Municipal budgetary institution of additional education
Children's Art School No. 8
Abstract on the topic
Ballet by A. I. Khachaturian
"Spartacus"
Performed:
teacher of the highest category of the piano department
Luchkova Svetlana Nikolaevna
Ulyanovsk
2016
Ballet A.I.Khachaturian "Spartacus"
In his work A.I. Khachaturian relied on the richest experience and traditions of world culture, the treasures of folk art and classical heritage. He wrote works of various genres: music for the theater, ballets, chamber and symphonic works, songs, music for films.
Khachaturian's musical images are full of life, movement, concreteness and broad generalizations. The composer's music is characterized by romantic excitement and heightened emotionality. As a way of artistic reflection of reality, a huge role in the work of A.I. Khachaturian occupies a lyrical beginning. “The lyrical beginning really plays a big role in my music,” said A.I. Khachaturian.
For A.I. style Khachaturian is characterized by bright theatricality, visibility, picturesqueness. In the composer's work, the genre and compositional patterns of Eastern and European music converge.
A huge role in the music of A.I. Khachaturian plays the rhythm. Rhythm takes on a figurative and dramatic role, conveying the static nature of the southern sultry nature, the beating of the heart, the energy of the masses, manifested in the festival, in the dance, in the struggle. Rhythm is the most important element of the national music of the peoples of the Transcaucasus with a rich world of gentle, scherzo and courageous dances.
The unique modal structure of A.I. Khachaturian. This is due to the fact that the composer comprehended the modal specifics of folk music and enriched it with the latest techniques of modern composer writing.
The composer's orchestral palette is unusually rich. Bright, juicy instrumentation plays a big role in the musical dramaturgy of the works. Scores by A.I. Khachaturian testify to the fact that the composer masterfully owns the dramaturgy of timbres, the ability to saturate the fabric with bright colors, mix different timbres, conquer new orchestral registers, and deeply understand the expressive possibilities of solo instruments.
Work on the ballet lasted three years, although the idea arose much earlier, in 1933,when, by order of the Bolshoi Theater, librettist N.D. Volkov and choreographer I.A. Moiseev created the first version of the stage plan. To the composition of the ballet by A.I. Khachaturian planned to start in 1941, during the war, but the work had to be postponed for various reasons. Work on the ballet began in 1950.While working on the libretto, Volkov turned to several solid sources: the testimonies of ancient historians, among which Appian's "Civil Wars" and "Roman History" stood out in particular, as well as the works of Plutarch, who supplied the biography of Crassus with detailed information about the so-called "war with Spartacus ".
Also, in the process of working on the libretto, Volkov used the satires of Juvenol and "Pictures from the Everyday Life of Rome" by Frildener. The librettist was also helped by the monograph of the Soviet historian Mishulin "Spartacus Uprising". As you can see, even before the creation of musical material, serious prerequisites were created for recreating historical authenticity.
Even from his youth, A.I. Khachaturian brought vivid impressions from myths, legends and ancient history, in particular, from the story of Spartacus as presented by R. Giovagnoli. Over time, these impressions were enriched with new content, acquiring a connection with the eternally topical themes of the struggle for the liberation of peoples..
A.I. Khachaturian wrote: "Spartacus" was conceived by me as a monumental narrative about the powerful avalanche of the ancient uprising of slaves in defense of the human person, to which I wanted to pay tribute to admiration and deep respect.
A.I. Khachaturian expressed his views on the aesthetics and essence of ballet in the following way: “I consider ballet a great art. It can express all the diversity of a person's life, the richness of his spiritual experiences. Ballet evokes love for beauty… Music in ballet must be of the highest quality and visibly tell about the events that take place on the stage.”
Khachaturian considered the works of P.I. Tchaikovsky, I.F. Stravinsky and S.S. Prokofiev. Especially close to him were the creative principles of P.I. Tchaikovsky, who in the ballets "Swan Lake", "Sleeping Beauty", "The Nutcracker" created the traditions of musical and choreographic art, filled the music with great human feelings, drama, broad generalizations and genuine symphony. In Stravinsky's music, he was close to new plots, unusual images, rhythmic forms, and the use of folklore themes. Ballet S.S. Prokofiev "Romeo and Juliet" A.I. Khachaturian considered the beginning of a new stage in the development of this genre, recognizing its innovative value, amazing accuracy of musical characteristics and theatricality.
