"TOUCH the LIGHT" Ballet ╳ Mariinsky Theatre New Stage

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TOUCH the LIGHT.

MARIINSKY THEATRE II { Second Stage} ╳

Choreographer ILYA ZHIVOY ╳

Artist POKRAS LAMPAS .

\ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ . 👁

CONTEMPORARY DANCE. Photo by Den "DENBYCH" Bychkovsky.

What Kind of Project it is:
A Creative Workshop of Young Choreographers performed at the XIX International ballet festival of the MARIINSKY Theatre.

Discover more: https://www.mariinsky.ru/ru/playbill/playbill/2020/3/17/2_1930/

About the MARIINSKY II Theatre:

The Mariinsky Theater Second Stage is the second part of a theatre complex which is made up of the original 1860 Mariinsky Theatre and the 2007 Mariinsky Theatre Concert Hall. The Second Stage has been completed and a gala concert celebrating the opening, and featuring performers Plácido Domingo, Rene Pape and Anna Netrebko, was presented on 2 May 2013.

THE STAGE OF THE THEATER IS AN IDEAL FORMAT THAT ALLOWS YOU TO SHOW THAT THIS ART NOT ONLY LOOKS INTERESTING IN A LARGE ENVIRONMENT, BUT ALSO REINTERPRETS THE CHOREOGRAPHY IN A DIFFERENT WAY.

0 1 0 0 0 2 2 0 0 2 0 — 0 0 1 7 / 0 3 / NEW BALLET CULTURE / НОВАЯ БАЛЕТНАЯ КУЛЬТУРА .

INTERVIEW \W POKRAS:

Calligraphy has pace, plasticity, the nature of writing-all this can be changed. And much depends on scale, when something is written in a small format, the focus goes to how the brush changes the angle of inclination, pressing; and the large format is more important than physics spray, range of motion of hands or body relative to the plane. The technique of calligraphy remains, and the environment influences what kind of visual content we get.

— It turns out that the movement of the dance and the development of the calligraphic pattern are linked.

How did you agree on this, so that it all rhymed and correlated with each other?

In general, this is the most interesting part.

lya Zhivoy, the choreographer, was present in almost all the records we've included the right piece of music, trying to understand what kind of mood it conveys, what temp, what is happening at this time on the stage which we have about the set-up, costume, lighting, on the status screen and the position of the children on the stage.

Next, I try to understand what kind of graphic technique I need to reveal this. For example, somewhere you can use plastic lines to emphasize this movement. Or, on the contrary, they look at the screen, see the plasticity of the calligraphy movements and begin to adapt their own to it. There's a more abstract part where I see that we have guys moving from the left edge [of the stage] to the right in 15 seconds. Ilya and I fix this and do a paint wash, which gives a feeling of something alive, that some element washes everything in one direction. In fact, we emphasize the movement with a broader stroke.

Read full interview (RU) below on Afisha.Daily – ///

PROJECT TEAM:

Concept, Direction: Pokras Lampas, Ilya Jivoy and Sophia Vartanyan            /             @jivoydancecompany
Choreography: Ilya Jivoy               /             @jivoy_dance
Music: Philip Glass
Video design: Pokras Lampas                /                  @pokraslampas
Costume design: Sophia Vartanyan                 /                 @sonyamolly
Lighting Design: Anton Nikolaev

Director: Andrew Nekrasov / @adetue

Photographer: Den Bychkovsky / @denbych

Ballet Performers:

Performers: Ekaterina Kondaurova, Roman Belyakov, Maria Horeva, Xander Parish, Vlada Borodulina, Maxim Zenin.

