https://youtu.be/bd9WAK11DV4CHOREOGRAPHER RASHID AHMEDOV
Second edition, enlarged and augmented
BAKU 2005 “BAKU CHAMBER BALLET”. 2001
PREDISLOVIE
Science knows that the original-sexual elements of dance emerged at the dawn of civi-mentation simultaneously with the other varieties of human expression (singing, drawing, facial game), making them a syncretic phenomenon, that is, indivisible. However, the origins of ballet actually plasti-Ki should be sought in ancient Hellas on the amphorae, vases red - and black-figure style and wall paintings of the ancient times. And the prototypes of the classic choreo-graphy has developed in the XVII century in France, at the court of Louis XIV.
Professional ballet art in Azerbaijan originated in the 30s of the XX century thanks to the efforts of the representatives of Moscow and St. Petersburg dance school academic skills.
One of the brightest representatives of Russian ballet culture is a choreographer and dancer Rashid Akhmedov, who United in his production and performance work features both the Azerbaijani and the St. Petersburg-Moscow school of ballet.
Rashid Ahmedov graduated as a ballet dancer Baku choreographic-mechanical College (1975) and as choreographer / Director of the Leningrad conservato matter to them. N. A. Rimsky-Korsakov (1982).
In 19834, he studied at the Moscow Institute of improvement of professional skill of workers of culture at the Bolshoi theater, specialty choreographer Muse-local theatre where he was sent by the Ministry of culture of Azerbaijan-tion Re+Republic (1984). -
He completed his education in Baku for managers Courses at American-ish humanitarian society has aisar (1999-2001).
Rashid Akhmedov – author and participated in more than 50 productions in Opera STU-dia. Sh. Mammadova and the musical Comedy Theatre. Kurbanov, in the Theater of Opera and ballet. M. F. Akhundov and the School-Studio of the Baku musical Academy. His performances have also been screened in the Young Spectator's Theatre, the State Philharmonic. M. Magomayev, on most channels of communication of Azerbaijan television.
Many fans of dance art know that Rashid Akhmedov published in the national press ("Baku" and "Tower", "Azerbaijan" and "Youth of Azerbaijan", etc.) more than 100 articles – creative portraits mA-the national ballet method, reviews of performances of Assosciate Opera and ballet and the final concerts of the Baku choreographic school.
Actively and fruitfully choreographer and working as a teacher in different years at its creative account includes daily class soloists and artists BA-summer theatre of musical Comedy, the rehearsal of the current repertoire of Opera STU-dia, and he periodically opens and independently conducts courses the professional skills of dancers and aspiring dancers.
Performance practice of the choreographer also has its own characteristics. From his youth he is the choreography exclusively his own compositions, and in later years their recitals actor times upcoming productions of his ballets, leaving them in the Central parties. Thus, Rashid Akhmedov-zdal at the Baku ballet stage a whole gallery of distinctive characters. This is don Quixote from the ballet to the music of K. Karayev and Saint Anthony of "the Temptation of St. Anthony" by P. Hindemith, Manfred from "memories of Manfred" Th. Brahms and Evil "Good and Evil" T. Bakikhanov, the Artist from "Points-dy on the wind" I. Kafarov and the lion from Carnival of the animals" by C. Saint-Saens. Among drugih his acting work notable are his images such as the Lord of Paradise in "Paradise Lost," by P. Hindemith and the Wizard in "Spring bells" ("Schlagobers") R. Strauss, the Protagonist in "Princess Dreams" by F. Poulenc, the Elements in "the seasons" by Alexander Glazunov, the Oracle of the mind – Apollo" by Igor Stravinsky and others.
However, the main brainchild of Rashid Akhmedov is considered a thief in the establishment in 1982 of the Studio theatre of Baku Chamber ballet ("Teresio-RA). It must be emphasized that this enterprise is not hospital-NY theatre with a stable repertoire and a constant number of performers, and PLO-dotwine running a creative workshop, which annually shows the audience their new productions. After two or three Premier troupe disbanded until the next dramatic project R. Z. Akhmedov.
This was an initiative group of enthusiasts who helped BA-lemaster to perform on the stage of the Central house of officers in his graduation performance. Initially, it included young dancers Opera theater, and teaching as contained choreographic school. Then, continuing his experiments,
Rashid Ahmedov was a Republican on TV, periodic ski getting "residence" at various city committees of the Komsomol. At the time, sleeps on his stage rehearsals at the officers started to get talently-Wai young people from other bands Baku – Osconcert, Theater the dog-not them. R. Behbudov and musical Comedy Theatre.
6B these things, in addition to adult performers, began to show themselves with pupils from senior KLA-Sov ballet school. Subsequently, in connection with the same firm for their financial support of pilot projects and original ideas. Himself Rashid Ahmedov has acquired the official status of the Director, besides confirming his cum Manager. In that period production base and office of the company from time to time moved to different rented premises.
Have any solid "Institute" sponsors – from the embassies of several States to an impressive number of oil companies and foundations who published his collection the resource grant awards for his performances. And since then, the Baku Chamber ballet was defined in the grade NGO – non-governmental organization that has no permanent staff, and all participants are volunteers here, that is free of charge.
"Terpsichore" is not engaged in business, and performs charity, GU-human programs associated with the aesthetic education of the younger generation+Iya.
All performances of this public theatre Studio constantly carries out its founder and unchanging artistic Director Rashid Akhmedov, and they are embodied in his original dramatic developments in music never heard on national ballet stage. They reflect the credo of the choreographer, are based on the works of prominent composers of the twentieth century.
Often, paying tribute to the name of the company and the number of members of its Prime Minister, Rashid Akhmedov opts chamber works of great authors. Speeches and presentations of the company are usually held on the stage of the Opera Studio or Theatre for Young audiences, with the participation of precast cast: unemployed professionals and as a rule, students of the ballet school.
Works in this experimental workshop widely reflections tion in newspaper and magazine reviews, in television and radio programs, creative events and conferences.
During the existence of the organization here has grown more than one generation of young 6I beginner dancers who through a Chamber ballet Baku Vesco managed to Express yourse-e, to reveal their creative potential. Since its source Studio "Terpsichore" was a "tribune" by youth, for youth. And today, after more than 20 years, theatre initiative continues to work, creating new performances and growing fresh performing strength in the field of ballet of the Republic of Azerbaijan.
The book, written on the basis of previous publications about Baku Chamber ballet (1988 and 1997), includes a rich illustrative and reference mate-Rial. Significantly expanded and updated with new information, it features-lated to the fact that the text is largely woven from coffee quotes and ha-setnik materials previously published in Central and local press.
The publication information is of great interest, it is designed for a wide range of readers, both professionals and Amateurs ballet EC-art.
вторник, 29 ноября 2016 г.
пятница, 25 ноября 2016 г.
Choreographer and Dancer Rashid Ahmedov Karacev: Noches en los Jardines ...
https://youtu.be/qWvwI98brQgChoreographer and Dancer Rashid Ahmedov Karacev
Actively and fruitfully and choreographer working as a teacher: in the years to its creative account appear daily class soloists and artists ba-Summer Theatre of Musical Comedy, the current repertoire of the Opera rehearsal stu-India, and it periodically opens and independently conducts the professional courses mastery of ballet dancers and young dancers.
Performance practice choreographer also has its own characteristics. From his youth, he is only the choreography of his own, and in later years his recitals actor Times to premieres of their ba-violet, leaving them in the central parties. Thus, the Rashid Akhmedov created at Baku gave the ballet stage a gallery of original characters. This - Don Quixote from the ballet to the music of K.Karayev and St. Anthony of "Temptation of St. Anthony" by P. Hindemith, Manfred of "Memoirs of Manfred" by J. Brahms and Evil from the "Good and Evil" by T. Bakikhanov artist of " Balla-dy of the wind "by J. Kafarova and Leo from" Carnival of the Animals "by Saint-Saens. Among of other actors of his works are notable are his images, like the Lord of heaven in the "Paradise Lost" by P. Hindemith and the Wizard in the "Spring Bells» («Schlagobers») by Richard Strauss, the protagonist in "Princess of Dreams" by F. Poulenc, Elements of "The Four Seasons" by A. Glazunov, Oracle in the "Orpheus - Apollo" by Igor Stravinsky and others.
The main brainchild of Rashid Akhmedov, of course, should assume their establishment in 1982, the theater-studio Chamber Ballet Baku ("Terpsiho-ra"). It should be emphasized that this is not an entreprise steady-state with a stable repertory theater and a constant number of performers, and of fruitful working creative workshop, which annually shows the audience his new productions. After two or three premier troupe disbanded until the next drama project RZ Akhmedov.
It was the initiative group of enthusiasts who helped balletmeyster carry on the stage of the Central House of officers of his graduation performance. At first, it included young dancers Opera House and par-schiesya Ballet School. Then, continuing his experiments,
Rashid Akhmedov went out with them on the republican television, periodically getting "residence" in various city committees of the Komsomol.
At the of time on his stage rehearsals at
the Officers started coming talented youth-hand from other bands Baku - Azkontserta, theater-dog nor it. R.Behbutov and Theatre of Musical Comedy.
In these things, in addition to adult artists began to show themselves as students of the senior classes of ballet school. Subsequently, in connection with their own eponymous firm for the financial support of its pilot projects and original designs. He himself became an official Rashid Akhmedov hundred-myc director, moreover, confirmed his diploma manager. At that time, on-base and mutational office from time to time moved to different removable ITATION room.
There was a solid "institution" sponsors - from embassies of several states to an impressive number of oil companies and the fund to collective tivu grants for his performances. And from then on Baku Chamber Ballet op-thinned in the rank of NGO - a non-governmental organization in which there is no Permanent staff, and all its members are volunteer work, that is, free of charge.
"Terpsichore" is not engaged in business, and performs charity, of humanitarian programs related to the aesthetic education of the younger generation.
All performances of this public theater studio constantly carries its founder and artistic director of the unchanging Rashid Akhmedov, and the cry, they schayutsya according to his original dramaturgical development in the music never sounded on the national ballet scene. They reflect the credo ho-rheograph, based on the works of prominent composers of the twentieth century.
Often, paying tribute to the name of the company and the number of its members by the Prime Rashid Akhmedov prefers to choose the remarkable chamber works by different authors. Speeches and presentations are usually held at the Opera Studio and Theatre for Young Audiences, with the participation of precast executors: nowhere and working professionals. Typically, a student of the school of ballet.
The works of this experimental workshop widely reflection of a newspaper and magazine reviews, a television and radio programs, recitals and conferences.
During the existence of the organization here by several generations of young and aspiring dancers, which, thanks to the Chamber Ballet Baku managed to forcefully assert themselves, to reveal their creativity. From their studio source "Terpsichore" was a "platform" for the young and young people. And this, of the day, after more than 20 years, the theater continues to work proactively, creating new performances and growing fresh performing forces in the field of ballet studies kusstva Republic of Azerbaijan.
Балетмейстер Рашид Ахмедов Карацев
Один из основоположников Камерного балета Баку («Терпсихора») – общественного молодежного театра-студии, а также один из лидеров хореографического искусства Азербайджана в 80—2000 годы. В 1982 году организовал и возглавил НПО «Терпсихора», которая в течение 25 лет осуществила постановку свыше 20 оригинальных балетных спектаклей на симфоническую музыку классиков ХХ века:
К. Караева и А. Меликова, И. Стравинского и Р. Штрауса, П. Хиндемита и А. Шенберга, Ф. Пуленка. Постановки хореографа отличаются красочной сценарной драматургией, экспрессивной заостренностью образов, пластическим синтезом неоромантической стилистика с элементами модерн-данса, режиссерской выпуклостью решений.
Он сам сочиняет либретто и создает художественное оформление для своих спектаклей, нередко выступает в них в центральных партиях, словом – ставит авторские произведения, в которых он лидирует в окружении своих учеников.
Рашид Ахмедов – автор и участник более 50-ти постановок в Оперной студии им. Ш. Мамедовой и Театре музыкальной комедии им. Ш. Курбанова, в Театре оперы и балета им. М. Ф. Ахундова и Школе-студии при Бакинской музыкальной академии. Его спектакли также демонстрировались в Театре Юного Зрителя, Государственной филармонии им. М. Магомаева, по большинству каналов азербайджанского телевидения.
Многие поклонники танцевального искусства знают, что Рашид Ахмедов опубликовал в республиканской прессе («Баку» и «Вышка», «Бакинский рабочий» и «Молодежь Азербайджана» и др.) более 100 статей – творческих портретов мастеров национального балета, рецензий на спектакли Азгостеатра оперы и балета и выпускные концерты Бакинского хореографического училища.
Активно и плодотворно хореограф трудится и в качестве педагога: в разные годы на его творческом счету значатся ежедневный класс солистов и артистов балета Театра музыкальной комедии, репетиции текущего репертуар Оперной студии, а также он периодически открывает и самостоятельно проводит курсы профессионального мастерства артистов балета и начинающих танцоров.
Исполнительская практика балетмейстера тоже имеет свои особенности. С юности он представляет хореографию исключительно собственного сочинения, да и в зрелые годы свои творческие вечера актер приурочивает к премьерам своих балетов, выходя в них в центральных партиях. Таким образом, Рашид Ахмедов создал на бакинской балетной сцене целую галерею своеобразных персонажей. Это – Дон Кихот из одноименного балета на музыку К. Караева и Святой Антоний из «Искушения святого Антония» П. Хиндемита, Манфред из «Воспоминаний о Манфреде» Й. Брамса и Зло из «Добра и Зла» Т. Бакиханова, Художник из «Баллады о ветре» И. Кафарова и Лев из «Карнавала животных» К. Сен-Санса. Среди других его актерских работ заметно выделяются такие его образы, как Владыка рая в «Потерянном рае» П. Хиндемита и Волшебник в «Весенних колоколах» («Schlagobers») Р. Штрауса, Протагонист в «Принцессе Грёзе» Ф. Пуленка, Стихии во «Временах года» А. Глазунова, Оракул в «Орфее – Аполлоне» И. Стравинского и другие.