The ballet "Spartacus" was written in the form of a monumental performance. His dramaturgy is characterized by versatility and intensity of development, strong climaxes and sharp contrasts. The main storyline is the uprising of slaves led by Spartacus, the suppression of this uprising, the death of the protagonist, and the complementary ones are the love of Spartacus and Phrygia, the passion of Harmodius for Aegina and other auxiliary lines.
The music of the ballet merges heroism, tragedy and lyricism. Creating diverse images of the ballet, the composer uses all kinds of expressive means of cantilena, recitation, groaning intonations, heroic invocative motifs. With all the variety of contrasting images, the musical stage action of the ballet "Spartacus" is subject to the disclosure of the main idea of the work. In the final scene of The Death of Spartacus, the drama reaches its climax.
“The music of the ballet Spartacus is undoubtedly interesting and exciting,” wrote D.D. Shostakovich. - it is written with talent, and on it, as on everything that A. Khachaturian writes, lies the stamp of a bright creative individuality. The ballet "Spartacus" became the pinnacle of the composer's work.
The ballet includes four acts. Conventionally, it can be viewed as a musical-choreographic symphony, in which all parts are interconnected and there is an exposition of opposing musical themes, their development and reprise with a coda. A.I. Khachaturian called the ballet "Spartacus" a "choreographic symphony". All numbers of the ballet are permeated with a through symphonic development, intonational unity and leitmotif connections. An important role in the symphonization of the ballet is played by leitmotifs, they are bright, prominent characteristics of the acting characters. Some leitmotifs are distinguished by their detailed construction, such as the leitmotif of the gladiators, while others, on the contrary, are concise and brief, such as the motive of a call to rebellion. Cross-cutting motives, themes, intonations develop, change, interact with each other as the ballet dramaturgy develops.
The dramaturgy of rhythm plays a huge role in the music of the ballet Spartacus. Various rhythms of marches are presented here - heroic, triumphal, battle, mourning. Dance rhythms are used in a variety of ways: lyrical and heroic, for the purpose of imagery there are rhythmic asymmetry and polyrhythm. The score of the ballet uses the entire richest palette of orchestral registers and timbres. The harmonic language of the ballet "Spartacus" is coloristically expressive, fresh, saturated with dissonant intervals.
AND Ram Ilyich Khachaturian is an artist with a bright, unique personality. Temperamental, cheerful, attracting with the freshness of harmony and orchestral colors, his music is permeated with intonations and rhythms of folk songs and dances of the East. It was folk art that was the source of the deeply original creativity of this outstanding composer. In his works, he also relied on the traditions of world, and primarily Russian music.
The image of Spartacus is inextricably linked with the musical material of "folk" themes. These images are not only intonationally close, but often in the musical dramaturgy of the ballet themes - Spartacus's motives outgrow the framework of personal characteristics and acquire a wider meaning.
Cross-cutting intonations, motifs, themes play a huge role in musical dramaturgy, in the symphonic development of ballet. The composer approached the creation of music not from a stylistic position, but with all creative immediacy and sincerity. Many pages of the score of "Spartacus" evoke associations with the music of "Gayane", and through it - with the Armenian folk musical culture. But in the music of "Spartacus" there are no direct folklore quotes. Intonational connections with folk music here are more indirect.
For the first time the ballet "Spartacus" was staged at the Leningrad Opera and Ballet Theater named after Kirov. The premiere took place on December 27, 1956. The choreographer was Leonid Yakobson.The performance was a huge success with the public.
In 1958, the audience was able to see their favorite ballet staged by I. Moiseev. This production was received quite coldly by critics.
L. Yakobson also decided to try his directorial talents in Moscow, but the Moscow premiere failed to overshadow the success of the ballet in Leningrad.
The production of Yuri Grigorovich, filled with psychologism and tragic notes, was considered quite successful. The parts of Spartacus and Phrygia were performed by Vasiliev and Maksimova. Today, more than 20 different versions of the production of the ballet "Spartacus" are known. But the most famous were two versions of the play - Leonid Yakobson and Yuri Grigorovich.
