my torment in the boarding house also ended - my mother immediately took me away, and we left for Russia ... "
Alexander Mikhailovich Moiseev greatly influenced the development of his son. From him, Igor inherited a passion for oriental culture and history. But Igor owed his creative abilities to drawing and music to his mother. As a child, he had a good voice, but in his youth his voice broke and Igor Alexandrovich stopped singing.
The father was very afraid of the bad influence of the street and tried to attach 14-year-old Igor to any business. Once he learned from someone that there was a ballet studio not far from home, at that time a set was being held. He invited his son to enter this studio, believing that, whoever he was in the future, his posture, demeanor and grace of behavior would be useful to him. So Igor Moiseev got into the studio of the former ballerina of the Bolshoi Theater Vera Ilyinichna Masolova.
Education in the studio was paid, and amounted to ten rubles and two logs of firewood per month. After two or three months, Vera Ilyinichna took Igor to the Choreographic College of the Bolshoi Theater. He was accepted by the director of the technical school, who said that Moiseev would need to pass the exam. To this his teacher replied: "He will stand it."
After the exams, only three were accepted, including Igor Moiseev. He got into the class of the chief choreographer of the Bolshoi Theater Alexander Aleksandrovich Gorsky. The parents decided that later it would be possible to send their son to a more serious educational institution. Then no one could have imagined that Moses would be connected with the dance all his life.
The Moiseev family then lived in poverty. His father, who completed his legal career, taught French, and his mother took on any job. Due to exhaustion, Igor Moiseev began to get sick often, and did not dance for almost a year. They wanted to let him out of school a year ahead of schedule, since there were not enough artists, and especially ballet soloists, at the Bolshoi Theater, since after the revolution many went abroad. However, due to illness, Igor Alexandrovich became an artist on time. He turned 18 in the year of graduation. Later, Moiseev said: “Any artist who graduated from the Bolshoi Theater school automatically got into the corps de ballet at the very lowest rate. When I was accepted into the theater, it was 20 rubles. But then things were very cheap. and Mereliz", opposite the Bolshoi Theater, a kettle. Our kettle was leaking, and in order to boil water, we covered it with window putty every time. When I brought the kettle, there was jubilation at home! Igor's money.
In 1924, the famous choreographer Kasyan Goleizovsky came to the theater. He prepared for the production of "The Legend of Joseph the Beautiful" to the music of S. Vasilenko and the ballet "Theolinda" to the music of Schubert. In the theatre, he was greeted with hostility. Adherents of the classics did not want to put up with the fact that a subverter of primordial traditions appeared within the walls of the temple of classical art. Many leading artists, in order not to spoil relations with the directorate, refused to participate in his ballets, so only young people were involved in the performances. The role of Joseph was rehearsed by Vasily Efremov, and Moiseev at first participated in the extras. But somehow he noticed that Goleizovsky was looking at him more carefully, and then, already in the course of rehearsals, he appointed him the leading role in the second cast. After the first two performances, due to Efimov's illness, Igor Moiseev began to conduct this ballet. He also performed the main part - the robber Raul - in the ballet "Theodolinda".
After the death of A.A. Gorsky, Vasily Dmitrievich Tikhomirov was going to be appointed head of the ballet. It was obvious to everyone that under him Goleizovsky could not survive in the theater. And the young ballet soloists were so carried away by working with this talented master that they could not remain indifferent to what was happening. They wrote a letter addressed to the director of the theater, in which they asked not to appoint Tikhomirov, but to give Gozeizovsky the opportunity to work with him on an equal footing. The result of the letter was an order to expel a number of young artists from the troupe, including Moiseev.
Igor Moiseev said: “We were fired without serving in the theater for even a year. What to do, where to go? wanted to meet with Anatoly Vasilyevich on an urgent matter, the secretary asked us to wait, and returning to the phone, he replied that Anatoly Vasilyevich could see us in fifteen minutes. At the same moment we went to Lunacharsky. He treated us very kindly.
Well, tell me, young people, what brought you to me? What are you fighting for, what are you protesting against?
Everyone somehow hesitated, and the word passed to me. I excitedly told why we fell in love with Goleizovsky (Lunacharsky also liked Goleizovsky very much). During my speech, he nodded his head approvingly and sympathetically, and when I finished, he asked:
And for this you were expelled from the theater?
Yes, for writing such a letter.
You were wrong. Tomorrow come to the theater, you will be restored.
The authority of Lunacharsky helped, and we were accepted back. But, as was to be expected, they did not listen to our opinion, and, having come to the theater, we found out that Tikhomirov had, after all, been appointed director of the ballet. Before the story with the letter, he treated me wonderfully and therefore was terribly offended when he learned that I was in a group that, as he believed, was fighting against him. He was not interested in the details, and he categorically refused to take me in the repertoire. My creative downtime lasted more than a year. Even the box of make-up, which is given to the artist at the beginning of the season, turned out to be unopened for me. For the young artist, who had already become a theater soloist, the situation was unbearable. I came to the theater every day, did a class with everyone, and after that I was free. Probably the other would give up. But I continued to study in class and read art books in my spare time. The need for this arose in me after talking with Lunacharsky.
The disgrace ended largely unexpectedly for Igor Moiseev. The prima ballerina of the Bolshoi Theater Ekaterina Geltser was left without a partner after her partner Ivan Smoltsov tore his back. Geltser was already aged and had a rather dense physique, so it became difficult to lift her. It was necessary to urgently look for a replacement, and her choice fell on Igor Moiseev. Tikhomirov had to "pardon" the disgraced artist.
The story of excommunication from the stage changed Igor Moiseev. Previously, it seemed to him that the whole world was enclosed in dance, but now he wanted to prove himself not only as a dancer. In 1926, as a choreographer in the studio of the famous theater director Ruben Nikolaevich Simonov, he successfully staged the comedy "Beauty from the island of Liu-Lu" by S. Zayaitsky. His work on the dramatic stage in collaboration with the Vakhtangov became the events of the theatrical Moscow, and a year later he was invited to take part in the production of the ballet "Football Player" by V. Oransky on the stage of the Bolshoi Theater.
Igor Moiseev said: “In 1927, the Red Poppy ballet was staged at the Bolshoi Theater to the music of Reinhold Gliere. It was a huge success; the audience was amazed that just ten years after the revolution, their contemporaries acted on the stage of the former imperial theater. Poppy" prompted the Bolshoi Theater to continue the Soviet theme in the ballet. The script "Football Player" was written, where the main characters were the Football Player and the Sweeper, and Nepman and Nepmansha opposed them. The theme is modern, but the plot was built very ridiculously. The ballet was staged by Leonid Zhukov and Lev Lashchilin. But how successful was the work on the "Red Poppy", how difficult it was on the "Football Player". At the Bolshoi Theater there was then an artistic council of workers from factories, factories, public figures. Any performance in the theater had to get his approval. The council met three times at the rehearsal of "Football Player" and did not accept the ballet.One day, passing during a rehearsal under the stage, I ran into a little man who, to my surprise, asked me:
What are you doing here?