Главное детище Рашида Ахмедова, безусловно, учреждение им в 1982 году театра-студии Камерный балет Баку («Терпсихора»). Надо подчеркнуть, что данная антреприза представляет собой не стационарный театр со стабильным репертуаром и постоянным числом исполнителей, а плодотворно работающую творческую мастерскую, которая ежегодно показывает на зрителе свои новые постановки. После двух-трех премьер труппа распускается до очередного драматургического проекта Р. З. Ахмедова.
Поначалу это была инициативная группа энтузиастов, которая помогла балетмейстеру осуществить на сцене Центрального дома офицеров его дипломный спектакль. Поначалу в нее вошли молодые артисты балета Оперного театра и учащиеся хореографического училища. Затем, продолжая свои эксперименты,
Рашид Ахмедов вышел с ними на республиканское телевидение, периодически получая «прописку» при различных городских комитетах комсомола. В то время на его постановочные репетиции в Доме офицеров начала приходить талантливая молодежь из других музыкальных коллективов Баку – Азконцерта, Театра песни им. Р. Бейбутова и Театра Музкомедии.
В этих вещах, помимо взрослых исполнителей, стали проявлять себя также воспитанники старших классов хореографического училища. Впоследствии, в связи с себе одноименную фирму для финансовой поддержки своих пилотных проектов и самобытных замыслов. Сам же Рашид Ахмедов приобрел официальный статус директора, к тому же, подтвердив его дипломом менеджера. В тот период постановочная база и офис компании время от времени перемещались в разные съёмные помещения.
Возник солидный «институт» спонсоров – от посольств нескольких государств до внушительного ряда нефтяных компаний и фондов, выдававших коллективу гранты на проведение его спектаклей. И с этих пор Камерный балет Баку определился в ранге NGO – неправительственной организации, в которой нет постоянного штата сотрудников, а все ее участники работают здесь волонтерами, то есть безвозмездно.
«Терпсихора» не занимается бизнесом, а выполняет благотворительные, гуманитарные программы, связанные с эстетическим воспитанием подрастающего поколения.
Все постановки этого общественного театра-студии постоянно осуществляет его учредитель и неизменный артистический директор Рашид Ахмедов, и воплощаются они по его же оригинальным драматургическим разработкам на музыку, никогда не звучавшую на отечественной балетной сцене. Они, отражая кредо хореографа, базируются на сочинениях выдающихся композиторов ХХ века.
Зачастую, отдавая дань названию труппы и количеству участников ее премьер, Рашид Ахмедов предпочитает выбирать камерные произведения замечательных авторов. Выступления и презентации компании обычно проходят на сцене Оперной студии или Театра Юного Зрителя при участии сборного состава исполнителей: нигде не работающих профессионалов и. как правило, студентов школы балета.
Произведения этой экспериментальной мастерской нашли широкое отражение в газетных и журнальных рецензиях, в телевизионных и радиовещательных программах, творческих вечерах и конференциях.
За время существования организации здесь выросло не одно поколение молодых и начинающих танцовщиков, которые благодаря Камерному балету Баку сумели веско заявить о себе, выявить свой творческий потенциал. С самого своего истока студия «Терпсихора» была «трибуной» молодых и для молодежи. И сегодня, спустя более 20-ти лет, театр продолжает инициативно трудиться, создавая новые спектакли и выращивая свежие исполнительские силы на ниве балетного искусства Азербайджанской Республики.
Произведения этой экспериментальной мастерской нашли широкое отражение в газетных и журнальных рецензиях, в телевизионных и радиовещательных программах, творческих вечерах и конференциях.
За время существования организации здесь выросло не одно поколение молодых и начинающих танцовщиков, которые благодаря Камерному балету Баку сумели веско заявить о себе, выявить свой творческий потенциал. С самого своего истока студия «Терпсихора» была «трибуной» молодых и для молодежи. И сегодня, спустя более 20-ти лет, театр продолжает инициативно трудиться, создавая новые спектакли и выращивая свежие исполнительские силы на ниве балетного искусства Азербайджанской Республики.
Actively and fruitfully and choreographer working as a teacher: in the years to its creative account appear daily class soloists and artists ba-Summer Theatre of Musical Comedy, the current repertoire of the Opera rehearsal stu-India, and it periodically opens and independently conducts the professional courses mastery of ballet dancers and young dancers.
Performance practice choreographer also has its own characteristics. From his youth, he is only the choreography of his own, and in later years his recitals actor Times to premieres of their ba-violet, leaving them in the central parties. Thus, the Rashid Akhmedov created at Baku gave the ballet stage a gallery of original characters. This - Don Quixote from the ballet to the music of K.Karayev and St. Anthony of "Temptation of St. Anthony" by P. Hindemith, Manfred of "Memoirs of Manfred" by J. Brahms and Evil from the "Good and Evil" by T. Bakikhanov artist of " Balla-dy of the wind "by J. Kafarova and Leo from" Carnival of the Animals "by Saint-Saens. Among of other actors of his works are notable are his images, like the Lord of heaven in the "Paradise Lost" by P. Hindemith and the Wizard in the "Spring Bells» («Schlagobers») by Richard Strauss, the protagonist in "Princess of Dreams" by F. Poulenc, Elements of "The Four Seasons" by A. Glazunov, Oracle in the "Orpheus - Apollo" by Igor Stravinsky and others.
The main brainchild of Rashid Akhmedov, of course, should assume their establishment in 1982, the theater-studio Chamber Ballet Baku ("Terpsiho-ra"). It should be emphasized that this is not an entreprise steady-state with a stable repertory theater and a constant number of performers, and of fruitful working creative workshop, which annually shows the audience his new productions. After two or three premier troupe disbanded until the next drama project RZ Akhmedov.
It was the initiative group of enthusiasts who helped balletmeyster carry on the stage of the Central House of officers of his graduation performance. At first, it included young dancers Opera House and par-schiesya Ballet School. Then, continuing his experiments,
Rashid Akhmedov went out with them on the republican television, periodically getting "residence" in various city committees of the Komsomol.
At the of time on his stage rehearsals at
the Officers started coming talented youth-hand from other bands Baku - Azkontserta, theater-dog nor it. R.Behbutov and Theatre of Musical Comedy.
In these things, in addition to adult artists began to show themselves as students of the senior classes of ballet school. Subsequently, in connection with their own eponymous firm for the financial support of its pilot projects and original designs. He himself became an official Rashid Akhmedov hundred-myc director, moreover, confirmed his diploma manager. At that time, on-base and mutational office from time to time moved to different removable ITATION room.
There was a solid "institution" sponsors - from embassies of several states to an impressive number of oil companies and the fund to collective tivu grants for his performances. And from then on Baku Chamber Ballet op-thinned in the rank of NGO - a non-governmental organization in which there is no Permanent staff, and all its members are volunteer work, that is, free of charge.
"Terpsichore" is not engaged in business, and performs charity, of humanitarian programs related to the aesthetic education of the younger generation.
All performances of this public theater studio constantly carries its founder and artistic director of the unchanging Rashid Akhmedov, and the cry, they schayutsya according to his original dramaturgical development in the music never sounded on the national ballet scene. They reflect the credo ho-rheograph, based on the works of prominent composers of the twentieth century.
Often, paying tribute to the name of the company and the number of its members by the Prime Rashid Akhmedov prefers to choose the remarkable chamber works by different authors. Speeches and presentations are usually held at the Opera Studio and Theatre for Young Audiences, with the participation of precast executors: nowhere and working professionals. Typically, a student of the school of ballet.
The works of this experimental workshop widely reflection of a newspaper and magazine reviews, a television and radio programs, recitals and conferences.
During the existence of the organization here by several generations of young and aspiring dancers, which, thanks to the Chamber Ballet Baku managed to forcefully assert themselves, to reveal their creativity. From their studio source "Terpsichore" was a "platform" for the young and young people. And this, of the day, after more than 20 years, the theater continues to work proactively, creating new performances and growing fresh performing forces in the field of ballet studies kusstva Republic of Azerbaijan.
Балетмейстер Рашид Ахмедов Карацев
Один из основоположников Камерного балета Баку («Терпсихора») – общественного молодежного театра-студии, а также один из лидеров хореографического искусства Азербайджана в 80—2000 годы. В 1982 году организовал и возглавил НПО «Терпсихора», которая в течение 25 лет осуществила постановку свыше 20 оригинальных балетных спектаклей на симфоническую музыку классиков ХХ века:
К. Караева и А. Меликова, И. Стравинского и Р. Штрауса, П. Хиндемита и А. Шенберга, Ф. Пуленка. Постановки хореографа отличаются красочной сценарной драматургией, экспрессивной заостренностью образов, пластическим синтезом неоромантической стилистика с элементами модерн-данса, режиссерской выпуклостью решений.
Он сам сочиняет либретто и создает художественное оформление для своих спектаклей, нередко выступает в них в центральных партиях, словом – ставит авторские произведения, в которых он лидирует в окружении своих учеников.
Рашид Ахмедов – автор и участник более 50-ти постановок в Оперной студии им. Ш. Мамедовой и Театре музыкальной комедии им. Ш. Курбанова, в Театре оперы и балета им. М. Ф. Ахундова и Школе-студии при Бакинской музыкальной академии. Его спектакли также демонстрировались в Театре Юного Зрителя, Государственной филармонии им. М. Магомаева, по большинству каналов азербайджанского телевидения.
Многие поклонники танцевального искусства знают, что Рашид Ахмедов опубликовал в республиканской прессе («Баку» и «Вышка», «Бакинский рабочий» и «Молодежь Азербайджана» и др.) более 100 статей – творческих портретов мастеров национального балета, рецензий на спектакли Азгостеатра оперы и балета и выпускные концерты Бакинского хореографического училища.
Активно и плодотворно хореограф трудится и в качестве педагога: в разные годы на его творческом счету значатся ежедневный класс солистов и артистов балета Театра музыкальной комедии, репетиции текущего репертуар Оперной студии, а также он периодически открывает и самостоятельно проводит курсы профессионального мастерства артистов балета и начинающих танцоров.
Исполнительская практика балетмейстера тоже имеет свои особенности. С юности он представляет хореографию исключительно собственного сочинения, да и в зрелые годы свои творческие вечера актер приурочивает к премьерам своих балетов, выходя в них в центральных партиях. Таким образом, Рашид Ахмедов создал на бакинской балетной сцене целую галерею своеобразных персонажей. Это – Дон Кихот из одноименного балета на музыку К. Караева и Святой Антоний из «Искушения святого Антония» П. Хиндемита, Манфред из «Воспоминаний о Манфреде» Й. Брамса и Зло из «Добра и Зла» Т. Бакиханова, Художник из «Баллады о ветре» И. Кафарова и Лев из «Карнавала животных» К. Сен-Санса. Среди других его актерских работ заметно выделяются такие его образы, как Владыка рая в «Потерянном рае» П. Хиндемита и Волшебник в «Весенних колоколах» («Schlagobers») Р. Штрауса, Протагонист в «Принцессе Грёзе» Ф. Пуленка, Стихии во «Временах года» А. Глазунова, Оракул в «Орфее – Аполлоне» И. Стравинского и другие.
Главное детище Рашида Ахмедова, безусловно, учреждение им в 1982 году театра-студии Камерный балет Баку («Терпсихора»). Надо подчеркнуть, что данная антреприза представляет собой не стационарный театр со стабильным репертуаром и постоянным числом исполнителей, а плодотворно работающую творческую мастерскую, которая ежегодно показывает на зрителе свои новые постановки. После двух-трех премьер труппа распускается до очередного драматургического проекта Р. З. Ахмедова.
Поначалу это была инициативная группа энтузиастов, которая помогла балетмейстеру осуществить на сцене Центрального дома офицеров его дипломный спектакль. Поначалу в нее вошли молодые артисты балета Оперного театра и учащиеся хореографического училища. Затем, продолжая свои эксперименты,
Рашид Ахмедов вышел с ними на республиканское телевидение, периодически получая «прописку» при различных городских комитетах комсомола. В то время на его постановочные репетиции в Доме офицеров начала приходить талантливая молодежь из других музыкальных коллективов Баку – Азконцерта, Театра песни им. Р. Бейбутова и Театра Музкомедии.
В этих вещах, помимо взрослых исполнителей, стали проявлять себя также воспитанники старших классов хореографического училища. Впоследствии, в связи с себе одноименную фирму для финансовой поддержки своих пилотных проектов и самобытных замыслов. Сам же Рашид Ахмедов приобрел официальный статус директора, к тому же, подтвердив его дипломом менеджера. В тот период постановочная база и офис компании время от времени перемещались в разные съёмные помещения.
Возник солидный «институт» спонсоров – от посольств нескольких государств до внушительного ряда нефтяных компаний и фондов, выдававших коллективу гранты на проведение его спектаклей. И с этих пор Камерный балет Баку определился в ранге NGO – неправительственной организации, в которой нет постоянного штата сотрудников, а все ее участники работают здесь волонтерами, то есть безвозмездно.
«Терпсихора» не занимается бизнесом, а выполняет благотворительные, гуманитарные программы, связанные с эстетическим воспитанием подрастающего поколения.
Все постановки этого общественного театра-студии постоянно осуществляет его учредитель и неизменный артистический директор Рашид Ахмедов, и воплощаются они по его же оригинальным драматургическим разработкам на музыку, никогда не звучавшую на отечественной балетной сцене. Они, отражая кредо хореографа, базируются на сочинениях выдающихся композиторов ХХ века.
