Igor Aleksandrovich Moiseev (January 21, 1906 - November 2, 2007) - Soviet artist ballet, choreographer and teacher of folk stage dance, soloist (since 1924) and choreographer (since 1930) Bolshoi Theater, founder of the first professional ensemble in the USSR folk dance(1937) and the first school of folk dance (1938), organizer of the ensemble "Young Ballet" (1966, now - Theater classical ballet N. Kasatkina and V. Vasilev).
Igor Moiseev was born in Kyiv in the family of a small estate nobleman Alexander Mikhailovich Moiseev and milliner Anna Alexandrovna Gren. He spent his childhood in Paris, Poltava, in 1920 he took private lessons in Moscow classical dance at the ballerina of the Bolshoi Theater Mosolova V.I., then entered the evening department Choreographic College at the Bolshoi Theater, which he graduated in 1924 in the class of Gorsky A.A. and in the same year he was enrolled in the troupe of the Bolshoi Theater.
Creative activity and contribution to the development of choreography
Moiseev Igor Alexandrovich - the greatest choreographer of the twentieth century, who changed the course of development of the world choreographic art who made folk dance the property of world culture.
Igor Moiseev - organizer, permanent artistic director and dance director of the State academic ensemble folk dance. Igor Moiseev is the creator of a new genre performing arts- folk stage choreography, a new model of a professional group - folk dance ensemble, a new artistic method of stage interpretation of folklore, the purpose of which is to develop and enrich folklore with the help of professional art.
The life and fate of Igor Moiseev is an exceptional example of selfless service to his beloved work. Already in his youth, Igor Moiseev was fascinated folk art Since then, all his thoughts and aspirations have been subordinated to a single goal - to preserve, develop, enrich folklore with professional knowledge and make it the property of world culture.
Created the world's first professional ensemble folk dance, Igor Moiseev turned it into a unique folk dance theater, where the spontaneous enthusiasm of folklore, with its unexpected and always desired improvisation, easily and naturally breathed life into the strict forms of stage dance.
Today, the repertoire of the Igor Moiseyev Folk Dance Theater has hundreds of works generously filled with rich images, vivid characters, picturesque colors prompted by life itself.
This miracle, which the world has applauded for seven decades, could not have been born if Igor Moiseev had not mastered all the subtleties national dance, all methods and techniques of professional choreographic, dramatic and musical art, which formed the basis of his unique artistic method of stage interpretation of folklore.
Igor Moiseev was the first in the history of choreography of the twentieth century to make folk dance a phenomenon that unites the peoples of all countries, regardless of religion and political regimes. Wherever the group performs, the flexible, mobile model of the folk dance ensemble created by Moiseev promotes the dance folklore of the world and enriches it with the techniques of professional art, continues to live in strict forms performing arts.
The grandiose significance of Igor Moiseev's work cannot be assessed - his dances went down in history picturesque encyclopedia folk life, a living chronicle, preserving the flavor of time. social conflicts, national characters, the fate of entire peoples - everything is subject to the work of Igor Moiseev.
Recognition and awards
Igor Moiseev’s career at the Bolshoi Theater has no equal: he became a choreographer at the age of 24 (“Football Player” to music by V. Oransky (together with L. Zhukov and L. Lashchilin, 1930) – an unprecedented case in the history of the Bolshoi Theatre.
In the 1930s, Moiseev staged physical education parades on Red Square, performances at the Armenian Studio of Ruben Simonov, gave lessons in the duel code at the Moscow Art Theater, taught at the Moscow Choreographic School, and headed the choreography section at the Theater of Folk Art (1936).
Igor Moiseev is the organizer of the world's first professional folk dance ensemble (February 10, 1937), the world's first professional school-studio with the ensemble (September 1943).
In 1966, Igor Moiseev organized the State Choreographic concert ensemble"Young ballet". For his unique contribution to the development of world culture, Igor Moiseev was awarded orders, medals and honorary titles from dozens of countries.
Igor Moiseev - professor, laureate international awards in the field of choreography, an honorary member of several academies, author of articles on choreography, an autobiographical book “I remember ... a lifelong tour”.
People's Artist of the USSR (1953), Hero of Socialist Labor (1976), laureate of Lenin (1967), three Stalin (1942, 1947, 1957) and USSR State Prizes (1985).
