Moiseev choreographer. Performances at the Bolshoi Theater

National artist USSR (1953)
People's Artist of the Moldavian SSR (1950)
People's Artist of the Kirghiz SSR (1976)
People's Artist of the Buryat SSR (1940)
Hero of Socialist Labor (1976)
Laureate of the Lenin Prize (1967)
Laureate of the State Prizes of the USSR and Russia (1942, 1947, 1952, 1985, 1996)
Awarded three Orders of Lenin (1958, 1976, 1986)
Awarded with the Order October revolution (1981)
Awarded two Orders of the Red Banner of Labor (1940, 1966)
Awarded the Order of Friendship of Peoples and the Badge of Honor (1937)
Awarded the Russian Order "For Merit to the Fatherland" 2nd and 3rd class (1996, 2001)
Cavalier of the Bulgarian Order "Saint Alexander with a Crown" (1945)
Commander of the Romanian Order of the "Officer of Culture" (1945)
Cavalier of the Polish Order "Polonia Restitula" (1946)
Cavalier of the Yugoslav Order "Brotherhood and Unity" (1946)
Cavalier of the Mongolian Order of the Polar Star (1947)
Cavalier of the Hungarian Order of the "Officer of Culture" I degree (1954)
Cavalier of the Lebanese Order of the Golden Cedar (1956)
Cavalier of the Hungarian Order of the "Officer of Culture" II degree (1960)
Cavalier of the Mongolian Order of Sukhbaatar (1976)
Knight of the Czechoslovak Order of the "White Lion" (1980)
Cavalier of the Hungarian Order of the "Officer of Culture" (1989)
Commander's Cross of the Order of Merit of the Republic of Poland (1996)
Commander of the Hungarian Order (1997)
Commander of the Spanish Order of Civil Merit (the order was presented by the King of Spain Juan Carlos II in May 1997)

Igor Moiseev said about his family: “My father was a lawyer. He belonged to an impoverished noble family, and the legal field, one might say, he inherited from his grandfather, who was a justice of the peace. Excellent command of French, my father often visited Paris, where he felt in his element, where 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 Igor owed his creative abilities to drawing and music to his mother. As a child, he had a good voice, but in his youth his voice broke and Igor Alexandrovich stopped singing.

The father was very afraid of the bad influence of the street and tried to attach 14-year-old Igor to any business. Once he learned from someone that there was a ballet studio not far from home, at that time a set was being held. He invited his son to enter this studio, believing that, whoever he was in the future, his posture, demeanor and grace of behavior would be useful to him. So Igor Moiseev got into the studio 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. Father, who ended his legal career, was a teacher French, and my 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 time, since there were not enough artists, and especially ballet soloists, at the Bolshoi Theater, since after the revolution many went abroad. However, due to illness, Igor Alexandrovich became an artist on time. He turned 18 in the year of graduation. Later, Moiseev said: “Any artist who graduated from the Bolshoi Theater school automatically got into the corps de ballet at the very lowest rate. When I was accepted into the theater, it was 20 rubles. But then things were very cheap. and Mereliz", opposite the Bolshoi Theater, a kettle. Our kettle was leaking, and in order to boil water, we covered it with window putty every time. When I brought the kettle, there was jubilation at home! Igor's money.

In 1924, the famous choreographer Kasyan Goleizovsky came to the theater. He prepared for the production of "The Legend of Joseph the Beautiful" to the music of S. Vasilenko and the ballet "Theolinda" to the music of Schubert. In the theatre, he was greeted with hostility. Adherents of the classics did not want to put up with the fact that a subverter of primordial traditions appeared within the walls of the temple of classical art. Many leading artists, in order not to spoil relations with the directorate, refused to participate in his ballets, so only young people were involved in the performances. The role of Joseph was rehearsed by Vasily Efremov, and Moiseev at first participated in the extras. But somehow he noticed that Goleizovsky was looking at him more carefully, and then, already in the course of rehearsals, he appointed him 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 also performed the main part - the robber Raul - in the ballet "Theodolinda".

After the death of A.A. Gorsky, Vasily Dmitrievich Tikhomirov was going to be appointed head of the ballet. It was obvious to everyone that under him Goleizovsky could not survive in the theater. And the young ballet soloists were so carried away by working with this talented master that they could not remain indifferent to what was happening. They wrote a letter addressed to the director of the theater, in which they asked not to appoint Tikhomirov, but to give Gozeizovsky the opportunity to work with him on an equal footing. The result of the letter was an order to expel a number of young artists from the troupe, including Moiseev.

Igor Moiseev said: “We were fired without serving in the theater for even a year. What to do, where to go? wanted to meet with Anatoly 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 class and read art books in my spare time. The need for this arose in me after talking with Lunacharsky.

The disgrace ended largely unexpectedly for Igor Moiseev. The prima ballerina of the Bolshoi Theater Ekaterina Geltser was left without a partner after her partner Ivan Smoltsov tore his back. Geltser was already aged and had a rather dense physique, so it became difficult to lift her. It was necessary to urgently look for a replacement, and her choice fell on Igor Moiseev. Tikhomirov had to "pardon" the disgraced artist.

The story of excommunication from the stage changed Igor Moiseev. Previously, it seemed to him that the whole world was enclosed in dance, but now he wanted to prove himself not only as a dancer. In 1926, as a choreographer in the studio of the famous theater director Ruben Nikolaevich Simonov, he successfully staged the comedy "Beauty from the island of Liu-Lu" by S. Zayaitsky. His work on the dramatic stage in collaboration with the Vakhtangov became the events of the theatrical Moscow, and a year later he was invited to take part in the production of the ballet "Football Player" by V. Oransky on the stage of the Bolshoi Theater.

Igor Moiseev said: “In 1927, the Red Poppy ballet was staged at the Bolshoi Theater to the music of Reinhold Gliere. It was a huge success; the audience was amazed that just ten years after the revolution, their contemporaries acted on the stage of the former imperial theater. Poppy" prompted the Bolshoi Theater to continue the Soviet theme in the ballet. The script "Football Player" was written, where the main characters were the Football Player and the Sweeper, and Nepman and Nepmansha opposed them. The theme is modern, but the plot was built very ridiculously. The ballet was staged by Leonid Zhukov and Lev Lashchilin. But how successful was the work on the "Red Poppy", how difficult it was on the "Football Player". At the Bolshoi Theater there was then an artistic council of workers from factories, factories, public figures. Any performance in the theater had to get his approval. 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 the musical fabric exceeded all expectations. We have an interest in each other. Oransky was struck by the fact that at the age of twenty-four I was already reworking ballets at the Bolshoi Theatre. I soon felt that his influence was not in vain for me. We started seeing each other almost every day. I remade, as far as possible, the second act and the football scene in the first, and left the third act, completely divertissed, unchanged. As a result, the ballet stayed on the billboard for two and a half years. Guzman was delighted that the ballet went ahead, and I was appointed ballet master of the Bolshoi Theater. This, of course, is a unique case in choreographer's practice: usually dancers who have completed their performing careers become choreographers in our country. I believe that such an approach is absolutely wrong, because youth has something that you cannot gain by any experience: burning with new ideas and strength to implement them.

A successful career as a choreographer did not continue then. New director Theater Elena Malinovskaya was deeply outraged that a 24-year-old boy was made a choreographer, and although she did not remove him from his post, she did not give him anything. Moiseev worked only as an artist.

At the Bolshoi Theater, Igor Moiseev could have become one of the leading ballet soloists, but he was increasingly attracted to the idea of ​​composing the dances himself. In 1930, remaining a ballet dancer, he became the director of dance suites in the opera "Carmen", and soon his bright, original ballets "Salambo" based on the plot of G. Flaubert in 1932 and "Three Fat Men" based on the fairy tale Yu .Olesha in 1935. The last one had big success and stayed in the repertoire of the Bolshoi Theater for several seasons. Later, it was removed from the repertoire, but by order of the government, it was returned to the poster again. True, by that time Igor Moiseev had already left the theater, and the performance was extremely rare, until he left the stage at all.