I replied that I work in ballet.
Well, you are the director of Simonov's studio, aren't you?!
No, I'm a ballet dancer. But once he helped Simonov in staging his performance.
The man realized that I did not recognize him, and introduced himself. He turned out to be the head of the literary part of the Bolshoi Theater Guzman. It was he who owned the idea of staging "Football Player". He suggested that I redo the football scene in the first act. I tried to refuse, remembering my past troubles, but Guzman insisted. I realized that the fate of Guzmán himself depended on whether this spectacle was finally encouraged. I had to enter someone else's, almost finished work. During the rehearsals, the whole script had to be redrawn. My interference also affected the music. Composer Viktor Oransky at first took my suggestions with hostility. But the result of my intrusion into the musical fabric exceeded all expectations. We have an interest in each other. Oransky was struck by the fact that at the age of twenty-four I was already reworking ballets at the Bolshoi Theatre. I soon felt that his influence was not in vain for me. We started seeing each other almost every day. I redid, as far as possible, the second act and the football scene in the first, and left the third act, completely divertissement, unchanged. As a result, the ballet stayed on the billboard for two and a half years. Guzman was delighted that the ballet went ahead, and I was appointed ballet master of the Bolshoi Theater. This, of course, is a unique case in choreographer's practice: usually dancers who have completed their performing careers become choreographers in our country. I believe that such an approach is absolutely wrong, because youth has something that you cannot gain by any experience: burning with new ideas and strength to implement them.
A successful career as a choreographer did not continue then. New director Theater Elena Malinovskaya was deeply outraged that a 24-year-old boy was made a choreographer, and although she did not remove him from his post, she did not give him anything. Moiseev worked only as an artist.
At the Bolshoi Theater, Igor Moiseev could have become one of the leading ballet soloists, but he was increasingly attracted to the idea of composing the dances himself. In 1930, remaining a ballet dancer, he became the director of dance suites in the opera "Carmen", and soon his bright, original ballets "Salambo" based on the plot of G. Flaubert in 1932 and "Three Fat Men" based on the fairy tale Yu .Olesha in 1935. The latter was a great success and stayed in the repertoire of the Bolshoi Theater for several seasons. Later, it was removed from the repertoire, but by order of the government, it was returned to the poster again. True, by that time Igor Moiseev had already left the theater, and the performance was extremely rare, until he left the stage at all.
Ballet "Salambo", 1932.
Igor Moiseev said: “The government has long made claims against the Bolshoi Theater. Stalin really wanted a Soviet opera to arise. But all attempts to create on the stage of the Bolshoi Theater ended in failure. who worked at the Leningrad Maly Opera Theatre. Many choreographers came with him: Fyodor Lopukhov, Pyotr Gusev, Alexander Chekrygin, Rostislav Zakharov, who became the chief choreographer. Moiseev turned out to be the only non-Leningradian choreographer. Zakharov treated me extremely hostile, seeing me as a competitor, and applied any methods to get me out of the theater. He began by hitting my wife, the ballerina Podgoretskaya, who, after the arrival of Semenova, became the second ballerina of the Bolshoi Theater. Zakharov removed her from all performances, mocked at rehearsals. I called him a scoundrel in front of everyone, and this gave him reason to persecute me openly. I was warned not to even hope to deliver something. But only the acting field did not suit me anymore. I had thousands of ideas, but Samosud refused all my proposals. If I offered to stage the classics, he would say: "Shame on you, you are a young man, you need to think about the Soviet theme, and you come to me with Shakespeare (I wanted to stage A Midsummer Night's Dream"). Who needs it now ?" If he came with the Soviet theme, in response he heard: “Do you want me to break my neck on the Soviet theme? Everyone burns on it.” I began to think painfully: "Where to go, what to do?" Ballets are not staged in drama theaters. There were no music halls. I was helped by His Majesty the case ... "
The new head of the Arts Committee, Platon Mikhailovich Kerzhentsev, became interested in the Bolshoi Theater and asked one of the theatrical youth to make a report on the problems and prospects of ballet. The choice fell on 30-year-old Igor Moiseev. Moiseev spoke with enthusiasm to Kerzhentsev about what worried young artists, that the luminaries of the theater blindly adhere to traditions, instead of developing them, and finally, that they want to stage performances that would express the problems of today, but do not know how to implement their intentions. After all, the Bolshoi Theater was inaccessible to him.
Kerzhentsev undertook to help, but Zakharov's position in the theater was so strong that he could not do anything. However, having learned about Moiseev's passion for folk art, he advised him to write a letter addressed to Molotov with a proposal to create a folk dance ensemble, promising support from his side. Moiseev said: “Molotov put a resolution on my letter: “The proposal is good. Instruct the author to implement it. "Not yet knowing my organizational skills, I was afraid to leave the Bolshoi Theater. The first steps in creating an ensemble - recruiting a troupe, forming a repertoire, determining the creative line of a future team - I did while remaining on the staff of the Bolshoi. And I quit the theater I'm only in 1939. Today, from the height of my past years, I could say about the Bolshoi Theater in the words of Pierre Corneille on the death of Cardinal Richelieu: "He did too much good for me so that I could say bad about him, and bad so that I can say good things about him ... "
Igor Moiseev's interest in folk art was formed back in the early 1930s, when he traveled all over the Pamirs, Belarus, Ukraine and the Caucasus, collecting images of dance folklore. His interest did not go unnoticed - in 1936 he was appointed head of the choreographic part of the newly created Theater of Folk Art and soon staged the 1st All-Union Folk Dance Festival. The success of these undertakings paved the way for the creation of the country's first professional folk dance ensemble. The first rehearsal of the ensemble's debut program ("Dances of the Peoples of the USSR") took place on February 10, 1937. Since then, for 65 years, Igor Aleksandrovich has been the permanent artistic director of the State Academic Folk Dance Ensemble.
There is another bright and amazing page in the life of Igor Alexandrovich Moiseev, and it would be at least wrong not to tell about it. However, for this it is necessary to go back in the biographical narrative several years ago.
During his disgrace at the Bolshoi Theater, Moiseev, constantly feeling a creative hunger, greedily grabbed any job. One day he was surprised and puzzled by a completely unexpected proposal. In 1936, athletes from the Antipov Malakhov Sports College asked for a performance for a sports parade on Red Square.
