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Home , El amor brujo, La Argentina (dancer), Manuel de Falla, Ritual Fire Dance

ISSN 1992-5514 (Print) / 2618-0987 (Online) / сс. (pp.) 89–96 UDC 792.82 DOI: 10.31500/1992-5514.14.2018.151107

Serhiy Afanesiev Сергій Афанасьєв docent of the Department of Choreography of the Kyiv доцент кафедри хореографічного мистецтва Київського National University of Culture and Arts національного університету культури і мистецтв тел./ tel: +380675075694 e-mail: [email protected] orcid.org/0000-0003-0229-8536

Compositions by , Staged for Ballet in Ukraine Творчість Мануеля де Фальї на балетній сцені України

Abstract. The ballet pieces of Manuel de Falla are chacterized in the paper due to their historical, style and genre manifestations. Ballet stagings of Manuel de Falla at the treatre stages of Europe are analyzed, ’s and choreographers’ plans were deter- mined, starting with the classical interpretation by . An outline of stage performances on Manuel de Falla’s music on the Ukrainian stages has been made. Directing and choreographical techniques of Ukrainian choreographers, particularly Aniko Rekhviashvili’s, have been revealed. Keywords: music by Manuel de Falla, , stagings by Aniko Rekhviashvili, ballet , ballet The Three-Cornered Hat.

Problem statement. Manuel de Falla, an outstanding of the author’s concept and its interpretation by Ukrainian Spanish composer of the 20th century, who followed the aes- choreographer allows to characterize composer’s approach thetical principles of (the latter was the mov- to the musical theatre and contemporary trends in interpre- ing spirit of the Renacimiento, the movement, aimed to re- tation of Manuel de Falla’s musical pieces in contemporary vive Spanish national musical culture), often turned to op- situation. era and ballet in his creative work. Musical theatre becomes Analysis of recent research works and publications. a creative laboratory for the composer, where his musical lan- Manuel de Falla’s creativity was best characterized in the re- guage powerfully forms. Vivid and psychologically true im- search works by: I. Martynov, Yu. Krein, A. Alekseev. Art re- ages, picturesque landscape sketches that reveal the stylistic searchers also often examined the musical works of the com- image of the composer, full of intonations of Andalusian cul- poser (O. Vystavkina, I. Kriazheva, M. Yakushevich), includ- ture, may be traced as early as Manuel de Falla’s first operaLa ing his vocal cycles (Seven Spanish Folksongs), instrumental vida breve (The Brief Life, 1905) that was based on the dra- music (Atlantis), music, etc. Choreographic poten- matic plot from the folklife. The music of Manuel de Falla tial of Manuel de Falla’s works has been practically ignored instigates a researcher to unveil the plastic equivalent of his by the researchers. L. Massine, E. Surits, M. Kurinnaya, creative ideas. Often on the edge of being programmatic, R. Kosacheva authored isolated publications on the subject. compositions of the Spanish composer are full of theatri- Object of the research is Manuel de Falla’s works cal features that formed a separate rend—plastic interpreta- for musical theatre. Subject of the reseatch is interpretation tion of non-ballet music. Among the founders of this trend of the legacy of Manuel de Falla at Ukrainian ballet stage. in choreographic art were the most famous performers-cho- Objectives of the study: reographers: Michael Fokine, Alexander Gorsky, Vaslav – characterize ballet pieces of Manuel de Falla due Nijinsky and Bronislava Nijinska, Leonide Massine, George to their historical, style and genre manifestations, Balanchine, Kasian Goleizovsky, Fyodor Lopukhov. – define intonational nature of the Spanish compos- Music of the brilliant Spanish composer has been al- er’s creativity, most nonpresent at the and ballet stages of Ukraine – analyze ballet stagings of Manuel de Falla at the treatre in the 20th century. The first one to turn to the composi- stages of Europe in order to determine composer’s and cho- tions by Manuel de Falla was Ukrainian choreographer Aniko reographer’s plans, Rekhviashvili, who staged one-act ballets Nights in the Gardens – characterize the performances on Manuel de Falla’s of and The Three-Cornered Hat for the Taras Shevchen­ music for Ukrainian stage as a phenomenon within the gen- ko National Opera and Ballet Theatre of Ukraine. Analysis eral course of European ballet,