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 in the Leningrad Maly opera house. Many choreographers came with him: Fyodor Lopukhov, Pyotr Gusev, Alexander Chekrygin, Rostislav Zakharov, who became the chief choreographer. Moiseev turned out to be the only non-Leningrad choreographer. Zakharov treated me extremely hostile, seeing me as a competitor, and used any methods to get me out of the theater. He began by hitting my wife, the ballerina Podgoretskaya, who, after Semyonova's arrival, became the Bolshoi's second ballerina. Zakharov removed her from all performances, mocked at rehearsals. I called him a scoundrel in front of everyone, and this gave him reason to persecute me openly. I was warned not to even hope to deliver something. But only the acting field did not suit me anymore. I had thousands of ideas, but Samosud refused all my proposals. If I offered to stage the classics, he 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 “Dream in midsummer night"). 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?" IN drama theaters ballets are not staged. 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 the 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 he did too much bad so that I can say good things about him ... "

Igor Moiseev's interest in folk art was formed back in the early 1930s, when he traveled all over the Pamirs, Belarus, Ukraine and the Caucasus, collecting images of dance folklore. His interest did not go unnoticed - in 1936 he was appointed head of the choreographic part of the newly created Theater of Folk Art and soon staged the 1st All-Union Folk Dance Festival. The success of these undertakings paved the way for the creation of the country's first professional folk dance ensemble. The first rehearsal of the ensemble's debut program ("Dances of the Peoples of the USSR") took place on February 10, 1937. Since then, for 65 years, Igor Aleksandrovich has been the permanent artistic director of the State Academic Folk Dance Ensemble.

There is another bright and amazing page in the life of Igor Alexandrovich Moiseev, and it would be at least wrong not to tell about it. However, for this it is necessary to go back in the biographical narrative several years ago.

During his disgrace at the Bolshoi Theater, Moiseev, constantly feeling a creative hunger, greedily grabbed any job. One day he was surprised and puzzled by a completely unexpected proposal. In 1936, athletes from the Antipov Malakhov Sports College asked for a performance for a sports parade on Red Square.

Only fifteen minutes were allocated for the performance of the Malakhovites, while the institutes of physical education performed for an hour. The Malakhovites were very upset that they were given so little time. Moiseev, on the other hand, decided to turn the short duration of his speech in his favor and compete with institutions primarily through dynamics. His performance lasted only seven minutes.

At the pace of a hundred meters, the parade participants ran out onto the square, lined up in a matter of seconds and did exercises at the same pace. The performance was a huge success, and the technical school was even awarded. For Moiseev, this success resulted in many years of work in the field of physical culture and parade during his summer holidays. Moiseev said: “In 1937, representatives of many republics came to me with a request to stage their performances at the upcoming parade. Of all the applicants, I chose the Belarusian republican technical school. I loved Belarus very much and I could learn a lot from Belarusian folklore for the ensemble, the creation of which I had already begun work. Every week I went to Minsk for two days to prepare a performance, which I conceived in an unconventional theatrical form for a parade. It was called "The Border on the Castle." Red Square turned into a birch grove, tanks came out of it, soldiers ran out. The performers came out to the square with small birches, brought in advance from the Moscow region, which created the illusion of Belarus. After the parade, the technical school was renamed into an institute, the performers were awarded orders. For some reason I did not receive an order, and then I already realized that the athletes have worse intrigues than in any theater. I tried to quickly forget this insult and completely immersed myself in the work on the creation of the ensemble. However, shortly after the parade, I was summoned to the NKVD. It was a terrible thirty-seventh year, and, going to the Lubyanka, I did not hope to return back. But I was received with unusual courtesy and offered to get acquainted with some document, which turned out to be a presentation to the order. My last name was also on the list of those nominated for awards, but it was crossed out, and another one was entered instead. It turned out that I owed this to the Chairman of the Committee on Physical Education of Belarus Kuznetsov. By that time he had already been arrested. I was asked if I knew anything about the submission to the order. I did not know about this, and in general I had nothing in common with Kuznetsov. The Chekists let me go. I was glad that I got off so lightly, and promised myself never to mess with the parades again. However, fate decreed otherwise. On the eve of the next parade, Alexander Kosarev, secretary of the Komsomol Central Committee, called me and asked me to urgently come to him. It was about the parade again. Noticing that I was determined, Kosarev warned my protests: “The fact is that Comrade Stalin asked why the Stalin Institute of Physical Education has not received awards for its performances for the third year already. He was told that the first place was awarded to Belarusians. Iosif Vissarionovich also liked this performance, and he asked who prepared it. When your name was called, Comrade Stalin said: "Let him do it." Therefore, we asked you to come. "Could I argue with Stalin? I had no choice but to go back to physical education. In addition, Kosarev promised:" I give you honestly, if the performance is successful, you will surely be marked. I put on the number "If there is war tomorrow". The institute took the first place so coveted by Stalin. But I did not receive the promised order, since even before the end of the work, Kosarev was declared an "enemy of the people."

Meanwhile, the work of the ensemble went on as usual. All the "ceremonial" proposals that were addressed to Moiseev, he rejected and went with a young team on tour to Kislovodsk. Two days before the end of the season, a government telegram was brought to him: "Come to Moscow. Chairman of the Arts Khrapchenko." Deciding that Khrapchenko could wait, Moiseev sent an answer: "I can't leave due to difficult circumstances in the ensemble." Literally a few hours later I received a second government telegram: "Do not enter into an argument, leave immediately."

Further events developed as in a detective story. Moiseev said: “We are approaching Moscow, the train stops, two security officers enter our car and ask in a loud voice:“ Who is Moiseev here? I'm here." - "Where are your things?" I show the suitcase. One of the security officers took my suitcase and went out, I followed him, the second security officer followed me. I realized that I was arrested, and began to frantically sort out in my mind who could to slander me... On the square in front of the station there was a luxurious open car "Lincoln" with the image of a greyhound dog on its nose - then they were fashionable. We got into it, and suddenly one of the Chekists asked me a question: "Are you going home or directly to us? “Surprised by such a proposal, I say: “Home.” I began to be tormented by doubts: is this an arrest or not? Let’s go to me. "Still arrested. My wife opened the door and, seeing the Chekists, turned white. I, trying to calm her down, said: "Don't be afraid, this is on business ..." But what peace can there be at the sight of the Chekists in my apartment in the thirty-seventh year. At that time there was no such house, such an apartment, where someone would not be arrested. One of the Chekists went up to the phone and reported: "Comrade Chief, Comrade Moiseev has been delivered. What are the instructions?" At the other end of the wire, apparently, they answered: "Give him the phone." They gave me the phone, and I heard a friendly voice: "Comrade Moiseev, we really want to meet with you. Could you come to us now?" I tried to play for time: "I feel so bad, if you can, give me a break." - "Well, tomorrow at eleven in the morning they will come for you." Then I scolded myself for not going right away. I did not sleep all night, lost in conjectures. At eleven in the morning, the same two people came for me in the same car and took me to the Lubyanka. I was stopped at the door with a board: "Head of the transport department." Me and the transport department?! There is complete chaos in my head, and it is very scary. Entering, I found myself in a small room, a secretary jumped up from behind the table and, stretching his arms at his sides, asked:

Comrade Moiseev? - I nodded my head. - Offers.

Where to go?

He pointed to a chest of drawers with a green curtain, exactly the size of a man, that hid a large high door, behind which was a spacious 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 the good performance. Thank you very much." There was no talk of any payment. But it turns out they knew how much I used to get. I received twenty thousand from Belarusians. At the Stalin Institute - twenty-five. For the "Dynamo" I was given twenty-five thousand and a two-month vacation package. Now I could again concentrate all my efforts on working with the ensemble. Fortunately, we quickly gained recognition and throughout our history have not known failures. In 1938 we were invited to perform in the Kremlin, and since then we have not missed a single one of these receptions. The composition of the participants in the Kremlin concerts did not change from year to year: Ivan Kozlovsky, Valeria Barsova, Sergei Obraztsov with their puppets, the Red Banner Ensemble and the Folk Dance Ensemble. The performances were always successful. We have become one of the favorite teams of the government, and in the first place - Stalin. Banquets were usually held after the concerts. On them, in passing, problems that seemed to be the work of many years were often solved. Somehow, another banquet was held in the Kremlin. Sitting at the table, I felt someone put a hand on my shoulder. Everyone froze.

Well how are you?

Stalin stood behind me. Due to my youth or ignorance, I did not experience fear at that moment, but, of course, I felt awe.

Bad, Iosif Vissarionovich, business.

Why is it bad?

There is no room. For example, I staged "Podmoskovnaya Lyrica" ​​on the landing. (Stalin was very fond of this number.)

Stalin frowned, made a gesture with his hand - and, as if from under the ground, Shcherbakov, the first secretary of the MK party, rose up in front of him. Stalin, pointing to me, said to him:

They don't have a room. Need to find. Report tomorrow.

Turned around and left.

The next day Shcherbakov summoned me to his office. He led me to a map of Moscow, and suggested "Choose." By that time, we had long been promised several halls in 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 of the Buryat SSR.