The ballet "Spartacus" is the largest and brightest creation of A.I. Khachaturian. This ballet has become a significant work of Soviet and world ballet art. The ballet "Spartacus" is still very popular not only among lovers of classical ballet, but also among all music lovers.
List of used literature
1. Khachaturyan A.I. About music, musicians, about myself. Yerevan, 1980.
2. Khachaturyan A.I. Letters. Yerevan, 1983.
3. Tigranov G.G. Ballets by Khachaturian. L. 1974.
4. Tigranov G.G. Aram Ilyich Khachaturian. L. 1978.
5. Soviet musical literature. Building issue 1, edition. Moscow, 1977.
Spartacus: Spartacus is a famous slave gladiator. Contents 1 Famous bearers of the name Spartak 2 Sports 2.1 ... Wikipedia
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SPARTAC (1975)- "SPARTAK", USSR, Mosfilm, 1975, color, 94 min. Movie ballet. About the uprising of slaves in ancient Rome led by Spartacus. The roles are performed by the ballet dancers of the Bolshoi Theater of the USSR. Choreography by Yuri Grigorovich. Cast: Vladimir Vasilyev (see VASILEV ... Cinema Encyclopedia
Ballet in philately- Postage stamp of the USSR (1969): I International Ballet Competition in Moscow The theme of ballet in philately is one of the thematic collections of postage stamps and other philatelic materials dedicated to ballet ... ... Wikipedia
Ballet- (French ballet, from Italian balletto, from late Latin ballo I dance) a type of stage art, the content of which is expressed in dance and musical images. The term "B." serves mainly to designate the European B., which has developed ... ... Great Soviet Encyclopedia
Ballet- (French ballet from Italian balletto and late Latin ballo I dance) a kind of stage. suit wa, conveying the content in dance music. images. Evolved throughout the 16th and 19th centuries. in Europe from entertain. Sideshow up contain. performances. In the 20th century ... ... Russian humanitarian encyclopedic dictionary
BALLET WORLDWIDE- Great Britain. Prior to the tour of the troupe of Diaghilev and Anna Pavlova in London in 1910-1920s, ballet was presented in England mainly by the performances of individual famous ballerinas on the stages of music halls, for example, the Danish Adeline Genet (1878-1970) ... Collier Encyclopedia
Ballet- This article or section needs to be revised. Please improve the article in accordance with the rules for writing articles ... Wikipedia
Spartacus- This article is about the leader of the slave uprising; other meanings: Spartacus (disambiguation). Spartacus Spartacus ... Wikipedia
Books
- Revelations of ballet master Fyodor Lopukhov (DVD), . The twentieth century is the century of the triumph of the Russian school of ballet. The famous choreographer Fyodor Lopukhov, who lived a long and fruitful life in art, recalls and reflects on the fate of classical dance ... Buy for 493 rubles
- Spartak, Leskov Valentin Alexandrovich. The name of the Thracian Spartacus, Roman gladiator and leader of the most famous slave uprising in ancient Rome (74-71 BC), has an undoubted power of attraction. Immortal Romance...
Spartacus
Scenes from Roman life. Ballet in four acts
The author of the ballet Aram Ilyich Khachaturyan
Libretto N. Volkova.
Choreographer L. Jacobson.
First performance: Leningrad, Opera and Ballet Theatre. S. M. Kirov, December 27, 1956
Characters
Spartacus. Phrygia. Aegina. Harmodius. Beauty. Dying slave. Lentullus Batiatus. Herald. Egyptian. African. Numidian, Gallus. Athenian jester. Etruscans, Gaditan maidens, hetaerae. Memes. Centurions. Companions of Spartacus.The Roman commander Crassus returns from a campaign with a victory. The jubilant crowd welcomes the legionnaires famous in battles.
Crassus' golden chariot is harnessed by captive slaves. Among them is the Thracian Spartacus. His gigantic figure is full of strength and dignity. Next to him are his beloved, the young Thracian Phrygia, and the young man Harmodius.
In the crowd of the Roman nobility, patricians and senators, meeting Crassus, is his concubine, the courtesan Aegina.