Only fifteen minutes were allocated for the performance of the Malakhovites, while the institutes of physical education performed for an hour. The Malakhovites were very upset that they were given so little time. Moiseev, on the other hand, decided to turn the short duration of his speech in his favor and compete with institutions primarily through dynamics. His performance lasted only seven minutes.
At the pace of a hundred meters, the parade participants ran out onto the square, lined up in a matter of seconds and did exercises at the same pace. The performance was a huge success, and the technical school was even awarded. For Moiseev, this success resulted in many years of work in the field of physical culture and parade during his summer holidays. Moiseev said: “In 1937, representatives of many republics came to me with a request to stage their performances at the upcoming parade. Of all the applicants, I chose the Belarusian republican technical school. I loved Belarus very much and I could learn a lot from Belarusian folklore for the ensemble, the creation of which I had already begun work. Every week I went to Minsk for two days to prepare a performance, which I conceived in an unconventional theatrical form for a parade. It was called "The Border on the Castle." Red Square turned into a birch grove, tanks came out of it, soldiers ran out. The performers came out to the square with small birches, brought in advance from the Moscow region, which created the illusion of Belarus. After the parade, the technical school was renamed into an institute, the performers were awarded orders. For some reason I did not receive an order, and then I already realized that the athletes have worse intrigues than in any theater. I tried to quickly forget this insult and completely immersed myself in the work on the creation of the ensemble. However, shortly after the parade, I was summoned to the NKVD. It was a terrible thirty-seventh year, and, going to the Lubyanka, I did not hope to return back. But I was received with unusual courtesy and offered to get acquainted with some document, which turned out to be a presentation to the order. My last name was also on the list of those nominated for awards, but it was crossed out, and another one was entered instead. It turned out that I owed this to the Chairman of the Committee on Physical Education of Belarus Kuznetsov. By that time he had already been arrested. I was asked if I knew anything about the submission to the order. I did not know about this, and in general I had nothing in common with Kuznetsov. The Chekists let me go. I was glad that I got off so lightly, and promised myself never to mess with the parades again. However, fate decreed otherwise. On the eve of the next parade, Alexander Kosarev, secretary of the Komsomol Central Committee, called me and asked me to urgently come to him. It was about the parade again. Noticing that I was determined, Kosarev warned my protests: “The fact is that Comrade Stalin asked why the Stalin Institute of Physical Education has not received awards for its performances for the third year already. He was told that the first place was awarded to Belarusians. Iosif Vissarionovich also liked this performance, and he asked who prepared it. When your name was called, Comrade Stalin said: "Let him do it." Therefore, we asked you to come. "Could I argue with Stalin? I had no choice but to go back to physical education. In addition, Kosarev promised:" I give you honestly, if the performance is successful, you will surely be marked. I put on the number "If there is war tomorrow". The institute took the first place so coveted by Stalin. But I did not receive the promised order, since even before the end of the work, Kosarev was declared an "enemy of the people."
Meanwhile, the work of the ensemble went on as usual. All the "ceremonial" proposals that were addressed to Moiseev, he rejected and went with a young team on tour to Kislovodsk. Two days before the end of the season, a government telegram was brought to him: "Come to Moscow. Chairman of the Arts Khrapchenko." Deciding that Khrapchenko could wait, Moiseev sent an answer: "I can't leave due to difficult circumstances in the ensemble." Literally a few hours later I received a second government telegram: "Do not enter into an argument, leave immediately."
Further events developed as in a detective story. Moiseev said: “We are approaching Moscow, the train stops, two security officers enter our car and ask in a loud voice:“ Who is Moiseev here? I'm here." - "Where are your things?" I show the suitcase. One of the security officers took my suitcase and went out, I followed him, the second security officer followed me. I realized that I was arrested, and began to frantically sort out in my mind who could to slander me... On the square in front of the station there was a luxurious open car "Lincoln" with the image of a greyhound dog on its nose - then they were fashionable. We got into it, and suddenly one of the Chekists asked me a question: "Are you going home or directly to us? “Surprised by such a proposal, I say: “Home.” I began to be tormented by doubts: is this an arrest or not? Let’s go to me. "Still arrested. My wife opened the door and, seeing the Chekists, turned white. I, trying to calm her down, said: "Don't be afraid, this is on business ..." But what peace can there be at the sight of the Chekists in my apartment in the thirty-seventh year. At that time there was no such house, such an apartment, where someone would not be arrested. One of the Chekists went up to the phone and reported: "Comrade Chief, Comrade Moiseev has been delivered. What are the instructions?" At the other end of the wire, apparently, they answered: "Give him the phone." They gave me the phone, and I heard a friendly voice: "Comrade Moiseev, we really want to meet with you. Could you come to us now?" I tried to play for time: "I feel so bad, if you can, give me a break." - "Well, tomorrow at eleven in the morning they will come for you." Then I scolded myself for not going right away. I did not sleep all night, lost in conjectures. At eleven in the morning, the same two people came for me in the same car and took me to the Lubyanka. I was stopped at the door with a board: "Head of the transport department." Me and the transport department?! There is complete chaos in my head, and it is very scary. Entering, I found myself in a small room, a secretary jumped up from behind the table and, stretching his arms at his sides, asked:
Comrade Moiseev? - I nodded my head. - Offers.
Where to go?
He pointed to a chest of drawers with a green curtain, exactly the size of a man, that hid a large high door, behind which was a spacious office. The huge desk was full of telephones. A small man rose from the table towards me with a radiant smile.
Comrade Moiseev, how glad I am to see you!
Approached. Shake your hand for a long time.
Do you remember me?
Kill me, no
Well, how! When the Belarusians rocked you after the performance, I congratulated you. Then I represented the Georgian delegation. My last name is Milstein.
Comrade Moiseev,” Milstein continued after a short pause.
We have very a difficult situation. Comrade Beria is now accepting cases and sorting out the outrages that the enemy of the people Yezhov has done. He rejected the performance plan of the Dynamo society, developed before him, and demanded a complete change. I was appointed in charge of the parade, and I remembered you. It was I who sent the telegram, but in order not to frighten you, I signed with the name Khrapchenko.
I waved my hands and said that this was out of the question. The parade was less than a month away. Naturally, I did not want to take on such responsibility and make a hasty speech. I perfectly understood how my work could end in case of failure, albeit for purely objective reasons beyond my control.
Milstein spoke to me in the form of a polite threat. He told me:
Dear comrade Moiseev, if you need a hundred helpers, you will have a hundred helpers. If you ask for a hundred thousand rubles, you will receive them. But to refuse our organization... You understand.