Igor Moiseev said: “The war began. It was necessary to save the team. After all, it consisted of young people, and mobilization had already begun. Nothing could be left of the ensemble in a matter of days. We asked to serve the front, but we were refused. The war began devastating, our army retreated Having decided that in such conditions the troops were not up to concerts, we were sent to the Urals. Sverdlovsk region we performed mainly at factories evacuated from the West, which grew around Sverdlovsk like mushrooms after rain. Unexpectedly for ourselves, we got on our feet and were even able to deduct money for defense. At the concerts, we collected about one and a half million rubles. A tank was built on them - "GANT USSR" (State Folk Dance Ensemble of the USSR). This tank of ours was at the front, fought. His model is still kept in the ensemble as a symbol of our activities during the war."

Before returning to Moscow in 1943, the folk dance ensemble led by Moiseev was constantly on tour in Siberia, Transbaikalia, the 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 first in the country vocational school folk dance - choreographic school-studio at GAANT. Since then, its graduates have been replenishing not only the troupe of the ensemble itself, but also all the leading groups in Russia.

Moiseev said: “Being interested in folklore, I traveled around Belarusian villages. It was autumn, the potato harvest was ripening. A group of girls walked towards us, who carried pitchforks on their shoulders and sang cheerfully in Belarusian. I asked my companion what they were singing about. It turned out , they sang about potatoes: they asked that the weather help her to be born, then the year will be full, happy, which means there will be songs, there will be dances. Returning to Moscow, I did a dance called "Bulba". When fifteen years later I visited Belarus again, I found that my "Bulba" is danced everywhere. I ask: where did you get this dance from? They answer me: "But we always had it." Although all folklorists confirmed that this dance appeared in Belarus after my production . If your creativity recognizes the people to such an extent that he considers them his own - isn't that highest form recognition!"

The peak of popularity and worldwide recognition of the work of the USSR Folk Dance Ensemble fell on the post-war years. The dancers of Igor Moiseev were the first Soviet artists who represented our country abroad in Finland, China, France, 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: "Here strange place where I will live! "I went inside and was amazed: everywhere there are carpets, parquet floors, a luxurious chandelier, luxurious furniture - a real palace. But outside - just a hut. But I especially remember the trip to Sarajevo. The whole city gathered on the square in front of the theater. When we got off the train, the audience, parting in both directions, began to throw roses at our feet.February, it was sleet, at first we picked up flowers from the ground, but it was impossible to lift everything.And on the carpet of roses we went to the theater.How can we forget this?! At the final concert in Belgrade, Marshal Tito was again present. After the concert, we were invited to his palace. To our surprise, only Tito himself, his son, bodyguards and big dog. In this chamber atmosphere we spent a wonderful night. In parting, Tito said: "I'm sorry to part with you. Tomorrow you are leaving, but you will remain in my heart." In the morning his representative came to our train and brought photographs of the marshal. Ninety photographs - according to the number of our artists. On each was written: "To the Russian artist with gratitude. Broz Tito."

In 1965, for the program "The Road to Dance" Moiseev was awarded the Lenin Prize, and the team - the title of Academic.

Igor Moiseev said: “I am often asked: “What attracts you to folk dance?” Thinking about this, I came to the conclusion that I don’t see a more festive, life-loving art form. Part folk soul. There are many priceless pearls in its inexhaustible treasury. 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 its difference from classical ballet, born of a rational mind. I have been studying folklore for many years, of course, not only because the variety of its manifestations makes it possible to stage various dance performances. Dance, undoubtedly, will find more and more new forms, which will inevitably correspond to the development of human consciousness, human experience, human morality. Folk dance needs careful study. We are not dance collectors and we do not prick them like butterflies on a pin. Relying on folk experience, we try to expand the possibilities of dance, enriching it with the director's invention, the dance technique, thanks to which he expresses himself even brighter. In short, we approach folk dance as a material for creativity, not hiding our authorship in every folk dance. But our creativity continues in the nature of folk dance itself. This is not my path."

Moiseev was directly involved in the organization of professional national ensembles in our country and abroad, including in Hungary, Poland, Czechoslovakia and other countries. In 1966, Moiseev founded the Choreographic Concert Ensemble in Moscow (now the Moscow Theater of Classical Ballet under the direction of N. Kasatkina and V. Vasilyov).

Simultaneously with work in the Moiseev Ensemble in different years carried out the instructions of the Government and the Ministry of Culture of the USSR. He was the director of gala concerts and cultural programs dedicated to outstanding events in the country's social life: the 60th anniversary of the founding of the USSR, the 40th anniversary of Victory in the Great Patriotic War, and others. 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 Peace Committee.

Igor Moiseev was awarded American Prize"Oscar" in the field of dance in 1961 and 1974, the year of the American Dance magazine's award in the field of dance; he was awarded the title of Honorary Member of the National Assembly of France and member of the French Academy of Music and Dance in 1955, Doctor of Science of the International Academy of Sciences of San Marino. Igor Alexandrovich is a member of the Board of the Bolshoi Theater and a member of the Presidium Russian Academy arts. Following M. Rostropovich and V. Clyburn, he was awarded the International Foundation Prize for the development of cultural relations between Russia and the USA in 1995.

Hundreds of articles, several books and Scientific research. 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 Novodevichy cemetery.

A documentary film "Creating the Dance" was made about Igor Moiseev.

Your browser does not support the video/audio tag.

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", "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", "Fortune Telling (Scene with Wreaths)", " big dance"," Heel", "Exit of the couples", "Return", "Meeting and glorification", "Gopak"

Moldavian dances: "Zhok ulmare (big jok). Suite" ("Hora (Dance of Girls)", "Chiokirlia (Lark)", "Jok", "Moldavenyaska", "Koasa (Kosari)", "La Spalat (Laundress)" ", "Sfredelos (agricultural dance)", "Moldavanochka", "Cunning Makanu. Suite" ("Dance of the guys", "Dance of the girls", "Declaration of love", "General exit", "Syrba (very fast dance)" , "Yula")

Kyrgyz dances: "Yurt", "Kyz Kumai (Catch up with the girl)", "Dance of Kyrgyz girls"

Uzbek dances: "Buttermilk (Cotton)", "Dance with a dish", "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 the Karabakh shepherds), "Desmoly" ( female dance), "Gazakhi" (male dance)

Armenian-Kurdish suite "Mainuki" of four dances

gypsy dance

Latvian Dances (Suite of three dances)

Lithuanian dances (Suite of five dances)

Estonian dances: "Estonian polka through the leg", "Hiu-waltz. Estonian suite of three dances"

Polish dances: Polonaise, Troyak, Oberek, Krakowiak, Mazurka, Polka Labyrinth

Hungarian dances: "Czardas", "Pontozoo" ("Flappers"; dance with dots with a beat on the boots), "Farewell", "Girl's dance with bottles on her head", "Dance with spurs"

Bulgarian Dances (Suite of Five Dances)

Romanian dances: "Briul", "Mushamaua" (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", "Competitions of Spinners", "Parade", "Gallop and Finale"

NIGHT ON BALD MOUNTAIN (In two scenes): "Fair music folk", "Night on Bald Mountain" (music by MP Mussorgsky)

POLOVETSKY DANCES (music by A.P. Borodin): "Exit of the Khan", "Dance of the Captives", "Dance of the Boys", "Dance of the Archers", "Departure of the Riders", " General dance", "Dance of the Shepherds", "War Dance", "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"

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 choreographer of the State Academic Folk Dance Ensemble. Igor Moiseev is the creator of a new genre performing arts- folk stage choreography, a new model professional team- folk dance ensemble, new artistic method 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.

Having created the world's first professional folk dance ensemble, 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 the 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 life in strict forms of theatrical art.

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.

Clothed in slender stage forms, unique in the nobility of lines and clarity of expression artistic idea, the works of Igor Moiseev are classics of choreography, understandable to viewers around the world. They are always modern, filled with rich folk characters, imbued with love, joy, humor, life itself - everything that will always be dear to every person.

A great patriot of his country, Igor Moiseev is recognized as a man of peace, a messenger of goodness and justice. A passionate enthusiast and selfless giver, Moiseev generously shares his talent, knowledge, and love for dance with millions of people. Alien to pathos, an infinitely gifted creator, all his life he professes the great spiritual principle - to give without thinking about gratitude. The nobility and humanism of the world cultural mission of Igor Moiseev are priceless and unparalleled.

Igor Moiseev was born on January 21, 1906 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 in Moscow he took private lessons in classical dance from 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.

In 1924-1939 Igor Moiseev was a ballet soloist of the State Academic Bolshoi Theatre.

