The Heritage of Kyrgyz Theater
The success of the performance "Romeo and Juliet" is quite justified: it was the result of many years of searching. For the contemporary level of our theater, both a deep penetration into the dramaturgy of ballet and technical perfection of dance are characteristic.
In recent years, performances have been staged on its stage that seem to consolidate the mastery of technique and the diversity of classical dance in Kyrgyz theater. This is exemplified by productions of ballets such as "The Great Waltz," "Chopiniana," ballet miniatures ("Spanish Caprice" by N. Rimsky-Korsakov, "Francesca da Rimini" by P. I. Tchaikovsky, "Egyptian Nights" by A. Arensky), as well as the theater's latest work—a one-act ballet-novella "The Young Lady and the Hooligan" by D. Shostakovich.
The striving for narrative, as we have already noted, is an essential feature of ballet performances on the stage of Kyrgyz theater. To put it plainly, the ballet "The Great Waltz" (libretto by N. Tregubov, musical composition from the works of I. Strauss and S. Arbit) hardly claimed to have deep content. However, in taking on the production, the theater, on one hand, worked on improving the musical composition so that the famous Strauss waltzes sounded more fully than in their original form, and on the other hand, made efforts to avoid lightness. In K. Mademilova's production, the focus is not so much on the love intrigue as on Strauss himself—a musician, a person of great soul. The director seeks to show the composer's creativity in the dynamics of action. Whether Strauss is sitting at the piano or walking along the embankment, the sounds that arise within him are transformed into movements, and we seem to be present at the mystery of the birth of music.
The spiritual image of the dancer Fanny was created by S. Filimonova. The performers in the role of Henrietta, Ch. Jamanova and A. Khandranova, managed to express depth and sincerity of feelings.
A significant place in the performance is given to the corps de ballet dances. In this case, it acts not only as a background intended to illustrate the action. The corps de ballet is presented here with independent dances—bright, imaginative, and inventive. Examples include the mannequin dance and the "Blue Danube" waltz from the first act, the polka from the second act, and others.
Sometimes the director resorts to quite justified and effective theatrical effects. An example can be found in the episode of the fourth scene: Strauss (played by Suslov) sits at the piano. Inspired moments and the torments of creativity. The director found a way to transfer psychological nuances into the realm of visual perception: to the sounds of the emerging music, the reflection of a moving sheet of music with the captured melody seems to spill onto the stage in diffused light. A striking technique!
In working on the ballet "The Great Waltz," it would have been easy to slide into empty entertainment. But that did not happen.
The performance acquired traits of festivity, poetic quality, and at the same time expressed the depth of human feelings. And this is the best testimony to the realistic foundations of Kyrgyz theater, which is alien to thoughtless, ideologically void art.
One of the theater's latest works is a ballet orchestrated by A. Glazunov from the works of Frédéric Chopin, titled "Chopiniana." Its choreography, developed by M. Fokine, was adapted for the Kyrgyz stage by N. Avaliani. The very reference to this ballet is significant in that the Kyrgyz ballet theater has proven the high level of dance culture that is so necessary for embodying "Chopiniana" on stage.
"Chopiniana" is a ballet without a pronounced dynamic action. Moreover, its content is conditional. However, without descending into plotlessness, this production is permeated with feelings of human happiness. In this lies the modern resonance of the old ballet. Already in the introductory part—the "Polonaise" performed by B. Alimbaev—we feel the image of the composer himself with his inspired dreams. These dreams find their embodiment in all subsequent actions (in the nocturne, mazurka, prelude, great waltz).
As for the form of the performance, the ballet company demonstrated technique, achieving sculptural precision of poses and harmonious lines in ensemble and solo episodes. Mastery in "Chopiniana" was displayed by both the soloists and the corps de ballet, and the good dancing of the corps de ballet is the best proof of its increased culture. Here is how the famous Soviet ballerina Viktorina Krieger responded to this production: "I watched with admiration how the young dancers performed this wonderful choreographic work with such nobility, taste, and sensitive penetration into the music," she wrote after watching "Chopiniana" on the stage of the Kremlin Palace of Congresses during the Kyrgyz Opera and Ballet Theater's tour in Moscow.
Among the latest significant productions of the theater is the choreographic novella by D. Shostakovich "The Young Lady and the Hooligan." It consists of seven small episodes, but what dynamics of action, contrast, and completeness of characters, expressiveness of the dance's design! Despite the modest size of this work, it stands out for its novelty and freshness.
The young choreographer S. Abdudjalilov managed to infuse the production with youth and enthusiasm; it is moving. The performance showcased the filigree quality and sharp character that testify to the unlimited possibilities of Kyrgyz ballet and its high level of professionalism. This level has been achieved through relentless work on mastering classical and contemporary repertoire, work that has established the theater on the foundations of realism.
Undoubtedly, the productions mentioned above have provided Kyrgyz ballet with a magnificent choreographic school, without which it would have been impossible to reach the contemporary level of maturity and mastery. All the best that characterizes classical ballet has become the heritage of Kyrgyz theater, and at the level of the most advanced achievements of theatrical culture.
The work on classical and contemporary Soviet ballet proceeded simultaneously with creative searches for creating a national repertoire. On this path, there were not only successes but also failures; however, they did not weaken the will—one could even say that each failure prompted a more persistent search for new, more perfect paths.
Thus, the image of the Kyrgyz ballet theater was formed, and thus a galaxy of outstanding masters of realistic ballet art was born. The names of Jumakalyy Arsygulova, Bibisara Beishenaliev, Nurdin Tugelov, Kulbyubyu Mademilova, Uran Sarbagishev, Reyna Chokoeva, Cholpon Jamanova, Boris Suslov, Berik Alimbaev, and many others are associated with the entire history of this relatively young theater, just as the emergence of new ballet stars is linked to each stage of its growth.
"Romeo and Juliet" in the production of choreographer N. Tugelov