Father - Moiseev Alexander Mikhailovich, lawyer, nobleman. Mother - Gran Anna Alexandrovna, milliner, from a French-Romanian family. The only son in the family. As a child, he lived in France for several years. He spoke French fluently.
He studied in Moscow in a private ballet studio (1920), at the Choreographic College, graduating in 1924 (teachers Ivan Smoltsov and Alexander Gorsky). After graduating from college, he was accepted into the troupe 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 1937, having enlisted the support of the Chairman of the Council of People's Commissars of the USSR Molotov, he created the country's first professional ensemble folk dance (State Ensemble folk dance of the USSR). The first rehearsal of the new ensemble took place on February 10, 1937.
Moiseev recalled that he was summoned to the CPSU 18 times and demanded to join the party. But he invariably refused on principle.
Active member of the International Leonardo Club.
He died on November 2, 2007 in Moscow from hypertension and coronary heart disease. Buried November 7, 2007 at Novodevichy cemetery in Moscow.
A family
Was married three times:
The first common-law wife, Nina Borisovna Podgoretskaya, is a prima ballerina of the Bolshoi Theater, participated in the creation of the ensemble.
Second wife Tamara Alekseevna Seifert (1918-2005) - People's Artist of the RSFSR, laureate of the State Prize. teacher-tutor
- Daughter Olga Igorevna Moiseeva 1943 - Honored Artist of the RSFSR, soloist of the ensemble, teacher-repetiteur.
- Grandson Vladimir Borisovich Moiseev 1963 - Honored Artist of Russia, soloist of the Bolshoi Theater, founder of the Russian National Ballet Theater, artistic director [KGAAT of Siberia named after. Godenko].
- Great-grandson Igor Vladimirovich Moiseev II 1987
- Great granddaughter Eva Vladimirovna Moiseeva 2007
The third wife, Irina Alekseevna Moiseeva (Chagadayeva, Koneva) - in the ensemble since 1941. Honored Artist of the RSFSR, soloist of the ensemble, laureate of the State. awards, teacher-tutor. The widow of Moiseev, after his death - the chairman of the creative board, leading the ensemble.
Repertoire at the Bolshoi Theater
- Le Corsaire, choreography by Marius Petipa, revised version by Alexander Gorsky - Slave
- The Little Humpbacked Horse, choreography by Marius Petipa, revised version by Alexander Gorsky - Slave, mazurka
- "Theolinda", choreographer Kasyan Goleizovsky - Raul
- "Joseph the Beautiful", choreographer Kasyan Goleizovsky - Joseph
- "Football Player", own production - Football Player
First party performer
- 1932 - "Salambo", own production - Mato
- 1933 - "Dionysus", "Chopin", "Charda", choreographer Kasyan Goleizovsky - Soloist
- 1935 - "Bright Stream", choreographer Fyodor Lopukhov - Uzbek
Performances at the Bolshoi Theater
- 1930 - "Football Player" by Viktor Oransky (together with Lev Lashchilin)
- 1932 - "Salambo" by Andrei Arends (with the addition of music by Alexander Glazunov, Vasily Nebolsin and Alexander Tsfasman)
- 1935 - "Three Fat Men" by Victor of Orange
- 1958 - "Spartacus" by Aram Khachaturian
- 1930 - "Zagmuk" by Alexander Crane
- 1930 - Turandot by Giacomo Puccini
- 1932 - "Demon" by Anton Rubinstein
- 1933 - "Love for three oranges" by Sergei Prokofiev
- 1936 - "Carmen" by Georges Bizet
Folk Dance Ensemble
- Since 1937 - the head of the "Folk Dance Ensemble of the USSR" created by him
- Since 1991 - "State Academic Folk Dance under the direction of Igor Moiseev"
- Since 2007 - "State Academic Order of Friendship of Peoples Folk Dance Ensemble named after Igor Moiseev".