Performances, students and parts
In the Bolshoi Theater, Igor Moiseev performed the parts:
Joseph - "Joseph the Beautiful", directed by K. Goleizovsky to music by S. Vasilenko;
Raul - "Teolinda", production by K. Goleizovsky to the music of F. Schubert;
Slave - "Corsair", production by A. Gorsky to the music of French composers;
Mato - "Salambo", production by A. Gorsky to the music of A. Arends;
Football player - “Football player”, staged by L. Lashchilin and I. Moiseev at the music of V. Oransky.
Igor Moiseev bet on stage of the Bolshoi Theater ballets:
"Football player" on the music. V. Oransky (1930) (together with L. Zhukov and L. Lashchilin);
« A futile precaution"(1930) (together with A. Messerer on the stage of the Experimental Theater at the Bolshoi Theater);
"Salambo" to music by A. Arends (1932);
"Three Fat Men" to the music of V. Oransky (1935);
"Spartacus" to the music of A. Khachaturian (1958).
Igor Moiseev also staged dances in operas:
"Zagmug" (1930);
"Turandot" (1931);
"Demon" (1932);
"Love for Three Oranges" (1933);
"Carmen" (1933).
Staged dances of the peoples of the world:
Russian dances:
"Polyanka", "Seasons. Suite of two dances”, “Monogram”, “Six. Ural dance”, “Cocky ditties”, “Russian dance”, “Blizzard (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 "," Divination (Scene with Wreaths) "," big dance”, “Heel”, “Exit of the lads”, “Return”, “Meeting and glorification”, “Gopak”, “Arkan” (Hutsul male shepherd dance), “Dance of a girl and two guys” (Hutsul dance)
Moldovan dances:
“Jokul mare (big jock). Suite" ("Hora (Dance of the Girls)", "Chokyrlia (Lark)", "Jok", "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 Crimean Tatars"Chernomorochka"
Kalmyk dances:
"Chichirdyk (Soaring Eagle)", "Ishkymdyk (Two Horsemen)", Torgut Dance
Ossetian dance
"Simd"
(mass dance)
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 "Sanchonga"
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 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", "Penetration", "Dance", " Ukrainian dance”, “Gopak-kolo”, “Polka”
On the 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):
"The 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 ”,“ Warrior Dance ”,“ Finale ”
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"
Choreographer, artistic director of the State Academic Folk Dance Ensemble, National artist Russian Igor Aleksandrovich Moiseev was born on 21 January 1906 in Kyiv in the family of a small landed nobleman. He studied dance in Moscow - first at the private ballet studio of V. I. Masolova (1920), then at the Choreographic College of the State Academic Bolshoi Theater in the class of A. A. Gorsky (1921 - 1924).
In 1933 he graduated from the University of the Arts. After graduating from college, he was admitted to ballet troupe Bolshoi Theater(1924 - 1931), In 1931-1937 he was a soloist at the Bolshoi Theater, he performed the parts of Raul in "Theolinda", Mato in "Salambo", Joseph in "Joseph the Beautiful" and others.
IN 1930, remaining a ballet dancer, he becomes a choreographer, director of dance suites in the opera performances Carmen, The Demon, Love for Three Oranges, Turandot, on the stage of the Bolshoi Theater he puts on the ballets Salambo (1932), Three Fat Men "(1935), "Spartacus" (1958).
IN 1936 I. Moiseev became the head of the choreographic part of the Theater of Folk Art, and in 1937 he created the country's first professional folk dance ensemble. The first rehearsal of the new ensemble took place on February 10, 1937. For 70 years, I. Moiseev was the permanent artistic director ensemble. Under his leadership, all programs were staged: "Dances of the Peoples of the USSR" (1937), "Peace and Friendship" (1953), "Away and at Home" (1983) and others. For the program "The Road to Dance" (1965), Moiseev was awarded the Lenin Prize, and the team - the title of Academic. Moiseev was also the director of several one-act performances: "Polovtsian Dances" to the music of A. Borodin (1971), "On the Skating Rink" to the music of R. Strauss (1980), "Night on Bald Mountain" to the music of M. Mussorgsky (1983), " An Evening in a Tavern" (1986) and many others. In total, the ensemble's repertoire contains several hundred folk dances - these are paintings, suites, choreographic poems and short stories. The ensemble has successfully toured in more than sixty countries around the world.
IN 1943 I. Moiseev created the country's first professional school of folk dance (choreographic School-Studio at the State Academy of Achievement), and in 1966 he founded the Choreographic Concert Ensemble in Moscow (now the Moscow Theater of Classical Ballet under the direction of N. Kasatkina and V. Vasilev).