Slave market. The auction begins with the sale of an Egyptian dancer. She is separated from her mother. Spartacus and the chained Harmodius are bought by the owner of the gladiator school, Lentullus Batiat. Sad is the moment of parting of Phrygia and Spartacus. Phrygia buys Aegina.
Circus. In the center of the amphitheater is the bed of Crassus and Aegina. The gladiator fights begin. A Gaul, a Numidian and an African are fighting. The wounded Numidian asks to grant him life, but the crowd demands to kill him. Two gladiators enter the arena. One of them dies; dying, he sends a curse to Rome. Two groups attract everyone's attention: the gladiators. A furious fight breaks out. Miracles of courage and dexterity are shown by Spartak. He wins, he is enthusiastically applauded by the crowd.
Square in front of the palace of Crassus. Phrygia pours out her grief to Spartacus, complains about the hard life in captivity and separation.
Under the cover of night, Spartacus agrees with his associates about a secret meeting. Aegina notices them. Wanting to reveal their plan, she charms one of the conspirators - the young Harmodius.
Festival in honor of the god Saturn (saturnalia). The crowd praises him with Bacchic dances. Crassus is carried out of the palace on a luxurious stretcher. One of the slaves carrying the stretcher stumbled. Beauty orders to kill him. Crassus' bodyguard stabs a slave with a dagger. Everyone freezes in horror.
At a secret meeting, Spartacus calls on his associates to start an uprising. The conspirators pledge their loyalty to the cause of the struggle for liberation with an oath.
Spartacus enters the stone prison of the gladiators. and calls on the prisoners to revolt: it is better to die on the battlefield than in the circus arena, for the amusement of the crowd! The chains have already been broken, the guards have been removed. Spartacus opens the gates of the prison and leads the rebels away.
An uprising of slaves spreads across Italy like a wide fiery river. Victory after victory is won by the troops of Spartacus. The Romans bow the "eagles" - the signs of their legions - before the leader of the rebellious slaves.
The commanders of Spartacus are returning from a campaign with captured legionnaires, looted goods, casks of wine and getters. Aegina is hiding among the hetaerae. She brings Harmodius to the tent of the feasting warlords.
Suddenly, Spartacus appears. He orders the getters to be immediately expelled from the camp. Harmodius protests. A quarrel arises between a group of military leaders and Spartacus. A long-brewing conflict leads to a split in the camp. A group of disgruntled military leaders, along with their soldiers, leaves Spartak's camp. Aegina carries Harmodius with her. With Spartacus, only his followers loyal to the cause of freedom remain.
Feast at Crassus. Aegina tells the commander that she managed to bring Harmodius, who quarreled with Spartacus, and also about the split among the rebels. Beauty gives the order to attack the camp of those who broke away from Spartacus.
Aegina is left alone with Harmodius. The night passes. The feast resumes. Beauty orders to bring Harmodius. Purple curtains open. Harmodius sees with horror the gladiators crucified on the crosses, his recent associates. He realizes that Aegina has betrayed him and tries to kill her, but he is captured and stabbed to death. Krase and Aegina leave the feast.
Slaves, led by Spartacus, rush into the palace. Phrygia and the slaves of Crassus joyfully rush towards them.
In the battle with the legionnaires of Crassus, Spartacus is defeated and retreats. Phrygia blesses him for new battles; she gives Spartacus a shield, kisses his sword. She foresees in her heart the impending catastrophe.
The Romans are coming. Surrounded by countless hordes, the Spartacists perish in a fierce battle. Dies and Spartacus.
The clear signal sounds. The Roman troops leave.
Night. Mist covers the battlefield. A mournful Phrygia appears, looking for the body of Spartacus. In ominous silence, she mourns the fallen hero.
Invasion
The death of peaceful life is carried by the legions of the Roman Empire, led by the cruel and treacherous Crassus. The people captured by him are doomed to slavery. Among them is Spartacus.
Monologue of Spartacus
Spartacus was deprived of his freedom, but he cannot come to terms with this. A proud and courageous man, he does not imagine his life in slavery.
Picture 2
slave market
Captives are driven to the slave market. Men and women are separated by force, including Spartacus and Phrygia.
Spartacus protests against the inhumanity of the Romans. But the forces are not equal.