choreographed dances
- 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 "," Heeled "," Exit of the Guys "," Return "," Meeting and Magnification "," Gopak" - 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", " Uyghur 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) - 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
- 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”, “Dziurdevka” (Montenegrin martial dance), “Selyanchitsa” (Serbian dance)
- Russian dances:
- Latin American dances:
- Argentinean dances:
"Malamba", "Gaucho" (Dance of the Argentine shepherds), "Tavern" (one-act picture), "In the tavern of Radriguez Peña". - Mexican Suite
- Venezuelan dance "Horopo"
- Argentinean dances:
- 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)", "Retiari and Mermelon (Fisherman and Fish)", Adagio, "Battle of Thracians and Samnites"
- Variety number "Polka-Labyrinth"
I. A. Moiseev and philately
Igor Alexandrovich began to get involved in philately in the mid-1960s. The basis of his collection was made up of stamps from Hungary, presented to him together with the stockbook back in the mid-1950s during a tour of this country, stamps from Spain, as well as stamps dedicated to dances and costumes of the world.
Awards and titles
Awards of the USSR and the Russian Federation:
- 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, I degree (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, 1st class (Hungary, 1954)
- Officer of the Order of Culture II degree (Hungary, 1960)
- Officer of the Order of Culture (Hungary, 1989)
- Commander of the Order of Merit (Hungary, 1997)
- Commander of the Order of Civil Merit (Spain, 1996)
- Order "Danaker" (Kyrgyzstan, 2007)
- National Order of the Cedar (Lebanon, 1956)
- Order of Sukhbaatar (Mongolia, 1976)
- Order of the Polar Star (Mongolia, 1947)
- Order of the Rebirth of Poland (Poland, 1946)
- Commander of the Order of Merit (Poland, 1996)
- Officer of the Order of Culture (Romania, 1945)
- 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 of Merit, III degree (Ukraine, 1999)
- Order of the White Lion (Czechoslovakia, 1980)
- Order "Brotherhood and Unity" (Yugoslavia, 1946)
- Lenin Prize (1967)
- Stalin Prize (1942 - I degree, 1947 - II degree, 1952 - I degree)
- USSR State Prize (1985)
- State Prize of the Russian Federation in the field of literature and art in 1995 (May 27, 1996)
- People's Artist of the USSR (1953)
- People's Artist of the RSFSR (1944)
- People's Artist of the Moldavian SSR (1950)
- People's Artist of the Kirghiz SSR (1976)
- Honored Artist of the RSFSR (1942)
- People's Artist of the Buryat ASSR (1940)
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 State Prizes 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 with 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)
About his family, Igor Moiseev said: "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. Magnificently owning French, father often visited Paris, where he felt 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 and history. But creativity for drawing and music, Igor was obliged to his mother. As a child, he had a good voice, but in 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 not far from home there is ballet studio, at this time the recruitment was carried out. 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 former ballerina Bolshoi Theater of 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 for 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 within the walls of the temple classical art a subversive of primordial traditions appeared. 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 as a performer leading role in the second team. 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, 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 Vasilievich on an urgent matter, the secretary asked us to wait, and returning to the phone, 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 the classroom, and in free time read art books. 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. 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 can’t gain with 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 that gave him reason to persecute me I am open. 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 work. 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 birch trees, 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 had worse intrigues than in any theater. I tried to quickly forget this insult and completely immersed myself in work on creating a 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 Chekists enter our car and ask in a loud voice: “Who is Moiseev here?” Seeing the Chekist uniform, the passengers hid. 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 at 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: "Do not be afraid, this is the case ..." But what peace can there be at the sight of the Chekists in their 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 study. 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 good performance. Thank you very much. "There was no talk of any payment. But, it turns out, they knew how much I received before. I received twenty thousand from Belarusians. At the Stalin Institute - twenty-five. For Dynamo they gave me twenty-five thousand and a two-month holiday voucher. Now I could again concentrate all my efforts on working with the ensemble. Fortunately, we quickly gained recognition and throughout our history did not know failures. In 1938 we were invited to perform in the Kremlin, and since then not a single We did not miss any 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 became one of the favorite groups of the government, banquets were usually arranged after the concerts. banquet. 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 the rebuilt building of the former Meyerhold Theater. 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 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 work recognizes the people so much that it considers it their own, is this not the highest form of recognition!