Simultaneously with work in the ensemble I. Moiseev in different years carried out instructions from the government and the Ministry of Culture of the USSR. In the 1920s-1940s, the government instructed the young choreographer to stage physical culture parades, mass sports and dance holidays, he was the post-novator of solemn concerts and cultural programs dedicated important events public life countries.
He was a permanent member of the jury of many international competitions and festivals of folk dance, headed the jury of the television folklore festival"Rainbow", participated in the work of the Peace Defense Committee. He was a member of the board of the Bolshoi Theater and a member of the Presidium Russian Academy arts. Author of scientific articles on choreography, autobiographical book "I remember...".
(January 8, old style) 1906 in Kyiv. His father, a lawyer, belonged to an impoverished noble family. Alexander Moiseev met his wife Anna Gran, a half-French, half-Romanian, a milliner by profession, in Paris. At times tsarist Russia because of his anarchist views and statements, he went to prison, and his mother gave the boy for a while to a Parisian boarding school. After the release of his father, Igor returned to Russia.
In 1920, in Moscow, Igor Moiseev took private lessons in classical dance from the ballerina of the Bolshoi Theater Vera Mosolova, then entered the evening department of the Choreographic College at the Bolshoi Theater, from which he graduated in 1924 in the class of Alexander Gorsky and in the same year was enrolled in the troupe of the Bolshoi Theater .
In 1924-1939 he was a ballet soloist at the State Academic Bolshoi Theatre. He performed the parts of Joseph in "Joseph the Beautiful" to the music of Sergei Vasilenko, Raul in "Theolinda" to the music of Franz Schubert, Slave in "Le Corsaire" to the music of French composers.
Since 1930, Moiseev began to work as a choreographer. In the theater he staged the ballets "Football Player" to the music of Victor Oransky (together with Leonid Zhukov and Lev Lashchilin), "Salambo" to the music of Andrey Arends, in which he performed the parts of the Football Player and Mato. Moiseev also staged the ballets "Vain Precaution" (together with Asaf Messerer on the stage of the Experimental Theater at the Bolshoi Theater), "Three Fat Men" to the music of Oransky, and "Spartacus" to the music of Aram Khachaturian.
He staged dances in the operas "Zagmug", "Turandot", "Demon", "Love for Three Oranges", "Carmen".
He was the director of a number of physical culture parades on Red Square.
In 1936 he was in charge of the choreographic part of the Theater of Folk Art.
In 1937, with the support of Vyacheslav Molotov, Chairman of the Council of People's Commissars of the USSR, Moiseev created the first professional folk dance ensemble in the country - 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 first in the country professional school folk dance - the choreographic School-Studio at the State Academic Folk Dance Ensemble, and in 1966 - the choreographic concert ensemble "Young Ballet" was organized (now the State academic theater ballet under the direction of Natalia Kasatkina and Vladimir Vasilev), which Moiseev directed until 1970.
Igor Moiseev was the first to develop artistic method processing folklore, combining the techniques of folk and professional art in order to give folklore a new stage life.
For the program "The Road to Dance" Moiseev was awarded the Lenin Prize, and the team - the title of academic.
The choreographer staged over 300 dance numbers.
He is the director of the programs "Dances of the peoples of the USSR" (1937-1938), "Dances Slavic peoples"(1945), "Peace and Friendship" (1953), "Away and at Home" (1983), one-act performances "Polovtsian Dances" to the music of Alexander Borodin (1971), "On the Skating Rink" to the music of Richard Strauss (1980), "Night on Bald Mountain" to the music of Modest Mussorgsky (1983), "An Evening in a Tavern" (1986) and many others. recent works— suite Greek dances to music by Mikis Theodorakis (1991), suite of Jewish dances "Family Joys" (1994).
Simultaneously with his work in the ensemble, Moiseev in different years was the director of solemn concerts and cultural programs dedicated to anniversaries countries.
For many years, Igor Moiseev headed the jury of the television folklore festival "Rainbow", was a permanent member of the jury of various international competitions and festivals of folk dance, participated in the work of the Peace Committee.
He was buried at the Novodevichy cemetery.