Monologue of Phrygia
Phrygia yearns for her lost happiness, thinking with horror about the trials ahead of her.
Scene 3
Orgy at Crassus
Mimes and courtesans entertain guests by making fun of Phrygia, Crassus' new slave. The courtesan Aegina is alarmed by his interest in a young girl. And she draws Crassus into a frantic dance. In the midst of an orgy, Crassus orders the gladiators to be brought in. They must fight to the death in helmets without eye sockets, without seeing each other. Remove the helmet from the winner. This is Spartacus.
Monologue of Spartacus
Spartacus is in despair - he became the unwitting killer of his comrade. The tragedy awakens in him anger and a desire to protest. Spartacus decides to fight for freedom.
Scene 4
Gladiator barracks
Spartacus calls the gladiators to revolt. They answer him with an oath of allegiance. Throwing off the fetters, Spartacus and the gladiators flee from Rome.
Act II
Scene 5appian way
Shepherds join the "Spartacists" on the Appian Way. All are united by the dream of freedom and hatred of slavery. The people proclaim Spartacus the leader of the rebels.
Monologue of Spartacus
All thoughts of Spartacus are directed to Phrygia.
Scene 6
Villa Crassa
The search for Phrygia leads Spartacus to the villa of Crassus. Great is the joy of meeting lovers. But they have to hide - a procession of patricians headed by Aegina will head towards the villa.
Monologue of Aegina
She longs to seduce and subdue Crassus for a long time. She needs to conquer him and legally enter the world of the Roman nobility.
Scene 7
Feast at Crassus
Crassus celebrates his victories. The patricians praise him. But the troops of Spartacus surround the palace. The guests run away. Crassus and Aegina also run in fear. Spartacus breaks into the villa.
Monologue of Spartacus
He is filled with the joy of victory.
Scene 8
Spartacus' victory
Crassus is captured by the gladiators. But Spartacus does not want reprisals. He offers Crassus to decide his fate in an open fair duel. Crassus accepts the challenge, but is defeated. Spartacus drives him away - let everyone know about his shame. The jubilant rebels praise the victory of Spartacus.
Act III
Scene 9Revenge of Crassus
Aegina seeks to instill courage in Crassus. The uprising must be crushed. Crassus gathers legionnaires. Aegina guides him.
Monologue of Aegina
For her, Spartacus is also an enemy, for the defeat of Crassus promises death to her too. Aegina is plotting an insidious plan - to spread discord in the camp of the rebels.
Picture 10
Spartak's camp
Spartacus is happy with Phrygia. But the news of Crassus' new campaign comes as a sudden disaster. Spartacus offers to take the fight. But many of his generals show weakness and desert their leader.
Monologue of Spartacus
Spartacus anticipates a tragic end. But freedom is above all. And for her, he is ready to give his life.
Scene 11
Decomposition
Having made her way to the cowardly gladiators, who could still join Spartacus, Aegina, along with the courtesans, seduces them and traps them, betraying Crassus into the hands of the troops.
Monologue of Crassus
Crassus is filled with a thirst for revenge. It's not enough for him to win. He needs the death of Spartak, who humiliated him.
Scene 12
The last battle
Legionnaires surround the troops of Spartacus. In an unequal battle, his friends and he himself perish. Spartacus fights to the last breath.
Requiem
Phrygia finds the body of Spartacus. She mourns him, full of faith in the immortality of his feat.
"Spartacus" in the version of Yuri Grigorovich is the third version of the ballet on the stage of the Bolshoi Theater. The first, created by Igor Moiseev (1958), quickly disappeared from the repertoire. The second, Jacobson's, also did not have a long stage life. The version proposed by Yuri Grigorovich - its premiere took place on April 9, 1968 - shook the foundations of the ballet theater of that time. This "Spartacus" in one moment crossed out all the established stereotypes, turned all ideas about the heroic-romantic genre in ballet, its figurative structure, the relationship between the hero and the corps de ballet. Classical dance, presented in all its brilliance and variety of forms, has become the main, if not the only, means of expression in the new production. It was classical dance that reigned in monologues, duets, crowd scenes - virtuoso and powerful, imbued with feeling and thought. For each of the four characters, the choreographer came up with a detailed dance performance. Spartacus and Crassus danced for the first time. With the advent of Spartacus by Grigorovich, it was as if a new era began in the annals of the Bolshoi ballet.