We agreed that I would give the final answer the next day. All night I tossed and turned, thinking about the situation in which I found myself, but, finally, in the morning I finally decided: let them kill me or put me in jail, but I won’t bet. With this thought, I came to the Lubyanka. However, when I entered Milstein's office, I saw that it was full of people. The conversations immediately stopped, and Milstein loudly announced: "Comrades, I present to you Comrade Moiseev, head of the parade of the Dynamo society. Please introduce yourself." People in uniform began to approach me and introduce themselves: “Chief of the border troops, I can put at your disposal three hundred athletes of the first category and five hundred athletes of the second category”, “Chief of the internal troops, I can put so many athletes at your disposal.” With the same words, several more leaders of the Lubyanka units approached me: the heads of the Kremlin garrison, the Lyubertsy labor communes, the escort troops ... I was confused and realized that now I would not be able to refuse. After everyone introduced themselves, Milstein took the floor: “Comrades, the Dynamo society is in a very difficult situation. Comrade Moiseev kindly agreed to help us. instructions are not followed, I will have to deal with this person according to the laws of our Chekist discipline. After this suggestion, everyone dispersed, and we were left alone. Milstein grinned, pleased with the way he had beaten me, and said, "Don't worry, comrade Moiseev. There's nothing we haven't done to make the parade a success. So consider our performance calmly." Fortunately, the speech went well, and the next morning Milstein called me: "Comrade Moiseev, I must congratulate you. Your speech was approved. Everyone congratulates and thanks you. Now they will talk to you." A moment later, I heard Beria's dry and unfriendly voice: "Comrade Moiseev, I thank you for the good performance. Thank you very much." There was no talk of any payment. But it turns out they knew how much I used to get. I received twenty thousand from Belarusians. At the Stalin Institute - twenty-five. For the "Dynamo" I was given twenty-five thousand and a two-month vacation package. Now I could again concentrate all my efforts on working with the ensemble. Fortunately, we quickly gained recognition and throughout our history have not known failures. In 1938 we were invited to perform in the Kremlin, and since then we have not missed a single one of these receptions. The composition of the participants in the Kremlin concerts did not change from year to year: Ivan Kozlovsky, Valeria Barsova, Sergei Obraztsov with their puppets, the Red Banner Ensemble and the Folk Dance Ensemble. The performances were always successful. We have become one of the favorite teams of the government, and in the first place - Stalin. Banquets were usually held after the concerts. On them, in passing, problems that seemed to be the work of many years were often solved. Somehow, another banquet was held in the Kremlin. Sitting at the table, I felt someone put a hand on my shoulder. Everyone froze.
Well how are you?
Stalin stood behind me. Due to my youth or ignorance, I did not experience fear at that moment, but, of course, I felt awe.
Bad, Iosif Vissarionovich, business.
Why is it bad?
There is no room. For example, I staged "Podmoskovnaya Lyrica" on the landing. (Stalin was very fond of this number.)
Stalin frowned, made a gesture with his hand - and, as if from under the ground, Shcherbakov, the first secretary of the MK party, rose up in front of him. Stalin, pointing to me, said to him:
They don't have a room. Need to find. Report tomorrow.
Turned around and left.
The next day Shcherbakov summoned me to his office. He led me to a map of Moscow, and suggested "Choose." By that time, we had long been promised several halls in a building that was being rebuilt former theater Meyerhold. Inside the whole building was broken, outside - continuous scaffolding. God alone knows when this construction would have been completed. But the Mayakovskaya metro station in the same building was being prepared for commissioning in the coming months. Knowing this, I told Shcherbakov: “Probably, it will not be very nice if the station opens in an unfinished building and passengers have to make their way under scaffolding to get into the metro. So, maybe the metro builders will finish the whole building?” The secretary liked the idea. He immediately called the head of the metro construction, Abakumov ... In about three months, everything was ready.
In 1940, at the suggestion of Stalin, the Buryat ten-day period was being prepared in Moscow. Head of the Moscow musical theater named after K.S. Stanislavsky and V.I. Nemirovich-Danchenko Iosif Tumanov invited Moiseev to be her choreographer. The task turned out to be not easy: after all, at that time even the word "dance" was unknown to the Buryat people and was replaced by other concepts.
A close acquaintance with the Buryat folklore led Igor Alexandrovich to the idea of reviving the monastic Buddhist holiday "Tsam" on the stage. This is a mask dance, usually performed in ritual pantomime, which was played out at annual holidays in lama datsans (monasteries). Moiseev managed to find authentic Buddhist masks and costumes and create a theatrical legend based on a religious story. For this production he was awarded the first honorary title- People's Artist of the Buryat SSR.
Igor Moiseev said: “The war began. It was necessary to save the team. After all, it consisted of young people, and mobilization had already begun. Nothing could be left of the ensemble in a matter of days. We asked to serve the front, but we were refused. The war began devastating, our army retreated Having decided that in such conditions the troops were not up to concerts, we were sent to the Urals. Sverdlovsk region we performed mainly at factories evacuated from the West, which grew around Sverdlovsk like mushrooms after rain. Unexpectedly for ourselves, we got on our feet and were even able to deduct money for defense. At the concerts, we collected about one and a half million rubles. A tank was built on them - "GANT USSR" (State Folk Dance Ensemble of the USSR). This tank of ours was at the front, fought. His model is still kept in the ensemble as a symbol of our activities during the war."
Before returning to Moscow in 1943, the folk dance ensemble under the direction of Moiseev was constantly on tour in Siberia, Transbaikalia, Far East and Mongolia. And all this time, Igor Alexandrovich, despite many difficulties and hardships, managed to maintain a creative atmosphere in the team. He created several numbers in the amateur ensemble of the Pacific Fleet, as well as the "Big Navy Suite" and "Russian Suite", which are still kept in the ensemble's repertoire.
Often had to rehearse on wagon platforms. At the first concerts, Igor Alexandrovich himself had to replace the absent artists and immediately join the number. It wasn't easy to do this. After all, putting on a dance and dancing it yourself are completely different things.
In 1943, Moiseev was allowed to create the country's first professional school of folk dance - a choreographic school-studio at the State Academy of Antiquities. Since then, its graduates have been replenishing not only the troupe of the ensemble itself, but also all the leading groups in Russia.
Moiseev said: “Being interested in folklore, I traveled around Belarusian villages. It was autumn, the potato harvest was ripening. A group of girls walked towards us, who carried pitchforks on their shoulders and sang cheerfully in Belarusian. I asked my companion what they were singing about. It turned out , they sang about potatoes: they asked that the weather help her to be born, then the year will be full, happy, which means there will be songs, there will be dances. Returning to Moscow, I did a dance called "Bulba". When fifteen years later I visited Belarus again, I found that my "Bulba" is danced everywhere. I ask: where did you get this dance from? They answer me: "But we always had it." Although all folklorists confirmed that this dance appeared in Belarus after my production . If your creativity recognizes the people to such an extent that he considers them his own - isn't that highest form recognition!"