Художня культура. Актуальні проблеми. Вип. 14. 2018 • 89 • Artistic Culture. Topical issues. Vol. 14. 2018 Compositions by Manuel de Falla, Staged for Ballet in Ukraine Serhiy AFANESIEV

– actualize characteristic stage directing and choreo- of orchestration, impressionist coloring, full of folk melodics graphical devices of Aniko Rekhviashvili, used for reviving and rythms. In this piece the composer “…not only achieves the pieces by the Spanish composer. even greater skill in mastering folk melodic-intonation sours- Presentation of the main research material. Diverse es, but per se concludes this intonational sphere for himself composing legacy of Manuel de Falla (, ballets, orches- <…> and then turns to cultivating other intonational sourc- tra and chamber scores, stylings of folk songs, etc.) is rhyth- es (The Three-Cornered Hat ballet), reaching neo-classisicm, mically rich, full of vivid colors and timbres, as well as of me- that manifestates itself in Manuel de Falla’s works through lodic richness. It often includes allusions to the folk tunes that the national-paternalistic traits” [14, p. 232]. were used with great stylistic skill. Impressionistic elements Another feature of Manuel de Falla’s ballet scores (bel- often prevail within the harmony and texture of Manuel de lets El amor brujo and The Three-Cornered Hat) is the usage Falla’s works, however, they do not blur the form integrity of vocal parties. In El amor brujo such innovation is justified of his oeuvre. As I. Martynov notes, each Falla’s pice, “…is with creation of emotional intensity, linked to Andalusin marked with the mastery of writing and perfection of stylistic folk tradition (vocals and dance accompanied manner; he always kept up with his time and reacted on ma- by guitar), meanwhile in The Three-Cornered Hat the vocal ny phenomena of European music, incorporating innovations party in the introduction is connected with general dramatic into the Spanish music” [14, p. 202]. composition of this piece. It is well-know that Manuel de Falla’s residence in 1907–1914, during painted the stage curtain for the show upon Diaghilev’s re- which he productively communicated with noted French quest. Therefore, Manuel de Falla introduces the vocal party and and learned in order to provide time for the viewer to carefully examine French, significantly influenced his artistic and expressive the masterpiece of the renowned painter. principles. Consequently, Manuel de Falla’s works synthesise Turning back to the features of staging of the one-act achievements of European music with pronounced Spanish ballet El amor brujo (1915), it should be pointed out that national music traditions. This quality could be traced overall dramatic integrity and deep poetics of music are its in the ballet and symphonic compositions by the master. immanent traits. It is this deep poetics that urges conduc- For instance, in the one-act “ballet pantomímico” with vocal tors for concert performance of this piece by Manuel de Falla part El amor brujo (1915), depicting scenes from ’ ev- and proves its independent artistic value. eryday life and in the Nights in the Gardens of Spain for piano The ballet was first staged in Spain in 1915 under the ti- and (1909–1915) the composer combines traits tle El Amor Brujo. Gitanería en un acto y dos cuadros (Love, of the French impressionism and Spanish background. the magician. A gypsy-themed piece in one act and two scenes), Further development of the composer’s theatre likings words by Spanish dramatist Gregorio Martínez Sierra. could be traced after meeting Sergei Diaghilev that eventual- , who commissioned the piece, performed ly resulted in creation of The Three-Cornered Hat ballet. Such in its first staging herself, along with her brother Victor Rojas outstanding artists as choreographer Leonide Massine, con- and singer Maria de Albaicin. At the beginning the perfor- ductor , and painter Pablo Picassso were in- mance was realized as presenting folk pieces from Andalusian volved in creating of sets, comstumes and staging. Next time dance culture. de Falla’s addresses theatre genres in his original musical-the- As for the choreographic realization of the Andalusian atre piece El retablo de maese Pedro (Master Peter’s Puppet theme by the means of choreography, the musical canvas Show) based on an episode from Don Quixote by Miguel de of the ballet includes rythms of such folk dances (flamen- Cervantes. According to many musicologists, this opera suc- co forms), as farruca in the first song, rythmsof garroting cessfully combines elements of a ballet, ballet-pantomime and farruca in the Dance of Terror, samba and tientos mel- and a puppet show against the background of the Castilian odies—in the , and bulerías—in the Song folklore, abundantly used by the composer. of the Foolish Fire. The ending of El Amor Brujo is built up- As it was previously emphasized, Manuel de Falla was on slow soleares and siguiriyas. Generally, its choreogra- greatly interested in musical theatre. His first theatre work phy is based on the Andalusian folklore with incorporated that gained recognition was the two-act opera flamenco elements that are aimed to portray everyday life (The Brief Life) (1913) that received the First award from of four gypsies—the main characters of the show. For in- the Royal Academy of Fine Arts. It was back in that opera stance, to describe the character of the principal heroine— when the composer revealed his talent and skill in using tim- young gypsy girl Candelas—complex and manifold percus- bral palette. Another key feature of this composition is fre- sive taps along the interchange of heel and demi-pointe are quent use of flamencoand Andalusian folklore. This specifics used. One of the devices of this act are the moves of the danc- of the author’s expression is often labeled “a symphonical fla- er’s hands that are basically realized according to certain menco” by the scholars. As I. Martynov mentiones, this opera laws, positions and principles of flamenco dance. Such con- “…stands above the others due to the concept scale that goes text allows plot collisions, full of emotional richness, intensi- way over the limits of the , traditional to the Spanish ty, passion, drama, sensuality, and expression, to be realized. theatre” [14, p. 208] The dances of the main male characters (Ghost, young gyp- Spanish folklore also permeats his first balletEl amor sy Carmelo) are distinctive of wide, flowing moves, vividly brujo that attracts attention with its melodic richness, mastery plastic. Moreover, it is characteristic that their hands as if cut

