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Сергей Прокофьев by Sergei Prokofiev

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Сергей Прокофьев by Sergei Prokofiev Сергей Прокофьев the gambler игрокby Sergei Prokofiev r e bl m ga e h t Генеральный художественный директор Большого театра ГЕННАДИЙ РОЖДЕСТВЕНСКИЙ Большой театр благодарит компанию Land Rover за поддержку в издании данного буклета Государственный академический Большой театр России State Academic Bolshoi Theatre of Russia МИРОВАЯ ПРЕМЬЕРА WORLD PREMIйRE ПЕРВОЙ РЕДАКЦИИ ОПЕРЫ СЕРГЕЯ ПРОКОФЬЕВА PRODUCTION OF FIRST VERSION OF OPERA SERGEI PROKOFIEV the gambler Опера в 4-х действиях Opera in Four Acts Либретто Сергея Прокофьева по роману Федора Достоевского Libretto by Sergei Prokofiev after the novel Музыкальный руководитель of the same name by Dostoyevsky и дирижер-постановщик – Music Director and Conductor – Геннадий РОЖДЕСТВЕНСКИЙ Gennady ROZHDESTVENSKY Режиссер-постановщик – Producer – Aleksander TITEL Александр ТИТЕЛЬ Sets – David BOROVSKY Художник-постановщик – Давид БОРОВСКИЙ Costumes – Mariya DANILOVA Художник по костюмам – Мария ДАНИЛОВА Chief Chorus Master – Stanislav LYKOV Главный хормейстер – Lighting – Damir ISMAGILOV Станислав ЛЫКОВ Художник по свету - Дамир ИСМАГИЛОВ 1 the gambler Д. Бурлюк. Рулетка. Коллаж David Burliuk Roulette. A Collage. «...Опасность азартных игр для общества сознавалась во все времена, и поэтому прямой долг государства заключается по крайней мере в наблюдении за тем, чтобы такие игры не происходили публично, не привлекали обширного круга людей и не отражались таким образом тяжело на материальном благосостоянии массы населения. Не только богатые и обеспеченные, но и менее состоятельные и даже низшие классы населения весьма легко подпадают страсти к азартным играм и в погоне за легкой наживой приносят в жертву свои трудовые гроши». Брокгауз и Эфрон. Энциклопедический словарь. Т.1 . СПб, 1890. Федор Достоевский. 1861 Fyodor Dostoyevsky. 1861. 2 Рисунок А.Остроумовой- THE GAMBLERS Лебедевой ИГРОКИ isk imparts brilliance and intrigue to life; not dull Drawing зарт да ет жиз ни яр кость и ин т ри гу; не пре сная foreordination, but the play of fate and chance by A.Ostroumova- за дан ность, но иг ра судь бы и слу чая втор га ет- which invade the daily round, effecting a sharp Lebedeva R Ася в обы ден ность и кру то ло ма ет ее ход. break in its routine. «...Не ко то рые чер ты хо ро ше го че ло ве ка не вы- “Certain characteristics of a good man are unbear- но си мы за кар та ми; с дру гой сто ро ны, на блю дая able at cards; on the other hand, on observing a first от лич ней ше го парт не ра, иной раз ду ма ешь, что в class partner, one sometimes thinks that in real life жиз ни от не го на доб но дер жать ся по даль ше», – it would best to give him a wide berth”, Vladislav ком пе тент ность В. Хо да се ви ча быть под верг ну та Khodasevich’s competence in such matters is not open со м не нию не мо жет. to doubt. Го во рят, Ма я ков ский иг рал вдох но вен но, Тур- They say Mayakovsky was an inspired gambler, ге нев ма с тер ски, До с то ев ский от ча ян но. Кар теж- Turgenev – a skilled gambler, Dostoyevsky – a desper- ные про мыс лы Кры ло ва ос та но ви ла лишь его ate gambler. It was only Krylov’s growing fame as a вы ро с шая сла ва ли те ра то ра. Тол стой в мо ло до- man of letters that put pay to his card-playing. As a сти ув ле кал ся, поз же от вер гал, Не кра сов про иг- young man, Tolstoy gambled, though later he gave it ры вал не по з во ли тель но мно го. up, Nekrasov lost a small fortune. Иг рок трез вый – ин же нер с бес стра ст ным ра зу- The sober gambler is an engineer of cold, impas- мом. Он рас счи ты ва ет и об ду мы ва ет пред по ло- sive reason. He calculates and works out his options, же ния, сли ча ет ста ти сти че ские за ко но мер но сти, collates statistical patterns, plays mirandol, each time иг ра ет ми ран до лем, при про иг ры ше ка ж дый раз he loses he stubbornly doubles his stakes, putting упор но уд ва и ва ет став ку, упо вая на все вла стие his trust in the omnipotence