Modern reading of Aelita on the stage of Natalia Sats Theater Automatic translate
MOSCOW. The premiere of the ballet Aelita was held at the Natalia Sats Theater.
The centenary of the revolution has made adjustments to the broadcasting network of television channels, plans for museums and exhibition plans, and repertoires of various theaters. Phantasmagoria “The Bright Way. 19. 17 "at the Moscow Art Theater," Eight "in the Provincial, the project of Maxim Didenko and Brusnikin’s Workshop" 10 days that shook the world "as part of the exhibition" Lyubimov and Time "at the Museum of Moscow," Lesson in History "in Mariinsky," Governor "in BDT, action "Poet and Revolution" in the Puppet Theater "Firebird". The musical theater of Natalia Sats did not stand aside. In early December, the premiere performances of the futuristic ballet Aelita were held here.
Many dreamed in the 20s about space. The "Catastrophe" of Nikolai Tasin in 1923 warned of the invasion of Martian zootaurs, the American Ralph Farley, the author of "Earthling on Venus", seconded his hero to a second planet from the Sun in 1924.
Whether the collective unconscious was to blame, whether information about the impending great confrontation between the two planets or the plot of the "Heavenly spaceship" by Danes Sofus Michaelis, who delegated Cosmopolis to Mars with an international crew, was too contagious, but Alexey Tolstoy decided to talk about the space odyssey. Engineer Mstislav Los and the demobilized Red Army soldier Alexei Gusev went to the red planet right from the shed in the courtyard of house number 11 on Zhdanovskaya embankment. The prototype of the engineer was Jozef Dominicovich Los, a pilot, an aircraft designer, who was shot in 1937.
The playwright Olga Pogodina-Kuzmina, the great-granddaughter of the poet Mikhail Kuzmin, wrote the libretto. The music is Reinhold Glier, many of whose ancestors were masters of string and wind instruments. Aram Khachaturian called his teacher a “great worker”. Glier taught composition at the Moscow Conservatory, taught students of the Communist University of the Working People of the East and sponsored children from a children’s colony to sing in chorus, led an active concert activity, studied with students. Prokofiev was ironic about the fact that many of the Soviet composers he knew were “direct or grandchildren” of his pupils.
In Aelita, all the contradictions, misconceptions and grandiose dreams of people who found themselves in the autumn of 1917 by citizens of a new country are concentrated. The rarely performed music by Glier, the ambiguous novel by Alexei Tolstoy, the spectacular scenography of Ernst Heidebrecht, the futuristic fantasies of the choreographer-director Kirill Simonov found each other. The result is a witty, vibrant and very modern creation.
Elena Tanakova © Gallerix.ru
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