The choreographer's work was marked by numerous awards. He was a laureate State Prizes USSR (1942, 1947, 1952, 1985) and Russia (1995), Lenin Prize (1967). In 1976 he was awarded the title of Hero of Socialist Labor. He was awarded the Orders of the Badge of Honor, the Red Banner of Labor, Lenin, October revolution, and Russian orders"For services to the Fatherland" I, II and III degrees. Among his foreign awards are the Bulgarian Order of St. Alexander, the Romanian Order of the Cultural Officer, the Polish Order of Polonius Restituta, the Yugoslav Order of Brotherhood and Unity, the Lebanese Order of the Golden Cedar, the Czechoslovak Order white lion, Honorary Order of Argentina De Mayo Al Mtrito.
In 1969 he became the owner American Prize Dance Magazine in the field of dance.
Igor Moiseev left a widow Irina Moiseeva, former soloist ensemble, teacher-tutor. His first civil spouse was the prima ballerina of the Bolshoi Theater Nina Podgoretskaya (1902-1977), then he married the soloist of the ensemble Tamara Seifert (1918-2005), from whose marriage in 1943 their daughter Olga was born, the soloist of the ensemble, teacher-repetiteur.
The grandson of Igor Moiseev, Vladimir Moiseev, is the artistic director of the Krasnoyarsk State Academic Dance Ensemble of Siberia named after M. Godenko.
The material was prepared on the basis of information from RIA Novosti and open sources
IGOR MOISEEV: BIOGRAPHY STRIKES
Igor Aleksandrovich Moiseev is a man of myth. He is a symbol of Russian culture, and above all "Soviet", precisely because he surpassed it with the plasticity of survival in the proposed historical circumstances.
The son of a nobleman, an anarchist lawyer who was prosecuted both under the tsarist regime and under the Soviet regime, and a French milliner of semi-Romanian origin, Igor learned to speak French before he could speak Russian.
From his father, who graduated from the Faculty of Philosophy in Heidelberg, he inherited an interest in Eastern teachings, in theosophy, in the history of art. Even before the war, he had the first category in chess (this roughly corresponds to the current master). At the age of 18 he was enrolled in the Bolshoi Ballet, was a partner of the great and then middle-aged Ekaterina Geltser. In his youth, he participated in the famous "Thursdays" at Lunacharsky's, where he talked with Meyerhold, Tairov, Mayakovsky, Henri Barbusse.
From the age of 20 he was directing with Ruben Simonov, at the age of 24 he became the choreographer of the Bolshoi Theater, remaining a dancer, staged "Three Fat Men".
In 1930, Igor Moiseev first encountered in Tajikistan the unique originality of folk dance. After the defeat of Shostakovich's opera and the ballet The Bright Way at the Bolshoi, the energetic Igor Alexandrovich once and for all finds his creative niche in the field of folk dance. He creates an ensemble that will turn 70 next year, 2007. And in 1943 he received permission to organize a school of folk dance, where the future soloists of the ensemble are trained. The phenomenal longevity of the creator and his works.
Igor Moiseev Folk Dance Ensemble calling card USSR, an export version of internationalism in art - "international in form and Soviet in content." His "Dances of the Peoples of the World" are ideally superimposed on geographical map, there are no white spots - in the absence of a dance culture among the people, it is replaced by an imitation of a religious cult, as in the case of the "Buryat Suite of TsAM".
For I. Moiseev himself, folk dance becomes a way of searching for post-classical forms in choreography. And at the same time - involvement in the highest echelons of power, which began with the staging of physical education parades on Red Square of the Dynamo society, which was introduced by Comrade Beria. As in the country there should be only one god and king, so in the field of folk dance, where we were ahead of the rest thanks to Igor Moiseev.
The traveling history of the Moiseev Ensemble under the conditions of the "Iron Curtain" is truly golden page everyday Soviet culture. Artists spent three-quarters of the year on tour, usually abroad, earning foreign currency and a favorable propaganda image for the country. Therefore, every artist and every actress had to be shone through many knees up and down, in order to exclude escape from the camp of happiness, so that not a single fugitive like Nureyev and Baryshnikov wormed his way into their ranks. In addition, Moiseyevites were a regular dish at all Kremlin receptions, starting in 1938, which also imposed certain state security requirements.
Igor Aleksandrovich Moiseev spoke about many things in his book "I Remember ... A Lifelong Tour", which was published in the second half of the 90s. For future ethnographers Soviet life it is an indispensable source of information. Attentive, witty, energetic and intelligent organizer and creator, who perfectly understands the rules of survival under the Soviet and subsequent regimes.