Художня культура. Актуальні проблеми. Вип. 14. 2018 • 90 • Artistic Culture. Topical issues. Vol. 14. 2018 Compositions by Manuel de Falla, Staged for Ballet in Ukraine Serhiy AFANESIEV the air, like a strikes of a sword. In addition, typical moves Falla’s music and individual knowledge of the flamenco ar- on the knees are used as well as pirouette turns and so called tistic language by each of the choreographers. For instance, “the stance of the heron”. aspiration for aesthetics of contemporary ballet is shar- Thanks to the dancer La (Antonia Mercé), acteristic for the Pilar López interpretation. Mariemma, who was first to combine principles of the classical cho- on the contrary, in her staging sought for stylization, driven reography and Spanish folk dance in El Amor Brujo, later by the classical principles of the Andalusian dance. Antonio’s on the folk dances of the first staging were gradually turning interpretation, who worked on the staging along with Rosita into a classical ballet. Her choreography was based on a syn- Segovia, Carmen Rojas and Paco Ruiz, strove to provide thesis of Spanish and European classical dances. Main idea the performance with a strong basis of dramatic realism, of that staging—antithesis of life and death—was con- of which Manuel de Falla’s music is full of. sidered through the realization of the concepts of roman- Film adaptations of Manuel de Falla’s ballet El Amor tic era ballet. What contributes to that is primarily the plot Brujo are worth separate mentioning. Among the most suc- turmoil, as events set off in an air of sorcery and supersti- cessful, according to the critics, is the adaptation by Antonio tions of Andalusian gypsies. Structure of the ballet is based Román. The film director, relyingon the advices of the fla- on alternation of separate dances, bound with short coher- menco star Pastora Imperio, created a full-length film, cine- sive episodes. Some of them are very short and rather play matizing Manuel de Falla’s ballet in choreographic interpre- the role of interludes, marking the turning points in the plot tation of Juan Magriñá. In this adaptation Candelas is por- development. At the same time, extended dance episodes trayed by Ana Esmeralda and Carmelo—by Manolo Vargas. are used that realize general image and emotional narrative Another film, loosely based on El Amor Brujo, should be men- of the ballet. tioned in this context. The success of the Juan Magriñá’s in- Among the most explicit dances of the performance terpretation urged another Spanish director Francisco Rovira is the Dance of Horror—duet pair dance of Candelas Beleta to further develop the theme of Andalusian dance and the Ghost. It is rooted into gypsy dance of the tarantula culture on screen. Francisco Rovira creates a film-reflection, with its typical fierce leaps, turns, minor and fast leg moves. where main characters witness all the dramatic peripeteias The dance is pshychologically and emotionally intense, to the accompaniement of the music by Manuel de Falla. unveiling the force of evil fate that threatens main characters. Back to the conventionally classical choreographic in- One of the key moments for the permormance dramatic com- terpretations of the Manuel de Falla’s ballet El Amor Brujo, position is the Ritual Dance of Fire—big dance piece, featur- comes to mind its contemporary staging (Matador, 2001) ing a group of dancers along with female soloist, who carry by the Russian choreographer Mikhail Lavrovsky. In his in- out a ritual around the fire, accompanying it with accurate terviews, Lavrovsky repeatedly stressed that he intended and synchronized moves. The party of the principle heroine not to depict Spain and flamenco naturalistically, but to cre- includes grand jetes and various flexions of a torso. Generally, ate a ballet about the eternal struggle of passions, to show dynamic intensification is accompanied with rhythmic a gypsy’s camp in style, typical to the Russian ballet show. clapping-strikes and tapping of the footwork (zapateado) The main character of his performance is the Matador-killer by the corps de ballet dancers that contributes to the over- as one of the symbos of Spain, the land of corrida. all image and drama development of the show. It should be In Manuel de Falla’s The Three-Cornered Hat1 (1919) added that in A. Mercé’s choreography the pantomime epi- some features of the classicism could be traced, that are di- sodes—At the Gypsies, The Apparition, The Magic Circle— rectly linked to the national musical and dance tradition in de were realized as the contrasting towards further dance move- Falla’s interpretation. They could be clearly seen in other com- ments of the show. positions of the artist, including for , As it was previously mentioned, El Amor Brujo music is , , , and (1923–1926), dedicat- characteristic of romantic elevation, rich timbral palette, re- ed to . As is well known, the The Three- alized due to the orchestra skill of Manuel de Falla. The lat- Cornered Hat ballet emerged as a result of de Falla’s cooper- ter trait is exceptionally vivid at the dance episode The Dance ation with Sergei Diaghilev, who was the star of European of the Game of Love that provides the choreographer a space stage at the time. Other prominent figures of the European for fulfilling deep and convincing interpretations. The bel- ballet who contributed to the creation of the show were cho- let has numerous scene versions and few film adaptations. reographer Leonide Massine, conductor Ernest Ansermet During the 20th century a number of world-renowned cho- and painter Pablo Picasso. Generally, in the one-act ballet reographers (including Serge Lifar, Mai Murdmaa, Mikhail The Three-Cornered Hat by Manuel de Falla for the first time Lavrovsky, etc.) turned to this piece, creating their own un- the Spanish character in its nationwide sense has been in- forgettable interpretations of the masterpiece by Manuel de carnated that, in turn, placed Spanish music alongside oth- Falla. ers Western European schools of the 20th century and made It is known that leading Spanish choreographers (Pilar it highly popular. What immediately preceeded the creation López, Antonio and Mariemma) included El Amor Brujo into of The Three-Cornered Hat was the ballet-farce El Corregidor the repertoire of their dance companies, interpreted the piece, y la Molinera by Gregorio Martínez Sierra, the Barcelona enriching it with the Spanish folk dances. However, all these stagings is marked with vivid interpretation of Manuel de 1 Premiere on 22 July 1919, Theatre, London.