The peak of popularity and worldwide recognition of the work of the USSR Folk Dance Ensemble fell on the post-war years. Igor Moiseev's dancers were the first Soviet artists representing our country abroad in Finland, China, France, in the Middle East in Lebanon, Egypt and Syria, as well as in the USA, in countries South America and in India. Moiseev said: “It’s easier to make a guide from my life 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 mostly abroad. Of course, describe all our tours are impossible. Yes, this is not necessary. The most interesting thing is the first visit to the country. And what can you tell about the tour itself? The triumph in France was followed by a triumph in America, the triumph in America was replaced by a triumph in Japan, and so on. events, but for others monotonous and boring. Of the first tour, I remember most of all the trip to Yugoslavia. The first concert we gave in Belgrade in the presence of Marshal Tito. Then we 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: “This is a 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 parted in both directions and 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 pick everything up. And on the carpet of roses we went to the theater. How can you forget that?! Marshal Tito was again present at the final concert in Belgrade. 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 the 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(now the Moscow Theater of Classical Ballet under the direction of N. Kasatkina and V. Vasilyov).
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. He directed ceremonial concerts and cultural programs dedicated to outstanding events public life countries: the 60th anniversary of the founding of the USSR, the 40th anniversary of the Victory in the Great Patriotic War and others. Long 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 the American Oscar in the field of dance in 1961 and 1974 in 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. Cliburn, he was awarded the prize International Fund for the development of cultural ties between Russia and the United States in 1995.
Hundreds of articles, several books and Scientific research. 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 Sadness)", "Farewell", "Fortune Telling (Scene with Wreaths)", "Big Dance", "Heel", "Exit of the Boys", "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", "Uighur 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 of the 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 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" (fun 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 of the 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", "Competition 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", "Common 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"
Igor Moiseev - who is by nationality?
They write about him like this: “Igor Moiseev is the greatest choreographer of the 20th century, who changed the course of development of world choreographic art, made folk dance the property of world culture.”
Reference. A choreographer is a person who directs or teaches dance. The choreographer can be engaged in staging and teaching all existing types of dances, including: 1) ballroom dancing; 2) ballet; 3) folk and national dances; four) modern dances; 5) figure skating and ice dancing; 6) theatrical performances; 7) gymnastics.
Igor Moiseev staged grandiose sports parades on Red Square even under Stalin. He staged ballet performances. Under Stalin, in 1937, he created the Folk Dance Ensemble - the State Academic Folk Dance Ensemble named after Igor Moiseev - and led this ensemble for more than 70 years. Although he was never a member of the Communist Party, although 18 times he was summoned by party officials and demanded to join the party. He refused, saying that he believed in God. Its main task is the creative processing of the existing at that time in the USSR and on globe samples of folklore. Igor Moiseev started with Russian folk dances, then there were already about 60 dances of the peoples of the USSR and other peoples of the Earth Nar in his program. He also created a school for the preparation of artists for this Ensemble. There was no Iron Curtain for this Ensemble. Moiseev with his artists most of the time in the year performed on the globe in other countries.
Many Jews: Igor Moiseev is a Jew!
Many Jews ranked and still count Igor Moiseev among the Jews. First of all, because he is famous, and I want to classify this famous choreographer among the Jews in order to elevate the Jewish tribe above the Russians and other goyim. They say that the surname Moiseev is Jewish, it is from Moses, who brought the Jews out of Egypt, met on Mount Sinai with God and received from God stone tablets - the Concept and Program of Action for the Jewish people. They add that Moiseev played on the stage Beautiful Joseph - the biblical Jew hero, who crushed the Egyptian people under him with the Jews. They add that in Stalin's time, Moiseev organized Jewish dances on the stage, for example, a Jewish dance to a popular melody among the Jews - Hava Nagila! They add that Igor Moiseev spent his entire long life, and he lived for 101 years, was friends and collaborated with the Jews ...
The BLACKBERRY (Academic Wiki-encyclopedia on Jewish and Israeli topics) states: his father is Moiseev Alexander Mikhailovich, a lawyer, and his mother is Gren Anna Alexandrovna, a milliner, from a family of Romanian Jews.
On the site " Jewish memorial" in short biography it is also indicated that his mother is from a family of Romanian Jews. And given a photograph of his grave monument. And on this site they give photos of only Jewish grave monuments. The creators of the site are sure that Igor Moiseev is a Jew.