The peak of popularity and worldwide recognition of the creativity of the USSR Folk Dance Ensemble fell on post-war years. The dancers of Igor Moiseev were the first Soviet artists representing our country abroad in Finland, China, France, the Middle East in Lebanon, Egypt and Syria, as well as in the USA, South America and India. Moiseev said: “From my life it is easier to make a guide than a biography. We visited more than sixty countries of the world with the ensemble. In many more than ten times. We spent eight months a year on tour, and for the most part- abroad. Of course, it is impossible to describe all our tours. Yes, this is not necessary. The most interesting is the first visit to the country. What can you say about the tour itself? Triumph in France followed triumph in America, triumph in America followed triumph in Japan, and so on. This is pleasant for the perpetrators of the events, but for others it is monotonous and boring. From the first tour, I remember most of all the trip to Yugoslavia. We gave our first concert in Belgrade in the presence of Marshal Tito. Then they traveled all over the country. I remember that in Zagreb I lived in a very strange residence for honored guests. When they brought me to her, I saw a hut covered with straw, and thought: "Here strange place where I will live! "I went inside and was amazed: everywhere there are carpets, parquet floors, a luxurious chandelier, luxurious furniture - a real palace. But outside - just a hut. But I especially remember the trip to Sarajevo. The whole city gathered on the square in front of the theater. When we got off the train, the audience, parting in both directions, began to throw roses at our feet.February, it was sleet, at first we picked up flowers from the ground, but it was impossible to lift everything.And on the carpet of roses we went to the theater.How can we forget this?! At the final concert in Belgrade, Marshal Tito was again present. After the concert, we were invited to his palace. To our surprise, only Tito himself, his son, bodyguards and big dog. In this chamber atmosphere we spent a wonderful night. In parting, Tito said: "I'm sorry to part with you. Tomorrow you are leaving, but you will remain in my heart." In the morning his representative came to our train and brought photographs of the marshal. Ninety photographs - according to the number of our artists. On each was written: "To the Russian artist with gratitude. Broz Tito."
In 1965, for the program "The Road to Dance" Moiseev was awarded the Lenin Prize, and the team - the title of Academic.
Igor Moiseev said: “I am often asked: “What attracts you to folk dance?” Thinking about this, I came to the conclusion that I don’t see a more festive, life-loving art form. Part folk soul. In his inexhaustible treasury there are many priceless pearls. They reflect the creative power of folk fantasy, poetry and imagery of thought, expressiveness and plasticity of form, depth and freshness of feelings. This is an emotional, poetic chronicle of the people, original, figuratively, vividly depicting the history of events and feelings experienced by them. Folk dance does not have an official choreographer, it is born from environment. And this is where it differs from classical ballet born of the rational mind. I have been studying folklore for many years, of course, not only because the variety of its manifestations makes it possible to stage various dance performances. Dance, undoubtedly, will find more and more new forms, which will inevitably correspond to the development of human consciousness, human experience, human morality. Folk dance needs careful study. We are not dance collectors and we do not prick them like butterflies on a pin. Relying on folk experience, we try to expand the possibilities of dance, enriching it with the director's invention, the dance technique, thanks to which he expresses himself even brighter. In short, we approach folk dance as a material for creativity, not hiding our authorship in every folk dance. But our creativity continues in the nature of folk dance itself. This is not my path."
Moiseev was directly involved in the organization of professional national ensembles in our country and abroad, including in Hungary, Poland, Czechoslovakia and other countries. In 1966, Moiseev founded the Choreographic Concert Ensemble in Moscow (now the Moscow Theater of Classical Ballet under the direction of N. Kasatkina and V. Vasilyov).
Simultaneously with his work in the ensemble, Moiseev in different years carried out instructions from the Government and the Ministry of Culture of the USSR. He was the director of gala concerts and cultural programs dedicated to outstanding events in the country's social life: the 60th anniversary of the founding of the USSR, the 40th anniversary of Victory in the Great Patriotic War, and others. For many years, Igor Moiseev headed the jury of the television folklore festival "Rainbow", was a permanent member of the jury of many international competitions and festivals of folk dance, participated in the work of the Committee for the Protection of Peace.
Igor Moiseev was awarded American Prize"Oscar" in the field of dance in 1961 and 1974, the year of the American Dance magazine's award in the field of dance; he was awarded the titles of Honorary Member of the National Assembly of France and a member of the French Academy of Music and Dance in 1955, Doctor of Science International Academy Sciences of San Marino. Igor Alexandrovich is a member of the Board of the Bolshoi Theater and a member of the Presidium of the Russian Academy of Arts. Following M. Rostropovich and V. Clyburn, he was awarded the International Foundation Prize for the development of cultural relations between Russia and the USA in 1995.
Hundreds of articles, several books and scientific research have been devoted to the work of Igor Moiseev. He is the author of many scientific articles on choreography, the autobiographical book "I Remember...", where he spoke in detail about his life and work.
Igor Alexandrovich was characterized by universal knowledge and a unique outlook. He was familiar with painting, architecture, literature from the Renaissance to the present day. His favorite book was the Bible. He knew cinema and theater well. Favorite artists: the entire old Moscow Art Theater - from Stanislavsky, with whom Igor Alexandrovich worked together on an opera, to Nemirovich-Danchenko, at the productions of Bulgakov's "Molière" which he taught manners and fencing. Moiseev was friends with Mikhoels and worked with Okhlopkov. He staged "Romeo and Juliet" with Alexei Popov, and knew Grigory Alexandrov and Lyubov Orlova very well, was very friendly with Irakli Andronikov and Sergei Smirnov.
Moiseev was very fond of animals - horses and dogs, sports - athletics and, especially, rhythmic gymnastics. He played chess well, swam well, spoke French.
Igor Moiseev died on November 2, 2007 in Moscow from hypertension and coronary heart disease and was buried on November 7, 2007 at the Novodevichy Cemetery.