Художня культура. Актуальні проблеми. Вип. 14. 2018 • 91 • Artistic Culture. Topical issues. Vol. 14. 2018 Compositions by Manuel de Falla, Staged for Ballet in Ukraine Serhiy AFANESIEV show of which Manuel de Falla invited Leonide Massine Ukrainian choreographers almost completely ignored and Sergei Diaghilev to attend. Manuel de Falla wrote the mu- the Spanish composer’s ballet legacy during the 20th century. sic for that piece, based on Juan Ruiz Alarcon’s 19th-century If the leading ballet centers in the post-war era staged Manuel novel El Sombrero de tres picos. According to Massine’s rec- de Falla’s music in numerous, sometimes most extreme in- ollections, he and Diaghilev were impressed with the mu- terpretations, the Ukrainian choreographers turned to his sic of the performance, full of pulsing rythms, forged with compositions only in 2016–2018. In 2018 Serhiy Nayenko, the power and passion of Spanish folk dances. By Diaghilev’s chief choreographer of the Lviv National Academic Theatre instructions, de Falla added few characteristic musical move- of Opera and Ballet, staged El Amor Brujo. It is rather tradi- ments (Aragonese jota and Farucca) and re-scored it for a larg- tional interpretation of the established approaches and prin- er orchestra. ciples of scenography that has a lot in common with the first In general, stylistically The Three-Cornered Hat mu- European stagings of the 1920s. For instance, Nayenko pre- sic, close to French impressionists, is distinguished with served the plot of El Amor Brujo in its original version, all its explicit national flavor and rich tibmral orchestration. the plot turns are interpreted without changes. The dance Eclamations, “Ole! Ole!” add the folk traits to the ballet, party is constructed, based on, primarily, classical dance with which is a special timbal-expressive feature of this piece, i.e.: the elements of generalized Spanish dance, inclusions of pan- rhythmical castanets clicks, tapping and clapping as a distinc- tomime and typical everyday gestures. In Nayenko’s interpre- tive echo of Spanish dancing energy. tation, the vocal parties of El Amor Brujo are enriched with As is known, in Leonide Massine’s interpretation plastic solo and corps de ballet dances. Generally, the show the public was particularly interested in Tamara Karsavina’s is characteristic of traditional, established approach that has participation. Her partners were the choreographer himself formed in the ballet practice during the 20th century. Among (Miller) and Leon Woizikowsky (Corregidor). From the rec- the drawbacks is the fact that flavor of Spanish sound-tim- ollections of the witnesses of the show it becomes evident bral and plastic reality is conveyed with certain amorphism that The Three-Cornered Hat in Diaghilev–Massine inter- and with uncomplicated classical movements. Overall, this pretation was realized as an attempt of synthesis of Spanish staging (particularly the solo and corps de ballet dances) folk dance and techniques of the classical dance, howev- lacks active, diverse and intence emotional palette. er, the staging turned into the extravaganza of the Spanish The Taras Shevchenko National Opera and Ballet folklife, inspired by the spirit and everyday life or Spanish Theatre of Ukraine that in 2016 staged The Three-Cornered folk. This ballet piece, due to Leonide Massine’s staging, Hat and Noches en los jardines de España (Nights in the Gardens has had a prolonged life on stage with Massine’s interpre- of Spain) based these performances on radically different bal- tation being the principal mainstream choreographic inter- let principles. Thanks to the persistent and intensive work pretation in Europe and US during the whole 20th centu- of the choreographer Aniko Rekhviashvili the ballet night ry1. For the first time Massine’s interpretation was presented Nights in the Gardens of Spain is built according to the princi- in Russia on April 14, 2005 in the Bolshoi Theatre, almost ple of narration of the Spanish novellas, not linked with each 90 years after its London premiere. The Russians, typically, other directly. The general title Nights in the Gardens of Spain adopted almost religious approach in recreating the author’s was chosen by the choreographer for the ballet night, featur- set design concept, performing such recreation in great detail, ing two one-act ballets on the music by Manuel de Falla that especially decorations by Pablo Picasso. As the critics have were performed during one night at the stage of the Kyiv stressed, “…Creating The Three-Cornered Hat, Massine be- theatre. Still, the director’s concept enabled musical and plot came sure once and for all that a ballet performance could be co-existance of the two pieces by Manuel de Falla—instru- built on the basis of theatre devices and choreographic vocab- mental Nights in the Gardens of Spain and famous ballet ulary, different from the ones, traditional for ballet. Therefore, The Three-Cornered Hat. numerous of his further stagings would be grounded in this According to the choreographer’s view, combination principle. The material for these stagings were the principles of the two contrasting ballet pieces by Manuel de Falla, pri- of сommedia dell’arte, jazz, Viennese waltz, matelote” [19]. marily, contributes to deeper understanding of the author’s For the making of the Moscow premiere Massine’s son, Lorca musical plan. For instance, the first movement of the Nights Massine was invited, as he stages his father’s creations all over in the Gardens of Spain2 (as Manuel de Falla defined its the world. Lorca Massine often confesses that ballet dancers genre, “Symphonic impressions for piano and orchestra”) have difficulties adopting his father’s dance manner from time is written as a tryptich, each part constructed within the au- to time, as “…it is not transmitted through paper, only I am thor’s concept. Overall, the first In( the Generalife), second capable to explain it, and also my assistant” [20]. (A Distant Dance) and third (In the Gardens of the Sierra