Зачастую, отдавая дань названию труппы и количеству участников ее премьер, Рашид Ахмедов предпочитает выбирать камерные произведения замечательных авторов. Выступления и презентации компании обычно проходят на сцене Оперной студии или Театра Юного Зрителя при участии сборного состава исполнителей: нигде не работающих профессионалов и. как правило, студентов школы балета.
Произведения этой экспериментальной мастерской нашли широкое отражение в газетных и журнальных рецензиях, в телевизионных и радиовещательных программах, творческих вечерах и конференциях.
За время существования организации здесь выросло не одно поколение молодых и начинающих танцовщиков, которые благодаря Камерному балету Баку сумели веско заявить о себе, выявить свой творческий потенциал. С самого своего истока студия «Терпсихора» была «трибуной» молодых и для молодежи. И сегодня, спустя более 20-ти лет, театр продолжает инициативно трудиться, создавая новые спектакли и выращивая свежие исполнительские силы на ниве балетного искусства Азербайджанской Республики.
Произведения этой экспериментальной мастерской нашли широкое отражение в газетных и журнальных рецензиях, в телевизионных и радиовещательных программах, творческих вечерах и конференциях.
За время существования организации здесь выросло не одно поколение молодых и начинающих танцовщиков, которые благодаря Камерному балету Баку сумели веско заявить о себе, выявить свой творческий потенциал. С самого своего истока студия «Терпсихора» была «трибуной» молодых и для молодежи. И сегодня, спустя более 20-ти лет, театр продолжает инициативно трудиться, создавая новые спектакли и выращивая свежие исполнительские силы на ниве балетного искусства Азербайджанской Республики.
среда, 23 ноября 2016 г.
вторник, 22 ноября 2016 г.
Choreographer and Dancer Rashid Ahmedov Karacev: MENDELSSOHN Midsummer N...
https://youtu.be/6reKtaoAtБИОГРАФИЧЕСКИЕ СВЕДЕНИЯ
АЛЕТМЕЙСТЕР Рашид Ахмедов Карацев
Ахмедов (Карацев) Рашид Зейнатуллаевич (13.3.1956, Баку) – азербайджанский балетмейстер-режиссер, танцовщик, сценарист, балетный критик, педагог.
Окончил:
в 1975 году Бакинское хореографическое училище (класс з. а. Азербайджана Р. О. Зейналова);
в 1982 году балетмейстерское отделение Ленинградской консерватории им. Н. А. Римского-Корсакова (мастерская н. а. России Н. Н. Боярчикова);
в 1984 году Московский институт повышения квалификации работников культуры по спец.: балетмейстер музыкального театра,
в 1999–2001 годах Курсы менеджеров при Американской компании AISAR (1999-2001).
С 1982–85 годов – руководитель балета: хореограф-постановщик и педагог-репетитор, с 1986 г. – и. о. гл. балетмейстера Азербайджанского Государственного Театра музыкальной комедии им. Ш. Курбанова.
Пост.: танцы в опереттах «Летучая мышь» И. Штрауса (1983), «Власть канарейки» Р. Ахмедзаде (1983), «Трумф» на муз. М. Огинского (1985) и др., балеты (все – по собст. сценариям): «Источник» М. Ахмедовой (1984), «Подводное царство» Г. Рзаева (1984), «Труфф`альдино» [«Пульчинелла»] И. Стравинского (1985).
С 1986 года – руководитель хореографического коллектива и балетмейстер-постан
овщик Оперной студии имени Ш. Мамедовой при Азербайджанской Государственной консерватории имени У. Гаджибекова.
Пост.: танцы в «Аршин мал алан» У. Гаджибекова (1985), «Маугли» Ш. Чалаева и «Жили-были» С. Ибрагимовой (1986), «Травиата» Д. Верди (1987) «Бастьен и Бастьенна» В. А. Моцарта (1988);
режиссер-балетмейстер опер: «Сказка о глупом мышонке» Р. Шафага (1988), «Старый Баку» А. Юсифовой (1989), «Мален+ький Мук» (по собст. либретто) А. Дадашева (1989), «Искендер и Чабан» С. Гаджибекова (1990) и др.
С 1982 года – основатель, балетмейстер-постановщик и ведущий солист театра-студии «Камерного балета Баку» («Терпсихора»), с 1998 года – директор и художественный руководитель.
Поставил балеты (все – по собст. сценариям):
На сцене Детского театра балета при Центральном доме офицеров им. А. Асланова: «В честь танца» на сборную музыку (1982), «Помните!» А. Меликова (1984), «Времена года» А. Глазунова (1993); миниатюры: «Мим – Нарцисс и Икар» на муз. С. Прокофьева, «Искания» Я. Варги, «Преодоление» на муз. Л. ван Бетховена, «Фаррука» М. де Фальи (все – 1984);
На сцене Оперной студии при Бакинской музыкальной академии: «Пульчинелла» И. Стравинского (1987), «Олимпийцы» [«Аполлон Мусагет»] И. Стравинского (1987), «Восточная поэма» Т. Бакиханова (1988), «Вдохновение» А. Али-заде и «Творчество» М. Мирзоев`а (1989), «Добро и Зло» Т. Бакиханова (1993), «Баллада о ветре» И. Кафарова (1994),
«Дон Кихот» К. Караева (1994), «Искушение святого Антония» П. Хиндемита (1995), «Потерянный рай» [«Демон»] П. Хиндемита (2001), «Орфей – Аполлон» И. Стравинского (2002), «Суламифь» на муз. А. Шёнберга (2005);
миниатюры: «Творения Прометея» [увертюра] Л. ван Бетховена, «Утро» Э. Грига, «Элегическое фанданго» на муз. Ж. Бизе (все – 1987);
На сцене Азербайджанского театра оперы и балета им. М. Ф. Ахундова: танцы в опере «Евгений Онегин» П. Чайковского (1990);
На сцене Азербайджанского Государственного Театра Юного Зрителя – балеты (все – по собст. сценариям): «Карнавал животных» К. Сен-Санса (1996), «Воспоминания о Манфреде» на муз. 3-ей симфонии И. Брамса (1997), «В честь маэстро Сен-Санса» на муз. К. Сен-Санса (1998), «Весенние колокола» [«Schlagobers»] Р. Штрауса (1999), «Принцесса Грёза» на муз. Ф. Пуленка (2000).
С 1989 года – преподаватель хореографических дисциплин в Бакинс
BIOGRAPHICAL INFORMATION
CHOREOGRAPHER Rashid Ahmedov of Karasev
Akhmedov (Karasev) Rashid Anatolievich (13.3.1956, Baku) – Azerbaijani choreographer, Director, dancer, writer, ballet critic, and teacher.
Graduated from:
in 1975 the Baku choreographic school (class s. . Azerbaijan R. O. Zeynalova);
in 1982, the choreography Department of the Leningrad Conservatory. N. Rimsky-Korsakov (workshop n. a. Russia N. N. Boyarchikov);
in 1984 the Moscow Institute of advanced training of cultural workers in the spec.: choreographer musical theatre
1999-2001 Courses of managers in American companies AISAR (1999-2001).
From 1982-85 years Director of the ballet: the choreographer and teacher-tutor, in 1986, acting senior ballet master of the Azerbaijan State Theatre of musical Comedy. Kurbanov.
Post.: dancing in the operetta "die Fledermaus" by J. Strauss (1983), "the power of the Canaries" R. Ahmadzadeh (1983), "TRUMF" on Muz. M. Oginski (1985) and others, ballet (all on its own. scenarios): "the Source" by M. Akhmedova (1984), "underwater Kingdom", Rzayev (1984), "Truff Aldini" ["Pulcinella"] Igor Stravinsky (1985).
Since 1986 – head of the dance company and choreographer-postan
boy Opera Studio named after sh. Mammadova at the Azerbaijani State Conservatoire named after U. Hajibeyov.
Post.: dancing in "Arshin Mal Alan" by U. Hajibeyov (1985), "Mowgli" sh chalaeva and "Zhili-byli" S. Ibragimova (1986), "La Traviata" by G. Verdi (1987) "bastien and bastienne" of W. A. Mozart (1988);
the Director-choreographer of operas: "the silly little mouse" Shafaq R. (1988), "Old Baku" A. the Yusifova (1989), "Malen+Ki MUK (sobst. the libretto) A. Dadasheva (1989), "Iskander and Shepherd" by S. Gadzhibekov (1990), etc.
1982 – founder, choreographer and soloist of the theater-Studio Chamber ballet Baku ("Terpsichore"), since 1998 – Director and artistic Director.
Put ballets (all on its own. scenarios):
On stage Children's ballet theatre at the Central house of officers them. A. Aslanov: "In honor of the dance team on the music (1982), "Remember!" Melikov, A. (1984), "the seasons" by A. Glazunov (1993); miniature: "MIME – Narcissus and Icarus" songs. S. Prokofiev, "Quest" I. Varga, "Bridging" music. L. van Beethoven, "Farruca" M. de Falla (1984);
On the stage of the Opera Studio of the Baku musical Academy: "Pulcinella" by Igor Stravinsky (1987), "the Olympians" ["Apollo Musaget"] Igor Stravinsky (1987), "the Eastern poem" bakihanov T. (1988), "Inspiration" A. Ali-zade and "Creativity" and Mirzoev M. (1989), "Good and Evil" bakihanov T. (1993), "the Ballad of the wind" I. Kafarov (1994),
"Don Quixote" K. Karayev (1994), "the Temptation of St. Anthony" by P. Hindemith (1995), "Paradise Lost" ["Daemon"] Hindemith (2001), "Orpheus – Apollo" by Igor Stravinsky (2002), "Shulamith" songs. A. Schoenberg (2005);
miniatures: "the creatures of Prometheus" [Overture] L. van Beethoven "Morning" Grieg, "Elegiac Fandango" songs. G. Bizet (1987);
On the stage of the Azerbaijan Opera and ballet theatre. M. F. Akhundov: dancing in the Opera "Eugene Onegin" by P. Tchaikovsky (1990);
On the stage of the Azerbaijan State Theatre for Young audiences – ballet (all on its own. scenarios): carnival of the animals by C. Saint-Saens (1996), "memories of Manfred" to the music. The 3rd Symphony of Brahms (1997), "In honor of the Maestro Saint-sa?ns' music. C. Saint-sa?ns (1998), "Spring bells" ["Schlagobers"] Richard Strauss (1999), "the Princess Dream" songs. F. Poulenc (2000).
1989 – teacher of choreographic disciplines in Bakins
АЛЕТМЕЙСТЕР Рашид Ахмедов Карацев
Ахмедов (Карацев) Рашид Зейнатуллаевич (13.3.1956, Баку) – азербайджанский балетмейстер-режиссер, танцовщик, сценарист, балетный критик, педагог.
Окончил:
в 1975 году Бакинское хореографическое училище (класс з. а. Азербайджана Р. О. Зейналова);
в 1982 году балетмейстерское отделение Ленинградской консерватории им. Н. А. Римского-Корсакова (мастерская н. а. России Н. Н. Боярчикова);
в 1984 году Московский институт повышения квалификации работников культуры по спец.: балетмейстер музыкального театра,
в 1999–2001 годах Курсы менеджеров при Американской компании AISAR (1999-2001).
С 1982–85 годов – руководитель балета: хореограф-постановщик и педагог-репетитор, с 1986 г. – и. о. гл. балетмейстера Азербайджанского Государственного Театра музыкальной комедии им. Ш. Курбанова.
Пост.: танцы в опереттах «Летучая мышь» И. Штрауса (1983), «Власть канарейки» Р. Ахмедзаде (1983), «Трумф» на муз. М. Огинского (1985) и др., балеты (все – по собст. сценариям): «Источник» М. Ахмедовой (1984), «Подводное царство» Г. Рзаева (1984), «Труфф`альдино» [«Пульчинелла»] И. Стравинского (1985).
С 1986 года – руководитель хореографического коллектива и балетмейстер-постан
овщик Оперной студии имени Ш. Мамедовой при Азербайджанской Государственной консерватории имени У. Гаджибекова.
Пост.: танцы в «Аршин мал алан» У. Гаджибекова (1985), «Маугли» Ш. Чалаева и «Жили-были» С. Ибрагимовой (1986), «Травиата» Д. Верди (1987) «Бастьен и Бастьенна» В. А. Моцарта (1988);
режиссер-балетмейстер опер: «Сказка о глупом мышонке» Р. Шафага (1988), «Старый Баку» А. Юсифовой (1989), «Мален+ький Мук» (по собст. либретто) А. Дадашева (1989), «Искендер и Чабан» С. Гаджибекова (1990) и др.
С 1982 года – основатель, балетмейстер-постановщик и ведущий солист театра-студии «Камерного балета Баку» («Терпсихора»), с 1998 года – директор и художественный руководитель.