Libretto
The Roman commander Crassus returns from a campaign with a victory. The jubilant crowd welcomes the legionnaires famous in battles. Crassus' golden chariot is harnessed by captive slaves. Among them is the Thracian Spartacus. His gigantic figure is full of strength and dignity. Next to him is his beloved, the young Thracian Phrygia, and the young man Harmodius. In the crowd of the Roman nobility, patricians and senators, meeting Crassus, is his concubine, the courtesan Aegina. Slave market. The auction begins with the sale of an Egyptian dancer. She is separated from her mother. Spartacus and the chained Harmodius are bought by the owner of the gladiator school, Lentullus Batiat. Sad is the moment of parting of Phrygia and Spartacus. Phrygia buys Aegina. Circus. In the center of the amphitheater is the bed of Crassus and Aegina. The gladiator fights begin. A Gaul, a Numidian and an African are fighting. The wounded Numidian asks to grant him life, but the crowd demands to kill him. Two gladiators enter the arena. One of them dies; dying, he sends a curse to Rome. Two groups attract everyone's attention: the gladiators. A furious fight breaks out. Miracles of courage and dexterity are shown by Spartak. He wins, he is enthusiastically applauded by the crowd. Square in front of the palace of Crassus. Phrygia pours out her grief to Spartacus, complains about the hard life in captivity and separation. Under the cover of night, Spartacus agrees with his associates about a secret meeting. Aegina notices them. Wanting to reveal their plan, she charms one of the conspirators - young Harmodius. Saturn (saturnalia). The crowd praises him with Bacchic dances. Crassus is carried out of the palace on a luxurious stretcher. One of the slaves carrying the stretcher stumbled. Crassus orders to kill him. Crassus's bodyguard pierces the slave with a dagger. Everyone freezes in horror. At a secret meeting, Spartacus calls his The conspirators swear allegiance to the cause of the struggle for liberation with an oath. Spartacus penetrates the stone prison of the gladiators and calls on the prisoners to revolt: it is better to die on the battlefield than in the circus arena, for the amusement of the crowd! The chains have already been broken, the guards have been removed. Spartacus opens the gates of the prison and leads the rebels away. Do the troops of Spartacus win after victory. The Romans bow the "eagles" - the signs of their legions - before the leader of the rebellious slaves. The commanders of Spartacus are returning from a campaign with captured legionnaires, looted goods, casks of wine and getters. Aegina is hiding among the hetaerae. She brings Harmodius to the tent of the feasting warlords. Suddenly, Spartacus appears. He orders the getters to be immediately expelled from the camp. Harmodius protests. A quarrel arises between a group of military leaders and Spartacus. A long-brewing conflict leads to a split in the camp. A group of disgruntled military leaders, along with their soldiers, leaves Spartak's camp. Aegina carries Harmodius with her. With Spartacus, only his followers loyal to the cause of freedom remain. Feast at Crassus. Aegina tells the commander that she managed to bring Harmodius, who quarreled with Spartacus, and also about the split among the rebels. Crassus gives the order to attack the camp of those who broke away from Spartacus. Aegina is left alone with Harmodius. The night passes. The feast resumes. Crassus orders to bring Harmodius. Purple curtains open. Harmodius sees with horror the gladiators crucified on the crosses, his recent associates. He realizes that Aegina has betrayed him and tries to kill her, but he is captured and stabbed to death. Crassus and Aegina leave the feast. Slaves, led by Spartacus, rush into the palace. Phrygia and the slaves of Crassus joyfully rush towards them. In the battle with the legionnaires of Crassus, Spartacus is defeated and retreats. Phrygia blesses him for new battles; she gives Spartacus a shield, kisses his sword. She foresees in her heart the impending catastrophe. The Romans are coming. Surrounded by countless hordes, the Spartacists perish in a fierce battle. Dies and Spartacus. The clear signal sounds. The Roman troops leave. Night. Mist covers the battlefield. A mournful Phrygia appears, looking for the body of Spartacus. In ominous silence, she mourns the fallen hero.