1 US premiere—on March 9, 1934, New York, performed 2 Principal parts performed by Anastasiia Shevchenko (Aіalges, by the Balet Russe de Monte Carlo. In 1943 this ballet was revived beautiful nymph), Stanislav Olshanskyi (Boosgosu, defender by Leonide Massine for Ballet Theatre and for the Sadler’s Wells bal- of the Asturian forest) and Jan Vana (Nuber, lord of thunder and light- let in 1947. In 1960 the choreographer’s daughter Tatiana Massine ning). Fortepiano solo by Kateryna Diadiura. Conductor Mykola and Yurek Lazowski staged The Three-Cornered Hat for the City Center Diadiura, set design by Maria Levytska, costume design by Gabriela Joffrey Ballet. Salaverri Solana.

Художня культура. Актуальні проблеми. Вип. 14. 2018 • 92 • Artistic Culture. Topical issues. Vol. 14. 2018 Compositions by Manuel de Falla, Staged for Ballet in Ukraine Serhiy AFANESIEV de Córdoba) parts highlight romantic and impressionistic in Levytska’s interpretation and culmination points in Goya feature of the Spanish composer’s methods. Due to Aniko colors are realized in the dancers’ attire. Rekhviashvili’s utilization of ancient Spanish myths, legends Choreographic devices, used by the director, are used and tales, it became possible to visualize the idea of non-ver- with attention to individual plasticity and professional po- bal author’s concept (“Symphonic impressions”). Generally, tential of the artists. For example, to achieve a convincing prevailing of lyrical, romantic basis is typical for this ballet, portrayal of the Miller’s character, the tiniest details were in- which is facilitated by the melodical and theme component, volved: arm bendings, fingerwork, tapping etc. The culmi- full of dreamy lyricism, astringent accords and energetic nation point of Mykyta Sukhorukov’s choreographic skill rythms. The dance—fantasy-like and dramatic development was farucca, Spanish folk dance, combined with high jumps of the principle characters—turns around mythical search and turns, complicated to perform from the choreograph- of pleasure and love. Ballet innovation is also in including ic point of view. His attention was focused on recreating the piano party into the general drama canvas of the show. and conveying the exalted state of duende, which is referred The constant presence of the piano soloist at the stage, ac- by the Spaniards as the soul, conveyed through the inner pow- cording to Aniko Rekhviashvili’s plan, as if causes emer- er of the dancer. As the choreographer stresses, “…By stag- gence of overall ballet performance as a some kind of pro- ing these two musical pieces during one night, we obtained jection of the image and sense universe of music into the im- a choreographic story of love. Yet, love is diverse—heaven- age and expressive potential of ballet. It should be stressed ly and earthy” [21]. that such approach it typical for the ballet art of the late 20th The individual choreographic method of Aniko and 21st centuries, as the ballet repertoire is enormously en- Rekhviashvili, clearly traced in the analyzed shows on Manuel riched as a result of such innovations, broadening the range de Falla’s music, is rooted in both traditional and innova- of its expressive devices and plot turns. tional choreographic principles. One of the style dominants The second ballet of the ballet night, The Three- of Ukrainian choreographer’s method is attention to dance Cornered Hat1 is a kind of fantasy on the folk and historical imagery within the harmonious synthesis of realistic drama subjects. The dynamic picture of Spanish provincial folklife and romanticism. Aniko Rekhviashvili is extremely attentive is based on the popular novel by Juan Ruiz Alarcon. As it to the smallest details. According to her belief, it is the de- was