IN SABT 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 music by 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 music. V. Oransky (1930) (together with L. Zhukov and L. Lashchilin);
"Vain 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 music by 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).

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 dueling 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 a unique contribution to the development of world culture Igor Moiseev awarded with orders, medals and honorary titles from dozens of countries.

Igor Moiseev - professor, laureate international awards in the field of choreography, honorary member of several academies, author of articles on choreography, autobiographical book "I remember ... a lifelong tour".

Igor Alexandrovich Moiseev(January 21 - November 2) - Soviet ballet dancer, choreographer and teacher of folk stage dance, soloist (since 1931) and choreographer (since 1930) of the Bolshoi Theater, founder of the first professional folk dance ensemble in the USSR () and the first school of folk dance ( ), organizer of the ensemble "Young Ballet" (now - the Theater of Classical Ballet N. Kasatkina and V. Vasilyov).

Biography

Born on January 21 (January 8), 1906 in Kyiv.

Father - Moiseev Alexander Mikhailovich, lawyer, nobleman. Mother - Gran Anna Alexandrovna, French, milliner. The only son in the family. As a child, he lived in France for several years. He spoke French fluently. Studied in Moscow in a private ballet studio(1920), at the Choreographic College, which he graduated in 1924 (teachers I. V. Smoltsov and A. A. Gorsky). After graduating from a technical school, he was accepted into the troupe of the Bolshoi Theater, where he worked until 1939. In 1931 he became a soloist. Already in 1930 he began to work as a choreographer. He was the director of a number of physical culture parades on Red Square. In 1933 he graduated from the University of the Arts.

In 1936 he was in charge of the choreographic part of the Theater of Folk Art.

In 1937, having enlisted the support of the chairman of the Council of People's Commissars, V. M. Molotov, he created the country's first professional folk dance ensemble (Folk Dance Ensemble of the USSR). The first rehearsal of the new ensemble took place on February 10, 1937.

In 1938 he created the country's first professional school of folk dance (a choreographic School-Studio at the State Academic Folk Dance Ensemble), and in 1966 he organized a choreographic concert ensemble "Young Ballet" (now the State Ballet Theater under the direction of N. D. Kasatkina and V. Yu. Vasileva), which he led until 1970.

He staged solemn concerts and cultural programs dedicated to outstanding events in the country's social life. He headed the jury of the television folklore festival "Rainbow", was a permanent member of the jury of many International competitions and festivals of folk dance, participated in the work of the Committee for the Protection of Peace.

Moiseev recalled that he was required 18 times to join the CPSU. But he invariably refused on principle.

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 at your meetings.

Member of the Board of the Bolshoi Theater (since 1985), member of the Presidium of the Russian Academy of Arts (since 1996), member of the commission under the President of the Russian Federation for State Prizes of the Russian Federation in the field of literature and art, member of the Council of Cultural, Scientific and Educational Workers under the Russian Foreign Ministry.

He died on November 2, 2007 in Moscow from complications of hypertension and coronary heart disease. He was buried on November 7, 2007 at the Novodevichy Cemetery (site No. 5).

Family

Was married three times:

• on peoples.ru

An excerpt characterizing Moiseev, Igor Aleksandrovich

When Mikhail Ivanovich entered, he had tears in his eyes of recollection of the time when he wrote what he was reading now. He took the letter from Mikhail Ivanovich's hands, put it in his pocket, packed the papers and called Alpatych, who had been waiting for a long time.
On a piece of paper he had written down what was needed in Smolensk, and he, walking around the room past Alpatych, who was waiting at the door, began to give orders.
- First, postal paper, you hear, eight ten, here's the model; gold-edged ... a sample, so that it would certainly be according to it; varnish, sealing wax - according to a note from Mikhail Ivanych.
He walked around the room and looked at the memo.
- Then the governor personally give a letter about the record.
Later, latches were needed for the doors of the new building, certainly of such a style that the prince himself invented. Then a binding box had to be ordered for laying the will.
Giving orders to Alpatych lasted more than two hours. The prince did not let him go. He sat down, thought, and, closing his eyes, dozed off. Alpatych stirred.
- Well, go, go; If you need anything, I'll send it.
Alpatych left. The prince again went up to the bureau, looked into it, touched his papers with his hand, locked them again, and sat down at the table to write a letter to the governor.
It was already late when he got up, sealing the letter. He wanted to sleep, but he knew that he would not sleep and that the worst thoughts came to him in bed. He called Tikhon and went with him through the rooms to tell him where to make the bed for that night. He walked, trying on every corner.
Everywhere he felt bad, but worst of all was the familiar sofa in the office. This sofa was terrible to him, probably because of the heavy thoughts that he changed his mind while lying on it. It was not good anywhere, but all the same, the corner in the sofa room behind the piano was best of all: he had never slept here before.
Tikhon brought a bed with the waiter and began to set.
- Not like that, not like that! the prince shouted, and he himself moved a quarter away from the corner, and then again closer.
“Well, I’ve finally redone everything, now I’ll rest,” the prince thought, and left Tikhon to undress himself.
Wincing annoyedly at the effort that had to be made to take off his caftan and trousers, the prince undressed, sank heavily onto the bed, and seemed to be lost in thought, looking contemptuously at his yellow, withered legs. He did not think, but he hesitated before the work ahead of him to raise these legs and move on the bed. “Oh, how hard! Oh, if only as soon as possible, these works would end quickly, and you would let me go! he thought. He made this effort for the twentieth time, pursing his lips, and lay down. But as soon as he lay down, all of a sudden the whole bed moved evenly back and forth under him, as if breathing heavily and pushing. It happened to him almost every night. He opened his eyes that had been closed.
"No rest, damned ones!" he grumbled with anger at someone. “Yes, yes, there was something else important, something very important, I saved myself for the night in bed. Gate valves? No, he talked about it. No, something like that was in the living room. Princess Mary was lying about something. Dessal something - this fool - said. Something in my pocket, I don't remember.
- Silence! What did they talk about at dinner?
- About the prince, Mikhail ...
- Shut up, shut up. The prince slammed his hand on the table. - Yes! I know, a letter from Prince Andrei. Princess Mary was reading. Desal said something about Vitebsk. Now I will read.
He ordered the letter to be taken out of his pocket and a table with lemonade and a vitushka, a wax candle, to be moved to the bed, and, putting on his glasses, he began to read. It was only then, in the stillness of the night, in the faint light from under the green cap, that he, having read the letter, for the first time for a moment understood its meaning.
“The French are in Vitebsk, after four crossings they can be at Smolensk; maybe they're already there."
- Silence! Tikhon jumped up. - No, no, no, no! he shouted.
He hid the letter under the candlestick and closed his eyes. And he imagined the Danube, a bright afternoon, reeds, a Russian camp, and he enters, he, a young general, without a single wrinkle on his face, cheerful, cheerful, ruddy, into the painted tent of Potemkin, and a burning feeling of envy for his favorite, just as strong, as then, worries him. And he recalls all those words that were said then at the first meeting with Potemkin. And he imagines with yellowness in her fat face a short, fat woman - Mother Empress, her smiles, words, when she received him for the first time, kindly, and he recalls her own face on the hearse and the collision with Zubov, which was then with her coffin for the right to approach her hand.
“Oh, hurry back to that time, and so that everything now ends quickly, quickly, so that they leave me alone!”

