Moiseev Igor Alexandrovich - the greatest choreographer of the twentieth century, who changed the course of development of the world choreographic art who made folk dance the property of world culture.
Igor Moiseev - organizer, permanent artistic director and dance director of the State Academic Ensemble folk dance. Igor Moiseev is the creator of a new genre performing arts- folk stage choreography, a new model 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 methods and techniques of professional choreographic, dramatic and musical art, which formed the basis of his unique artistic method of stage interpretation of folklore.
Igor Moiseev was the first in the history of choreography of the twentieth century to make folk dance a phenomenon that unites the peoples of all countries, regardless of religion and political regimes. Wherever the group performs, the flexible, mobile model of the folk dance ensemble created by Moiseev promotes the dance folklore of the world and enriches it with the techniques of professional art, continues to live in strict forms performing arts.
The grandiose significance of Igor Moiseev's work cannot be assessed - his dances went down in history picturesque encyclopedia folk life, a living chronicle, preserving the flavor of time. social conflicts, national characters, the fate of entire peoples - everything is subject to the work of Igor Moiseev.
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 juicy 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 he took private lessons in Moscow classical dance at the ballerina of the Bolshoi Theater Mosolova V.I., then entered the evening department Choreographic College at the Bolshoi Theater, which he graduated in 1924 in the class of Gorsky A.A. and in the same year he was enrolled in the troupe of the Bolshoi Theater.
In 1924-1939 Igor Moiseev was a ballet soloist of the State Academic Bolshoi Theatre.
AT 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 staged SABT 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 the music of 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 duel code lessons at the Moscow Art Theater, taught at the Moscow Choreographic School, and headed the choreography section at the Theater folk art (1936).
Igor Moiseev is the organizer of the world's first professional folk dance ensemble (February 10, 1937), the world's first professional school-studio with the ensemble (September 1943).
In 1966, Igor Moiseev organized the State Choreographic concert ensemble"Young ballet". For his unique contribution to the development of world culture, Igor Moiseev was awarded orders, medals and honorary titles from dozens of countries.
Igor Moiseev - professor, laureate of 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 MOISEEV: BIOGRAPHY HIGHLIGHTS
Igor Aleksandrovich Moiseev is a man of myth. He is a symbol of Russian culture, and above all "Soviet", precisely because he surpassed it with the plasticity of survival in the proposed historical circumstances.
The son of a nobleman, an anarchist lawyer who was prosecuted both under the tsarist regime and under the Soviet regime, and a French milliner of semi-Romanian origin, Igor learned to speak French before he could speak Russian.
From his father, who graduated from the Faculty of Philosophy in Heidelberg, he inherited an interest in Eastern teachings, in theosophy, in the history of art. Even before the war, he had the first category in chess (this roughly corresponds to the current master). At the age of 18, he was enrolled in the Bolshoi Ballet, was a partner of the great and then already middle-aged Ekaterina Geltser. In his youth, he participated in the famous "Thursdays" at Lunacharsky's, where he talked with Meyerhold, Tairov, Mayakovsky, Henri Barbusse.
From the age of 20 he was directing with Ruben Simonov, at the age of 24 he became the choreographer of the Bolshoi Theater, remaining a dancer, staged "Three Fat Men".
In 1930, Igor Moiseev first encountered in Tajikistan the unique originality of folk dance. After the defeat of Shostakovich's opera and the ballet The Bright Way at the Bolshoi, the energetic Igor Alexandrovich once and for all finds his creative niche in the field of folk dance. He creates an ensemble that will turn 70 next year, 2007. And in 1943 he received permission to organize a school of folk dance, where the future soloists of the ensemble are trained. The phenomenal longevity of the creator and his works.
Igor Moiseev Folk Dance Ensemble calling card USSR, an export version of internationalism in art - "international in form and Soviet in content." His "Dances of the Peoples of the World" are ideally superimposed on geographical map, there are no white spots - in the absence of a dance culture among the people, it is replaced by an imitation of a religious cult, as in the case of the "Buryat Suite of TsAM".
For I. Moiseev himself, folk dance becomes a way of searching for post-classical forms in choreography. And at the same time - involvement in the highest echelons of power, which began with the staging of physical education parades on Red Square of the Dynamo society, which was introduced by Comrade Beria. As in the country there should be only one god and king, so in the field of folk dance, where we were ahead of the rest thanks to Igor Moiseev.