mentioned above, this ballet piece is often performed tails that allow to create individual characteristic attractive- at the world ballet scenes in Massine’s interpretation, still, ness (recognizability) of a certain hero or heroine. Aniko Aniko Rekhviashvili managed to turn to the original source Rekhviashvili has a delicate perception of musical stylis- and present completely new interpretation. Ukrainian chore- tics. Musical drama development becomes for her the basis ographer worked out her own choreographic concept, based for creating the choreographic concept of the composition. on sharpening ironic, humor principle of the plot of the origi- In this regard M. Kurinna notes that her “…principle of cre- nal literary artifact. Rekhviashvili focuses her attention on de- ative thinking unifies the skill to write original choreographic picting features of Spanish folk dances: rythms of flamen- text with ability to analyze stylistic peculiarities of the original co, fandango, jota, bolero, sevillanas, farucca. Besides that, musical piece, to deeply feel the composer’s idea” [11, p. 22]. Aniko Rekhviashvili intertwines the original concept with Aniko Rekhviashvili’s signature choreographic features her own characters, who significantly alter the plot of the no- also include the search for new plastic movements in solo, du- vella (Gabriella, Dandy). ets and group dances. The main field of experiments for her is Scenography by Maria Levytska for the The Three- the language of dance, so called choreographic scores, based Cornered Hat helped to produce an integral dramatic concept on high academicism with free plastic variations, on the com- of the ballet. In the painted images on stage the quthentic ru- plex and characteristic plastic language owing to duet lifts, el- ral landscapes, wallowing in flowers, decorated with tanger- ements of male classical dance individual techniques, as well ine branches, stylized to the Pablo Picasso painting manner as masterly turns, performed by both male and female danc- (who, by chance, was the first set designer of this ballet) are ers. Besides that, Aniko Rekhviashvili often operates with unified. Costumes of the soloists and corps de ballet were the polyphonic principle in writing the choreographic score created by the famous Spanish designer Gabriela Salaverri as a unit of general compositional-choreographic structure. Solana. Her profound experience in creating costumes As M. Kurinna emphasizes, “…The choreographer avoids il- for many opera performances in Spain, such as Rigoletto, Aida, lustrativeness in the plot and image basis; act develops in a la- Così fan tutte, La Favorita, The Abduction from the Seraglio, conic manner, her characters are emotionally dynamic, they Elektra, Noye’s Fludde, The Barber of Seville, Norma, La evolve, demonstrating a wide palette of nuances of inner life; Traviata, etc. aided the viewers to understand authenticity each stage image is backed wuth the logical plot motivations of Spanish national costume. According to the artist, she tried and well-considered action within the story” [11, p. 23]. to incorporate some features of “Goya style” back at the stage Logic of Aniko Rekhviashvili’s interpretations may be of sketches to intensify the contrast: natural Picasso coloring followed primarily in the structure of classical dance phras- es, in the duets and group scenes of the show. Each dancing 1 Principal parts by Mykyta Sukhorukov (Miller), Tetiana Lozova combination contributes its dramatic element into the over- (Miller’s Wife), Mykyta Sokolov (Corregidor), Kateryna Didenko all canvas of the ballet. Besides, these combinations have (Gabriela), Volodymyr Zasukhin (Dandy). a strict hierarcy as the signs and symbols of dramatic solu-