Bald Mountains, the estate of Prince Nikolai Andreevich Bolkonsky, was sixty miles from Smolensk, behind it, and three miles from the Moscow road.
On the same evening, as the prince gave orders to Alpatych, Desalle, having demanded a meeting with Princess Mary, told her that since the prince was not completely healthy and was not taking any measures for his safety, and according to the letter of Prince Andrei, it was clear that his stay in the Bald Mountains unsafe, he respectfully advises her to write with Alpatych a letter to the head of the province in Smolensk with a request to notify her of the state of affairs and the degree of danger to which the Bald Mountains are exposed. Desalles wrote a letter for Princess Marya to the governor, which she signed, and this letter was given to Alpatych with an order to submit it to the governor and, in case of danger, to return as soon as possible.
Having received all the orders, Alpatych, escorted by his family, in a white downy hat (a princely gift), with a stick, just like the prince, went out to sit in a leather wagon laid by a trio of well-fed savras.
The bell was tied up, and the bells were stuffed with pieces of paper. The prince did not allow anyone to ride in the Bald Mountains with a bell. But Alpatych loved bells and bells on a long journey. The courtiers of Alpatych, the zemstvo, the clerk, the cook - black, white, two old women, a Cossack boy, coachmen and various courtyards saw him off.
The daughter laid chintz down pillows behind her back and under it. The old woman's sister-in-law slipped the bundle secretly. One of the coachmen put him under the arm.
- Well, well, women's fees! Grandmas, women! - puffing, Alpatych spoke in a patter exactly as the prince said, and sat down in the kibitochka. Having given the last orders on the work of the zemstvo, and in this no longer imitating the prince, Alpatych took off his hat from his bald head and crossed himself three times.
- You, if anything ... you will return, Yakov Alpatych; for the sake of Christ, have pity on us, ”his wife shouted to him, hinting at rumors of war and the enemy.
“Women, women, women’s fees,” Alpatych said to himself and drove off, looking around the fields, where with yellowed rye, where with thick, still green oats, where there are still black ones that were just starting to double. Alpatych rode, admiring the rare harvest of spring crops this year, looking at the strips of rye peli, on which in some places they began to sting, and made his economic considerations about sowing and harvesting and whether any princely order had been forgotten.
Having fed twice on the road, by the evening of August 4, Alpatych arrived in the city.
On the way, Alpatych met and overtook the carts and troops. Approaching Smolensk, he heard distant shots, but these sounds did not strike him. He was most struck by the fact that, approaching Smolensk, he saw a beautiful field of oats, which some soldiers were obviously mowing for food and along which they camped; this circumstance struck Alpatych, but he soon forgot it, thinking about his own business.
All the interests of Alpatych's life for more than thirty years were limited by one will of the prince, and he never left this circle. Everything that did not concern the execution of the orders of the prince, not only did not interest him, but did not exist for Alpatych.
Alpatych, having arrived in Smolensk on the evening of August 4, stopped beyond the Dnieper, in the Gachen suburb, at the inn, at the janitor Ferapontov, with whom he had been in the habit of stopping for thirty years. Ferapontov twelve years ago, with light hand Alpatych, having bought a grove from the prince, began to trade and now had a house, an inn and a flour shop in the province. Ferapontov was a fat, black, red man of forty, with thick lips, a thick bump on his nose, the same bumps above his black, frowning eyebrows, and a thick belly.
Ferapontov, in a waistcoat and a cotton shirt, was standing by a shop overlooking the street. Seeing Alpatych, he approached him.
- Welcome, Yakov Alpatych. The people are out of the city, and you are in the city, - said the owner.
- What is it, from the city? Alpatych said.
- And I say - the people are stupid. Everyone is afraid of the French.
- Woman's talk, woman's talk! Alpatych said.
- So I judge, Yakov Alpatych. I say there is an order that they won't let him in, which means it's true. Yes, and the peasants ask for three rubles from the cart - there is no cross on them!
Yakov Alpatych listened inattentively. He demanded a samovar and hay for the horses, and after drinking tea he went to bed.
All night long the troops moved in the street past the inn. The next day, Alpatych put on a camisole, which he wore only in the city, and went on business. The morning was sunny, and from eight o'clock it was already hot. Expensive day for harvesting bread, as Alpatych thought. Shots were heard outside the city from early morning.
From eight o'clock cannon fire joined the rifle shots. There were a lot of people on the streets, hurrying somewhere, a lot of soldiers, but just as always, cabs drove, merchants stood at the shops and there was a service in the churches. Alpatych went to the shops, to government offices, to the post office and to the governor. In government offices, in shops, at the post office, everyone was talking about the army, about the enemy, who had already attacked the city; everyone asked each other what to do, and everyone tried to calm each other down.
At the governor's house Alpatych found a large number of people, Cossacks and a road carriage that belonged to the governor. On the porch, Yakov Alpatych met two gentlemen of the nobility, of whom he knew one. A nobleman he knew, a former police officer, spoke with ardor.
“This is no joke,” he said. - Well, who is one. One head and poor - so one, otherwise there are thirteen people in the family, and all the property ... They brought everyone to disappear, what kind of bosses are they after that? .. Eh, I would hang the robbers ...
“Yes, it will,” said another.
“What do I care, let him hear!” Well, we are not dogs, - said the former police officer and, looking around, he saw Alpatych.
- Ah, Yakov Alpatych, why are you?
“By order of his excellency, to the governor,” Alpatych replied, proudly raising his head and putting his hand in his bosom, which he always did when he mentioned the prince ... “They were pleased to order to inquire about the state of affairs,” he said.
- Yes, and find out, - the landowner shouted, - they brought that no cart, nothing! .. Here she is, do you hear? he said, pointing to the direction from which the shots were heard.
- They brought that everyone to die ... robbers! he said again, and stepped off the porch.
Alpatych shook his head and went up the stairs. In the waiting room were merchants, women, officials, silently exchanging glances among themselves. The door to the office opened, everyone got up and moved forward. An official ran out of the door, talked something to the merchant, called behind him a fat official with a cross around his neck, and disappeared again through the door, apparently avoiding all the looks and questions addressed to him. Alpatych moved forward and at the next exit of the official, laying his hand on his buttoned frock coat, turned to the official, giving him two letters.
“To Mr. Baron Ash from the general chief prince Bolkonsky,” he announced so solemnly and significantly that the official turned to him and took his letter. A few minutes later the governor received Alpatych and hurriedly said to him:
- Report to the prince and princess that I didn’t know anything: I acted according to higher orders - that’s ...
He gave the paper to Alpatych.
“And yet, since the prince is unwell, my advice is for them to go to Moscow. I'm on my own now. Report ... - But the governor did not finish: a dusty and sweaty officer ran in the door and began to say something in French. Horror appeared on the Governor's face.
“Go,” he said, nodding his head to Alpatych, and began to ask the officer something. Greedy, frightened, helpless looks turned to Alpatych when he left the governor's office. Involuntarily listening now to the close and ever-increasing shots, Alpatych hurried to the inn. The paper given by Governor Alpatych was as follows:
“I assure you that the city of Smolensk does not yet face the slightest danger, and it is unbelievable that it would be threatened by it. I am on one side, and Prince Bagration on the other side, we are going to unite in front of Smolensk, which will take place on the 22nd, and both armies with combined forces will defend their compatriots in the province entrusted to you, until their efforts remove the enemies of the fatherland from them or until they are exterminated in their brave ranks to the last warrior. You see from this that you have the perfect right to reassure the inhabitants of Smolensk, for whoever defends with two such brave troops can be sure of their victory. (Order of Barclay de Tolly to the civil governor of Smolensk, Baron Ash, 1812.)
People moved restlessly through the streets.
Carts loaded on horseback with household utensils, chairs, cabinets kept leaving the gates of the houses and driving through the streets. In the neighboring house of Ferapontov, wagons stood and, saying goodbye, the women howled and sentenced. The mongrel dog, barking, twirled in front of the pawned horses.
Alpatych, with a more hasty step than he usually walked, entered the yard and went straight under the shed to his horses and wagon. The coachman was asleep; he woke him up, ordered him to lay the bed, and went into the passage. In the master's room one could hear a child's cry, the woman's shattering sobs, and Ferapontov's angry, hoarse cry. The cook, like a frightened chicken, fluttered in the passage as soon as Alpatych entered.
- Killed him to death - he beat the mistress! .. So he beat, so dragged! ..
- For what? Alpatych asked.
- I asked to go. It's a woman's business! Take me away, he says, do not destroy me with small children; the people, they say, all left, what, they say, are we? How to start beating. So beat, so dragged!
Alpatych, as it were, nodded approvingly at these words and, not wanting to know anything else, went to the opposite door - the master's room, in which his purchases remained.
“You are a villain, a destroyer,” a thin, pale woman with a child in her arms and a handkerchief torn from her head shouted at that moment, bursting out of the door and running down the stairs to the courtyard. Ferapontov went out after her and, seeing Alpatych, straightened his waistcoat and hair, yawned and went into the room after Alpatych.
- Do you want to go? - he asked.
Without answering the question and not looking back at the owner, sorting through his purchases, Alpatych asked how long the owner followed the wait.
- Let's count! Well, did the governor have one? Ferapontov asked. - What was the decision?
Alpatych replied that the governor did not say anything decisively to him.
- Shall we go away on our business? Ferapontov said. - Give me seven rubles for a cart to Dorogobuzh. And I say: there is no cross on them! - he said.
- Selivanov, he pleased on Thursday, sold flour to the army at nine rubles per bag. So, are you going to drink tea? he added. While the horses were being laid, Alpatych and Ferapontov drank tea and talked about the price of bread, about the harvest and the favorable weather for harvesting.
“However, it began to calm down,” Ferapontov said, having drunk three cups of tea and getting up, “ours must have taken it.” They said they won't let me. So, strength ... And a mixture, they said, Matvey Ivanovich Platov drove them into the Marina River, drowned eighteen thousand, or something, in one day.
Alpatych collected his purchases, handed them over to the coachman who entered, and paid off with the owner. At the gate sounded the sound of wheels, hooves and bells of a wagon leaving.
It was already well past noon; half of the street was in shade, the other was brightly lit by the sun. Alpatych looked out the window and went to the door. Suddenly, a strange sound of distant whistling and impact was heard, and after that there was a merging rumble of cannon fire, from which the windows trembled.
Alpatych went out into the street; two people ran down the street to the bridge. Whistles, cannonballs and the bursting of grenades falling in the city were heard from different directions. But these sounds were almost inaudible and did not pay the attention of the inhabitants in comparison with the sounds of firing heard outside the city. It was a bombardment, which at the fifth hour Napoleon ordered to open the city, from one hundred and thirty guns. At first, the people did not understand the significance of this bombardment.
The sounds of falling grenades and cannonballs aroused at first only curiosity. Ferapontov's wife, who had not stopped howling under the barn before, fell silent and, with the child in her arms, went out to the gate, silently looking at the people and listening to the sounds.
The cook and the shopkeeper came out to the gate. All with cheerful curiosity tried to see the shells flying over their heads. Several people came out from around the corner, talking animatedly.
- That's power! one said. - And the roof and ceiling were so smashed to pieces.
“It blew up the earth like a pig,” said another. - That's so important, that's so cheered up! he said laughing. - Thank you, jumped back, otherwise she would have smeared you.
The people turned to these people. They paused and told how, near by, their cores had got into the house. Meanwhile, other shells, now with a quick, gloomy whistle - nuclei, then with a pleasant whistle - grenades, did not stop flying over the heads of the people; but not a single shell fell close, everything endured. Alpatych got into the wagon. The owner was at the gate.
- What did not see! he shouted at the cook, who, with her sleeves rolled up, in a red skirt, swaying with her bare elbows, went to the corner to listen to what was being said.
“What a miracle,” she said, but, hearing the voice of the owner, she returned, tugging at her tucked-up skirt.
Again, but very close this time, something whistled like a bird flying from top to bottom, a fire flashed in the middle of the street, something shot and covered the street with smoke.
"Villain, why are you doing this?" shouted the host, running up to the cook.
At the same instant, women wailed plaintively from different directions, a child began to cry in fright, and people silently crowded around the cook with pale faces. From this crowd, the groans and sentences of the cook were heard most audibly:
- Oh, oh, my darlings! My doves are white! Don't let die! My doves are white! ..
Five minutes later there was no one left on the street. The cook, with her thigh shattered by a grenade fragment, was carried into the kitchen. Alpatych, his coachman, Ferapontov's wife with children, the janitor were sitting in the basement, listening. The rumble of guns, the whistle of shells, and the pitiful groan of the cook, which prevailed over all sounds, did not stop for a moment. The hostess now rocked and coaxed the child, then in a pitiful whisper asked everyone who entered the basement where her master had been, who had remained on the street. The shopkeeper, who entered the basement, told her that the owner had gone with the people to the cathedral, where they were raising the miraculous Smolensk icon.
By dusk, the cannonade began to subside. Alpatych came out of the basement and stopped at the door. Before a clear evening, the sky was all covered with smoke. And through this smoke a young, high-standing sickle of the moon shone strangely. After the former terrible rumble of guns had fallen silent over the city, silence seemed to be interrupted only by the rustle of steps, groans, distant screams and the crackle of fires, as it were spread throughout the city. The groans of the cook are now quiet. From both sides, black clouds of smoke from fires rose and dispersed. On the street, not in rows, but like ants from a ruined tussock, in different uniforms and in different directions, soldiers passed and ran. In the eyes of Alpatych, several of them ran into Ferapontov's yard. Alpatych went to the gate. Some regiment, crowding and hurrying, blocked the street, going back.
“The city is being surrendered, leave, leave,” the officer who noticed his figure said to him and immediately turned to the soldiers with a cry:
- I'll let you run around the yards! he shouted.
Alpatych returned to the hut and, calling the coachman, ordered him to leave. Following Alpatych and the coachman, all Ferapontov's household went out. Seeing the smoke and even the lights of the fires, which were now visible in the beginning twilight, the women, who had been silent until then, suddenly began to wail, looking at the fires. As if echoing them, the same weeping was heard at the other ends of the street. Alpatych with a coachman, with trembling hands, straightened the tangled reins and horses' lines under a canopy.
When Alpatych was leaving the gate, he saw ten soldiers in the open shop of Ferapontov pouring sacks and knapsacks with wheat flour and sunflowers with a loud voice. At the same time, returning from the street to the shop, Ferapontov entered. Seeing the soldiers, he wanted to shout something, but suddenly stopped and, clutching his hair, burst out laughing with sobbing laughter.
- Get it all, guys! Don't get the devils! he shouted, grabbing the sacks himself and throwing them out into the street. Some soldiers, frightened, ran out, some continued to pour. Seeing Alpatych, Ferapontov turned to him.
- Decided! Russia! he shouted. - Alpatych! decided! I'll burn it myself. I made up my mind ... - Ferapontov ran into the yard.
Soldiers were constantly walking along the street, filling it all up, so that Alpatych could not pass and had to wait. The hostess Ferapontova was also sitting on the cart with the children, waiting to be able to leave.