About Igor Moiseev was filmed documentary"Creator of the Dance"
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Text prepared by Andrey Goncharov
Used materials:
www.biograph.comstar.ru
DANCES DELIVERED BY IGOR MOISEEV
Russian dances: "Polyanka", "Seasons. Suite of two dances", "Monogram", "Sixers. Ural dance", "Cocky ditties", "Russian dance", "Metelitsa (Snow Maiden)"
Belarusian dances: "Lyavonikha", "Kryzhachok", "Polka "Yanka", "Bulba", "Polka "Mama", "Yurochka (Country Don Juan)"
Ukrainian dances: "Vesnyanki. Suite" ("Exit of the Girls (Girl's Sorrow)", "Farewell", "Fortune Telling (Scene with Wreaths)", " big dance"," Heel", "Exit of the couples", "Return", "Meeting and glorification", "Gopak"
Moldavian dances: "Zhok ulmare (big jok). Suite" ("Hora (Dance of Girls)", "Chiokirlia (Lark)", "Jok", "Moldavenyaska", "Koasa (Kosari)", "La Spalat (Laundress)" ", "Sfredelos (agricultural dance)", "Moldavanochka", "Cunning Makanu. Suite" ("Dance of the guys", "Dance of the girls", "Declaration of love", "General exit", "Syrba (very fast dance)", "Yula")
Kyrgyz dances: "Yurt", "Kyz Kumai (Catch up with the girl)", "Dance of Kyrgyz girls"
Uzbek dances: "Buttermilk (Cotton)", "Dance with a dish", " Uyghur dance"Safaili" (national rattle instrument)"
Tajik dances: "Dance of girls", "Male martial dance with a dagger", "Dance with doira (eastern name for tambourine)"
Kazakh dance "Kok-par"
Mongolian dances: "Mongolian riders", "Mongolian figurine", "Dance of Mongolian wrestlers"
Bashkir dance "Seven beauties"
Buryat dances (Suite "TsAM" of ten dances)
Dance of the Kazan Tatars
Dance Crimean Tatars"Chernomorochka"
Kalmyk dance "Chichirdyk (Soaring Eagle)", "Ishkymdyk (Two Horsemen)"
Ossetian dance "Simp"
Torgut dance
Hutsul dances: "Arkan" (male shepherd dance), "Dance of a girl and two guys"
Georgian dances: "Kartuli (Lekuri)", "Khorumi" (Adjarian dance)
Azerbaijani dances: "Shepherds" (Dance of the Karabakh shepherds), "Desmoly" ( female dance), "Gazakhi" (male dance)
Armenian-Kurdish suite "Mainuki" of four dances
gypsy dance
Latvian Dances (Suite of three dances)
Lithuanian dances (Suite of five dances)
Estonian dances: "Estonian polka through the leg", "Hiu-waltz. Estonian suite of three dances"
Polish dances: Polonaise, Troyak, Oberek, Krakowiak, Mazurka, Polka Labyrinth
Hungarian dances: "Czardas", "Pontozoo" ("Flappers"; dance with dots with a beat on the boots), "Farewell", "Girl's dance with bottles on her head", "Dance with spurs"
Bulgarian Dances (Suite of Five Dances)
Romanian dances: "Briul", "Mushamaua" (merry mass dance), "Oash dance"
Finnish dance "Comic polka"
German dance "German waltz"
Chinese dances: "Drum Dance", "Ribbon Dance", "San Cha Kou" (At the Crossroads), Big Pantomime"
Korean dance
Yakut dance "Good hunter"
Nanai dances: "Nanai folk game"Fencing with sticks", "Fight of two kids" (sketch)
Chuvash dance
Mari dance
Vietnamese dance "Dance with bamboo"
Czech dance "Czech polka"
Slovak dance
Greek dances: "Sertaki" (male dance, music by M. Theodorakis), "Dance of the girls", "General round dance", "Male dance in fours", "Common final dance"
Italian dance "Sicilian tarantella La karetta"
Spanish dances: "Spanish ballad", "Aragonese jota" (music by M.I. Glinka)
Irish dance "Youth"
Yugoslavian dances: "Serbian" (Serbian dance), "Kukuneshti" (Serbian male dance), Macedonian female dance, "Dzyurdevka" (Montenegrin martial dance), "Selyanchitsa" (Serbian dance)
DANCES OF LATIN AMERICA
Argentinean dances: "Malamba", "Gaucho" (Dance Argentine shepherds), "Tavern" (one-act picture)
Mexican Suite
Venezuelan dance "Horopa"
US DANCES:"Square Dance", "Back to the Monkey" (rock and roll parody)
CYCLE "PICTURES OF THE PAST"
"Moscow Region Lyrics", "City Factory Quadrille", "Trepak" (music by P.I. Tchaikovsky from the ballet "The Nutcracker"), "Suite from old Russian dances", figures and compliments", "Buffoon games", "Jewish suite "Family joys""
CYCLE "SOVIET PICTURES"
"Kolkhoznaya Street", "Russian Red Army Dance", "Conscripts", "Partisans", "Labor Day - Fifteen Dance Fragments", "Navy Suite "A Day on the Ship"", "Football" (choreographic scene)
THE ROAD TO THE DANCE (Class Concert): "The Machine", "The Middle", "Prokhodki", "Pereplyas", "Ukrainian Dance", "Hopak-Kolo", "Polka"
AT THE RINK (music by Johann Strauss): "Waltz of the Skaters", "Girl and Boy", "Competitions of Spinners", "Parade", "Gallop and Finale"
NIGHT ON BALD MOUNTAIN (In two scenes): "Fair music folk", "Night on Bald Mountain" (music by MP Mussorgsky)
POLOVETSKY DANCES (music by A.P. Borodin): "Exit of the Khan", "Dance of the Captives", "Dance of the Boys", "Dance of the Archers", "Departure of the Riders", "General Dance", "Dance of the Shepherds", "Militant Dance" , "The final"
DANCES FROM THE BALLET "SPARTACUS" (music by A.I. Khachaturian): "Bacchanalia", "Exit of the Gladiators", "Andobates (Fight in Blind Helmets)", "Retiari and Mermelon (Fisherman and Fish)", "Battle of Thracians and Samnites" "
VARIETY ROOM "Polka-Labyrinth"
Soviet and Russian choreographer, choreographer, ballet dancer, artistic director of the State Academic Folk Dance Ensemble.
Born on January 8 (21), 1906 in Kyiv.
Father - Moiseev Alexander Mikhailovich, lawyer, nobleman. Mother - Gran Anna Alexandrovna, milliner. As a child, he lived in France for several years.
Studied in Moscow in a private ballet studio(1920), at the Choreographic College, which he graduated in 1924 (teachers I. V. Smoltsov and A. A. Gorsky). After graduating from a technical school, he was accepted into the troupe of the Bolshoi Theater, where he worked until 1939. In 1931 he became a soloist. Already in 1930 he began to work as a choreographer. He was the director of a number of physical culture parades on Red Square. In 1933 he graduated from the University of the Arts.
In 1936 he was in charge of the choreographic part of the Theater of Folk Art.
In 1937, with the support of V. M. Molotov, Chairman of the Council of People's Commissars of the USSR, he created the country's first professional folk dance ensemble (the State Folk Dance Ensemble of the USSR). The first rehearsal of the new ensemble took place on February 10, 1937.