The traveling history of the Moiseev Ensemble under the conditions of the "Iron Curtain" is truly golden page everyday Soviet culture. Artists spent three-quarters of the year on tour, usually abroad, earning foreign currency and a favorable propaganda image for the country. Therefore, every artist and every actress had to be shone through many knees up and down, in order to exclude escape from the camp of happiness, so that not a single fugitive like Nureyev and Baryshnikov wormed his way into their ranks. In addition, Moiseyevites were a regular dish at all Kremlin receptions, starting in 1938, which also imposed certain state security requirements.
Igor Aleksandrovich Moiseev spoke about many things in his book "I Remember ... A Lifelong Tour", which was published in the second half of the 90s. For future ethnographers Soviet life it is an indispensable source of information. Attentive, witty, energetic and intelligent organizer and creator, who perfectly understands the rules of survival under the Soviet and subsequent regimes.
About classical dance
“Classical dance was born to express the supermundane, incorporeal spirit. Its creators sought to convey feelings that take us to the world of dreams, fantasies, fairy tales. However, gradually this language became so familiar that it turned from the sublime into the everyday and lost its meaning. Reality and conventionality turned out to be painted in the same color, which led to a monstrous impoverishment of the dance language. National dances have dropped out of ballets.”
About folk dance
"What is a folk dance? This is a plastic portrait of the people. Silent poetry, visible song, concealing a part folk soul. I do not see a more festive, life-loving art form than folk dance. It blushes the cheeks, ignites the blood with muscular joy. Folk dance does not have an official choreographer, it is born from the environment.
When in France under Francis I stocking was invented, folk dance immediately responded to this innovation. Skirts shortened very quickly, and after that, dances changed radically. There were healer dances that drove out evil spirits and had healing functions. This was the function of the tarantella. The dance itself got its name from the tarantula, the poison from the bite of which could only be expelled with sweat, for which the sick had to whirl in a frantic dance. Ancient Egypt knew astral dances: the dance reflected the evolutions that the stars and planets were doing in the sky. We are not dance collectors and we do not stick them like butterflies on a pin. We approach folk dance as a material for creativity, without hiding our authorship.”
About politics and weather
“Thinking about politics convinced me that simple people powerless to change anything. I remember the words of Seneca: "Accept with dignity the inevitable" - and I try to treat politics and politicians like bad weather, seeking and finding satisfaction in work.
About the Party and God
“During my leadership of the ensemble, party officials called me 18 times and, banging their fist on the table, demanded to join the CPSU. Their argument was always the same: "A non-party person has no right to lead a collective." To which I calmly objected every time: “Did I have the right to create an ensemble?” Apparently, they did not receive any instructions on this matter. Finally, it occurred to one of them to ask: “Why don’t you want to join the party?” "Because I believe in God and I don't want you to work me out for it in your meetings." They got away from me.
In fairness, I must say that it was so easy for me to get out of this situation due to the fact that the leaders of this very party loved the ensemble. The only thing I'm grateful for Soviet power- that no one ever interfered with my work. In addition, oddly enough, my work has always been party. In the sense that my searches in folk dance, in expressing folk character through plasticity, turned out to be consonant with the ideas proclaimed by the party leaders. After all, in fact, they did not say anything bad.
About touring in America
“After the premiere, the reviewers started a dispute about us. Some of them wrote: "They were forced to dance so well, because if they danced badly, then on their return to Russia they would be exiled to the salt mines." Or: "These artists are undoubtedly KGB workers, trained to be so successful." They were answered: "If the Chekists dance like that, then how should real artists dance ?!"
Well dressed after the show in New York beautiful woman middle-aged woman asked permission to kiss my hand. I said: "Please," and after receiving a kiss, I asked the woman her name. She replied: "My name is Marlene Dietrich."
On the Jewishness of Moses
“My surname is often mistaken for a Jewish one, but in fact such surnames as Moiseev, Abramov are purely Russian. When we arrived in Birobidzhan, we were met on the platform by a crowd of people with a huge poster: "Long live our Moiseev!" The people of Birobidzhan decided that the famous ensemble headed by the Jew Moiseev had arrived. My deputy for housekeeping, Mikhail Evseevich Volynsky, ran up to me and said with delight:
- Igor Alexandrovich! They want to make a big banquet for us!
- Well, a banquet is a banquet. I am very happy.
With this, Volynsky disappeared and, as I later found out, got into a conversation with the people who were laying the tables.
- Probably, you think that Moiseev is a Jew? He is not Jewish at all. He is Russian.
They suddenly became alarmed:
– How Russian?! And we thought he was a Jew...
- No, he is Russian, but he is nothing ... very happy, - Mikhail Evseevich tried to reassure them, apparently realizing that he started this conversation in vain.
But the organizers not only did not calm down with his assurances, but, on the contrary, began to collect food from the tables and put them in baskets.
Volynsky returned as if dropped into the water.