Поставил балеты (все – по собст. сценариям):
На сцене Детского театра балета при Центральном доме офицеров им. А. Асланова: «В честь танца» на сборную музыку (1982), «Помните!» А. Меликова (1984), «Времена года» А. Глазунова (1993); миниатюры: «Мим – Нарцисс и Икар» на муз. С. Прокофьева, «Искания» Я. Варги, «Преодоление» на муз. Л. ван Бетховена, «Фаррука» М. де Фальи (все – 1984);
На сцене Оперной студии при Бакинской музыкальной академии: «Пульчинелла» И. Стравинского (1987), «Олимпийцы» [«Аполлон Мусагет»] И. Стравинского (1987), «Восточная поэма» Т. Бакиханова (1988), «Вдохновение» А. Али-заде и «Творчество» М. Мирзоев`а (1989), «Добро и Зло» Т. Бакиханова (1993), «Баллада о ветре» И. Кафарова (1994),
«Дон Кихот» К. Караева (1994), «Искушение святого Антония» П. Хиндемита (1995), «Потерянный рай» [«Демон»] П. Хиндемита (2001), «Орфей – Аполлон» И. Стравинского (2002), «Суламифь» на муз. А. Шёнберга (2005);
миниатюры: «Творения Прометея» [увертюра] Л. ван Бетховена, «Утро» Э. Грига, «Элегическое фанданго» на муз. Ж. Бизе (все – 1987);
На сцене Азербайджанского театра оперы и балета им. М. Ф. Ахундова: танцы в опере «Евгений Онегин» П. Чайковского (1990);
На сцене Азербайджанского Государственного Театра Юного Зрителя – балеты (все – по собст. сценариям): «Карнавал животных» К. Сен-Санса (1996), «Воспоминания о Манфреде» на муз. 3-ей симфонии И. Брамса (1997), «В честь маэстро Сен-Санса» на муз. К. Сен-Санса (1998), «Весенние колокола» [«Schlagobers»] Р. Штрауса (1999), «Принцесса Грёза» на муз. Ф. Пуленка (2000).
С 1989 года – преподаватель хореографических дисциплин в Бакинс
BIOGRAPHICAL INFORMATION
CHOREOGRAPHER Rashid Ahmedov of Karasev
Akhmedov (Karasev) Rashid Anatolievich (13.3.1956, Baku) – Azerbaijani choreographer, Director, dancer, writer, ballet critic, and teacher.
Graduated from:
in 1975 the Baku choreographic school (class s. . Azerbaijan R. O. Zeynalova);
in 1982, the choreography Department of the Leningrad Conservatory. N. Rimsky-Korsakov (workshop n. a. Russia N. N. Boyarchikov);
in 1984 the Moscow Institute of advanced training of cultural workers in the spec.: choreographer musical theatre
1999-2001 Courses of managers in American companies AISAR (1999-2001).
From 1982-85 years Director of the ballet: the choreographer and teacher-tutor, in 1986, acting senior ballet master of the Azerbaijan State Theatre of musical Comedy. Kurbanov.
Post.: dancing in the operetta "die Fledermaus" by J. Strauss (1983), "the power of the Canaries" R. Ahmadzadeh (1983), "TRUMF" on Muz. M. Oginski (1985) and others, ballet (all on its own. scenarios): "the Source" by M. Akhmedova (1984), "underwater Kingdom", Rzayev (1984), "Truff Aldini" ["Pulcinella"] Igor Stravinsky (1985).
Since 1986 – head of the dance company and choreographer-postan
boy Opera Studio named after sh. Mammadova at the Azerbaijani State Conservatoire named after U. Hajibeyov.
Post.: dancing in "Arshin Mal Alan" by U. Hajibeyov (1985), "Mowgli" sh chalaeva and "Zhili-byli" S. Ibragimova (1986), "La Traviata" by G. Verdi (1987) "bastien and bastienne" of W. A. Mozart (1988);
the Director-choreographer of operas: "the silly little mouse" Shafaq R. (1988), "Old Baku" A. the Yusifova (1989), "Malen+Ki MUK (sobst. the libretto) A. Dadasheva (1989), "Iskander and Shepherd" by S. Gadzhibekov (1990), etc.
1982 – founder, choreographer and soloist of the theater-Studio Chamber ballet Baku ("Terpsichore"), since 1998 – Director and artistic Director.
Put ballets (all on its own. scenarios):
On stage Children's ballet theatre at the Central house of officers them. A. Aslanov: "In honor of the dance team on the music (1982), "Remember!" Melikov, A. (1984), "the seasons" by A. Glazunov (1993); miniature: "MIME – Narcissus and Icarus" songs. S. Prokofiev, "Quest" I. Varga, "Bridging" music. L. van Beethoven, "Farruca" M. de Falla (1984);
On the stage of the Opera Studio of the Baku musical Academy: "Pulcinella" by Igor Stravinsky (1987), "the Olympians" ["Apollo Musaget"] Igor Stravinsky (1987), "the Eastern poem" bakihanov T. (1988), "Inspiration" A. Ali-zade and "Creativity" and Mirzoev M. (1989), "Good and Evil" bakihanov T. (1993), "the Ballad of the wind" I. Kafarov (1994),
"Don Quixote" K. Karayev (1994), "the Temptation of St. Anthony" by P. Hindemith (1995), "Paradise Lost" ["Daemon"] Hindemith (2001), "Orpheus – Apollo" by Igor Stravinsky (2002), "Shulamith" songs. A. Schoenberg (2005);
miniatures: "the creatures of Prometheus" [Overture] L. van Beethoven "Morning" Grieg, "Elegiac Fandango" songs. G. Bizet (1987);
On the stage of the Azerbaijan Opera and ballet theatre. M. F. Akhundov: dancing in the Opera "Eugene Onegin" by P. Tchaikovsky (1990);
On the stage of the Azerbaijan State Theatre for Young audiences – ballet (all on its own. scenarios): carnival of the animals by C. Saint-Saens (1996), "memories of Manfred" to the music. The 3rd Symphony of Brahms (1997), "In honor of the Maestro Saint-sa?ns' music. C. Saint-sa?ns (1998), "Spring bells" ["Schlagobers"] Richard Strauss (1999), "the Princess Dream" songs. F. Poulenc (2000).
1989 – teacher of choreographic disciplines in Bakins
7w
понедельник, 21 ноября 2016 г.
воскресенье, 20 ноября 2016 г.
Choreographer and Dancer Rashid Ahmedov Karacev ”Temptation of St. Anton...
https://youtu.be/vTjj8HmBtVgГЛАВА ПЕРВАЯ
СТАНОВЛЕНИЕ
В его роду не было представителей творческих профессий, а только зажиточные крестьяне, негоцианты, священнослужители. Рашид Ахмедов появился на свет холодным мартовским утром 1956 года в Баку, в семье скромных служащих. Назвали малыша в честь необычайно популярног+о в то время певца Рашида Бейбутова. Жили бедно, ютились в крохотной комнатушке близ Баксовета, недалеко от дома Ростроповичей.
Его отец – Карацев Зейнатулла Зайдулович всю свою жизнь прослужил на судах дальнего плавания начальником рации. Он, с отличием зако6нчил Бакинское мореходное училище, кроме того, имел незаконченное (по семейным причинам) высшее техническое образование; увлекался бытовой техникой и чтением художественной литературы.
Мать будущего артиста – Ахмедова Роза Закировна более полувека проработала заведующей расчетно-финансового отдела Октябрьского районного пищевого торга. Она после окончания Бакинского техникума советской торговли поступила в Институт народного хозяйства, однако вынуждена была уйти с 3-го курса из-за невозможности оплачивать свое дальнейшее обучение. Ее пристрастиями с юности были театр и литература.
Мальчик с раннего детства приобщился к балету благодаря тому обстоятельству, что его семья традиционно по воскресным дням посещала хореографические представления Оперного театра. Поэтому неудивительно, что самые первые яркие художественные впечатления отложились в его сознании, в первую очередь, от соприкосновения с такими произведениями, как «Спящая красавица» и «Щелкунчик» П. И. Чайковского, а также «Золушка» С. С. Прокофьева в постановке Московского балета на льду во время его гастролей в Баку.
Тан--цевать он начал раньше, чем научился бегло читать. Конечно, свои эмо6ции неумейка выплескивал в импровизационных танцевальных монологах под пластинки с записями своих любимых балетов. И вот, в 6 лет пластически одаренного ребенка привели в детскую хореограф+ическую студию при Центральном Доме офицеров, где он начал обучаться у заслуженного артиста республики Л. В. Леонова. Этот коллектив существовал не первый год и пользовался у бакинцев немалой популярностью. Здесь начинали свой творческий путь многие прославленные деятели балетного театра; среди них – народный артист СССР, хореограф Валентин Елизарьев, народные артисты Азербайджана Владимир Плетнев и Медина Алиева, заслуженные артисты республики Ирина Низаметдинова, Виталий Ахундов и многие другие. Принимая участие в некоторых спектаклях коллектива («Аистенок» и «Коппелия», «Кукольная история» и «Золушка»), подросток-балетоман, таким образом, стал постигать азы своей будущей профессии.
В хореографическом кружке учат лишь самым первым, общим понятиям о балетном искусстве: как правильно стоять у балетного станка на выворотных ногах и верно держать спину, как грамотно ходить и бегать по сцене, делать поклоны и прочие несложные движения. Но самым важным соображением для старательного «курсанта» явилась возможность принимать участие в утренниках Детского народного театра балета. И еще он узнал, что настоящий артист никогда не позволит себе +выйти на сцену даже во время репетиций в повседневной обуви.
Видимо, тогда у пытливого новичка и зародилась страсть самому организовывать исполнителей и составлять с ними танцевальные композиции. Не переодеваться, наряжаться, гримироваться, а затем щеголять на по6дмостках в жеманных движениях. Нет. Все это было ему чуждо и позднее. Уже с самого начала, с момента становления его как деятеля хореографического творчества, он почувствовал свое истинное призвание – стать балетмейстером, руководителем всего процесса рождения спектакля: от замысла до воплощения его на театральной эстраде.
Оставив прежние увлечения, заводила попробовал с соседскими детьми поиграть с ним в балет. Позже, в школьные годы, проказник не бросил эту забаву, напротив, как-то собрав своих приятелей и знакомых, сколотил из них свою первую инициативную группу. У себя дома, благо позволяла просторная трехкомнатная квартира, он приступил к регулярным репетициям увиденных им на профессиональной сцене балетов. Здесь почти всё было как в настоящем театре – афиши и билеты, драпировки и декорации, специальное освещение и музыкальное сопровождение. А сам юный режиссер не всегда участвовал в представлениях, предпочитая «дирижировать» их ходом. И это потешное предприятие просуществовало не шуточно долго – около 10 лет.
За эт-о время подросток уже стал учеником хореографического училища, попав в класс замечательного профессионала, заслуженного педагога Азербайджана Розы Алиевны Гаджиевой. Стройный, с удлиненными пропорциями и легким прыжком, обладающий природной устойчивость+ю, новичок словно был создан для того, чтобы сделать карьеру классического танцовщика. Однако ощущал он себя в этой стихии не вполне уверенно, излишне скованно. Трудно было предугадать в застенчивом поклоннике Терпсихоры артистический талант и предрасположенность к остро-характерному танцу, проявившиеся у него в старших классах хореографического училища, отмеченные его педагогами Э. П. Алмазовой (мастерство актера) и А. В. Акоповым (народно-сценический танец).
Буквально каждый день воспитанника школы балета – Рашида, как впрочем, и большинства его товарищей, заполнен до отказа: регулярное обучение специальным дисциплинам, занятия в классах общего образования, репетиции танцевальных номеров в спектаклях академического театра и неустанный просмотр всех балетных постановок этого коллектива. А по воскресеньям – участие в выступлениях театра-студии при Доме офицеров или времяпрепровождение в своем кружке «камерного балета», что в переводе с итальянского языка означает комнатный или домашний бал, маскарад.
В жизни юноши появляется множество судьбоносных увлечений и пристрастий, прежде всего, это неуемная жажда чтения, изучение музыкальной литературы всех эпох и жанров, наконец, открытие в себе жилки пытл+ивого исследователя балета.
Первоначальный «послужной список» студента Бакинского хо-реографического училища достаточно широк: «Чернушка» А. Аб-басова и «Девичья- башня» А. Бадалбейли (Г. Алмасзаде), «Семь красавиц» (П. Гусев) и «Т6ропою грома» (К. Сергеев) К. Караева, «Золушка» С. Прокофьева (Н. Назирова) и «Легенда о любви» А. Меликова (Ю. Григорович) и другие. В профессиональном репертуаре начинающего исполнителя помимо вышеозначенных кордебалетных партий появляется новинка – испанский танец на народную музыку, в котором неожиданно ярко обозначился его сценический темперамент. Кроме того, к приближающемуся выпускному концерту началась постановка драматической зарисовки по I части 7-ой симфонии Д. Шостаковича. Но, по каким-то причинам, эта композиция не была завершена, поэтому пришлось довольствоваться участием в восстановленной Гамэр Алмасзаде старой, доброй «Арлекинаде».
На этом счастливое детство заканчивается, – повзрослевший эн-тузиаст своего дела за год-два до выпуска жутко вытянулся (1 м., 90 см.) и, при этом, недопустимо для артиста балета похудел. Более того, он стал катастрофически терять зрение, и теперь обходиться без очков уже не мог. Ему как бы самой судьбой выпало играть только одну роль – Дон Кихота, что он позднее с блеском и сделает в собственном балете на музыку Кара Караева. А тогда на вопрос своего педагога по классическому танцу – заслуженного артиста республики Руфата Зейналова – «Что же ты –тепер ь будешь делать?», не раздумывая, ответил – «Буду поступать на6 балетмейстерское отделение в Ленинграде».
Санкт-Петербург всегда властно манил воображение восприим-чивого мечтателя. Во-первых, его, с подросткового возраста знакомого с книгой Михаила Фокина «Против течения», захватила художническая атмосфера и творческая судьба многих деятелей «Русских сезонов». Во-вторых, молодого человека потрясли недавние гастроли в Баку артистов балета Театра оперы и балета им. С. М. Кирова, в числе которых был и Михаил Барышников, а также выступления Ленинградского театра хореографических миниатюр Леонида Якобсона, особенно его «Экзерсис ХХ века» на музыку И. С. Баха. Наконец, впервые побывав во время новогодних каникул в Ленинграде и увидев «Спящую красавицу» в исполнении Ирины Колпаковой и Юрия Соловьева, он понял, что этот город определит его дальнейшую судьбу.