ALL PHOTOS

The legendary choreographer, head of the State Academic Folk Dance Ensemble, People's Artist of the USSR Igor Moiseev, has died, Interfax reports with reference to the Federal Agency for Culture and Cinematography. Igor Moiseev was 101 years old.

"federal agency Department of Culture and Cinematography announces with regret and pain that on the night of November 1-2, Igor Alexandrovich Moiseev died," the press service said in a statement.

The legendary choreographer died at 8:15 Moscow time in the hospital from heart failure. According to the director of the State Academic Folk Dance Ensemble, which was created and headed by Moiseev, Elena Shcherbakova, last years Moiseev suffered from ischemic and hypertensive diseases. Moiseev did not live two months before his 102nd birthday, RIA Novosti reports.

"Farewell to Igor Aleksandrovich Moiseev will take place on November 7 at concert hall named after Tchaikovsky on his native stage, where he staged almost all of his great works, and there are more than 300 of them," Shcherbakova said.

On the same day, the funeral will take place at the Novodevichy cemetery. "Mourning has been declared in the Moiseev Ensemble, and the performances scheduled for November 6-7 are postponed to another time," she added.

Russian President Vladimir Putin expressed condolences to the family and friends of the legendary choreographer and called his death an irreparable loss for national and world culture, the press service of the President of the Russian Federation reports. "Igor Alexandrovich was not just a great artist and choreographer, a man amazing fate and great creative energy. He was a true citizen and patriot of his country. With his sparkling art, he affirmed the ideals of humanism, kindness and beauty," the Russian President's telegram addressed to Moiseev's widow and daughter says.

Biography of Igor Moiseev

Igor Moiseev was born on January 21, 1906 in Kyiv in the family of a hereditary lawyer from an impoverished noble family, then moved with his family to Poltava, and from there to Moscow. The master was educated at the ballet school of the Moscow Bolshoi Theater. “My father was far from art,” Igor Alexandrovich wrote in the book “I Remember”, “but it was he who advised me to enter the studio of the former ballerina of the Bolshoi Theater Vera Mosolova. The lesson cost 10 rubles and 2 logs. After 3 months, Mosolova took me to School of the Bolshoi Theatre.

There he began his career as a dancer, choreographer, director of ballets and operas. He successfully performed as a choreographer, staged performances of "Salambo", "Three Fat Men", "Spartacus". However, the master was increasingly attracted to folklore. He wrote a letter to Molotov with a proposal to organize a folk dance ensemble. And I got the answer: "The proposal is good. Instruct the author to implement it."

The first rehearsals in the folk dance ensemble he created took place in February 1937. Starting with performances of Russian folk dances, Moiseev subsequently staged Ukrainian and Belarusian, Moldavian, Kyrgyz, Hungarian, French, Czech, Argentine dances, dance suites and scenes, as well as performances on historical and contemporary themes.

The master staged several hundred original dance miniatures, which were performed with brilliance by the changing generations of his dancers, graduates of the school he created with the ensemble. He, remaining not only the only leader of the ensemble, but also its main choreographer, continued to create until his last days.

Under the influence and with the direct participation of Moiseev, a whole constellation of professional national folk dance ensembles grew up both in the USSR and in other countries.