The fact that Moses is a Jew (from a family of Romanian Jews) - in many biographical information on the Internet ...
And that is why Igor Moiseev was highly praised and praised by the Jews in all countries of the globe ...
*****
But the Jews did not provide any concrete evidence that his mother was a Jew, a half-Jew or a quarter-Jew. Moiseev - the surname is often among the Jews (for example, the pederast singer Borya Moiseev), but it also happens among Russians. Unfortunately, many Russians were friends, are friends, collaborated and are collaborating with the Jews. Many Russian females even copulate with Jews, and many even marry Jews and give birth to cubs from Jews ... The Christian Law of Yaroslav the Wise on the prohibition of copulation of Christians with Jews has long been violated in Russia ...
Igor Moiseev: I'm not a Jew!
He spoke about the nationality of his parents in his book "I Remember ... A Lifelong Tour", which was published in 1994.
Igor Moiseev:“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. 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 sat under investigation for quite 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.
Let's add a fragment from the article by Igor Shevelev "Igor Moiseev: touches to the portrait", published in " Russian newspaper» January 20, 2006.
Igor Moiseev::
“My last name is often mistaken for Jewish, but in fact, such names as Moiseev, Abramov, are purely Russian,” says Moiseev. “When we arrived in Birobidzhan, we were met on the platform by a crowd of people with a huge poster: “Long live our Moiseev! "Birobidzhan residents decided that the famous ensemble had arrived, headed by the Jew Moiseev. My deputy for housekeeping, Mikhail Evseevich Volynsky, came running to me and enthusiastically said:" Igor Alexandrovich! They want to make a big banquet for us!" "Well, a banquet is a banquet. I am very glad." With this, Volynsky disappeared and, as I later found out, got into a conversation with the people who laid the tables. "You probably 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's Russian, but he's nothing ... very happy," Mikhail Evseevich tried to calm them down, apparently realizing that he had started this conversation in vain. But the organizers not only did not calm him down assurances, but, on the contrary, they began to collect food from the tables and put them in baskets. Volynsky returned as if dropped into water. "You know, they do not want to give a banquet." "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 nice to eat." So the banquet did not take place, because Moiseev is not a Jew."
http://www.luchmir.com/Iskusstvo/1Moiseev100.htm
Thus, half - Russian, a quarter - French and a quarter - Romanian. In simple terms, "mongrel". Too interesting topic. In reality, in Russia, "mongrels" are often in symbiosis with the Jews. The Russian misfortune, discrimination against Russians, most of the "mongrels", except for the Russified ones, do not touch at all.
*****
For Jews who do not believe Igor Moiseev and believe that he hid the Jewish origin of his mother, we advise you to go to Romania, delve into the archives, look for documents about his mother.
A family.
Moiseev lived in a civil marriage with the prima ballerina of the Bolshoi Theater Nina Podgoretskaya. Then he married the soloist of the ensemble Tamara Seifert. Then on the soloist of her ensemble, Irina Moiseeva (nee - Chagadaeva). He met her when she was only 16 and married her a year before her 40th birthday. Prior to that, she was married to the son of Marshal Konev and had a daughter from him. Igor Moiseev and Irina lived together for 33 years.
She, too, is a hereditary noblewoman. Irina Moiseeva: “For the first time, the Chagadaev family was mentioned in the letter of 1524 of the Grand Duke of Moscow Vasily III. During the “imperial period”, the family lived in St. Petersburg, after the revolution, my father moved to Moscow, Prince Alexei Dmitrievich Chagadaev-Sakansky, founder and vice-president of the Tsarskoye Selo Automobile and Sports Society. Dad participated in the First World War, for bravery he received George IV degree. In Moscow, he served as an engineer at the Stalin Automobile Plant. He was extraordinarily handsome vertically challenged. Mom from a cultured petty-bourgeois family, spoke five foreign languages and worked in the translation department of the Lenin Library
(Newspaper "Culture", 06. 02. 2015).
This amazing man is known to the whole world as outstanding personality, one of the greatest choreographers of the century. Igor Alexandrovich Moiseev lived a very long and fruitful life - more than 100 years, filled with creativity, art and creation. An infinitely respected person whose life is worthy of sincere admiration. And today, on his 105th birthday, it is impossible not to remember his merits and work.