Эта мечта тинэйджера осуществится через два года: прежде была служба в армии – сначала в ансамбле песни и танца при Доме офицеров им. А. Асланова (вместе с ведущими танцовщиками Оперного театра Э. Алиевым и В. Ахундовым), а затем в летной школе латвийского города Алуксне. Возмужавший и окрепший, Рашид прилетел в Ленинград, и с первой же попытки был принят на отделение балетной режиссуры Музыкальной академии им. Н. А. Римского-Корсакова в мастерскую народного артиста России, главного хореографа Театра оперы и балета им. М. П. Мусоргского (Малегот) Николая Боярчикова. Все педагоги по танцеваль+ным предметам являются непосредственными учениками А. Я. Вагановой. И этим все сказано. За пять лет учебы в вузе и постановочной практики в Оперной студии при нем из талантливого, подающего большие надежды студента выковался настоящий мастер балета и танцов-щик во всеоружии своего ремесла.
На всту6пительном собеседовании П. А. Гусев, бывший тогда заведующим кафедрой хореографов, был поражен количеством и разнообразием сочиненных «для себя» композиций 20-летнего соискателя. В его творческой папке находились, записанные по его собственной системе, пластические партитуры и постановочные решения десяти (!) балетов: «Манфред» и «Буря», «Франческа да Римини» и «Гамлет», «Ромео и Джульетта» по музыке П. И. Чайковского, «Игра в карты», «Жар-птица» и «Петрушка» И. Ф. Стравинского, «Шехеразада» Н. А. Римского-Корсакова и «Четыре темперамента» по Concerto grosso А. Я. Эшпая. Многие из этих заготовок были снабжены эскизами декораций и костюмов в авторском исполнении. Цикл симфонических программных произведений П. Чайковского (включая все увертюры-фантазии) отразил страстное увлечение неофита драматически насыщенной программной музыкой, способной стать основой для яркого хореографического представления. В этом смысле он считает себя продолжателем великих традиций М. М. Фокина, заложенные мастером в антрепризе «Русские балеты» С. П. Дягилева. А сборник статей хореографа, который является его настольной книгой, постоянно будоражит воображение, подпитывает свежими идеями. Раз и навсегда заболев «Русскими сезонами» в Е-вро пе, он позднее напишет как бы продолжение своего любимого бес6тселлера – монографию о третьем балетмейстере дягилевского предприятия – Леониде Мясине.
СТАНОВЛЕНИЕ
В его роду не было представителей творческих профессий, а только зажиточные крестьяне, негоцианты, священнослужители. Рашид Ахмедов появился на свет холодным мартовским утром 1956 года в Баку, в семье скромных служащих. Назвали малыша в честь необычайно популярног+о в то время певца Рашида Бейбутова. Жили бедно, ютились в крохотной комнатушке близ Баксовета, недалеко от дома Ростроповичей.
Его отец – Карацев Зейнатулла Зайдулович всю свою жизнь прослужил на судах дальнего плавания начальником рации. Он, с отличием зако6нчил Бакинское мореходное училище, кроме того, имел незаконченное (по семейным причинам) высшее техническое образование; увлекался бытовой техникой и чтением художественной литературы.
Мать будущего артиста – Ахмедова Роза Закировна более полувека проработала заведующей расчетно-финансового отдела Октябрьского районного пищевого торга. Она после окончания Бакинского техникума советской торговли поступила в Институт народного хозяйства, однако вынуждена была уйти с 3-го курса из-за невозможности оплачивать свое дальнейшее обучение. Ее пристрастиями с юности были театр и литература.
Мальчик с раннего детства приобщился к балету благодаря тому обстоятельству, что его семья традиционно по воскресным дням посещала хореографические представления Оперного театра. Поэтому неудивительно, что самые первые яркие художественные впечатления отложились в его сознании, в первую очередь, от соприкосновения с такими произведениями, как «Спящая красавица» и «Щелкунчик» П. И. Чайковского, а также «Золушка» С. С. Прокофьева в постановке Московского балета на льду во время его гастролей в Баку.
Тан--цевать он начал раньше, чем научился бегло читать. Конечно, свои эмо6ции неумейка выплескивал в импровизационных танцевальных монологах под пластинки с записями своих любимых балетов. И вот, в 6 лет пластически одаренного ребенка привели в детскую хореограф+ическую студию при Центральном Доме офицеров, где он начал обучаться у заслуженного артиста республики Л. В. Леонова. Этот коллектив существовал не первый год и пользовался у бакинцев немалой популярностью. Здесь начинали свой творческий путь многие прославленные деятели балетного театра; среди них – народный артист СССР, хореограф Валентин Елизарьев, народные артисты Азербайджана Владимир Плетнев и Медина Алиева, заслуженные артисты республики Ирина Низаметдинова, Виталий Ахундов и многие другие. Принимая участие в некоторых спектаклях коллектива («Аистенок» и «Коппелия», «Кукольная история» и «Золушка»), подросток-балетоман, таким образом, стал постигать азы своей будущей профессии.
В хореографическом кружке учат лишь самым первым, общим понятиям о балетном искусстве: как правильно стоять у балетного станка на выворотных ногах и верно держать спину, как грамотно ходить и бегать по сцене, делать поклоны и прочие несложные движения. Но самым важным соображением для старательного «курсанта» явилась возможность принимать участие в утренниках Детского народного театра балета. И еще он узнал, что настоящий артист никогда не позволит себе +выйти на сцену даже во время репетиций в повседневной обуви.
Видимо, тогда у пытливого новичка и зародилась страсть самому организовывать исполнителей и составлять с ними танцевальные композиции. Не переодеваться, наряжаться, гримироваться, а затем щеголять на по6дмостках в жеманных движениях. Нет. Все это было ему чуждо и позднее. Уже с самого начала, с момента становления его как деятеля хореографического творчества, он почувствовал свое истинное призвание – стать балетмейстером, руководителем всего процесса рождения спектакля: от замысла до воплощения его на театральной эстраде.
Оставив прежние увлечения, заводила попробовал с соседскими детьми поиграть с ним в балет. Позже, в школьные годы, проказник не бросил эту забаву, напротив, как-то собрав своих приятелей и знакомых, сколотил из них свою первую инициативную группу. У себя дома, благо позволяла просторная трехкомнатная квартира, он приступил к регулярным репетициям увиденных им на профессиональной сцене балетов. Здесь почти всё было как в настоящем театре – афиши и билеты, драпировки и декорации, специальное освещение и музыкальное сопровождение. А сам юный режиссер не всегда участвовал в представлениях, предпочитая «дирижировать» их ходом. И это потешное предприятие просуществовало не шуточно долго – около 10 лет.
За эт-о время подросток уже стал учеником хореографического училища, попав в класс замечательного профессионала, заслуженного педагога Азербайджана Розы Алиевны Гаджиевой. Стройный, с удлиненными пропорциями и легким прыжком, обладающий природной устойчивость+ю, новичок словно был создан для того, чтобы сделать карьеру классического танцовщика. Однако ощущал он себя в этой стихии не вполне уверенно, излишне скованно. Трудно было предугадать в застенчивом поклоннике Терпсихоры артистический талант и предрасположенность к остро-характерному танцу, проявившиеся у него в старших классах хореографического училища, отмеченные его педагогами Э. П. Алмазовой (мастерство актера) и А. В. Акоповым (народно-сценический танец).
Буквально каждый день воспитанника школы балета – Рашида, как впрочем, и большинства его товарищей, заполнен до отказа: регулярное обучение специальным дисциплинам, занятия в классах общего образования, репетиции танцевальных номеров в спектаклях академического театра и неустанный просмотр всех балетных постановок этого коллектива. А по воскресеньям – участие в выступлениях театра-студии при Доме офицеров или времяпрепровождение в своем кружке «камерного балета», что в переводе с итальянского языка означает комнатный или домашний бал, маскарад.
В жизни юноши появляется множество судьбоносных увлечений и пристрастий, прежде всего, это неуемная жажда чтения, изучение музыкальной литературы всех эпох и жанров, наконец, открытие в себе жилки пытл+ивого исследователя балета.
Первоначальный «послужной список» студента Бакинского хо-реографического училища достаточно широк: «Чернушка» А. Аб-басова и «Девичья- башня» А. Бадалбейли (Г. Алмасзаде), «Семь красавиц» (П. Гусев) и «Т6ропою грома» (К. Сергеев) К. Караева, «Золушка» С. Прокофьева (Н. Назирова) и «Легенда о любви» А. Меликова (Ю. Григорович) и другие. В профессиональном репертуаре начинающего исполнителя помимо вышеозначенных кордебалетных партий появляется новинка – испанский танец на народную музыку, в котором неожиданно ярко обозначился его сценический темперамент. Кроме того, к приближающемуся выпускному концерту началась постановка драматической зарисовки по I части 7-ой симфонии Д. Шостаковича. Но, по каким-то причинам, эта композиция не была завершена, поэтому пришлось довольствоваться участием в восстановленной Гамэр Алмасзаде старой, доброй «Арлекинаде».
На этом счастливое детство заканчивается, – повзрослевший эн-тузиаст своего дела за год-два до выпуска жутко вытянулся (1 м., 90 см.) и, при этом, недопустимо для артиста балета похудел. Более того, он стал катастрофически терять зрение, и теперь обходиться без очков уже не мог. Ему как бы самой судьбой выпало играть только одну роль – Дон Кихота, что он позднее с блеском и сделает в собственном балете на музыку Кара Караева. А тогда на вопрос своего педагога по классическому танцу – заслуженного артиста республики Руфата Зейналова – «Что же ты –тепер ь будешь делать?», не раздумывая, ответил – «Буду поступать на6 балетмейстерское отделение в Ленинграде».
Санкт-Петербург всегда властно манил воображение восприим-чивого мечтателя. Во-первых, его, с подросткового возраста знакомого с книгой Михаила Фокина «Против течения», захватила художническая атмосфера и творческая судьба многих деятелей «Русских сезонов». Во-вторых, молодого человека потрясли недавние гастроли в Баку артистов балета Театра оперы и балета им. С. М. Кирова, в числе которых был и Михаил Барышников, а также выступления Ленинградского театра хореографических миниатюр Леонида Якобсона, особенно его «Экзерсис ХХ века» на музыку И. С. Баха. Наконец, впервые побывав во время новогодних каникул в Ленинграде и увидев «Спящую красавицу» в исполнении Ирины Колпаковой и Юрия Соловьева, он понял, что этот город определит его дальнейшую судьбу.
Эта мечта тинэйджера осуществится через два года: прежде была служба в армии – сначала в ансамбле песни и танца при Доме офицеров им. А. Асланова (вместе с ведущими танцовщиками Оперного театра Э. Алиевым и В. Ахундовым), а затем в летной школе латвийского города Алуксне. Возмужавший и окрепший, Рашид прилетел в Ленинград, и с первой же попытки был принят на отделение балетной режиссуры Музыкальной академии им. Н. А. Римского-Корсакова в мастерскую народного артиста России, главного хореографа Театра оперы и балета им. М. П. Мусоргского (Малегот) Николая Боярчикова. Все педагоги по танцеваль+ным предметам являются непосредственными учениками А. Я. Вагановой. И этим все сказано. За пять лет учебы в вузе и постановочной практики в Оперной студии при нем из талантливого, подающего большие надежды студента выковался настоящий мастер балета и танцов-щик во всеоружии своего ремесла.
На всту6пительном собеседовании П. А. Гусев, бывший тогда заведующим кафедрой хореографов, был поражен количеством и разнообразием сочиненных «для себя» композиций 20-летнего соискателя. В его творческой папке находились, записанные по его собственной системе, пластические партитуры и постановочные решения десяти (!) балетов: «Манфред» и «Буря», «Франческа да Римини» и «Гамлет», «Ромео и Джульетта» по музыке П. И. Чайковского, «Игра в карты», «Жар-птица» и «Петрушка» И. Ф. Стравинского, «Шехеразада» Н. А. Римского-Корсакова и «Четыре темперамента» по Concerto grosso А. Я. Эшпая. Многие из этих заготовок были снабжены эскизами декораций и костюмов в авторском исполнении. Цикл симфонических программных произведений П. Чайковского (включая все увертюры-фантазии) отразил страстное увлечение неофита драматически насыщенной программной музыкой, способной стать основой для яркого хореографического представления. В этом смысле он считает себя продолжателем великих традиций М. М. Фокина, заложенные мастером в антрепризе «Русские балеты» С. П. Дягилева. А сборник статей хореографа, который является его настольной книгой, постоянно будоражит воображение, подпитывает свежими идеями. Раз и навсегда заболев «Русскими сезонами» в Е-вро пе, он позднее напишет как бы продолжение своего любимого бес6тселлера – монографию о третьем балетмейстере дягилевского предприятия – Леониде Мясине.
четверг, 17 ноября 2016 г.
Choreographer and Dancer Rashid Ahmedov Karacev: HAMLET Pyotr Tchaikovsky
BIOGRAPHICAL INFORMATION
CHOREOGRAPHER Rashid Ahmedov of Karasev
Akhmedov (Karasev) Rashid Anatolievich (13.3.1956, Baku) – Azerbaijani choreographer, Director, dancer, writer, ballet critic, and teacher.
Graduated from:
in 1975 the Baku choreographic school (class s. . Azerbaijan R. O. Zeynalova);
in 1982, the choreography Department of the Leningrad Conservatory. N. Rimsky-Korsakov (workshop n. a. Russia N. N. Boyarchikov);
in 1984 the Moscow Institute of advanced training of cultural workers in the spec.: choreographer musical theatre
1999-2001 Courses of managers in American companies AISAR (1999-2001).