HISTORY OF THE \ THEATRE:

For more than two centuries the Mariinsky Theatre has been presenting the world with a plethora of great artistes: the outstanding bass and founding father of the Russian operatic performing school Osip Petrov served here; this is where such great singers as Fyodor Chaliapin, Ivan Yershov, Medea and Nikolai Figner and Sofia Preobrazhenskaya honed their skills and rose to glory. Ballet dancers reigned supreme on this stage, among them Mathilde Kschessinska, Anna Pavlova, Vaslav Nijinsky, Galina Ulanova, Rudolf Nureyev and Mikhail Baryshnikov. This is where George Balanchine set out on the road to art. This theatre has witnessed the dawn of the talents of such brilliant theatre decorators as Konstantin Korovin, Alexander Golovin, Alexandre Benois, Simon Virsaladze and Fyodor Fyodorovsky among countless others.

The repertoire of Mariinsky II aims to demonstrate the supreme art of the performers in our companies and our wonderful stage, linking the history of the Mariinsky Theatre with contemporary audiences and with contemporary works from the diverse genres of opera, ballet and symphonic music.

The artistic opportunities available to the whole theatre – the opera and ballet companies, chorus and orchestra – will expand exponentially. After all, the Mariinsky II, the historic building and the Concert Hall together form a unique cultural complex. The new building with its main stage equipped with the very latest technology, and its three chamber venues, will create the most amazing conditions in which to bring to life daring artistic ideas and educational projects as well as chamber vocal and instrumental programmes.

BEHIND THE SCENES:

I tried to find such techniques that allow a small team with minimal technical support to make the most cool result.

For example, we took a picture through a transparent table on the back of the paper: I write, and due to the light, transparency and density of the paper and ink, it turns out that the viewer sees it from the reverse side. And due to the play of light and shadow, the play of textures, I got various effects, because when you shoot on video and slow down, all the smudges, all the effects have a very interesting physics.

This is what analog is.

Then the digital side is turned on, there is a lot of interesting things, because now on the iPad there are brushes that almost perfectly modulate writing with ink, paint — everything that is very important for calligraphy. Previously, when you wrote something with a brush in a graphic editor, either there was a delay, or the effect of the tool was too predictable-accordingly, it looked very unnatural, artificial. Now everything can be customized — both the angle of the letter and the intersecting lines add additional volume, for example, you can simulate how ink is absorbed into the paper.

I made a screen recording and got the perfect material to work with.

0 1 0 0 0 2 2 0 0 2 0 — 0 0 1 7 / 0 3 / NEW BALLET CULTURE / НОВАЯ БАЛЕТНАЯ КУЛЬТУРА .

INTERVIEW \W ZHIVOY:

The main director and choreographer of Touch The Light was Ilya Zhivoy.

The musical basis was the work of Philip Glass, a composer known for both traditional and modern approaches.

Zhivoy explained that the format of the creative workshop itself suggests something new, but the team did not engage in experiments for the sake of experiments and "did not hope for a chance". The authors initially tried to create a new level of theatrical project.

– There are no similar ballet performances at the Mariinsky Theatre today. We are making a precedent, opening a new facet of creating a collaboration, when the sound, video, light score, plastic, and visual design of the stage and dance are all connected together.

A platform for such experimental projects appeared at the Mariinsky Theatre in 2013. Zhivoy started his career as a director and choreographer thanks to the open workshop project.

– I presented a miniature there, for the first time in 2013, it was just such a test of the pen, and from that moment a lot has changed. Now I work directly with the Mariinsky and not only, that is, we do performances under the repertoire. This story is very relevant in Europe, in the West – to give the opportunity to the artists of the troupe or people who want to show, want to experiment, to give them the opportunity to release all this to the public.

It should be the interaction of technologies, the interaction of digital and plastic in real time. I think that everything turned out super harmonious: we go into something very neutral, then aggressively declare a certain effect, all this develops in dynamics, then some change comes again — we switch our attention to the dancers.

Only in this way, showing them that the theater is not mothballs, the theater is not the XVII-XVIII century. The theater is now. Theater is an art. The theater is today, the theater is tomorrow, and they will be in this tomorrow. That's great.