In 1943 he created the country's first professional school of folk dance (a choreographic School-Studio at the State Academic Folk Dance Ensemble), and in 1966 he organized a choreographic concert ensemble "Young Ballet" (now the State Ballet Theater under the direction of N. D. Kasatkina and V. Yu. Vasiliev), which he led until 1970.
Staged gala concerts and cultural programs dedicated to outstanding events in the social life of the country. He headed the jury of the television folklore festival "Rainbow", was a permanent member of the jury of many international competitions and festivals of folk dance, participated in the work of the Committee for the Protection of Peace.
Member of the board of the Bolshoi Theater (since 1985), member of the Prisidium of the Russian Academy of Arts (since 1996), member of the commission under the President of the Russian Federation for State Prizes of the Russian Federation in the field of literature and art, member of the Council of Cultural, Scientific and Educational Workers under the Russian Foreign Ministry.
Daughter - Olga Igorevna Moiseeva (b. 1943) - Honored Artist of the RSFSR, soloist of the ensemble, teacher-tutor.
Grandson - Vladimir Borisovich Moiseev (b. 1963) - Honored Artist of Russia, soloist of the Bolshoi Theater, founder of the Russian National Ballet Theater, artistic director of the Krasnoyarsk State Academic Dance Ensemble of Siberia named after. M. S. Godenko.
People's Artist of the Buryat ASSR (1940)
Honored Artist of the RSFSR (1942)
People's Artist of the RSFSR (1944)
People's Artist of the Moldavian SSR (1950)
People's Artist of the USSR (1953)
People's Artist of the Kirghiz SSR (1976)
Honorary member of the National Assembly of France and member of the French Academy of Music and Dance (1955)
Doctor of Science International Academy of Sciences of San Marino
Honorary Professor of Beijing Academy
Professor of the Russian Academy of Theater Arts (1997)
Died November 2, 2007 in Moscow from complications of hypertension and coronary artery disease. He was buried on November 7, 2007 at the Novodevichy Cemetery (site No. 5).
theatrical work
Repertoire at the Bolshoi Theater:
Le Corsaire by A. Adam, choreography by M. I. Petipa, revised version by A. A. Gorsky - Slave
The Little Humpbacked Horse by C. Pugni, choreography by Marius Petipa, revised version by Alexander Gorsky - Slave, mazurka
Theolinda by F. Schubert, choreographer K. Ya. Goleizovsky - Raul
"Joseph the Beautiful" S. N. Vasilenko, choreographer Kasyan Goleizovsky - Joseph
"Football player" by V. A. Oransky, own production - Football player
First performer of parts:
1932 - "Salambo" by A. F. Arends, own production - Mato
1933 - "Dionysus" by A. A. Shenshin, "Chopiniana", "Charda", choreographer Kasyan Goleizovsky - Soloist
1935 - "The Bright Stream" by D. D. Shostakovich, choreographer Fyodor Lopukhov - Uzbek
Performances at the Bolshoi Theatre:
ballets
1930 - "Football player" V. A. Oransky (together with Lev Lashchilin)
1932 - "Salambo" by A. F. Arends (with the addition of music by A. K. Glazunov, V. V. Nebolsin and A. N. Tsfasman)
1935 - "Three fat men" by V. A. Oransky
1958 - "Spartacus" by A. I. Khachaturian
Dances in operas:
1930 - "Zagmuk" by A. A. Krein
1930 - "Turandot" G. Puccini
1932 - "Demon" by A. G. Rubinstein
1933 - “Love for three oranges” by S. S. Prokofiev
1936 - "Carmen" by J. Bizet
Dances of the peoples of the world:
Russian dances:
"Polyanka", "Seasons. Suite of two dances”, “Monogram”, “Six. Ural dance”, “Cocky ditties”, “Russian dance”, “Snowstorm (Snow Maiden)”
Belarusian dances:
"Lyavonikha", "Kryzhachok", "Polka "Yanka"", "Bulba", "Polka" Mama "", "Yurochka (Country Don Juan)"
Ukrainian dances:
“Vesnyanki. Suite "(" Exit of the Girls (Girl's Sorrow) "," Farewell "," Fortune-telling (Scene with Wreaths) "," Big Dance "," Heels "," Exit of the Guys "," Return "," Meeting and Magnification "," Gopak"
Moldovan dances:
“Jokul mare (big jock). Suite "(" Hora (Dance of the Girls)", "Chokyrlia (Lark)", "Jock", "Moldovenyaska", "Koasa (Kosari)", "La spelat (Laundress)", "Sfredelos (agricultural dance)", " Moldavianochka", "Cunning Mokanu. Suite" ("Dance of the boys", "Dance of the girls", "Declaration of love", "General exit", "Syrba (very fast dance)", "Yula"
Kyrgyz dances:
"Yurt", "Kyz Kumai (Catch up with the girl)", "Dance of the Kyrgyz girls"
Uzbek dances:
"Buttermilk (Cotton)", "Dance with a dish", "Uighur dance "Safaili" (national rattle instrument)"
Tajik dances:
"Dance of the Girls", "Male Warrior Dance with a Dagger", "Dance with Doira (Eastern name for tambourine)"
Kazakh dance "Kok-par"
Mongolian dances:
"Mongolian Horsemen", "Mongolian Statuette", "Dance of the Mongolian Wrestlers"
Bashkir dance "Seven Beauties"
Buryat dances (Suite "Tsam" of ten dances)
Dance of the Kazan Tatars
Dance of the Crimean Tatars "Chernomorochka"
Kalmyk dances:
"Chichirdyk (Soaring Eagle)", "Ishkymdyk (Two Horsemen)", Torgut Dance
Ossetian dance "Simd"
(mass dance)
Hutsul dances:
"Arkan" (male shepherd dance), "Dance of a girl and two guys"
Georgian dances:
"Kartuli (Lekuri)", "Khorumi" (Adjarian dance)
Azerbaijani dances:
"Shepherds", "Desmols", "Gazakhs"
Armenian "Mainuki" of four dances
gypsy dance
Latvian dances (suite of three dances)
Lithuanian dances (suite of five dances)
Estonian dances:
"Estonian polka through the leg", "Hiu-waltz. Estonian suite of three dances»
Polish dances:
Polonaise, Troyak, Oberek, Krakowiak, Mazurka, Polka Labyrinth
Hungarian dances:
"Czardas", "Pontozoo", "Clappers" (dance with dots with a beat on the boots), "Farewell", "Girl dance with bottles on the head", "Dance with spurs"
Bulgarian dances (suite of five dances)
Romanian dances:
"Briul", "Mushamaua" (cheerful mass dance), "Oash dance"
Finnish dance "Comic Polka"
German dance "German waltz"
Chinese dances:
"Drum Dance", "Ribbon Dance", "San Cha Kou" (At the Crossroads), "Great Pantomime"
Korean dance "Sanchong"
Yakut dance "Good hunter"
Nanai dances:
"Nanai folk game "Fencing with sticks"", "Fight of two kids" (sketch)
Chuvash dance
Mari dance
Vietnamese dance "Dance with bamboo"
Czech dance "Czech polka"
Slovak dance
Greek dances:
"Sirtaki (Male dance)" (music by M. Theodorakis), "Dance of the girls", "General round dance", "Male dance in fours", "Common final dance"
Italian dance "Sicilian tarantella La karetta"
Spanish dances:
"Spanish Ballad", "Jota of Aragon" (music by M. I. Glinka)
Irish dance "Youth"
Yugoslav dances:
"Serbian" (Serbian dance), "Kukuneshti" (Serbian male dance), "Macedonian female dance", "Dzyurdevka" (Montenegrin martial dance), "Selyanchitsa" (Serbian dance), "Oath" (Macedonian male dance)
Latin American dances:
Argentinean dances:
"Malambo", "Gaucho" (Dance of the Argentine shepherds), "Tavern" (one-act picture), "In the tavern of Radriguez Peña".
