Romeo & Juliet
Romeo & Juliet
Romeo & Juliet
Romeo & Juliet
Romeo & Juliet
Romeo & Juliet
Romeo & Juliet
Romeo & Juliet
Romeo & Juliet
Romeo & Juliet
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music
Sergey Prokofiev (1935)
Libretto by Sergei Radlov, Adrian Piotrovskiy, Sergei Prokofiev and Leonid Lavrovsky
Conductor Pavel Klinichev
choreography Vyacheslav Samodurov (2016)
Set designer Anthony Mcilwaine
costumes Irena Belousova
Light Simon Bennison
Assistant choreographer Klara Dovzhik
Sergey Prokofiev (1935)
Libretto by Sergei Radlov, Adrian Piotrovskiy, Sergei Prokofiev and Leonid Lavrovsky
Conductor Pavel Klinichev
choreography Vyacheslav Samodurov (2016)
Set designer Anthony Mcilwaine
costumes Irena Belousova
Light Simon Bennison
Assistant choreographer Klara Dovzhik
5 : 03
2016
2 H
40 MIN
2
INTERVALS
12+
:: AWARDS ::
‘Golden Mask’ National Theatre Award (2017)
‘Ballet — contemporary dance / Best Production’
‘Ballet — contemporary dance / Best Actor’ (Igor Bulytsyn — Mercutio)
performance was demonstrated in the cinemas of 60 cities throughout Russia as part of the project ‘Golden Mask in cinemas’ in the spring of 2017
‘Ballet — contemporary dance / Best Production’
‘Ballet — contemporary dance / Best Actor’ (Igor Bulytsyn — Mercutio)
performance was demonstrated in the cinemas of 60 cities throughout Russia as part of the project ‘Golden Mask in cinemas’ in the spring of 2017
‘Romeo and Juliet’ of Vyacheslav Samodurov became the business card of theater and troupe. You will not confuse this performance with one of numerous statements of the ballet of Prokofiev: it is easy to recognize it by suits (casual with fragments of cloths of the Renaissance) and to scenography — dangerously tilted design of red color reminds of Shakespearean theater ‘Globus’.
The performance by Vyacheslav Samodurov begins as a rehearsal of the Romeo and Juliet ballet, the characters of which are placed out of a specific country or era: the action takes place anytime and anywhere. Today maybe even in front of your windows: it is not by chance that the dancers reminded the audience today's ‘boys and girls from Uralmash district’, as they noted in social media. The motive of struggle between the two clans vanishes — it does not matter which families the street fighters belong to. The topic of repetition and inexorability of the theatrical ritual plays centre stage: a tragedy will happen today and the lovers will die, but then everyone will go home, a new rehearsal will start tomorrow, and the story will be repeated from the start.
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Romeo & Juliet
photo ::
Irina Tuminene
From left to right:
Anton Guzeev as Duke,
Marina Kovalyova as Companion of the Duke,
Viktor Mekhanoshin as Tybalt, Anastasia Bagaeva as Dame,
Sergey Krashchenko as Capulet,
Veronika Selivanova as Lady Capulet.
Photo by Vladimir Zhabrikov
Anton Guzeev as Duke,
Marina Kovalyova as Companion of the Duke,
Viktor Mekhanoshin as Tybalt, Anastasia Bagaeva as Dame,
Sergey Krashchenko as Capulet,
Veronika Selivanova as Lady Capulet.
Photo by Vladimir Zhabrikov
photo ::
Vladimir Zhabrikov
Igor Bulytsyn as
Mercutio,
Sergey Krashchenko as Tybalt.
Sergey Krashchenko as Tybalt.
photo ::
Tatyana Andreeva
photo ::
Elena Lehova
Ekaterina Sapogova ::
Juliet
Alexander Merkushev :: Romeo
Alexander Merkushev :: Romeo
photo ::
Elena Lehova
Viktor Mekhanoshin as Capulet,
Ekaterina Sapogova as Juliet,
Anastasia Bagaeva as Lady Capulet
Ekaterina Sapogova as Juliet,
Anastasia Bagaeva as Lady Capulet
photo ::
Elena Lehova
Andrey Veshkurtsev :: Mercutio
photo ::
Elena Lehova
:: close ::
production team
Vyacheslav
Samodurov
Choreographer
He performed as a principal dancer at the world’s top ballet companies — at the Mariinsky theatre, the Netherlands National ballet, the Royal Ballet of the Great Britain. In 2006 he started his career in choreography. He worked with Russia’s and world’s best theatres: the Covent Garden («Trip trac» to music by Shostakovich in 2010), Mikhaylovsky theatre («Minor sonatas» to music by Scarlatti in 2010), the Bolshoy theatre («Undine» by Henze in 2016), Perm theatre of opera and ballet («Le Baiser de la Fee» by Stravinsky in 2017).
media
In Romeo and Juliet he [Samodurov] unites the quiet authentic intimacy, the endless belief that the body in motion never lies, with the maniacal passion for the purity of the dance. For the national ballet, which feels itself most naturally in cothurni, this is the most complicated way of existence. (.) And if the choreographer succeeds in defending this style, he can become a new way of developing the Russian ballet.
media
Not aspiring to meticulously follow all the plot twists and turns of the sad Shakespeare’s tale, having practically departed from using pantomime, letting the dance and plasticity tell the story and express emotions, Samodurov did not sacrifice either the power of feelings, or the play of temperaments and drama. Same as in his other recent works, the choreographer with ingenuity demonstrates that devotion to the St. Petersburg classical school is not an obstacle to updating the language.
media
Samodurov was able to discern what was contained in the music, but remained unspoken. He managed to put an independent, but very strongly connected with music and with the time of its writing, a performance (.) Performance-monument to the freedom-loving soul in a totalitarian society.