- You know, they don't want to give a banquet.
- And why?
They found out that you are not a Jew.
- Yes? And who told them?
- I said.
- Why did you say ... Well, I would have been a little Jewish. It would be good to eat.
So the banquet did not take place, because Moiseev is not a Jew.
About the Kremlin banquets
“At the receptions, everyone behaved extremely tensely. There were two Chekists at each table. The guests were seated in strictly defined places. You could move away from the presidium as you liked, but the slightest movement towards the presidium was instantly stopped.
At the Kremlin banquets, problems that seemed to be the work of many years were resolved in passing. Once, a few months before the war, another banquet was held in the Kremlin. Sitting at the table, I felt someone put a hand on my shoulder. Everyone froze.
- Well how are you?
Stalin stood behind me. Due to my youth or ignorance, I did not experience fear at that moment, but, of course, I felt awe.
- It's bad, Iosif Vissarionovich, things are going on.
- Why is it bad?
- There is no room. For example, I staged "Podmoskovnaya Lyrica" on the landing. (Stalin was very fond of this number).
Stalin frowned, made a gesture with his hand - and how Shcherbakov, who was then the first secretary of the MK party, rose from the ground in front of him. Stalin, pointing to me, said to him:
They don't have a room. Need to find. Report tomorrow.
Turned around and left.
The next day Shcherbakov summoned me to his office. He led him to the map of Moscow, which hung behind his back, and suggested: "Choose." So, shortly before the war, we moved into the premises of the P. I. Tchaikovsky Concert Hall, where we still work.”
"Man of the world"
Igor Moiseev - 100 years
"Moiseev's Ballet" is pronounced the same in all languages. Like a magic formula that opens the whole world. United by a sense of joyful amazement of viewers from all continents. Holiday, miracle, fireworks - there is no end to the synonyms of the formula.
The price of this joy of recognition is the selfless labor of more than one generation of Moiseevites. In fact, the ensemble has long deserved the name of the Folk Dance Theatre, which has not yet been fixed in posters. But the path from dance miniatures to choreographic performances convinces of the viability of the Moiseev idea of dance theater.
The story about the ensemble without Moiseev is impossible. For artists, he is an example of service to a beloved cause, wise acceptance of difficult victories and inevitable losses. For him, the team is life, pride and glory. A dream come true and constant care.
By 1937, Moiseev was completely in love with folk art. On foot and on horseback, having mastered the Pamirs, the Caucasus, the Urals, Moiseev was convinced that folklore needed a new stage life, according to the laws and requirements of the theater. The beliefs were reinforced by practice - work in the Theater of Folk Art, staging the 1st All-Union Folk Dance Festival.
A mobile troupe was needed, capable of conveying the nature of folklore through theatrical means. And fate decreed happily: on February 10, 1937, the first rehearsal of the country's first professional folk dance ensemble took place. But what passions were seething around the Moiseev undertaking! The "theorists" were especially shouting, demanding the ethnographic nature of folklore, a kind of dance museum. Moiseev, on the other hand, defended the principle of theatrical action, action in dance, opening up boundless prospects.
Dreamer? He was just watching from the future. And calmly bypassing the ignorant, he trusted like-minded people. To my dancers. Although there were plenty of difficulties. Some came almost from the outskirts of the village, others - from the ballet stage. It was necessary to melt the dashing folk trick and the dryness of academism into a single dance style. Now the famous Moiseev style. Then there was no experience, no knowledge, no traditions - everything was created for the first time.
And the ensemble "danced" the arguments in defense of Moiseev's idea of the Dance Theater in hard work. To those enthusiasts and daredevils who joyfully and without looking back rushed after him into the unknown, Moiseev is grateful to this day.
Following the first program"Dances of the peoples of the USSR"
(1937-1938) the ensemble was already trying on plot ballets with real characters. Their implementation was delayed by the war. But she did not cross it out: with incredible efforts, the ensemble retained the troupe, improved professionalism, and continued to develop folklore for new productions.
From a tour of Mongolia (1943), the ensemble brought"Tsam "- a folk tale turned into a real theatrical performance. But it will be in a peaceful life, and then the performing staff was sometimes selected according to the ability to stay in the saddle until the "stage" was shaking on horseback along the mountain paths ...
And the Moiseevites were proud of "their" tank, assembled with their more than modest means. And the ensemble survived: they gave three concerts a day on stages made up of trucks, decks of warships, forest clearings. Then the rule was strengthened in the ensemble: do not dramatize the troubles, but immediately beat them - mischievously, bitingly, ironically.