About classical dance
“Classical dance was born to express the supermundane, incorporeal spirit. Its creators sought to convey feelings that take us to the world of dreams, fantasies, fairy tales. However, gradually this language became so familiar that it turned from the sublime into the everyday and lost its meaning. Reality and conventionality turned out to be painted in the same color, which led to a monstrous impoverishment of the dance language. National dances have dropped out of ballets.”
About folk dance
"What is a folk dance? This is a plastic portrait of the people. Silent poetry, visible song, concealing a part folk soul. I do not see a more festive, life-loving art form than folk dance. It blushes the cheeks, ignites the blood with muscular joy. Folk dance does not have an official choreographer, it is born from the environment.
When in France under Francis I stocking was invented, folk dance immediately responded to this innovation. Skirts shortened very quickly, and after that, dances changed radically. There were healer dances that drove out evil spirits and had healing functions. This was the function of the tarantella. The dance itself got its name from the tarantula, the poison from the bite of which could only be expelled with sweat, for which the sick had to whirl in a frantic dance. Ancient Egypt knew astral dances: the dance reflected the evolutions that the stars and planets were doing in the sky. We are not dance collectors and we do not stick them like butterflies on a pin. We approach folk dance as a material for creativity, without hiding our authorship.”
About politics and weather
“Thinking about politics convinced me that simple people powerless to change anything. I remember the words of Seneca: "Accept with dignity the inevitable" - and I try to treat politics and politicians like bad weather, seeking and finding satisfaction in work.
About the Party and God
“During my leadership of the ensemble, party officials called me 18 times and, banging their fist on the table, demanded to join the CPSU. Their argument was always the same: "A non-party person has no right to lead a collective." To which I calmly objected every time: “Did I have the right to create an ensemble?” Apparently, they did not receive any instructions on this matter. Finally, it occurred to one of them to ask: “Why don’t you want to join the party?” "Because I believe in God and I don't want you to work me out for it in your meetings." They got away from me.
In fairness, I must say that it was so easy for me to get out of this situation due to the fact that the leaders of this very party loved the ensemble. The only thing I'm grateful for Soviet power- that no one ever interfered with my work. In addition, oddly enough, my work has always been party. In the sense that my searches in folk dance, in expressing folk character through plasticity, turned out to be consonant with the ideas proclaimed by the party leaders. After all, in fact, they did not say anything bad.
About touring in America
“After the premiere, the reviewers started a dispute about us. Some of them wrote: "They were forced to dance so well, because if they danced badly, then on their return to Russia they would be exiled to the salt mines." Or: "These artists are undoubtedly KGB workers, trained to be so successful." They were answered: "If the Chekists dance like that, then how should real artists dance ?!"
Well dressed after the show in New York beautiful woman middle-aged asked permission to kiss my hand. I said: "Please," and after receiving a kiss, I asked the woman her name. She replied: "My name is Marlene Dietrich."
On the Jewishness of Moses
“My surname is often mistaken for a Jewish one, but in fact such surnames as Moiseev, Abramov are purely Russian. When we arrived in Birobidzhan, we were met on the platform by a crowd of people with a huge poster: "Long live our Moiseev!" The people of Birobidzhan decided that the famous ensemble headed by the Jew Moiseev had arrived. My deputy for housekeeping, Mikhail Evseevich Volynsky, ran up to me and said with delight:
- Igor Alexandrovich! They want to make a big banquet for us!
- Well, a banquet is a banquet. I am very happy.
With this, Volynsky disappeared and, as I later found out, got into a conversation with the people who were laying the tables.
- Probably, you think that Moiseev is a Jew? He is not Jewish at all. He is Russian.
They suddenly became alarmed:
– How Russian?! And we thought he was a Jew...
- No, he is Russian, but he is nothing ... very happy, - Mikhail Evseevich tried to reassure them, apparently realizing that he started this conversation in vain.
But the organizers not only did not calm down with his assurances, but, on the contrary, began to collect food from the tables and put them in baskets.
Volynsky returned as if dropped into the water.
- You know, they don't want to give a banquet.
- And why?
They found out that you are not a Jew.
- Yes? And who told them?
- I said.
- Why did you say ... Well, I would have been a little Jewish. It would be good to eat.
So the banquet did not take place, because Moiseev is not a Jew.
