• The myth of Nijinsky in the choreographic perception of Mikhail L. Lavrovsky

DOI:  10.35852/2588-0144-2021-1-155-167

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Lola A. Kochetkova

PhD student of the Department of Choreography
Russian Institute of Theatre Arts (GITIS)
Moscow, Russia
E-mail: let1410@gmail.com

The myth of Nijinsky in the choreographic perception of Mikhail L. Lavrovsky

Abstract

The article is devoted to the ballet “Nijinsky” staged by Mikhail L. Lavrovsky at the Bolshoi theatre of Russia, music by Sergei Rachmaninoff. This is one of 12 original ballets created by the famous dancer. It focused on the basic principles of his understanding of the composition, aesthetics, and content of a ballet performance. The image of Nijinsky, the legendary premiere of “Russian seasons” under the direction of Sergei Diaghilev, has been repeatedly interpreted in various types and genres of art – drama, ballet, cinema, painting, sculpture. Lavrovsky’s approach is original and gives an opportunity to consider a number of common problems of ballet theatre on the example of a specific production. First of all the work of a ballet artist on the image, the ratio of narrative and plotlessness in stage dance, as well as the obvious links between academic traditions and the modern form of a multigenre performance. The article does not accidentally emphasize the performance aspect of the choreographic idea, since the author, in the past, is an artist of the Bolshoi ballet of Russia and the performer of the main female role in “Nijinsky”. This made it possible to trace the birth of the composition from the first rehearsal to the premiere in direct creative and production communication with the choreographer, and to understand important (including controversial) aspects of the idea and implementation.

Keywords

l L. Lavrovsky, Vaclav Nijinsky, Sergei Diaghilev, Russian ballet, choreographic interpretation.

For citation

Kochetkova L. A. The myth of Nijinsky in the choreographic perception of Mikhail L. Lavrovsky. In: Theatre. Fine Arts. Cinema. Music. 2021, no. 1, pp. 155–167.

DOI: 10.35852/2588-0144-2021-1-155-167

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Received: 20.11.2020

Accepted: 10.02.2021