As preparations for future images. Whole pictures were built from such blanks and travel notes. In the suite "A Day on the Ship" (1943-1944), the Moiseevites with humor and brilliance told in a dance about the military life of the Red Navy sailors.
The most valuable trophy of the war"Partisans
"(1950). Strikingly accurate in form, saturated to the limit with emotions, the number became a plastic poem in honor of millions of ordinary soldiers of the War - open, smiling, fearless. The pride of the ensemble, it is invariably included in the tour programs. For the dancers of the "Partizana" a difficult test of artistry , virtuosity, characteristic.
After the war, the peoples of Europe enthusiastically restored life, way of life, and art.
The leaders of folk ensembles turned to Moiseev for advice. The help turned out to be mutual: novice choreographers received the necessary consultations, the ensemble - material for new experiments. Program "Dancing" Slavic peoples"(1945) unfolded entire suites of dances of the peoples of Eastern Europe: Bulgarian, Polish, Romanian and Hungarian. (A striking detail: Moiseev himself did not see the Yugoslav dances and looked for national vocabulary in ornaments, songs, fairy tales. In the homeland of the dance, the suite was accepted with a bang.)
Following Europe, the ensemble invades Asia. Program"Peace and Friendship"
(1953) included Korean, Mongolian, Chinese dances. And luck again - on tour in China (1954), the audience was amazed to find that the Russians performed more accurately and expressively vintage dance with ribbons. The Moiseevites "gave" their version to the Chinese dancers.
By this time, the performing staff of the troupe had leveled off, the repertoire included dozens of dances, paintings, suites. In 1955, the ensemble was about to make a new qualitative leap... the Parisian scene. The dancers were afraid to go - the Parisian public determined the fate of more than one enterprise. Moiseev assumed good luck.
And he turned out to be right: under the roar of applause in the Palais de Chaillot, the notorious iron curtain. Paris again recognized the splendor and charm of Russian art. A trail of enthusiastic epithets stretched out behind the Moiseevites. Here is just one summary: "If the concerts of the Moiseev ballet did not make you go berserk, stomp your feet with pleasure, then you are not quite normal."
And soon the assessments of the Parisians were divided by thousands of spectators on the other side of the Earth: also the first, and also with triumph, the Moiseevites performed in New York. A tour of the United States (1958) opened a new era in communication between Russia and America - the end of the Cold War, long live friendship, art, love! The famous Sol Yurok gave the ensemble a green light. Tours have become a tradition, and the Americans rejoiced at Moiseev's gifts like children. The concerts were certainly finished by the American square dance "Square Dance" - and here they already danced not only on the stage, but also in the stalls, in the gallery, in the orchestra pit.
Tours are the life of the ensemble. The team visited all continents, on water, land and air, more than once "walked" to the moon and back, the reviews amounted to entire volumes. But most importantly - with foreign tours new era began for the ensemble. Dance folklore was now mastered not by hearsay, but in live, direct communication. The repertoire expanded and artistic tasks became more complex.
Good luck and finding dance suites led directly to the present theatrical action in which dance and music, directing and dramaturgy, costumes, lighting are equally important and subordinate to the performer. For new experiments, the choreographer needed not just professionals, but actors-dancers who immediately developed the choreographer's impetuous thought. His requirements became more complicated - the school improved.
Moiseevskaya dance school. She was brilliantly presented by the ensemble in the program"Road to Dance" (1965). The "Class Concert" ingeniously reveals the process of composing: in front of the viewer, the dancers famously and skillfully composed replicas, phrases, and dialogues from individual elements. The "class-concert" demonstrated not only the "momentary miracle" of the birth of dance, but also the proficiency, coherence, and unity of the troupe's style. And Moiseev - and his attitude towards the artists: he is proud of them, appreciates and demands infinitely much. A little less than myself.
For "The Road to Dance" Moiseev was awarded the Lenin Prize, the team - the title of the country's first academic folk dance ensemble. The need for a qualitative leap has again emerged. A whole ocean of folklore has been mastered, dozens of genres and small forms have been tested. And Moiseev was eager to prove that the ensemble could do a great choreographic performance.
The great debater, Moiseev conceived"Polovtsian dances" in a polemic with Mikhail Fokin, a rebel and an enemy of all dogma, a revered teacher, but an artist of a bygone era. It is not enough to "take pas from music" (as Fokin worked with the score), Moiseev needs the historical authenticity of life, customs, and characters. It gave birth to a convincing strength and brightness of the plot, the nuances of plasticity, drawings of dances. The jubilation of orchestral copper, unexpected effects and tricks completed the picture of wild elements - the ensemble boldly and with inspiration overcame one more step to the dance theater. In honor of the premiere of Moiseev's "Polovtsian Dances" in Paris in 1971, a special commemorative medal was knocked out ... Moiseev simply replied: "I am proud of this work."