of mathematics and in ма те ма ти ки и про грес сию Мар тин га ла. Пуш кин Martingale’s progression. Pushkin had books on the дер жал в сво ей би б ли о те ке кни ги по тео рии theory of probability in his library. One of Russia’s ве ро ят но сти. Один из азарт ней ших иг ро ков Рос- most passionate gamblers tried to work out a strategy сии пы тал ся вы ра бо тать стра те гию по бе ды. for winning. Шу лер, желая иг рать не на случай, а на вер- The card-sharper who, not willing to trust to luck, ное, кон ст ру и ру ет утя же ли те ли для ко с тей или wants to make sure of his winnings, loads his dice or уст рой ст ва, скло ня ю щие ша рик к нуж ной лун ке; makes a contraption that inclines the ball to the right из мыш ля ет по рош ко вые со ста вы; как го го лев- notch; he invents special powders; like Gogol’s Ikharev ский Иха рев ис тя за ет зре ние кра пом; тре ни ру ет he tortures his sight by attempting to make out the воль ты, рас ще пы, спу с ки, держ ки, на хло буч ки, (marked) patterns on the backs of playing cards; he про клад ки, атан де... trains in voltes, atendez(s), nakhlobuchki and other Иг рок-ми с тик пы та ет ся уло вить под сказ ку Вы с- forms of cheating. ших Сил во сне и в слу чай но стях жиз ни, он ищет The mystical gambler tries to detect the prompt- тай ну вер ной кар ты или став ки в каб ба ли сти ке, ings of the supernatural powers in his sleep and in сим во ли ке чи сел. Кше син ская ста ви ла на 17, the chance occurrences of life, he seeks to divine the чис ло сво ей судь бы. Ра с тинь як на 21, что оз на ча- secret of the true card or stakes in cabalism, or in the 3 the gambler Караваджо. Игроки Caravaggio. The Gamblers symbolic significance of figures. Kshesinskaya, the bal- lerina, punted on 17, her lucky number. Rastignac – on number 21 which stood for his age. The Napoleonic, theomachistic undertaking of subordinating Fate to one’s will was to have unexpected consequences: А.Бенуа. ло его воз раст. На по ле о нов ская, бо го бор че ская games of chance were to play a role in the develop- В игорном доме. Иллюстрация за тея под чи нить Рок ве ла к след ст ви ям не ожи- ment of mathematical theories. In the attempt to solve к «Пиковой дан ным: азарт ные иг ры сыг ра ли роль в раз ви тии the agonizing question, “Will the Jack land to the left?”, даме» А.С.Пушкина, ма те ма ти че ских тео рий. Все по ис ки ухищ рен- all the ingenuity of cunning minds, the art of the cabala 1910 г. но го ра зу ма, ис кус ст во каб ба лы и плу тов ст ва, and of cheating, mystical intuition are channeled by Aleksander Benois. In the Gambling House. про зре ния ми с ти ков – сти хия азар та на пра в ля- the element of chance or risk towards a common goal. Illustration to Pushkin’s ет к об щей це ли, стре мясь раз ре шить му че нье: Both man and Fate are confronted by many different «The Queen of Spades». «На ле во ля жет ли ва лет?» roads: everyone is free to chose. Here is a chance to 1910. И у че ло ве ка, и у Судь бы мно же ст во пу тей; acquire all that life has deprived you of. Or – it didn’t вы би рать во лен ка ж дый. Все, в чем жизнь от ка- come out right! – and, in a flash, the croupier has за ла, – об ре с ти. Все, что ее на пол ня ло, – со р ва- raked up your entire fortune with his shovel. The blows лось! – од ним ма хом сгре бет кру пье сво ей про- or favors of Fortune make all equal: at the gambling ныр ли вой ло пат кой. Ми лость Фор ту ны, удар ее table, the humble clerk and the tyrannical grandee may рав ня ют всех: уни жен ный клерк и вель мож ный end up quits. са мо дур у игор но го сто ла мо гут по кви тать ся. The rebellious slave seeks to bring the god of chance Вос став ший раб дер за ет обуз дать бо га Слу чая. to heel. And it is of no consequence what game is И не име ет зна че ния, ка кая ве дет ся иг ра. За вет- being played. A sleeve will ‘accidentally’ catch against a ную шаш ку под тал ки ва ет тот же ру кав, в ко то рый draught, moving it, up which, later, the card Nozdryov по с ле скольз нет сбро шен ная Ноз д ре вым кар та.
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