The Transition of the Kyrgyz Ballet Theater from Classical to Contemporary Repertoire

Difficulties in the Growth of a Young Theater

In 1948, the theater thoughtfully prepared for the staging of B. Asafiev's ballet "The Fountain of Bakhchisarai," and although it cannot be called a landmark work, the theater demonstrated a desire to improve the technique of classical dance.

A moment came in the life of the Kyrgyz Ballet Theater when the accumulated experience allowed them to approach the work on such outstanding masterpieces of ballet classics as the ballets of P. I. Tchaikovsky.

The first of the great composer's ballets staged was "Swan Lake" (1949). As in previous performances, the theater did not forget its main task of relentless creative perfection. Here is how the choreographer, Honored Artist of the RSFSR L. A. Zhukov, formulated the goal of the new production: "By dancing and performing this show, we elevate the growth of our ballet youth."

The main roles in the ballet were entrusted to K. Mademilova and M. Mikhno (Odette-Odile), N. Tugelov and S. Kabekov (Siegfried), L. Belanovich (the noble princess), and Sh. Gafarov (the evil genius).

In a review of the performance, it was noted that Odette-Mademilova danced "with captivating lyricism and created an interesting, cohesive image." The corps de ballet's dances were graceful, especially the general waltz and pas de trois in the first act, the swan waltz, and the coda of the second act, as well as the character dances of the third act. In the latter, A. Nagel (Spanish dance), M. Bobkova (Neapolitan), S. Djokobaeva, and Yu. Kuldarova (waltz) stood out.

This, of course, did not mean that the performance was without flaws. Critics noted a certain passivity in the performance of the role of Siegfried by N. Tugelov, and the image of the evil genius was not fully revealed by Sh. Gafarov, etc. Nevertheless, the production was characterized by more than these particulars. It was rightly noted that "for the artists, the preparation for the performance was a good school. Their technical mastery strengthened and became more refined compared to previous ballets." This was the main significance of the staging of "Swan Lake" in the Kyrgyz theater. Undoubtedly, the theater took another step forward on the path to maturity.

Until then, the repertoire of the ballet theater was predominantly based on classics; there was a noticeable absence of modern ballets in the repertoire. In this regard, in 1949, the ballet "Red Poppy" by R. Glière was staged (choreographer L. A. Zhukov). The new ballet attracted attention due to its deeply life-affirming foundation and the real world of its heroes.

However, the 1949 performance lacked the courageous, heroic essence that permeated R. Glière's ballet.

Work on it continued, and in 1952, "Red Poppy" was shown in a new production by I. Kovtunov.

The choreographer, with the help of the ensemble, managed to infuse the action with revolutionary pathos, "embodying a vivid representation of folk dance on stage." Participation in the work on the ballet "Red Poppy" provided the artists with wide opportunities to express their creative individuality, showcase their enhanced technique, and reveal the ideological content of their roles.

The staging of the ballet "Red Poppy" marked a significant achievement in Soviet ballet art. The fact that the Kyrgyz theater managed to bring it to life on its stage speaks of a persistent desire to grasp the most advanced and contemporary.

Success in working on R. Glière's ballet further strengthened the ensemble's determination to continue working on modern performances of Russian and national ballet dramaturgy.

After "Red Poppy," the theater turned to another contemporary ballet "Under the Sky of Italy" by V. Yurovsky (staging by I. Kovtunov). The noble theme of the struggle of the Italian people against American imperialism seemed to promise an acute, deeply moving performance. However, the theme alone, without sufficiently developed choreographic material, could not ensure the success of the performance. And there was clearly a lack of choreography here; at times, even a sense of staticness was felt. And, of course, the reviewer was right in noting that "prosaicness is intolerable on the ballet stage when ballet characters behave on stage as in ordinary drama."

The performance, of course, featured excellently performed roles (Lucia — B. Beishenaliev, Bianca — R. Samgina, Bob — M. Esembaev), successful mass scenes involving Ch. Djamanova, Z. Tanina, Yu. Kuldarova, E. Voievodkin, B. Suslov. The thoughtful interpretation of the score by conductor R. Mironovich should also be noted as a merit of the performance. However, in this performance, I. Kovtunov's inability to create unity with a "continuous and thematically developed dance line" was evident. This led to the production acquiring traits of fragmentariness, the mise-en-scènes were not organically connected, and the entire performance resembled a divertissement.

The next period of the theater's work was marked by the productions of significant performances such as "Esmeralda" by C. Puni, R. Glière, S. Vasilenko (1955) and "Sleeping Beauty" by P. I. Tchaikovsky (1956).

Much in the staging of "Sleeping Beauty" (choreographer Honored Artist of the Georgian SSR V. Litvinenko) deserves praise.

The reviewer noted that "in many scenes and episodes, one can see the choreographer's desire to penetrate the author's intent, to show that real human relationships are hidden in the fairy-tale images and situations." This manifested the most fruitful line of realism in the life of the theater, which determined the success of a particular ballet or individual role. In this case, the search for real human relationships in the fairy-tale plot contributed to the successful performance of the roles of Princess Aurora by B. Beishenaliev, Fairy of the Lilies by S. Djokobaeva, and Fairy Carabosse by Z. Tanina. In the episodic solo dances, U. Sarbagishev, Ch. Djamanova, A. Karasev, L. Bochkowskaya, A. Khandranova, and sisters Reina and Zamira Chokoieva stood out.

However, it cannot be said that the production fully revealed the creative potential of the ensemble. The weakness of the directorial plan manifested itself both in the performance of some roles and in individual scenes, particularly mass scenes. The line of Desiree was not clearly outlined in the performance. The performer of the role — B. Suslov resembled less a noble, majestic knight and more, as noted in the press, a traditional image of a "hero-lover." There were quite a few such miscalculations by the director in the performance. Some dances (for example, those of the good fairies in the prologue) appeared as an insert and divertissement number. In the mass dances, there was a lack of coordination, ensemble clarity, and a sense of relaxation and fussiness was felt.

We point all this out to emphasize the difficulties in the growth of a young theater and the inequality of performances. And at the same time — its persistent striving for the heights of mastery.

The theater experienced a great creative upsurge while working on the classical ballet A. Adam's "Giselle" (1959), staged by Kulybubu Mademilova, a ballerina who grew up in the theater and later received excellent training as a choreographer at Moscow's GITIS under the guidance of R. V. Zakharov. "Giselle" provides ample scope for both the choreographer and the actors to explore the diversity of variations in classical dance. (Below, through the analysis of the title role performed by Reina Chokoieva, the reader will be able to see how interestingly and masterfully the choreographer's concept was embodied). The work of the choreographer and performers was carried out in close collaboration. In "Giselle" — one of the most popular performances of the Kyrgyz theater — the further technical growth of the masters of Kyrgyz ballet was manifested, and from these positions, the performance can be considered a landmark work.

Ballet