About the Kremlin banquets
“At the receptions, everyone behaved extremely tensely. There were two Chekists at each table. The guests were seated in strictly defined places. You could move away from the presidium as you liked, but the slightest movement towards the presidium was instantly stopped.
At the Kremlin banquets, problems that seemed to be the work of many years were resolved in passing. Once, a few months before the war, 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.
- It's bad, Iosif Vissarionovich, things are going on.
- 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 how Shcherbakov, who was then the first secretary of the MK party, rose from the ground 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 him to the map of Moscow, which hung behind his back, and suggested: "Choose." So, shortly before the war, we moved into the premises of the P. I. Tchaikovsky Concert Hall, where we still work.”
"Man of the world"
Igor Moiseev - 100 years
"Moiseev's Ballet" is pronounced the same in all languages. Like a magic formula that opens the whole world. United by a sense of joyful amazement of viewers from all continents. Holiday, miracle, fireworks - there is no end to the synonyms of the formula.
The price of this joy of recognition is the selfless labor of more than one generation of Moiseevites. In fact, the ensemble has long deserved the name of the Folk Dance Theatre, which has not yet been fixed in posters. But the path from dance miniatures to choreographic performances convinces of the viability of the Moiseev idea of dance theater.
The story about the ensemble without Moiseev is impossible. For artists, he is an example of service to a beloved cause, wise acceptance of difficult victories and inevitable losses. For him, the team is life, pride and glory. A dream come true and constant care.
By 1937, Moiseev was completely in love with folk art. Having mastered the Pamirs, the Caucasus, the Urals on foot and on horseback, Moiseev was convinced that folklore needs a new, stage life, according to the laws and requirements of the theater. The beliefs were reinforced by practice - work in the Theater of Folk Art, staging the 1st All-Union Folk Dance Festival.
A mobile troupe was needed, capable of conveying the nature of folklore through theatrical means. And fate decreed happily: on February 10, 1937, the first rehearsal of the country's first professional folk dance ensemble took place. But what passions were seething around the Moiseev undertaking! The "theorists" were especially shouting, demanding the ethnographic nature of folklore, a kind of dance museum. Moiseev, on the other hand, defended the principle of theatrical action, action in dance, opening up boundless prospects.
Dreamer? He was just watching from the future. And calmly bypassing the ignorant, he trusted like-minded people. To my dancers. Although there were plenty of difficulties. Some came almost from the outskirts of the village, others - from the ballet stage. It was necessary to melt the dashing folk trick and the dryness of academism into a single dance style. Now the famous Moiseev style. Then there was no experience, no knowledge, no traditions - everything was created for the first time.
And the ensemble "danced" the arguments in defense of Moiseev's idea of the Dance Theater in hard work. To those enthusiasts and daredevils who joyfully and without looking back rushed after him into the unknown, Moiseev is grateful to this day.
Following the first program"Dances of the peoples of the USSR"
(1937-1938) the ensemble was already trying on plot ballets with real characters. Their implementation was delayed by the war. But she did not cross it out: with incredible efforts, the ensemble retained the troupe, improved professionalism, and continued to develop folklore for new productions.
From a tour of Mongolia (1943), the ensemble brought"Tsam "- a folk tale turned into a real theatrical performance. But it will be in a peaceful life, and then the performing staff was sometimes selected according to the ability to stay in the saddle until the "stage" was shaking on horseback along the mountain paths ...
And the Moiseevites were proud of "their" tank, assembled with their more than modest means. And the ensemble persevered: they gave three concerts a day on stages of trucks put together, decks of warships, forest clearings. Then the rule was strengthened in the ensemble: do not dramatize the troubles, but immediately beat them - mischievously, bitingly, ironically.
As preparations for future images. Whole pictures were built from such blanks and travel notes. In the suite "A Day on the Ship" (1943-1944), the Moiseyevites with humor and brilliance told in a dance about the military life of the Red Navy sailors.
The most valuable trophy of the war"Partisans
"(1950). Strikingly accurate in form, saturated to the limit with emotions, the number became a plastic poem in honor of millions of ordinary soldiers of the War - open, smiling, fearless. The pride of the ensemble, it is invariably included in the tour programs. For the dancers of the "Partisans" a difficult test of artistry , virtuosity, characteristic.
After the war, the peoples of Europe enthusiastically restored life, way of life, and art.