Since then, a quarter of a century has passed, new performances and suites have appeared, which Moiseev can rightfully be proud of. One of them"Suite Greek dances"
(1991). The idea and its production were discussed with Mikis Theodorakis. He carefully arranged a popular melody, Moiseev sensitively caught and developed the composer's idea in a large-scale plastic fresco.
And together with the dancers, he enriched it with shades of national characters. The suite of Greek dances is one of the hundreds of scenes, paintings, suites of the ensemble. They are grouped into cycles."Pictures of the Past" , "Soviet Pictures" , "On the countries of the world" . The best numbers of cycles are included in the program"Away and at home. On tour routes" (1983). The idea of the program is to show the way from miniatures to ballet.
"Night on Bald Mountain
"set to the muses of M. P. Mussorgsky, based on the works of N. V. Gogol. The ensemble has previously turned to symphonic music ("Jota of Aragon" by M. I. Glinka, "Buffoons" by N. A. Rimsky-Kor- Sakov, etc.), literature ("Spanish Ballad" by P. de Luna staged according to the plot of P. Merime). However, for the first time the ensemble announced the performance in two parts - acts, with a libretto and characters, a director's score and symphonic music, theatrical means of expression.
AT"People's Scenes"
practical jokes, jokes, squabbles are witty woven into the motley wreath of dances - everything that a fairground somewhere in the Poltava region is rich in. Of course, from childhood travels in the vicinity of Dikanka, Moiseev brought these lively, juicy types onto the stage. And then there are absolutely Gogol hoaxes. Realistic "... the hell with dog muzzles on German legs" completely sweep girls and lads off the stage. The most incredible effects are involved in the "Sabbath": a strobe, drum kit, masks, stilts, rollers. And dance - from classical to break. Virtuoso replicas were born cheerfully, effortlessly, and the pantomime of mise-en-scenes was born from the unrestrained improvisation of Moiseev and the dancers.
However, the success of the performance, with which the ensemble traveled almost half the world, was already successful for the team yesterday. Moiseev is again assessing performers, ideas, plots for new ballets. And to unfulfilled, soul-stopping plans. Suite of Jewish dances"Family Joys"
first shown in 1994 at the festival in honor of the 70th anniversary of the creative activity of Igor Moiseev. And I thought about it ... back in 1939 for a dramatization in the Freilekhsa ensemble, wedding ceremony, Moiseev invited Mikhoels and Zuskin.
Then the production did not take place, but the idea did not fade, on the contrary, it acquired new details and details. And now, after decades of behind-the-scenes preparation, the wedding characters made their way onto the stage. Either straight from the resilient Kasrilovka of Sholom Aleichem, or from the Vitebsk outskirts of Chagall. In the course of the action, fussing and pushing, they manage to quarrel and make up, bargain and give in, cry and laugh at each other. Picturesque collisions are happily resolved by a wedding feast.
But this is not the end at all, because the dancers encore the final frenzy of emotions and tempos with even greater pressure and excitement. Only Moiseev can compare today's dancers with the first, with those who started. The performing culture and the technical equipment of the troupe have grown immeasurably. Today's Moiseevites are capable of all styles and genres of dance, tomorrow's will surely surpass them. The main thing will remain unchanged: a living soul, enthusiasm and characteristic of folk dance.
In January 2001, the ensemble gave a gala concert in honor of the 95th anniversary of the founder and permanent leader of the State Academic Folk Dance Ensemble, and in fact, the dance theater, Igor Moiseev. The concert took place at the Bolshoi Theater, from which Moiseev stepped into the world and multiplied the glory of the Russian art of dance. February 10, 2002 the team celebrated its 65th anniversary holiday concert, which was made up of various numbers showing creative way passed by the ensemble for 65 years.
But the holidays are created by him on the stairs, in the locker rooms they repeat again, the dancers of the ensemble refine the movements. More exciting, easier than all Moses - his shows are unique and legendary. Indeed, there is no effort in his skill - there is an inspired feeling of flight. A great dreamer, Igor Moiseev looks from the future.
ALL PHOTOS
The legendary choreographer, head of the State Academic Folk Dance Ensemble, died National artist USSR Igor Moiseev, 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.
The funeral will take place on the same day. 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 telegram says. Russian President sent to the widow and daughter of Moses.
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 in ballet school Moscow Bolshoi Theatre. “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 former ballerina Bolshoi Theater Vera Mosolova. The lesson cost 10 rubles and 2 logs. After 3 months, Mosolova took me to the schools of the Bolshoi Theater.