From 1982-85 years Director of the ballet: the choreographer and teacher-tutor, in 1986, acting senior ballet master of the Azerbaijan State Theatre of musical Comedy. Kurbanov.
Post.: dancing in the operetta "die Fledermaus" by J. Strauss (1983), "the power of the Canaries" R. Ahmadzadeh (1983), "TRUMF" on Muz. M. Oginski (1985) and others, ballet (all on its own. scenarios): "the Source" by M. Akhmedova (1984), "underwater Kingdom", Rzayev (1984), "Truff Aldini" ["Pulcinella"] Igor Stravinsky (1985).
Since 1986 – head of the dance company and choreographer-postan
boy Opera Studio named after sh. Mammadova at the Azerbaijani State Conservatoire named after U. Hajibeyov.
Post.: dancing in "Arshin Mal Alan" by U. Hajibeyov (1985), "Mowgli" sh chalaeva and "Zhili-byli" S. Ibragimova (1986), "La Traviata" by G. Verdi (1987) "bastien and bastienne" of W. A. Mozart (1988);
the Director-choreographer of operas: "the silly little mouse" Shafaq R. (1988), "Old Baku" A. the Yusifova (1989), "Malen+Ki MUK (sobst. the libretto) A. Dadasheva (1989), "Iskander and Shepherd" by S. Gadzhibekov (1990), etc.
1982 – founder, choreographer and soloist of the theater-Studio Chamber ballet Baku ("Terpsichore"), since 1998 – Director and artistic Director.
Put ballets (all on its own. scenarios):
On stage Children's ballet theatre at the Central house of officers them. A. Aslanov: "In honor of the dance team on the music (1982), "Remember!" Melikov, A. (1984), "the seasons" by A. Glazunov (1993); miniature: "MIME – Narcissus and Icarus" songs. S. Prokofiev, "Quest" I. Varga, "Bridging" music. L. van Beethoven, "Farruca" M. de Falla (1984);
On the stage of the Opera Studio of the Baku musical Academy: "Pulcinella" by Igor Stravinsky (1987), "the Olympians" ["Apollo Musaget"] Igor Stravinsky (1987), "the Eastern poem" bakihanov T. (1988), "Inspiration" A. Ali-zade and "Creativity" and Mirzoev M. (1989), "Good and Evil" bakihanov T. (1993), "the Ballad of the wind" I. Kafarov (1994),
"Don Quixote" K. Karayev (1994), "the Temptation of St. Anthony" by P. Hindemith (1995), "Paradise Lost" ["Daemon"] Hindemith (2001), "Orpheus – Apollo" by Igor Stravinsky (2002), "Shulamith" songs. A. Schoenberg (2005);
miniatures: "the creatures of Prometheus" [Overture] L. van Beethoven "Morning" Grieg, "Elegiac Fandango" songs. G. Bizet (1987);
On the stage of the Azerbaijan Opera and ballet theatre. M. F. Akhundov: dancing in the Opera "Eugene Onegin" by P. Tchaikovsky (1990);
On the stage of the Azerbaijan State Theatre for Young audiences – ballet (all on its own. scenarios): carnival of the animals by C. Saint-Saens (1996), "memories of Manfred" to the music. The 3rd Symphony of Brahms (1997), "In honor of the Maestro Saint-sa?ns' music. C. Saint-sa?ns (1998), "Spring bells" ["Schlagobers"] Richard Strauss (1999), "the Princess Dream" songs. F. Poulenc (2000).
1989 – teacher of choreographic disciplines in Bakins
CHOREOGRAPHER Rashid Ahmedov of Karasev
Akhmedov (Karasev) Rashid Anatolievich (13.3.1956, Baku) – Azerbaijani choreographer, Director, dancer, writer, ballet critic, and teacher.
Graduated from:
in 1975 the Baku choreographic school (class s. . Azerbaijan R. O. Zeynalova);
in 1982, the choreography Department of the Leningrad Conservatory. N. Rimsky-Korsakov (workshop n. a. Russia N. N. Boyarchikov);
in 1984 the Moscow Institute of advanced training of cultural workers in the spec.: choreographer musical theatre
1999-2001 Courses of managers in American companies AISAR (1999-2001).
From 1982-85 years Director of the ballet: the choreographer and teacher-tutor, in 1986, acting senior ballet master of the Azerbaijan State Theatre of musical Comedy. Kurbanov.
Post.: dancing in the operetta "die Fledermaus" by J. Strauss (1983), "the power of the Canaries" R. Ahmadzadeh (1983), "TRUMF" on Muz. M. Oginski (1985) and others, ballet (all on its own. scenarios): "the Source" by M. Akhmedova (1984), "underwater Kingdom", Rzayev (1984), "Truff Aldini" ["Pulcinella"] Igor Stravinsky (1985).
Since 1986 – head of the dance company and choreographer-postan
boy Opera Studio named after sh. Mammadova at the Azerbaijani State Conservatoire named after U. Hajibeyov.
Post.: dancing in "Arshin Mal Alan" by U. Hajibeyov (1985), "Mowgli" sh chalaeva and "Zhili-byli" S. Ibragimova (1986), "La Traviata" by G. Verdi (1987) "bastien and bastienne" of W. A. Mozart (1988);
the Director-choreographer of operas: "the silly little mouse" Shafaq R. (1988), "Old Baku" A. the Yusifova (1989), "Malen+Ki MUK (sobst. the libretto) A. Dadasheva (1989), "Iskander and Shepherd" by S. Gadzhibekov (1990), etc.
1982 – founder, choreographer and soloist of the theater-Studio Chamber ballet Baku ("Terpsichore"), since 1998 – Director and artistic Director.
Put ballets (all on its own. scenarios):
On stage Children's ballet theatre at the Central house of officers them. A. Aslanov: "In honor of the dance team on the music (1982), "Remember!" Melikov, A. (1984), "the seasons" by A. Glazunov (1993); miniature: "MIME – Narcissus and Icarus" songs. S. Prokofiev, "Quest" I. Varga, "Bridging" music. L. van Beethoven, "Farruca" M. de Falla (1984);
On the stage of the Opera Studio of the Baku musical Academy: "Pulcinella" by Igor Stravinsky (1987), "the Olympians" ["Apollo Musaget"] Igor Stravinsky (1987), "the Eastern poem" bakihanov T. (1988), "Inspiration" A. Ali-zade and "Creativity" and Mirzoev M. (1989), "Good and Evil" bakihanov T. (1993), "the Ballad of the wind" I. Kafarov (1994),
"Don Quixote" K. Karayev (1994), "the Temptation of St. Anthony" by P. Hindemith (1995), "Paradise Lost" ["Daemon"] Hindemith (2001), "Orpheus – Apollo" by Igor Stravinsky (2002), "Shulamith" songs. A. Schoenberg (2005);
miniatures: "the creatures of Prometheus" [Overture] L. van Beethoven "Morning" Grieg, "Elegiac Fandango" songs. G. Bizet (1987);
On the stage of the Azerbaijan Opera and ballet theatre. M. F. Akhundov: dancing in the Opera "Eugene Onegin" by P. Tchaikovsky (1990);
On the stage of the Azerbaijan State Theatre for Young audiences – ballet (all on its own. scenarios): carnival of the animals by C. Saint-Saens (1996), "memories of Manfred" to the music. The 3rd Symphony of Brahms (1997), "In honor of the Maestro Saint-sa?ns' music. C. Saint-sa?ns (1998), "Spring bells" ["Schlagobers"] Richard Strauss (1999), "the Princess Dream" songs. F. Poulenc (2000).
1989 – teacher of choreographic disciplines in Bakins
суббота, 12 ноября 2016 г.
пятница, 11 ноября 2016 г.
понедельник, 7 ноября 2016 г.
среда, 2 ноября 2016 г.
Choreographer and Dancer Rashid Ahmedov Karacev: Antonin DVORAK CARNIVAL
https://youtu.be/bd9WAK11DV4CHAPTER ONE
FORMATION
In his family there were no representatives of creative professions, and only wealthy farmers, merchants, priests. Rashid Ahmedov was born on a cold March morning in 1956 in Baku in a family of humble servants. Named in honor of the baby is extremely popularnog+about at the time, singer Rashid Behbudov. Lived poorly, huddled in a tiny room near Maxavita, close to home Rostropovich.
His father is Karasev Santolla Sidorovich throughout his life he served on ships of seagoing vessels as chief of the radio. He, with honors seconcl Baku marine College, in addition, there was unfinished (for family reasons) higher technical education; fond appliances and reading fiction.
The mother of the future artist – Akhmedov rose zakirovna more than half a century has worked as head of accounting and Finance Department of the Oktyabrsky district food trade. She after graduating from the Baku technical school of Soviet trade was admitted to the Institute of national economy, but was forced to withdraw from the 3rd course because of the inability to pay for their further education. Her passions from my youth were the theatre and literature.
The boy from an early age he joined the ballet due to the fact that his family traditionally on Sundays, attended dance performances Opera house. It is therefore not surprising that the earliest artistic impressions formed in his mind, primarily, from contact with such works as "Sleeping beauty" and "Nutcracker" by Tchaikovsky and "Cinderella" by S. Prokofiev staged by the Moscow ballet on ice during his tour in Baku.
Tan--Cevat he started before I learned to read fluently. Of course, their emotii NewMake splashed in improvisational dance monologues under the records of his favorite ballets. And now, 6 years plastically gifted child brought into the nursery choreographer+algebraic Studio at the Central House of officers, where he began his studies at the honoured artist of the Republic L. V. Leonova. This team existed than a year and enjoyed the Bakuvians great popularity. Here began her creative path many famous figures of the ballet theatre, among them – people's artist of Russia, choreographer Valentin elizaryeu, people's artists of Azerbaijan Vladimir Pletnev and Medina Aliyev Foundation, honored artists of the Republic of Irina Nizamutdinov, Vitaly Akhundov and many others. Taking part in some performances of the team ("the Stork" and "Coppelia", "Doll story" and "Cinderella"), teenage soon, therefore, began to grasp the basics of their future profession.
The dance circle is taught only the first, General concepts of ballet art: how to stand at the Barre on reversible legs and right to keep your back, how to walk and run around the stage to make bows and other simple movements. But the most important consideration for diligent "students" was the opportunity to participate in the Children's matinees of the national theatre ballet. And he learned that a true artist will never allow themselves to go on stage even during rehearsals in casual shoes.
Apparently, then inquisitive beginner and passion originated himself to organize performers and make them dance composition. Not to change clothes, dressing up, making up, and then flaunt on podmostkah in Cutesy movements. No. All this was alien to him later. From the very beginning, from the moment of its formation as a figure of choreographic art, he felt his true calling – to become a choreographer, Director of the birth process performance: from concept to implementation it on the theatrical stage.
Leaving the old passion, the ringleader tried with neighbor children to play with him in ballet. Later, during his school years, prankster threw this fun, on the contrary, somehow gathering his friends and acquaintances, and made of them his first initiative group. At home, the benefit allowed spacious two bedroom apartment, he started regular rehearsals seen on the professional stage ballets. Here is almost everything was like in a real theater playbills and tickets, drapery and decorations, special lighting and music. And the young Director did not always participate in performances, preferring to "conduct" their swing. And it's funny, the enterprise did not last long comic about 10 years.
For at about the time the teenager has become a student of the ballet school, once in the class is a wonderful professional, honored teacher of Azerbaijan Rose Alievna Hajiyeva. Slender, with elongated proportions and a slight bounce with natural resistance+Yu, a freshman like he was designed in order to make a career as a classical dancer. However, he felt himself in this element are not quite confident, too shy. It was difficult to predict in a shy fan of Terpsichore artistic talent and predisposition to acute-characteristic dance, he manifested in high school ballet school, his teachers noted P. E. Almazov (acting technique) and A. V. Akopov (folk-stage dance).
Literally every day of the graduate school of ballet – Rashid, as well, and most of his comrades, please return to: regular education special subjects, classes in General education classes, rehearsals of the dance numbers in the academic theatre performances and tireless view all ballet performances of this team. And on Sundays part in the theatre Studio at the House officers or routine in your circle of "chamber ballet", which translated from Italian means a room or home a ball, a masquerade.
In the life of a boy there is a lot of crucial Hobbies and passions, first of all, this insatiable thirst for reading, the study of music literature of all eras and genres, finally opening in itself veins pitl+iwago researcher ballet.
The original "track record" of a student of the Baku-Ho-rheographic school is quite broad: "Nigella" A. AB-Basov and "Maiden tower" by A. Badalbeyli (G. Almaszada), "Seven beauties" (P. Gusev) and "Tropol of thunder" (K. Sergeyev) K. Karayev, "Cinderella" by S. Prokofiev (N. Nazirov) and "Legend of love" by A. Melikov (Y. Grigorovich) and others. In professional repertoire by novice in addition to the aforesaid corps de ballet of the parties it appears new Spanish dance on folk music, which suddenly has clearly delineated his stage temperament. In addition, for the upcoming graduation concert began staging dramatic sketches for the first movement of the 7th Symphony by Shostakovich. But, for some reason, this composition was not completed, so I had to settle for the participation in the restored Qamar Almaszada the good old "Harlequinade".
On this happy childhood ends – matured EN-thusiast his craft for a year or two before the release terribly stretched (1 m, 90 cm) and, thus, unacceptable to a ballet dancer thin. Moreover, he was sorely losing his sight, and now without spectacles could not. Him as if fate itself had the play only one role – don Quixote that he later with glitter and make your own ballet to music by Gara Garayev. And then the question of his classic dance teacher – honoured artist of the Republic of Azerbaijan Rufat Zeynalov – "What are you –now ? will you do?", without hesitation, replied – "I Will come on6 the choreography Department of the Leningrad".