Художня культура. Актуальні проблеми. Вип. 14. 2018 • 93 • Artistic Culture. Topical issues. Vol. 14. 2018 Compositions by Manuel de Falla, Staged for Ballet in Ukraine Serhiy AFANESIEV tion and therefore differ by their stylistic features, emotional a lot in common with the first European stagings of the 1920s. and plastical meanings. In other words, each solo (variation) Among the drawbacks of this stage version is that it lacks or duet dance (pas dedeaux) reveals the deep inner worlds lacks active, diverse and intence emotional palette, conveyed of the leading characters of the show. In general, such diver- in the energy of dances by the soloists and corps de ballet. sity of choreographic score and compositional devices clear- The ballet principles of The Three-Cornered Hat ly enrich the expressiveness of ballet performance. and Nights in the Gardens of Spain staged at the Taras Conclusions. The ballet compositions of Manuel de Shevchenko National Opera and Ballet Theatre of Ukraine Falla are the distinctive phenomenon of musical and cho- by the choreographer Aniko Rekhviashvili were radically reographic art. Well-known within the Western European different. Her choreographic idea enabled musical and plot ballet tradition, in Ukraine creations of Manuel de Falla are co-existance of the two pieces by Manuel de Falla—in- still on their way to reveal their potential, approached by ex- strumental Nights in the Gardens of Spain and famous bal- perimenting Ukrainian choreographers from Kyiv and Lviv. let The Three-Cornered Hat. Combination of the two con- Manuel de Falla’s legacy is rhythmically and melodically trasting ballet pieces by Manuel de Falla primarily contrib- rich, full of vivid colors and timbers. It often features allu- utes to deeper understanding of the author’s musical plan. sions to the folk melodies, used with high stylistic skill. In de Moreover, Rekhviashvili’s utilization of ancient Spanish Falla’s harmonious thinking, impressionist elements, typical myths, legends and tales made it possible to visualize the sym- for the European discourse of the early 20th century, prevail. phonic canvas of Manuel de Falla’s Nights in the Gardens Claude Debussy and Maurice Ravel influencedthe for- of Spain. Symphonic impressions for piano and orchestra with mation of Manuel de Falla’s composing style. That allowed choreographical means. him to combine the achievements of Western European mu- Generally, in this staging the lyrical, romantic basis pre- sic and pronounced Spanish national musical traditions. This vails, which is facilitated by the melodical and theme com- feature may be easily traced in opera, ballet and symphon- ponent, full of dreamy lyricism, astringent accords and ener- ical compositions of the Master. His first theater creation getic rythms. The dance is fantasy-like and dramatic devel- to gain acclaim was two-act opera La vida breve (The Brief opment of the principle characters tha turns around mythical Life) (1913). The composer revealed his talent as a master search of pleasure and love. Ballet innovation is also in includ- of timbral palette. Another characteristic trait of this compo- ing the piano party in the general drama canvas of the show. sition is frequent use of flamenco dances and Andalusian folk- The constant presence of the piano soloist at the stage, ac- lore. The Spanish folklore permeats his first balletEl Amor cording to Aniko Rekhviashvili’s plan, as if causes emergence Brujo as well, which is noted for its melodic richness, di- of overall ballet performance as of some kind of projection verse orchestral palette, impressionist coloring, folk melodics of the image and sense universe of music into the image and rythms. Another feature of ballet scores of the composer and expressive potential of ballet. Choreographic techniques, is the use of vocal parties. Moreover, the scenic act is dramat- used by the director, are characterized with attentionto in- ically integral in its development, with its music being deep- dividual plasticity and professional potential of the artists. ly poetic. The most manous ballet versions are stagings by: As it was previously mentioned, Aniko Rekhviashvili’s Adolph Bolm, Serge Lifar, Boris Romanov, Leonide Massine, signature choreographic features also include the search Pilar López, , Mai Murdmaa, Mikhail Lavrovsky. for new plastic movements in the ballet-specific musical It should be noted, that during the last century Ukrainian and choreographic forms. So called symphonic dance, based choreographers turned to Manuel de Falla’s creations as well. on high academicism with free plastic variations, is typical In 2018 Serhiy Nayenko, chief choreographer of the Lviv for Aniko Rekhviashvili’s choreography, as well as the char- National Academic Theatre of Opera and Ballet, staged El acteristic plastic language, attention to the elements of male Amor Brujo in a rather traditional interpretation of the estab- classical dance’ individual techniques and masterly turns, per- lished approaches and principles of scenography that have formed by both male and female dancers.