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 are trying to expand the possibilities of folklore dance, enriching it with directorial invention, professional technique, thanks to which it expresses itself even brighter. That is, we approach folk dance as a material for creativity, without hiding our authorship. But our creativity continues in the nature of the most folk dance, 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, Laureate American Prize"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 death of the 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 in the world Russian state for many decades. His unique folk dance ensemble was and is the expression of the soul of the people of the boundless Russian land. He created a unique team, which 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. "This 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". In this school of Moiseev, his pupils worked, 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, genuine element folk culture, said the minister.
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."
M Oiseev Igor Alexandrovich - an outstanding Soviet Russian dancer and choreographer, the greatest choreographer of the twentieth century, who changed the course of development of world choreographic art, made folk dance the property of world culture, head of the State Academic Folk Dance Ensemble of the USSR, People's Artist of the USSR.
Born on January 8 (21), 1906 in Kyiv (now the capital of Ukraine) in the family of a small estate nobleman. Father, Alexander Mikhailovich Moiseev, was a lawyer, mother, Anna Alexandrovna Gren, a milliner, came from a family of Romanian Jews. Subsequently, the family moved to France, then to Poltava (Ukraine), and then to Moscow.
In 1920 he graduated from a private ballet studio in Moscow, in 1924 from the Choreographic College of the State Academic Bolshoi Theater (student of A.A. Gorsky), and in 1933 from the University of Arts. After graduating from a technical school, he was accepted as an artist in ballet troupe Bolshoi Theatre, in 1931-1939 he was its soloist. He performed the parts: Joseph ("Joseph the Beautiful"), Raul ("Teolinda"), Slave ("Corsair"), Mato ("Salambo"), Football Player ("Football Player").
In 1930, remaining a ballet dancer, he became a choreographer, director of dance suites in performances. Staged ballets: "Football Player" (1930, together with L. Zhukov and L. Lashchilin), "Vain Precaution" (1930, together with A. Messerer), "Salambo" (1932), "Three Fat Men" (1935), " Spartak (1958). Staged dances in operas: Zagmug (1930), Turandot (1931), The Demon (1932), The Love for Three Oranges, Carmen (both 1933). His career at the Bolshoi Theater is unparalleled: he became a choreographer at the age of 24, an unprecedented event in the history of the Bolshoi Theatre.
Working in the theater, he enthusiastically studied folk dances, traveled all over the Pamirs, Belarus, Ukraine, the Caucasus, where he collected images of dance folklore. 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. He was also the director of a number of sports parades on Red Square in Moscow.
In 1937, with the support of the chairman of the Council of People's Commissars of the USSR V.M. Molotov, I.A. Moiseev created the first professional folk dance ensemble in the country - the "Folk Dance Ensemble of the USSR" (now the State Academic Folk Dance Ensemble named after Igor Moiseev), which has no equal in the world to this day. The first rehearsal of the new ensemble took place on February 10, 1937.
Ensemble I.A.Moiseev - the world's first professional choreographic group, engaged in artistic interpretation and promotion of dance folklore of the peoples of the world. Main artistic principles The development of the ensemble was the continuity and creative understanding of traditions and innovations. Per long years the existence of the collective, thanks to the incessant efforts of I.A. Moiseev and his artists, the folklore dance creativity of our country and the peoples of the whole world has been preserved and creatively comprehended.
The main task that I.A. Moiseev set for the artists of the first troupe was the creative processing of folklore samples that existed at that time. For this purpose, the artists of the ensemble went on folklore expeditions around the country. In the repertoire of the ensemble, folklore samples received a new stage life, thanks to which they have been preserved for several generations of viewers around the world. In 1937-2007, for 70 years, the great choreographer was the permanent artistic director ensemble.
During the Great Patriotic War of 1941-1945, he toured with his ensemble Far East, Transbaikalia, Siberia and Mongolia. He staged several numbers in the amateur ensemble of the Pacific Fleet. The money collected from the concerts was used to build and transfer to the active army the tank "GANT USSR" (State Folk Dance Ensemble of the USSR).
Under his leadership, programs were staged: "Dances of the Peoples of the USSR" (1937), "Peace and Friendship" (1953), "The Road to Dance" (1965), "Away and at Home" (1983) and others. In addition, he staged folklore cycles of various genres: “Pictures of the Past” (1937), “Kolkhoznaya Street” (1938), “Sea Suite” (1943), suite “Jock” (1949), “Partisans” (1950), “ Sly Mokanu ”(1952),“ Snowstorm ”(1965),“ Buffoons ”(1970),“ Polovtsian Dances ”,“ Labor Day ”(both - 1978),“ At the Skating Rink ”(1980),“ Night on Bald Mountain ” (1984), "Tavern" (1986), "Around the World" (1960-1989), a cycle of foreign dances (1960-1991), "Greek Suite" (1991), "Jewish Suite" (1994).