St. Petersburg has always powerfully attracted the imagination of susceptibility-chive dreamer. First, his adolescence acquaintance with the book of Mikhail Fokine's "Against the tide", captured the artistic and creative atmosphere, the fate of many figures of "Russian seasons". Secondly, the young man was shocked by the recent tour in Baku ballet theatre of Opera and ballet. S. Kirov, among whom was Mikhail Baryshnikov, as well as performances of the Leningrad theatre of choreographic miniatures by Leonid Yakobson, especially his "Exercise of the twentieth century" to the music of J. S. Bach. Finally, for the first time during the Christmas holidays in Leningrad and saw "Sleeping beauty" performed by Irina Kolpakova and Yuri Soloviev, he realized that this city will determine his fate.
This teenager dream come true in two years: first was service in the army, first in the ensemble of song and dance at the officers ' club. A. Aslanov (together with the leading dancers of the Opera house E. Aliev and V. Akhundov), and then to flight school Latvian town of al?ksne. Matured and strengthened, Rashid arrived in Leningrad, and the first attempt was adopted at the ballet Department of directing of the Music Academy. N. A. Rimsky-Korsakov in the Studio of people's artist of Russia, the chief choreographer of the theater of Opera and ballet. M. P. Mussorgsky (Malahat) Nikolai Boyarchikov. All teachers on the gr+s ' subjects are direct students of the Vaganova. And that's it. In five years of study in the University and staging practices at the Opera Studio at it from a talented, promising student was forged into a true master of ballet and dancing-crate armed with his craft.
On vstupitelnym interview P. A. Gusev, who was then head of the Department of choreographers, was amazed at the amount and variety composed "for himself" songs 20-year-old applicant. In the folder was written in his own system, plastic scores and production solutions ten (!) ballets: "Manfred" and "Storm", "Francesca da Rimini" and "hamlet", "Romeo and Juliet" by Tchaikovsky, "card Game", "the Firebird" and "Petrushka" by I. F. Stravinsky's "Scheherazade" by N. Rimsky-Korsakov and "the Four temperaments" Concerto grosso A. J. Eshpai. Many of these pieces were fitted with sketches of scenery and costumes in the author's performance. Cycle of symphonic program P. Tchaikovsky (including all of the Overture-fantasy) reflected the passion of the neophyte dramatically intense music software, which can be a basis for striking choreographic performances. In this sense, he considers himself the successor of the great traditions Fokine, founded by master in the entreprise "Russian ballets of Sergei Diaghilev. A collection of articles of the choreographer, which is a reference book that constantly stirs the imagination, fuelling fresh ideas. Once and for all ill "Russian seasons" in the E-RFO PE, he would later write as a continuation of their loved bestseller – a monograph on the third choreographer Diaghilev's enterprise – Leonid Massine.
During the period of study in the walls of the famous Department (folk artists A. A. Makarov and N. A. Petrova, teachers L. A. Linkboy and T. V. Buyanovskaya, A. G. Pustovoy and O. M. Berg, M. B. Insurance and N. C. Annis) they were put miniatures on the music of composers, mostly of the twentieth century. The initial courses that were working on the works of Igor Stravinsky ("Tale") and Rodion Shchedrin ("two..."), T. Khrennikov ("Concert for the feet") and G. Cupriavidus ("Bell"). He later wrote several more productions, including: stylistic triad "Britten – Karayev – Britten" and "Prometheus" B. Bart?k, "memorial Michelangelo" and "trio Pathetique" by Shostakovich. Every thing, on demand N. N. Boyarchikov, was supposed to be a mini-ballet with a few number of performers – from three or four to ten. However, any short story had to contain a persistent search for new means of expression, genre originality and dramatic brightness of the idea, its alluring appeal. Method Boyarchikov-teacher does not involve violence to the individuality of a student choreographer, and, just opposite, is the awakening, identifying and underlining it as such.
On the penultimate course he wrote two important for the formation of a beginner choreographer: "Chaconne" by J. S. Bach and "Orpheus" by C. W. Gluck. Both innovations were preceded by "silent prologues" without music, corporate conquest R. Z. Ahmedov, where as in a coiled spring enclosed synopsis of the plot, which during deployment of musical and choreographic material, revealed all the more clearly and specifically, and not a hint in his intonation. The first one is the culmination of his quest in the genre of contemporary dance and the second is the apotheosis of his on-the Walker in the field of neoclassical Economics and to develop their+original style.
It is no coincidence that the last song was a certain stage of maturation of the talent of the choreographer, appearing in the drama core when creating his first two-act play "In honor of the dance team music – thesis graduate opener-ditch torii at the Theatre square in St. Petersburg. It was carried out in Baku on the basis of the children's Folk ballet, which began with tvorcheskaya biography R. Z. The Martyr-VA.
Staged the first-born choreographer has resulted in a fruitful attempt to bring within its orbit sculpture, music and the word. Here danced by adults and young artists, and in the Intro-prologue played a dramatic actor. Further, in many early works of the choreographer will be present poetry included in the full flesh of his stage compositions.
FORMATION
In his family there were no representatives of creative professions, and only wealthy farmers, merchants, priests. Rashid Ahmedov was born on a cold March morning in 1956 in Baku in a family of humble servants. Named in honor of the baby is extremely popularnog+about at the time, singer Rashid Behbudov. Lived poorly, huddled in a tiny room near Maxavita, close to home Rostropovich.
His father is Karasev Santolla Sidorovich throughout his life he served on ships of seagoing vessels as chief of the radio. He, with honors seconcl Baku marine College, in addition, there was unfinished (for family reasons) higher technical education; fond appliances and reading fiction.
The mother of the future artist – Akhmedov rose zakirovna more than half a century has worked as head of accounting and Finance Department of the Oktyabrsky district food trade. She after graduating from the Baku technical school of Soviet trade was admitted to the Institute of national economy, but was forced to withdraw from the 3rd course because of the inability to pay for their further education. Her passions from my youth were the theatre and literature.
The boy from an early age he joined the ballet due to the fact that his family traditionally on Sundays, attended dance performances Opera house. It is therefore not surprising that the earliest artistic impressions formed in his mind, primarily, from contact with such works as "Sleeping beauty" and "Nutcracker" by Tchaikovsky and "Cinderella" by S. Prokofiev staged by the Moscow ballet on ice during his tour in Baku.
Tan--Cevat he started before I learned to read fluently. Of course, their emotii NewMake splashed in improvisational dance monologues under the records of his favorite ballets. And now, 6 years plastically gifted child brought into the nursery choreographer+algebraic Studio at the Central House of officers, where he began his studies at the honoured artist of the Republic L. V. Leonova. This team existed than a year and enjoyed the Bakuvians great popularity. Here began her creative path many famous figures of the ballet theatre, among them – people's artist of Russia, choreographer Valentin elizaryeu, people's artists of Azerbaijan Vladimir Pletnev and Medina Aliyev Foundation, honored artists of the Republic of Irina Nizamutdinov, Vitaly Akhundov and many others. Taking part in some performances of the team ("the Stork" and "Coppelia", "Doll story" and "Cinderella"), teenage soon, therefore, began to grasp the basics of their future profession.
The dance circle is taught only the first, General concepts of ballet art: how to stand at the Barre on reversible legs and right to keep your back, how to walk and run around the stage to make bows and other simple movements. But the most important consideration for diligent "students" was the opportunity to participate in the Children's matinees of the national theatre ballet. And he learned that a true artist will never allow themselves to go on stage even during rehearsals in casual shoes.
Apparently, then inquisitive beginner and passion originated himself to organize performers and make them dance composition. Not to change clothes, dressing up, making up, and then flaunt on podmostkah in Cutesy movements. No. All this was alien to him later. From the very beginning, from the moment of its formation as a figure of choreographic art, he felt his true calling – to become a choreographer, Director of the birth process performance: from concept to implementation it on the theatrical stage.
Leaving the old passion, the ringleader tried with neighbor children to play with him in ballet. Later, during his school years, prankster threw this fun, on the contrary, somehow gathering his friends and acquaintances, and made of them his first initiative group. At home, the benefit allowed spacious two bedroom apartment, he started regular rehearsals seen on the professional stage ballets. Here is almost everything was like in a real theater playbills and tickets, drapery and decorations, special lighting and music. And the young Director did not always participate in performances, preferring to "conduct" their swing. And it's funny, the enterprise did not last long comic about 10 years.
For at about the time the teenager has become a student of the ballet school, once in the class is a wonderful professional, honored teacher of Azerbaijan Rose Alievna Hajiyeva. Slender, with elongated proportions and a slight bounce with natural resistance+Yu, a freshman like he was designed in order to make a career as a classical dancer. However, he felt himself in this element are not quite confident, too shy. It was difficult to predict in a shy fan of Terpsichore artistic talent and predisposition to acute-characteristic dance, he manifested in high school ballet school, his teachers noted P. E. Almazov (acting technique) and A. V. Akopov (folk-stage dance).
Literally every day of the graduate school of ballet – Rashid, as well, and most of his comrades, please return to: regular education special subjects, classes in General education classes, rehearsals of the dance numbers in the academic theatre performances and tireless view all ballet performances of this team. And on Sundays part in the theatre Studio at the House officers or routine in your circle of "chamber ballet", which translated from Italian means a room or home a ball, a masquerade.
In the life of a boy there is a lot of crucial Hobbies and passions, first of all, this insatiable thirst for reading, the study of music literature of all eras and genres, finally opening in itself veins pitl+iwago researcher ballet.
The original "track record" of a student of the Baku-Ho-rheographic school is quite broad: "Nigella" A. AB-Basov and "Maiden tower" by A. Badalbeyli (G. Almaszada), "Seven beauties" (P. Gusev) and "Tropol of thunder" (K. Sergeyev) K. Karayev, "Cinderella" by S. Prokofiev (N. Nazirov) and "Legend of love" by A. Melikov (Y. Grigorovich) and others. In professional repertoire by novice in addition to the aforesaid corps de ballet of the parties it appears new Spanish dance on folk music, which suddenly has clearly delineated his stage temperament. In addition, for the upcoming graduation concert began staging dramatic sketches for the first movement of the 7th Symphony by Shostakovich. But, for some reason, this composition was not completed, so I had to settle for the participation in the restored Qamar Almaszada the good old "Harlequinade".
On this happy childhood ends – matured EN-thusiast his craft for a year or two before the release terribly stretched (1 m, 90 cm) and, thus, unacceptable to a ballet dancer thin. Moreover, he was sorely losing his sight, and now without spectacles could not. Him as if fate itself had the play only one role – don Quixote that he later with glitter and make your own ballet to music by Gara Garayev. And then the question of his classic dance teacher – honoured artist of the Republic of Azerbaijan Rufat Zeynalov – "What are you –now ? will you do?", without hesitation, replied – "I Will come on6 the choreography Department of the Leningrad".
St. Petersburg has always powerfully attracted the imagination of susceptibility-chive dreamer. First, his adolescence acquaintance with the book of Mikhail Fokine's "Against the tide", captured the artistic and creative atmosphere, the fate of many figures of "Russian seasons". Secondly, the young man was shocked by the recent tour in Baku ballet theatre of Opera and ballet. S. Kirov, among whom was Mikhail Baryshnikov, as well as performances of the Leningrad theatre of choreographic miniatures by Leonid Yakobson, especially his "Exercise of the twentieth century" to the music of J. S. Bach. Finally, for the first time during the Christmas holidays in Leningrad and saw "Sleeping beauty" performed by Irina Kolpakova and Yuri Soloviev, he realized that this city will determine his fate.
This teenager dream come true in two years: first was service in the army, first in the ensemble of song and dance at the officers ' club. A. Aslanov (together with the leading dancers of the Opera house E. Aliev and V. Akhundov), and then to flight school Latvian town of al?ksne. Matured and strengthened, Rashid arrived in Leningrad, and the first attempt was adopted at the ballet Department of directing of the Music Academy. N. A. Rimsky-Korsakov in the Studio of people's artist of Russia, the chief choreographer of the theater of Opera and ballet. M. P. Mussorgsky (Malahat) Nikolai Boyarchikov. All teachers on the gr+s ' subjects are direct students of the Vaganova. And that's it. In five years of study in the University and staging practices at the Opera Studio at it from a talented, promising student was forged into a true master of ballet and dancing-crate armed with his craft.
On vstupitelnym interview P. A. Gusev, who was then head of the Department of choreographers, was amazed at the amount and variety composed "for himself" songs 20-year-old applicant. In the folder was written in his own system, plastic scores and production solutions ten (!) ballets: "Manfred" and "Storm", "Francesca da Rimini" and "hamlet", "Romeo and Juliet" by Tchaikovsky, "card Game", "the Firebird" and "Petrushka" by I. F. Stravinsky's "Scheherazade" by N. Rimsky-Korsakov and "the Four temperaments" Concerto grosso A. J. Eshpai. Many of these pieces were fitted with sketches of scenery and costumes in the author's performance. Cycle of symphonic program P. Tchaikovsky (including all of the Overture-fantasy) reflected the passion of the neophyte dramatically intense music software, which can be a basis for striking choreographic performances. In this sense, he considers himself the successor of the great traditions Fokine, founded by master in the entreprise "Russian ballets of Sergei Diaghilev. A collection of articles of the choreographer, which is a reference book that constantly stirs the imagination, fuelling fresh ideas. Once and for all ill "Russian seasons" in the E-RFO PE, he would later write as a continuation of their loved bestseller – a monograph on the third choreographer Diaghilev's enterprise – Leonid Massine.
