The Significant Role in the Artistic Design of the Ballet "Cholpon" by A. V. Arefyev

Artistic Design by A. V. Arefyev

The role of the artistic design created by the People's Artist of the USSR A. V. Arefyev is significant. It is inseparable from the music and dance. Moreover, in the production of the ballet "Cholpon," dance and design are organically fused. An example can be seen at the beginning of the act, which has an allegorical meaning. A picturesque, gnarled tree occupies a large part of the stage. However, it turns out that it has long lost its strength. The mighty tree has been uprooted by powerful storms. Its twisted roots, reminiscent of a dragon, are exposed. It seems that the tree still clings on. But this is merely the agony of a once-powerful lord of the forest. Thunder will strike, a storm will roar, and the tree will fall, defeated, just as the magical power of Aydai will perish.

The comparison of the dying, thoroughly rotten tree with the doomed kingdom of Aydai is a significant finding of the artist.

A. V. Arefyev's design enhances the impressive nature of the action. In the third scene, Nurdin and Cholpon are thrown into a stone well-prison (zindan), from which there is no escape. It is gloomy here, like in a grave. But then the young man opens his eyes, and magical visions arise before him. Ethereal maidens surround him, sometimes appearing to float upwards, elusive and beckoning the young man to follow them. All this happens in almost complete darkness. However, thanks to the use of glowing fluorescent paints, the figures of the ethereal maidens, lifted by their partners, seem to be flying through the air (the partners are in black costumes and thus blend into the dark background).

A. V. Arefyev possesses a keen sense of theatrical perspective. In the same scene, the enormous stone well of the zindan makes a strong impression. Here stand two small figures, and above them rise two protrusions, marking the upper edge of the pit. This creates a sense of depth in the well and a gloomy hopelessness.

The logical continuation of this episode is seen in the scene that follows shortly after. Before us is again the same gorge of giants at the approach to Aydai's palace. Cholpon is alone in gloomy captivity, and she must engage in battle with a monster, then with a treacherous genie. But the power of love helps her endure the unequal fight. And as a reward, the rocks part, a beam of light penetrates through them, and an invisible hand spreads a carpet that seems to have no end, as it runs off into the horizon. Cholpon steps onto this carpet, and now, like a trail, she must surely reach her beloved.

The precise details have also been found by the artist in the design of the palaces of Temir-khan and the sorceress Aydai. The first impresses with an abundance of light and boundless space. The second is shaded. Even the lamps emit diffused light, as if filtered through mist.

Above Aydai's bed rises a fountain. Its streams fall with noise, and their splashes scatter far around. But there is no tranquility here. At the same bed lies a restless monster with a brightly glowing eye. It reminds one of the dark kingdom of the magical beauty.

The artistic design created by A. V. Arefyev has become an organic component of the performance, contributing to the creation of a vivid theatrical spectacle.

U. Sarbagishev, S. Abduzhalilov, B. Alimbaev in the solo parts of the ballet "Cholpon"