The dancers of the ensemble were the first Soviet artists who began performing abroad: in Finland (1945), China (1954), France (1955), the Middle East (1956), the USA (1958), countries South America(1963) and India (1974). In 1989, immediately after the tour of the ensemble in Israel, diplomatic relations were established between the USSR and Israel.
In 1943 he created the first in the country vocational school folk dance (now - the School-Studio (school) at the State Academic Folk Dance Ensemble named after Igor Moiseev), and in 1966 - organized the choreographic concert ensemble "Young Ballet" (now - the State Academic Theater classical ballet under the leadership of N.D. Kasatkina and V.Yu. Vasiliev), which he led until 1970.
At Kazom of the Presidium Supreme Council USSR dated January 20, 1976 "for outstanding services in the development of Soviet choreographic art and in connection with the seventieth birthday" Moiseev Igor Alexandrovich He was awarded the title of Hero of Socialist Labor with the Order of Lenin and the Hammer and Sickle gold medal.
Simultaneously with the work in the ensemble in different years carried out the instructions of the Government and the Ministry of Culture of the USSR and the Russian Federation. He was the director of gala concerts and cultural programs dedicated to outstanding events public life countries: 60th anniversary of the founding of the USSR, 40th anniversary of the Victory in the Great Patriotic war and others.
For many years he headed the jury of the television folklore festival"Rainbow", was a permanent member of the jury of many International competitions and folk dance festivals, participated in the work of the Peace Defense Committee, was a member of the Board of the Bolshoi Theater and a member of the Presidium Russian Academy Arts, a 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, a member of the Council of Cultural, Scientific and Educational Workers under the Ministry of Foreign Affairs of the Russian Federation.
I.A. Moiseev is the organizer, permanent artistic director and dance director of the State Academic Folk Dance Ensemble. He is the creator of a new genre of performing arts - folk stage choreography, a new model of a professional group - a folk dance ensemble, a new artistic method of stage interpretation of folklore, the purpose of which is to develop and enrich folklore with the help of professional art.
The life and fate of I.A. Moiseev is an exceptional example of selfless service to his beloved work. Already in his youth, he was fascinated by 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, he 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.
The ensemble's repertoire includes hundreds of works generously filled with juicy images, vivid characters, picturesque colors prompted by life itself. This miracle, which the world applauds for decades, could not have been born if I.A. Moiseev had not mastered all the subtleties of 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.
I. A. 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 I.A. Moiseev promotes the dance folklore of the world and enriches it with the techniques of professional art, continues life in strict forms of stage art.
It is impossible to appreciate the grandiose significance of his work - his dances went down in history as a picturesque encyclopedia of 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 I.A. Moiseev. Clothed in harmonious stage forms, unique in their nobility of lines and clarity of expression of an artistic idea, the works of I.A. 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, he was recognized as a man of peace, a messenger of goodness and justice. A passionate enthusiast and disinterested donor, I.A. Moiseev generously shared his talent, knowledge, and love for dance with millions of people. Alien to pathos, an infinitely gifted creator, all his life he professed a great spiritual principle - to give without thinking about gratitude. The nobility and humanism of the world cultural mission of I.A. Moiseev are priceless and unexampled.
Lived and worked in Moscow. He died on November 2, 2007 at the age of 102 from hypertension and coronary heart disease. He was buried at the Novodevichy Cemetery in Moscow.
People's Artist of the USSR (12/19/1953);
People's Artist of the RSFSR (1944);
Honored Artist of the RSFSR (10/27/1942);
People's Artist of the Kirghiz SSR (1976);
People's Artist of the Moldavian SSR (1950);
People's Artist of the Buryat-Mongolian ASSR (1940).He was awarded the Soviet 3 Orders of Lenin (8/8/1958, 01/20/1976, 01/20/1986), October revolution(08/07/1981), 2 orders of the Red Banner of Labor (10/31/1940, 01/20/1966), the Order of the Badge of Honor (06/2/1937), Russian order"For Merit to the Fatherland" 1st (01/21/2006), 2nd (06/12/1999) and 3rd (12/28/1995) degrees, the Order of Friendship of Peoples (04/11/1994), medals, as well as orders and medals foreign states, including the Orders of St. Alexander with a Crown (1945, Bulgaria), Officer of Culture (1945, Romania), Revival of Poland (1946, Poland), Brotherhood and Unity (1946, Yugoslavia), Polar Star (1947) and Sukhe Bator (1976, Mongolia), "Officer of Culture" 1st (1954), 2nd (1960) and 3rd (1989) degrees (Hungary), Merit (1997, Hungary), National Order of the Cedar 1- th degree (1956, Lebanon), orders white lion(1980, Czechoslovakia), "For Civil Merit" of the degree of commander (1996, Spain), the Hungarian Order of the degree of commander (1997), orders of Merit of the 3rd degree (1999) and Prince Yaroslav the Wise of the 5th degree (2006, Ukraine), "Star of Romania" degree of commander (2003), Friendship (2007, Kyrgyzstan).