The choreographer himself defined the genre of folk dance as follows: “We do not collect folk dances, we do not string them like butterflies on a pin. Based on folk experience, we try to expand the possibilities of folklore dance, enriching it with directorial fiction, professional technique, thanks to which it is even brighter expresses itself. That is, we approach folk dance as a material for creativity, without hiding our authorship. But our creativity continues in the nature of folk dance itself, born from the environment."

Moiseev is the owner of a unique number of awards, honorary titles and titles - Soviet, Russian and foreign. People's Artist of the USSR, laureate of the Lenin and five state awards, three times holder of the highest order of Lenin in the USSR and the highest Russian order "For Merit to the Fatherland" II and III degrees (1996, 2001), and also - holder of honorary orders of almost all European countries, winner of the American award "Oscar" in the field of dance, honorary member of the People's Assembly of France. On February 10, 2007, the USSR Folk Dance Ensemble turned 70 years old.

Cultural figures mourn over the death of Igor Moiseev

With the passing of life famous choreographer Igor Moiseev culture has lost the greatest professional, the founder of a unique folk dance ensemble, said the outstanding director, creator of the Taganka Theater Yuri Lyubimov.

"Igor Alexandrovich Moiseev brilliantly represented the Russian state in the world for many decades. His unique folk dance ensemble was and is the spokesman for the soul of the people of the boundless Russian land. He created a unique team that until the end of his days kept on the highest level in excellent shape," said Lyubimov.

According to him, a year ago Igor Aleksandrovich was still rehearsing himself and at the solemn ceremony on the occasion of his 100th birthday he was cheerful and joking. “Moiseev is the greatest personality. I had the good fortune to talk with him a lot and was amazed at how free this person and this artist was. I respected him for his inner independence. Moiseev always spoke on behalf of culture and art,” says Lyubimov.

After the death of the legendary choreographer Igor Moiseev, the main thing is to preserve the traditions laid down by him, the Minister of Culture and Mass Communications of the Russian Federation believes Alexander Sokolov. "It was great person, titan, man-epoch, and his main achievement is the creation of a genre in which he synthesized classical choreography The Bolshoi Theater, where he worked for many years, and the element of folk dance," Sokolov said.

"This synthesis is a cultural phenomenon that has become repeated and developed by many, and in this multitude of parallel searches, Moiseev remains an unsurpassed leader, mainly because he brought a unique school of skill under this tradition," the minister said.

Sokolov called the State Academic Folk Dance Ensemble, which Moiseev created and headed, "a pyramid, the foundation of which was a unique educational structure". His students worked in this school of Moiseev, passing from generation to generation the main thing that was put by the master as the basis of this tradition - the highest professionalism and genuine emotion, the true element of folk culture, the minister noted.

There are no those in Russia who could be entrusted with the legacy of Moiseev, the soloist of the Bolshoi Theater is sure Nikolai Tsiskaridze. “Great choreographers are born as rarely as great artists. And Igor Moiseev really was “our everything”, God forbid at least one of the living choreographers to do at least a tenth of what he did,” said Tsiskaridze.

The soloist of the Bolshoi Theater noted that Moiseev had a rare gift: “he devoted so many years to the glorification of Russian culture, did so much to change the attitude towards our country abroad. And not only with his wonderful productions and talent as a choreographer, but with his whole life. was a man of great culture and excellent education, spoke many languages, and knew how to find mutual language with people from all over the world."

Soviet and Russian choreographer, choreographer, ballet dancer, artistic director of the State Academic Folk Dance Ensemble.
Born on January 8 (21), 1906 in Kyiv.
Father - Moiseev Alexander Mikhailovich, lawyer, nobleman. Mother - Gran Anna Alexandrovna, milliner. As a child, he lived in France for several years.
He studied in Moscow in a private ballet studio (1920), at the Choreographic College, graduating in 1924 (teachers I. V. Smoltsov and A. A. Gorsky). After graduating from a technical school, he was accepted into the troupe of the Bolshoi Theater, where he worked until 1939. In 1931 he became a soloist. Already in 1930 he began to work as a choreographer. He was the director of a number of physical culture parades on Red Square. In 1933 he graduated from the University of the Arts.
In 1936 he was in charge of the choreographic part of the Theater of Folk Art.
In 1937, with the support of V. M. Molotov, Chairman of the Council of People's Commissars of the USSR, he created the country's first professional folk dance ensemble (the State Folk Dance Ensemble of the USSR). The first rehearsal of the new ensemble took place on February 10, 1937.
In 1943 he created the first professional school of folk dance in the country (the choreographic School-Studio at the State Academic Folk Dance Ensemble), and in 1966 he organized the choreographic concert ensemble "Young Ballet" (now State theater ballet under the direction of N. D. Kasatkina and V. Yu. Vasiliev), which he directed until 1970.
He staged solemn concerts and cultural programs dedicated to outstanding events in the country's social life. He headed the jury of the television folklore festival "Rainbow", was a permanent member of the jury of many international competitions and festivals of folk dance, participated in the work of the Committee for the Protection of Peace.
Member of the board of the Bolshoi Theater (since 1985), member of the Prisidium of the Russian Academy of Arts (since 1996), member of the commission under the President of the Russian Federation for State Prizes of the Russian Federation in the field of literature and art, member of the Council of Cultural, Scientific and Educational Workers under the Russian Foreign Ministry.

Daughter - Olga Igorevna Moiseeva (b. 1943) - Honored Artist of the RSFSR, soloist of the ensemble, teacher-tutor.
Grandson - Vladimir Borisovich Moiseev (b. 1963) - Honored Artist of Russia, soloist of the Bolshoi Theater, creator of the Russian National ballet theater, artistic director of the Krasnoyarsk State Academic Dance Ensemble of Siberia named after V.I. M. S. Godenko.

People's Artist of the Buryat ASSR (1940)
Honored Artist of the RSFSR (1942)
People's Artist of the RSFSR (1944)
People's Artist of the Moldavian SSR (1950)
People's Artist of the USSR (1953)
People's Artist of the Kirghiz SSR (1976)
Honorary member of the National Assembly of France and member of the French Academy of Music and Dance (1955)
Doctor of Science International Academy of Sciences of San Marino
Honorary Professor of Beijing Academy
Professor of the Russian Academy theatrical art (1997)

Died November 2, 2007 in Moscow from complications of hypertension and coronary artery disease. He was buried on November 7, 2007 at the Novodevichy Cemetery (site No. 5).

theatrical work

Repertoire at the Bolshoi Theater:
Le Corsaire by A. Adam, choreography by M. I. Petipa, revised version by A. A. Gorsky - Slave
The Little Humpbacked Horse by C. Pugni, choreography by Marius Petipa, revised version by Alexander Gorsky - Slave, mazurka
Theolinda by F. Schubert, choreographer K. Ya. Goleizovsky - Raul
"Joseph the Beautiful" S. N. Vasilenko, choreographer Kasyan Goleizovsky - Joseph
"Football player" by V. A. Oransky, own production - Football player

First performer of parts:
1932 - "Salambo" by A. F. Arends, own production - Mato
1933 - "Dionysus" by A. A. Shenshin, "Chopiniana", "Charda", choreographer Kasyan Goleizovsky - Soloist
1935 - "The Bright Stream" by D. D. Shostakovich, choreographer Fyodor Lopukhov - Uzbek

Performances at the Bolshoi Theatre:
ballets
1930 - "Football player" V. A. Oransky (together with Lev Lashchilin)
1932 - "Salambo" by A. F. Arends (with the addition of music by A. K. Glazunov, V. V. Nebolsin and A. N. Tsfasman)
1935 - "Three fat men" by V. A. Oransky
1958 - "Spartacus" by A. I. Khachaturian

Dances in operas:
1930 - "Zagmuk" by A. A. Krein
1930 - "Turandot" G. Puccini
1932 - "Demon" by A. G. Rubinstein
1933 - “Love for three oranges” by S. S. Prokofiev
1936 - "Carmen" by J. Bizet