Igor Alexandrovich was born in Kyiv back in 1906 into a noble family. A few years later, the family moves to Moscow, where Igor, at the age of 14, ends up in choreographic studio Masolova. His talent was noticed by Vera Masolova, and she sent him to the studio of the Bolshoi Theater, to the class of the famous teacher, chief choreographer of the theater, Alexander Gorsky.
At 18 years old Igor Moiseev was accepted into the troupe of the Bolshoi Theater. After a short period of time, he becomes not only a soloist, but also a choreographer. The level of training of the young dancer and his talent were so high that he was entrusted with staging ballet parts. In particular, these are dance suites for the operas Demon, Love for Three Oranges, Carmen», « Turandot”, as well as the ballets “Three Fat Men”, “Salambo”, “Spartacus”.
In 1937, the 70-year history of work with the State Academic Folk Dance Ensemble begins. Igor Moiseev was its creator and permanent artistic director until his death in 2007. The ensemble has repeatedly performed in more than 60 countries with great success.
Igor Alexandrovich participated in the preparation of Soviet physical culture parades, sports and dance holidays, concerts. His productions were liked by Stalin himself, whose respect he enjoyed. Stalin's acquaintance with Moiseev happened at one of the receptions. The head of the country asked the great choreographer: “How are you?” Moiseev immediately complained about the ensemble's lack of its own rehearsal room. Literally the next day, Moiseev was given the opportunity to choose any building in the city, and he settled on a dilapidated building that housed the Meyerhold Theater (now there Concert hall named after Tchaikovsky). The building was restored in three months and the troupe moved there.
In 1941, the Ensemble came Irina Chagodaeva, who later became the wife of Igor Alexandrovich.
“Irina is my guardian angel, she helps me in everything,” Moiseev admits.
When asked where Igor Alexandrovich got such vivacity at a venerable age, his wife answers as follows: “Firstly, he likes to walk a lot, in general a sports person. I never drank and I didn’t allow artists, it’s a terrible sin for us - to drink at work. Didn't smoke. But most importantly, Igor Alexandrovich lives in spiritual harmony, in harmony with himself, without dark passions. Work for Moiseev is the meaning of life and pleasure, and not just a way to earn money. Moiseev always had many interests. For many years he collected stamps, was fond of chess, read books on anthroposophy, and played billiards. Moiseev never conducts conversations with debriefing. Just lives and works. His mental strength is extraordinary. I think that he always lived both on the Earth and, as it were, above it.
In the photo: Igor Moiseev with his wife Irina Chagodaeva.
To date, the repertoire of the State Academic Folk Dance Ensemble named after Igor Moiseev includes several hundred dances of the peoples of the whole world. Moiseev, in fact, created a new genre: folk dance theater, which remains in demand to this day. It should be noted mini-performances "Polovtsian Dances" to the music of Borodin (1971), "Away and Home" (1983), "Peace and Friendship" (1953), "Night on Bald Mountain" to the music of Mussorgsky (1983), "On rink" to music by Strauss (1980), Greek suite to music by Theodorakis (1991), "Tavern" (1986).
The list of awards for an outstanding choreographer can be very long. Among others, Igor Moiseev was awarded several orders "For Merit to the Fatherland" of all three degrees in different years, was awarded the title of Honored Artist of the RSFSR (1942), Hero of Socialist Labor (1976), and in 1967 was awarded the Lenin Prize. I.A. Moiseev twice winner of the American Academy Award in the field of dance - in 1961 and 1974, and many, many other awards and honorary titles.
On his own 100th birthday, the hero of the day led the production holiday concert. Igor Aleksandrovich Moiseev died at the age of 102, on November 2, 2007.
(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 ballets " A futile 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 also "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 of 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- a suite of Greek dances to the music of Mikis Theodorakis (1991), a 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 the anniversaries of the country.
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 of the State Prizes of the USSR (1942, 1947, 1952, 1985) and Russia (1995), the 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, as well as 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 of the White Lion, the 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, a former soloist of the ensemble, teacher-repetiteur. His first civil wife 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