Laureate of the Lenin Prize (1967), Stalin Prize 1st (1942, 1952) and 2nd (1947) degrees, the State Prize of the USSR (1985) and the Russian Federation (1995), the Russian independent award "Triumph" (1997), the "Oscar" award in the field of dance (1961, 1974 ), premiums International Foundation"For the development of cultural ties between Russia and the United States" (1995), the Moscow Government Prize "Legend of the Century" (2001, first laureate), the Galina Ulanova Foundation Prize "For Selfless Service to the Art of Dance" (2004), International Prize Foundation of the Holy All-Praised Apostle Andrew the First-Called "For Faith and Loyalty" (2006). He was awarded the Mozart medal (2001, UNESCO).
Honorary member of the National Assembly of France and member of the French Academy of Music and Dance (1955), honorary member of the Beijing Academy. Active member of the International Leonardo Club. Professor International Academy Sciences San Marino (1993), Professor of the Russian Academy theatrical art (1997).
In Moscow, a memorial plaque was installed on the house where he lived.
Choreographer, artistic director of the State Academic Ensemble folk dance, People's Artist of Russia Igor Alexandrovich Moiseev was born on 21 January 1906 in Kyiv in the family of a small landed nobleman. He studied dance in Moscow - first in a private ballet studio V.I. Masolova (1920), then at the Choreographic College of the State Academic Bolshoi Theater in the class of A. A. Gorsky (1921 - 1924).
In 1933 he graduated from the University of the Arts. After graduating from a technical school, he was accepted into the ballet troupe. Bolshoi Theater(1924 - 1931), In 1931-1937 he was a soloist at the Bolshoi Theater, he performed the parts of Raul in "Theolinda", Mato in "Salambo", Joseph in "Joseph the Beautiful" and others.
AT 1930, remaining a ballet dancer, he becomes a choreographer, director of dance suites in the opera performances Carmen, The Demon, Love for Three Oranges, Turandot, on the stage of the Bolshoi Theater he puts on the ballets Salambo (1932), Three Fat Men "(1935), "Spartacus" (1958).
AT 1936 I. Moiseev became the head of the choreographic part of the Theater of Folk Art, and in 1937 he created the country's first professional folk dance ensemble. The first rehearsal of the new ensemble took place on February 10, 1937. For 70 years, I. Moiseev was the permanent artistic director of the ensemble. Under his leadership, all programs were staged: "Dances of the Peoples of the USSR" (1937), "Peace and Friendship" (1953), "Away and at Home" (1983) and others. For the program "The Road to Dance" (1965), Moiseev was awarded the Lenin Prize, and the team - the title of Academic. Moiseev was also the director of several one-act performances: "Polovtsian Dances" to the music of A. Borodin (1971), "On the Skating Rink" to the music of R. Strauss (1980), "Night on Bald Mountain" to the music of M. Mussorgsky (1983), " An Evening in a Tavern" (1986) and many others. In total, the ensemble's repertoire contains several hundred folk dances - these are paintings, suites, choreographic poems and short stories. The ensemble has successfully toured in more than sixty countries around the world.
AT 1943 I. Moiseev created the country's first professional school of folk dance (choreographic School-Studio at the State Academy of Achievement), and in 1966 he founded the Choreographic Concert Ensemble in Moscow (now the Moscow Theater of Classical Ballet under the direction of N. Kasatkina and V. Vasilev).
Simultaneously with his work in the ensemble, I. Moiseev in different years carried out instructions from the government and the Ministry of Culture of the USSR. In the 1920-1940s, the government entrusted the young choreographer with staging sports parades, mass sports and dance festivals, he was the choreographer of gala concerts and cultural programs dedicated to important events social life of the country.
He was a permanent member of the jury of many international competitions and festivals of folk dance, headed the jury of the television folklore festival "Rainbow", participated in the work of the Committee for the Protection of Peace. He was a member of the board of the Bolshoi Theater and a member of the Presidium of the Russian Academy of Arts. Author of scientific articles on choreography, autobiographical book "I remember...".