Dances of the peoples of the world:
Russian dances:
"Polyanka", "Seasons. Suite of two dances”, “Monogram”, “Six. Ural dance”, “Cocky ditties”, “Russian dance”, “Snowstorm (Snow Maiden)”
Belarusian dances:
"Lyavonikha", "Kryzhachok", "Polka "Yanka"", "Bulba", "Polka" Mama "", "Yurochka (Country Don Juan)"
Ukrainian dances:
“Vesnyanki. Suite "(" Exit of the Girls (Girl's Sorrow) "," Farewell "," Fortune-telling (Scene with Wreaths) "," Big Dance "," 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", "Uighur dance "Safaili" (national rattle instrument)"
Tajik dances:
"Dance of the Girls", "Male Warrior Dance with a Dagger", "Dance with Doira (Eastern name for tambourine)"
Kazakh dance "Kok-par"
Mongolian dances:
"Mongolian Horsemen", "Mongolian Statuette", "Dance of the Mongolian Wrestlers"
Bashkir dance "Seven Beauties"
Buryat dances (Suite "Tsam" of ten dances)
Dance of the Kazan Tatars
Dance of the Crimean Tatars "Chernomorochka"
Kalmyk dances:
"Chichirdyk (Soaring Eagle)", "Ishkymdyk (Two Horsemen)", Torgut Dance
Ossetian dance "Simd"
(mass dance)
Hutsul dances:
"Arkan" (male shepherd dance), "Dance of a girl and two guys"
Georgian dances:
"Kartuli (Lekuri)", "Khorumi" (Adjarian dance)
Azerbaijani dances:
"Shepherds", "Desmols", "Gazakhs"
Armenian "Mainuki" of four dances
gypsy dance
Latvian dances (suite of three dances)
Lithuanian dances (suite of five dances)
Estonian dances:
"Estonian polka through the leg", "Hiu-waltz. Estonian suite of three dances»
Polish dances:
Polonaise, Troyak, Oberek, Krakowiak, Mazurka, Polka Labyrinth
Hungarian dances:
"Czardas", "Pontozoo", "Clappers" (dance with dots with a beat on the boots), "Farewell", "Girl dance with bottles on the head", "Dance with spurs"
Bulgarian dances (suite of five dances)
Romanian dances:
"Briul", "Mushamaua" (cheerful mass dance), "Oash dance"
Finnish dance "Comic Polka"
German dance "German waltz"
Chinese dances:
"Drum Dance", "Ribbon Dance", "San Cha Kou" (At the Crossroads), "Great Pantomime"
Korean dance "Sanchong"
Yakut dance "Good hunter"
Nanai dances:
"Nanai folk game "Fencing with sticks"", "Fight of two kids" (sketch)
Chuvash dance
Mari dance
Vietnamese dance "Dance with bamboo"
Czech dance "Czech polka"
Slovak dance
Greek dances:
"Sirtaki (Male dance)" (music by M. Theodorakis), "Dance of the girls", "General round dance", "Male dance in fours", "Common final dance"
Italian dance "Sicilian tarantella La karetta"
Spanish dances:
"Spanish Ballad", "Jota of Aragon" (music by M. I. Glinka)
Irish dance "Youth"
Yugoslav dances:
"Serbian" (Serbian dance), "Kukuneshti" (Serbian male dance), "Macedonian female dance", "Dzyurdevka" (Montenegrin martial dance), "Selyanchitsa" (Serbian dance), "Oath" (Macedonian male dance)
Latin American dances:
Argentinean dances:
"Malambo", "Gaucho" (Dance of the Argentine shepherds), "Tavern" (one-act picture), "In the tavern of Radriguez Peña".
Mexican suite ("Zapateo", "Avalulco")
Venezuelan dance "Horopo"
US dances:
"Square Dance", "Back to the Monkey" (rock and roll parody)
Cycle "Pictures of the past":
Moscow Region Lyrics, City Factory Quadrille, Trepak (music by P. I. Tchaikovsky from the ballet The Nutcracker), Suite from Old Russian Dances, Through the Yards, Boyfriends, Polka Beauty with figures and compliments”, “Buffoon games”, “Jewish suite “Family joys””
Cycle "Soviet pictures":
"Kolkhoznaya Street", "Russian Red Army Dance", "Conscripts", "Partisans", "Labor Day - Fifteen Dance Fragments", "Navy Suite "A Day on the Ship"", "Football" (choreographic scene)
Road to dance (class-concert):
"Machine", "Middle", "Prokhodki", "Pereplyas", "Ukrainian Dance", "Gopak-Kolo", "Polka"
On the skating rink (music by Jacques Offenbach, Johann Strauss, Andrey Petrov):
"Waltz of the Skaters", "Girl and Boy", "Competition of Spinners", "Parade", "Gallop and Finale"
Night on Bald Mountain (in two scenes):
"Fair" (folk music), "Night on Bald Mountain" (music by M. P. Mussorgsky)
Polovtsian dances (music by A.P. Borodin):
"Enter the Khan", "Dance of the Captives", "Dance of the Boys", "Dance of the Archers", "Departure of the Riders", "Common Dance", "Dance of the Shepherds", "War Dance", "Final"
Ballet Spartacus. Dances from the ballet (music by A. I. Khachaturian):
"Bacchanalia", "Exit of the Gladiators", "Andobates (Fight in Blind Helmets)", "Retiarius and Mermelon (Fisherman and Fish)", Adagio, "Battle of Thracians and Samnites"
Variety number "Polka-Labyrinth"

prizes and awards

Hero of Socialist Labor (1976)
Three Orders of Lenin (1958, 1976, 1985)
Order of the October Revolution (1981)
Two Orders of the Red Banner of Labor (1940, 1966)
Order of the Badge of Honor (1937)
Order of Merit for the Fatherland, 1st class (January 21, 2006) - for outstanding contribution to the development of domestic and world choreographic art, many years of creative activity
Order of Merit for the Fatherland, II degree (June 12, 1999) - for outstanding contribution to the development of culture and in connection with the 75th anniversary of creative activity
Order of Merit for the Fatherland, III degree (December 28, 1995) - for services to the state, outstanding contribution to the development of choreographic art
Order of Friendship of Peoples (April 11, 1994) - for his great personal contribution to the development of choreographic art and world culture

Foreign awards:
Order "Saint Alexander" with a crown (Bulgaria, 1945)
Officer of the Order of Culture (Romania, 1945)
Order "Brotherhood and Unity" (Yugoslavia, 1946)
Order of the Rebirth of Poland (Poland, 1946)
Order of the Polar Star (Mongolia, 1947)
Officer of the Order of Culture, 1st class (Hungary, 1954)
National Order of the Cedar (Lebanon, 1956)
Officer of the Order of Culture II degree (Hungary, 1960)
Order of Sukhbaatar (Mongolia, 1976)
Order of the White Lion (Czechoslovakia, 1980)
Officer of the Order of Culture (Hungary, 1989)
Commander of the Order of Civil Merit (Spain, 1996)
Commander of the Order of Merit for the Republic of Poland (Poland, 1996)
Commander of the Order of Merit (Hungary, 1997)
Order of Merit, III degree (Ukraine, 1999)
Medal "Mozart", established by UNESCO (2001)
Order of Prince Yaroslav the Wise, 5th class (Ukraine, March 3, 2006) - for outstanding personal contribution to the development of cultural ties between Ukraine and the Russian Federation, many years of selfless artistic activity
Order "Danaker" (Kyrgyzstan, 2007)
Medal "For Valiant Labor. In commemoration of the 100th anniversary of the birth of Vladimir Ilyich Lenin"
Medal "For Valiant Labor in the Great Patriotic War of 1941-1945"
Medal "In memory of the 800th anniversary of Moscow"
Medal "In memory of the 850th anniversary of Moscow"
Gratitude of the President of the Russian Federation (2001) - for an outstanding contribution to the development of world choreographic art
Distinction "For Services to Moscow" (2005) - for services to the development of choreographic art, a great contribution to the cultural life of Moscow and many years of creative activity
Commander of the Order of the Star of Romania (Romania, 2004)
Commander of the Order of May (Argentina, 2004)

The title of "Man-Epoch" (2005).

Prizes:
Stalin Prize of the first degree (1942) - for outstanding work in the field of folk dance
Stalin Prize of the second degree (1947) - for staging the program "Dances of the Slavic peoples" in the USSR GAANT
Stalin Prize of the first degree (1952) - for concert and performing activities as part of the GAANT of the USSR
Lenin Prize (1967) - for concert program GAANT USSR (1965)
State Prize of the USSR (1985) - for new programs of the GAANT of the USSR (1983-1984)
State Prize of the Russian Federation in the field of literature and art in 1995 (May 27, 1996)
Prize International Foundation"For the development of cultural ties between the United States and Russia" (1995)
Russian independent award "Triumph" (1997)
American Academy Award for Dance (1961, 1974)
American Dance Shop Magazine Award for Dance
Russian national award "Ovation" in the category "Living Legend" (2000)
Award "For Selfless Service to the Art of Dance" (G. Ulanova Foundation, 2004)
International Prize "Faith and Loyalty" (Andrew the First-Called Foundation, 2006)
National award "Russian of the Year" (2006)