Mexican suite ("Zapateo", "Avalulco")
Venezuelan dance "Horopo"
US dances:
"Square Dance", "Back to the Monkey" (rock and roll parody)
Cycle "Pictures of the past":
Moscow Region Lyrics, City Factory Quadrille, Trepak (music by P. I. Tchaikovsky from the ballet The Nutcracker), Suite from Old Russian Dances, In the Yards, Boyfriends, Polka-beauty with figures and compliments”, “Buffoon games”, “Jewish suite “Family joys””
Cycle "Soviet pictures":
"Kolkhoznaya Street", "Russian Red Army Dance", "Conscripts", "Partisans", "Labor Day - Fifteen Dance Fragments", "Navy Suite "A Day on the Ship"", "Football" (choreographic scene)
Road to dance (class-concert):
"Machine", "Middle", "Prokhodki", "Pereplyas", "Ukrainian Dance", "Gopak-Kolo", "Polka"
On the skating rink (music by Jacques Offenbach, Johann Strauss, Andrey Petrov):
"Waltz of the Skaters", "Girl and Boy", "Competition of Spinners", "Parade", "Gallop and Finale"
Night on Bald Mountain (in two scenes):
"Fair" (folk music), "Night on Bald Mountain" (music by M. P. Mussorgsky)
Polovtsian dances (music by A.P. Borodin):
"Enter the Khan", "Dance of the Captives", "Dance of the Boys", "Dance of the Archers", "Departure of the Riders", "Common Dance", "Dance of the Shepherds", "War Dance", "Final"
Ballet Spartacus. Dances from the ballet (music by A. I. Khachaturian):
"Bacchanalia", "Exit of the Gladiators", "Andobates (Fight in Blind Helmets)", "Retiarius and Mermelon (Fisherman and Fish)", Adagio, "Battle of Thracians and Samnites"
Variety number "Polka-Labyrinth"
prizes and awards
Hero of Socialist Labor (1976)
Three Orders of Lenin (1958, 1976, 1985)
Order of the October Revolution (1981)
Two Orders of the Red Banner of Labor (1940, 1966)
Order of the Badge of Honor (1937)
Order of Merit for the Fatherland, 1st class (January 21, 2006) - for outstanding contribution to the development of domestic and world choreographic art, many years of creative activity
Order of Merit for the Fatherland, II degree (June 12, 1999) - for outstanding contribution to the development of culture and in connection with the 75th anniversary of creative activity
Order of Merit for the Fatherland, III degree (December 28, 1995) - for services to the state, outstanding contribution to the development of choreographic art
Order of Friendship of Peoples (April 11, 1994) - for his great personal contribution to the development of choreographic art and world culture
Foreign awards:
Order "Saint Alexander" with a crown (Bulgaria, 1945)
Officer of the Order of Culture (Romania, 1945)
Order "Brotherhood and Unity" (Yugoslavia, 1946)
Order of the Rebirth of Poland (Poland, 1946)
Order of the Polar Star (Mongolia, 1947)
Officer of the Order of Culture, 1st class (Hungary, 1954)
National Order of the Cedar (Lebanon, 1956)
Officer of the Order of Culture II degree (Hungary, 1960)
Order of Sukhbaatar (Mongolia, 1976)
Order of the White Lion (Czechoslovakia, 1980)
Officer of the Order of Culture (Hungary, 1989)
Commander of the Order of Civil Merit (Spain, 1996)
Commander of the Order of Merit to the Republic of Poland (Poland, 1996)
Commander of the Order of Merit (Hungary, 1997)
Order of Merit, III degree (Ukraine, 1999)
Medal "Mozart", established by UNESCO (2001)
Order of Prince Yaroslav the Wise, 5th class (Ukraine, March 3, 2006) - for outstanding personal contribution to the development of cultural ties between Ukraine and the Russian Federation, many years of selfless artistic activity
Order "Danaker" (Kyrgyzstan, 2007)
Medal "For Valiant Labor. In commemoration of the 100th anniversary of the birth of Vladimir Ilyich Lenin"
Medal "For Valiant Labor in the Great Patriotic War of 1941-1945"
Medal "In memory of the 800th anniversary of Moscow"
Medal "In memory of the 850th anniversary of Moscow"
Gratitude of the President of the Russian Federation (2001) - for an outstanding contribution to the development of world choreographic art
Distinction "For Services to Moscow" (2005) - for services to the development of choreographic art, a great contribution to the cultural life of Moscow and many years of creative activity
Commander of the Order of the Star of Romania (Romania, 2004)
Commander of the Order of May (Argentina, 2004)
The title of "Man-Epoch" (2005).
Prizes:
Stalin Prize of the first degree (1942) - for outstanding work in the field of folk dance
Stalin Prize of the second degree (1947) - for staging the program "Dancing Slavic peoples» in GAANT USSR
Stalin Prize of the first degree (1952) - for concert and performing activities as part of the GAANT of the USSR
Lenin Prize (1967) - for concert program GAANT USSR (1965)
State Prize of the USSR (1985) - for new programs of the GAANT of the USSR (1983-1984)
State Prize of the Russian Federation in the field of literature and art in 1995 (May 27, 1996)
Prize International Foundation"For the development of cultural ties between the United States and Russia" (1995)
Russian independent award "Triumph" (1997)
American Academy Award for Dance (1961, 1974)
American Dance Shop Magazine Award for Dance
Russian national award"Ovation" in the nomination " living legend» (2000)
Award "For Selfless Service to the Art of Dance" (G. Ulanova Foundation, 2004)
International Prize "Faith and Loyalty" (Andrew the First-Called Foundation, 2006)
National award "Russian of the Year" (2006)