Художня культура. Актуальні проблеми. Вип. 14. 2018 • 94 • Artistic Culture. Topical issues. Vol. 14. 2018 Compositions by Manuel de Falla, Staged for Ballet in Ukraine Serhiy AFANESIEV

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Художня культура. Актуальні проблеми. Вип. 14. 2018 • 95 • Artistic Culture. Topical issues. Vol. 14. 2018 Compositions by Manuel de Falla, Staged for Ballet in Ukraine Serhiy AFANESIEV

Афанасьєв С. М. Творчість Мануеля де Фальї на балетній сцені України Анотація. Охарактеризовано балетну творчість Мануеля де Фальї в історико-стильових та видо-жанрових проявах. Про­ана­ лізовано балетні постановки Мануеля де Фальї на європейській театральній сцені, визначено авторський та режисерські за­думи, починаючи з класичної постановки Сергія Дягілева. Описано українські сценічні постановки на музику Мануеля де Фальї, виявлено режисерські та балетмейстерські прийоми українських балетмейстерів-постановників, зокрема Аніко Рехвіашвілі. Ключові слова: музика Мануеля де Фальї, фламенко, постановки Аніко Рехвіашвілі, балет «Любов-чарівниця», балет «Три­ кутний капелюх».

Афанасьев С. Н. Творчество Мануэля де Фальи на балетной сцене Украины Аннотация. Охарактеризовано балетное творчество Мануэля де Фальи в историко-стилевых и видо-жанровых проявлениях. Проанализированы балетные постановки Мануэля де Фальи на европейской театральной сцене, определены авторская и ре- жиссерские задумки, начиная с классической постановки Сергея Дягилева. Описаны украинские сценические постановки на музыку Мануэля де Фальи, выявлены режиссерские и балетмейстерские приёмы украинских балетмейстеров-постановщиков, в частности Анико Рехвиашвили. Ключевые слова: музыка Мануеля де Фальи, фламенко, постановки Анико Рехвиашвили, балет «Любовь-волшебница», балет «Треуголка».

Стаття надійшла до редакції 4.09.2018