The leaders of folk ensembles turned to Moiseev for advice. The help turned out to be mutual: novice choreographers received the necessary consultations, the ensemble - material for new experiments. The program "Dances of the Slavic Peoples" (1945) unfolded entire suites of dances of the peoples of Eastern Europe: Bulgarian, Polish, Romanian and Hungarian. (A striking detail: Moiseev himself did not see the Yugoslav dances and looked for national vocabulary in ornaments, songs, fairy tales. In the homeland of the dance, the suite was accepted with a bang.)
Following Europe, the ensemble invades Asia. Program"Peace and Friendship"
(1953) included Korean, Mongolian, Chinese dances. And again luck - on tour in China (1954), the audience was amazed to find that the Russians performed more accurately and expressively vintage dance with ribbons. The Moiseevites "gave" their version to the Chinese dancers.
By this time, the performing staff of the troupe had leveled off, the repertoire included dozens of dances, paintings, suites. In 1955, the ensemble was about to make a new qualitative leap... the Parisian scene. The dancers were afraid to go - the Parisian public determined the fate of more than one enterprise. Moiseev assumed good luck.
And he turned out to be right: under the roar of applause in the Palais de Chaillot, the notorious iron curtain. Paris again recognized the splendor and charm of Russian art. A train of enthusiastic epithets stretched out behind the Moiseevites. Here is just one summary: "If the concerts of the Moiseev ballet did not make you go berserk, stomp your feet with pleasure, then you are not quite normal."
And soon the assessments of the Parisians were divided by thousands of spectators on the other side of the Earth: also the first, and also with triumph, the Moiseevites performed in New York. A tour of the United States (1958) opened a new era in communication between Russia and America - the end of the Cold War, long live friendship, art, love! The famous Sol Yurok gave the ensemble a green light. Tours have become a tradition, and the Americans rejoiced at Moiseev's gifts like children. The concerts were certainly finished by the American square dance "Square Dance" - and here they already danced not only on the stage, but also in the stalls, in the gallery, in the orchestra pit.
Tours are the life of the ensemble. The team visited all continents, on water, land and air, more than once "walked" to the moon and back, the reviews amounted to entire volumes. But most importantly - with foreign tours new era began for the ensemble. Dance folklore was now mastered not by hearsay, but in live, direct communication. The repertoire expanded and artistic tasks became more complicated.
Good luck and finding dance suites led directly to the present theatrical action in which dance and music, directing and dramaturgy, costumes, lighting are equally important and subordinate to the performer. For new experiments, the choreographer needed not just professionals, but actors-dancers who immediately developed the choreographer's impetuous thought. His requirements became more complicated - the school improved.
Moiseevskaya dance school. She was brilliantly presented by the ensemble in the program"Road to Dance" (1965). The "Class Concert" ingeniously reveals the process of composing: in front of the viewer, the dancers famously and skillfully composed replicas, phrases, and dialogues from individual elements. The "class-concert" demonstrated not only the "momentary miracle" of the birth of dance, but also the proficiency, coherence, and unity of the troupe's style. And Moiseev - and his attitude towards the artists: he is proud of them, appreciates and demands infinitely much. A little less than myself.
For "The Road to Dance" Moiseev was awarded the Lenin Prize, the team - the title of the country's first academic folk dance ensemble. The need for a qualitative leap has again emerged. A whole ocean of folklore has been mastered, dozens of genres and small forms have been tested. And Moiseev was eager to prove that the ensemble could do a great choreographic performance.
The great debater, Moiseev conceived"Polovtsian dances" in a polemic with Mikhail Fokin, a rebel and an enemy of all dogma, a revered teacher, but an artist of a bygone era. It is not enough to "take pas from music" (as Fokin worked with the score), Moiseev needs the historical authenticity of life, customs, and characters. It gave birth to a convincing strength and brightness of the plot, the nuances of plasticity, drawings of dances. The jubilation of orchestral copper, unexpected effects and tricks completed the picture of wild elements - the ensemble boldly and with inspiration overcame one more step to the dance theater. In honor of the premiere of Moiseev's "Polovtsian Dances" in Paris in 1971, a special commemorative medal was knocked out ... Moiseev simply replied: "I am proud of this work."
Since then, a quarter of a century has passed, new performances and suites have appeared, which Moiseev can rightfully be proud of. One of them"Greek Dance Suite"
(1991). The idea and its production were discussed with Mikis Theodorakis. He carefully arranged a popular melody, Moiseev sensitively caught and developed the composer's idea in a large-scale plastic fresco.
And together with the dancers, he enriched it with shades of national characters. The suite of Greek dances is one of the hundreds of scenes, paintings, suites of the ensemble. They are grouped into cycles."Pictures of the Past" , "Soviet pictures" , "On the countries of the world" . The best numbers of cycles are included in the program"Away and at home. On tour routes" (1983). The idea of the program is to show the way from miniatures to ballet.
"Night on Bald Mountain
"set to the muses of M. P. Mussorgsky, based on the works of N. V. Gogol. The ensemble has previously turned to symphonic music ("Jota of Aragon" by M. I. Glinka, "Buffoons" by N. A. Rimsky-Kor- Sakov, etc.), literature ("Spanish Ballad" by P. de Luna staged according to the plot of P. Merime). However, for the first time the ensemble announced the performance in two parts - acts, with a libretto and characters, a director's score and symphonic music, theatrical means of expression.
IN"People's Scenes"
practical jokes, jokes, squabbles are witty woven into the motley wreath of dances - everything that a fairground somewhere in the Poltava region is rich in. Of course, from childhood travels in the vicinity of Dikanka, Moiseev brought these lively, juicy types onto the stage. And then there are absolutely Gogol hoaxes. Realistic "... the hell with dog muzzles on German legs" completely sweep girls and lads off the stage. The most incredible effects are involved in the "Sabbath": a strobe, drum kit, masks, stilts, rollers. And dance - from classical to break. The virtuoso replicas were born cheerfully, playfully, and the pantomime of mise-en-scenes was born from the unrestrained improvisation of Moiseyev and the dancers.
However, the success of the performance, with which the ensemble traveled almost half the world, was already successful for the team yesterday. Moiseev is again assessing performers, ideas, plots for new ballets. And to unfulfilled, soul-stopping plans. Suite of Jewish dances"Family Joys"
first shown in 1994 at the festival in honor of the 70th anniversary of the creative activity of Igor Moiseev. And I thought about it ... back in 1939 for a dramatization in the Freilekhsa ensemble, wedding ceremony, Moiseev invited Mikhoels and Zuskin.
Then the production did not take place, but the idea did not fade, on the contrary, it acquired new details and details. And now, after decades of behind-the-scenes preparation, the wedding characters made their way onto the stage. Either straight from the resilient Kasrilovka of Sholom Aleichem, or from the Vitebsk outskirts of Chagall. In the course of the action, fussing and pushing, they manage to quarrel and make up, bargain and give in, cry and laugh at each other. Picturesque collisions are happily resolved by a wedding feast.
But this is not the end at all, because the dancers encore the final frenzy of emotions and tempos with even greater pressure and excitement. Only Moiseev can compare today's dancers with the first, with those who started. The performing culture and the technical equipment of the troupe have grown immeasurably. Today's Moiseevites are capable of all styles and genres of dance, tomorrow's will surely surpass them. The main thing will remain unchanged: alive soul, enthusiasm and characteristic of folk dance.
In January 2001, the ensemble gave a gala concert in honor of the 95th anniversary of the founder and permanent leader of the State Academic Folk Dance Ensemble, and in fact, the dance theater, Igor Moiseev. The concert took place at the Bolshoi Theater, from which Moiseev stepped into the world and multiplied the glory of the Russian art of dance. February 10, 2002 the team celebrated its 65th anniversary holiday concert, which was made up of various numbers showing creative way passed by the ensemble for 65 years.
But the holidays are created by him on the stairs, in the locker rooms they repeat again, the dancers of the ensemble refine the movements. More exciting, easier than all Moses - his shows are unique and legendary. Indeed, there is no effort in his skill - there is an inspired feeling of flight. A great dreamer, Igor Moiseev looks from the future.
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, led legal practice. He was fluent in French and often visited Paris, where he met future wife and Igor's 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, Eastern culture. Mother taught Igor music and drawing. When the boy was 14 years old, his father decided to send him to ballet studio. So he began to take ballet lessons from Vera Ilyinichna Masolova - former ballerina Bolshoi Theatre.
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. My 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, I was forced to miss academic year, although they prophesied that he would graduate from a 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.
At first main party in the play "The Legend of Joseph the Beautiful" was given to Vasily Efremov. Igor Moiseev was assigned the main role in the second team. 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. whole year he was out of work. 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" new dance- 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 theater.
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 Concert Hall name - 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