During the period of study in the walls of the famous Department (folk artists A. A. Makarov and N. A. Petrova, teachers L. A. Linkboy and T. V. Buyanovskaya, A. G. Pustovoy and O. M. Berg, M. B. Insurance and N. C. Annis) they were put miniatures on the music of composers, mostly of the twentieth century. The initial courses that were working on the works of Igor Stravinsky ("Tale") and Rodion Shchedrin ("two..."), T. Khrennikov ("Concert for the feet") and G. Cupriavidus ("Bell"). He later wrote several more productions, including: stylistic triad "Britten – Karayev – Britten" and "Prometheus" B. Bart?k, "memorial Michelangelo" and "trio Pathetique" by Shostakovich. Every thing, on demand N. N. Boyarchikov, was supposed to be a mini-ballet with a few number of performers – from three or four to ten. However, any short story had to contain a persistent search for new means of expression, genre originality and dramatic brightness of the idea, its alluring appeal. Method Boyarchikov-teacher does not involve violence to the individuality of a student choreographer, and, just opposite, is the awakening, identifying and underlining it as such.
On the penultimate course he wrote two important for the formation of a beginner choreographer: "Chaconne" by J. S. Bach and "Orpheus" by C. W. Gluck. Both innovations were preceded by "silent prologues" without music, corporate conquest R. Z. Ahmedov, where as in a coiled spring enclosed synopsis of the plot, which during deployment of musical and choreographic material, revealed all the more clearly and specifically, and not a hint in his intonation. The first one is the culmination of his quest in the genre of contemporary dance and the second is the apotheosis of his on-the Walker in the field of neoclassical Economics and to develop their+original style.
It is no coincidence that the last song was a certain stage of maturation of the talent of the choreographer, appearing in the drama core when creating his first two-act play "In honor of the dance team music – thesis graduate opener-ditch torii at the Theatre square in St. Petersburg. It was carried out in Baku on the basis of the children's Folk ballet, which began with tvorcheskaya biography R. Z. The Martyr-VA.
Staged the first-born choreographer has resulted in a fruitful attempt to bring within its orbit sculpture, music and the word. Here danced by adults and young artists, and in the Intro-prologue played a dramatic actor. Further, in many early works of the choreographer will be present poetry included in the full flesh of his stage compositions.
Choreographer and Dancer Rashid Ahmedov Karacev: CESAR FRANCK "EOLIDES"
https://youtu.be/30I2YmoXSqwCHAPTER ONE
FORMATION
In his family there were no representatives of creative professions, and only wealthy farmers, merchants, priests. Rashid Ahmedov was born on a cold March morning in 1956 in Baku in a family of humble servants. Named in honor of the baby is extremely popularnog+about at the time, singer Rashid Behbudov. Lived poorly, huddled in a tiny room near Maxavita, close to home Rostropovich.
His father is Karasev Santolla Sidorovich throughout his life he served on ships of seagoing vessels as chief of the radio. He, with honors seconcl Baku marine College, in addition, there was unfinished (for family reasons) higher technical education; fond appliances and reading fiction.
The mother of the future artist – Akhmedov rose zakirovna more than half a century has worked as head of accounting and Finance Department of the Oktyabrsky district food trade. She after graduating from the Baku technical school of Soviet trade was admitted to the Institute of national economy, but was forced to withdraw from the 3rd course because of the inability to pay for their further education. Her passions from my youth were the theatre and literature.
The boy from an early age he joined the ballet due to the fact that his family traditionally on Sundays, attended dance performances Opera house. It is therefore not surprising that the earliest artistic impressions formed in his mind, primarily, from contact with such works as "Sleeping beauty" and "Nutcracker" by Tchaikovsky and "Cinderella" by S. Prokofiev staged by the Moscow ballet on ice during his tour in Baku.
Tan--Cevat he started before I learned to read fluently. Of course, their emotii NewMake splashed in improvisational dance monologues under the records of his favorite ballets. And now, 6 years plastically gifted child brought into the nursery choreographer+algebraic Studio at the Central House of officers, where he began his studies at the honoured artist of the Republic L. V. Leonova. This team existed than a year and enjoyed the Bakuvians great popularity. Here began her creative path many famous figures of the ballet theatre, among them – people's artist of Russia, choreographer Valentin elizaryeu, people's artists of Azerbaijan Vladimir Pletnev and Medina Aliyev Foundation, honored artists of the Republic of Irina Nizamutdinov, Vitaly Akhundov and many others. Taking part in some performances of the team ("the Stork" and "Coppelia", "Doll story" and "Cinderella"), teenage soon, therefore, began to grasp the basics of their future profession.
The dance circle is taught only the first, General concepts of ballet art: how to stand at the Barre on reversible legs and right to keep your back, how to walk and run around the stage to make bows and other simple movements. But the most important consideration for diligent "students" was the opportunity to participate in the Children's matinees of the national theatre ballet. And he learned that a true artist will never allow themselves to go on stage even during rehearsals in casual shoes.
Apparently, then inquisitive beginner and passion originated himself to organize performers and make them dance composition. Not to change clothes, dressing up, making up, and then flaunt on podmostkah in Cutesy movements. No. All this was alien to him later. From the very beginning, from the moment of its formation as a figure of choreographic art, he felt his true calling – to become a choreographer, Director of the birth process performance: from concept to implementation it on the theatrical stage.
Leaving the old passion, the ringleader tried with neighbor children to play with him in ballet. Later, during his school years, prankster threw this fun, on the contrary, somehow gathering his friends and acquaintances, and made of them his first initiative group. At home, the benefit allowed spacious two bedroom apartment, he started regular rehearsals seen on the professional stage ballets. Here is almost everything was like in a real theater playbills and tickets, drapery and decorations, special lighting and music. And the young Director did not always participate in performances, preferring to "conduct" their swing. And it's funny, the enterprise did not last long comic about 10 years.
For at about the time the teenager has become a student of the ballet school, once in the class is a wonderful professional, honored teacher of Azerbaijan Rose Alievna Hajiyeva. Slender, with elongated proportions and a slight bounce with natural resistance+Yu, a freshman like he was designed in order to make a career as a classical dancer. However, he felt himself in this element are not quite confident, too shy. It was difficult to predict in a shy fan of Terpsichore artistic talent and predisposition to acute-characteristic dance, he manifested in high school ballet school, his teachers noted P. E. Almazov (acting technique) and A. V. Akopov (folk-stage dance).
Literally every day of the graduate school of ballet – Rashid, as well, and most of his comrades, please return to: regular education special subjects, classes in General education classes, rehearsals of the dance numbers in the academic theatre performances and tireless view all ballet performances of this team. And on Sundays part in the theatre Studio at the House officers or routine in your circle of "chamber ballet", which translated from Italian means a room or home a ball, a masquerade.
In the life of a boy there is a lot of crucial Hobbies and passions, first of all, this insatiable thirst for reading, the study of music literature of all eras and genres, finally opening in itself veins pitl+iwago researcher ballet.
The original "track record" of a student of the Baku-Ho-rheographic school is quite broad: "Nigella" A. AB-Basov and "Maiden tower" by A. Badalbeyli (G. Almaszada), "Seven beauties" (P. Gusev) and "Tropol of thunder" (K. Sergeyev) K. Karayev, "Cinderella" by S. Prokofiev (N. Nazirov) and "Legend of love" by A. Melikov (Y. Grigorovich) and others. In professional repertoire by novice in addition to the aforesaid corps de ballet of the parties it appears new Spanish dance on folk music, which suddenly has clearly delineated his stage temperament. In addition, for the upcoming graduation concert began staging dramatic sketches for the first movement of the 7th Symphony by Shostakovich. But, for some reason, this composition was not completed, so I had to settle for the participation in the restored Qamar Almaszada the good old "Harlequinade".
On this happy childhood ends – matured EN-thusiast his craft for a year or two before the release terribly stretched (1 m, 90 cm) and, thus, unacceptable to a ballet dancer thin. Moreover, he was sorely losing his sight, and now without spectacles could not. Him as if fate itself had the play only one role – don Quixote that he later with glitter and make your own ballet to music by Gara Garayev. And then the question of his classic dance teacher – honoured artist of the Republic of Azerbaijan Rufat Zeynalov – "What are you –now ? will you do?", without hesitation, replied – "I Will come on6 the choreography Department of the Leningrad".
St. Petersburg has always powerfully attracted the imagination of susceptibility-chive dreamer. First, his adolescence acquaintance with the book of Mikhail Fokine's "Against the tide", captured the artistic and creative atmosphere, the fate of many figures of "Russian seasons". Secondly, the young man was shocked by the recent tour in Baku ballet theatre of Opera and ballet. S. Kirov, among whom was Mikhail Baryshnikov, as well as performances of the Leningrad theatre of choreographic miniatures by Leonid Yakobson, especially his "Exercise of the twentieth century" to the music of J. S. Bach. Finally, for the first time during the Christmas holidays in Leningrad and saw "Sleeping beauty" performed by Irina Kolpakova and Yuri Soloviev, he realized that this city will determine his fate.
This teenager dream come true in two years: first was service in the army, first in the ensemble of song and dance at the officers ' club. A. Aslanov (together with the leading dancers of the Opera house E. Aliev and V. Akhundov), and then to flight school Latvian town of al?ksne. Matured and strengthened, Rashid arrived in Leningrad, and the first attempt was adopted at the ballet Department of directing of the Music Academy. N. A. Rimsky-Korsakov in the Studio of people's artist of Russia, the chief choreographer of the theater of Opera and ballet. M. P. Mussorgsky (Malahat) Nikolai Boyarchikov. All teachers on the gr+s ' subjects are direct students of the Vaganova. And that's it. In five years of study in the University and staging practices at the Opera Studio at it from a talented, promising student was forged into a true master of ballet and dancing-crate armed with his craft.
On vstupitelnym interview P. A. Gusev, who was then head of the Department of choreographers, was amazed at the amount and variety composed "for himself" songs 20-year-old applicant. In the folder was written in his own system, plastic scores and production solutions ten (!) ballets: "Manfred" and "Storm", "Francesca da Rimini" and "hamlet", "Romeo and Juliet" by Tchaikovsky, "card Game", "the Firebird" and "Petrushka" by I. F. Stravinsky's "Scheherazade" by N. Rimsky-Korsakov and "the Four temperaments" Concerto grosso A. J. Eshpai. Many of these pieces were fitted with sketches of scenery and costumes in the author's performance. Cycle of symphonic program P. Tchaikovsky (including all of the Overture-fantasy) reflected the passion of the neophyte dramatically intense music software, which can be a basis for striking choreographic performances. In this sense, he considers himself the successor of the great traditions Fokine, founded by master in the entreprise "Russian ballets of Sergei Diaghilev. A collection of articles of the choreographer, which is a reference book that constantly stirs the imagination, fuelling fresh ideas. Once and for all ill "Russian seasons" in the E-RFO PE, he would later write as a continuation of their loved bestseller – a monograph on the third choreographer Diaghilev's enterprise – Leonid Massine.
During the period of study in the walls of the famous Department (folk artists A. A. Makarov and N. A. Petrova, teachers L. A. Linkboy and T. V. Buyanovskaya, A. G. Pustovoy and O. M. Berg, M. B. Insurance and N. C. Annis) they were put miniatures on the music of composers, mostly of the twentieth century. The initial courses that were working on the works of Igor Stravinsky ("Tale") and Rodion Shchedrin ("two..."), T. Khrennikov ("Concert for the feet") and G. Cupriavidus ("Bell"). He later wrote several more productions, including: stylistic triad "Britten – Karayev – Britten" and "Prometheus" B. Bart?k, "memorial Michelangelo" and "trio Pathetique" by Shostakovich. Every thing, on demand N. N. Boyarchikov, was supposed to be a mini-ballet with a few number of performers – from three or four to ten. However, any short story had to contain a persistent search for new means of expression, genre originality and dramatic brightness of the idea, its alluring appeal. Method Boyarchikov-teacher does not involve violence to the individuality of a student choreographer, and, just opposite, is the awakening, identifying and underlining it as such.
On the penultimate course he wrote two important for the formation of a beginner choreographer: "Chaconne" by J. S. Bach and "Orpheus" by C. W. Gluck. Both innovations were preceded by "silent prologues" without music, corporate conquest R. Z. Ahmedov, where as in a coiled spring enclosed synopsis of the plot, which during deployment of musical and choreographic material, revealed all the more clearly and specifically, and not a hint in his intonation. The first one is the culmination of his quest in the genre of contemporary dance and the second is the apotheosis of his on-the Walker in the field of neoclassical Economics and to develop their+original style.
It is no coincidence that the last song was a certain stage of maturation of the talent of the choreographer, appearing in the drama core when creating his first two-act play "In honor of the dance team music – thesis graduate opener-ditch torii at the Theatre square in St. Petersburg. It was carried out in Baku on the basis of the children's Folk ballet, which began with tvorcheskaya biography R. Z. The Martyr-VA.
Staged the first-born choreographer has resulted in a fruitful attempt to bring within its orbit sculpture, music and the word. Here danced by adults and young artists, and in the Intro-prologue played a dramatic actor. Further, in many early works of the choreographer will be present poetry included in the full flesh of his stage compositions.
FORMATION
In his family there were no representatives of creative professions, and only wealthy farmers, merchants, priests. Rashid Ahmedov was born on a cold March morning in 1956 in Baku in a family of humble servants. Named in honor of the baby is extremely popularnog+about at the time, singer Rashid Behbudov. Lived poorly, huddled in a tiny room near Maxavita, close to home Rostropovich.
His father is Karasev Santolla Sidorovich throughout his life he served on ships of seagoing vessels as chief of the radio. He, with honors seconcl Baku marine College, in addition, there was unfinished (for family reasons) higher technical education; fond appliances and reading fiction.
The mother of the future artist – Akhmedov rose zakirovna more than half a century has worked as head of accounting and Finance Department of the Oktyabrsky district food trade. She after graduating from the Baku technical school of Soviet trade was admitted to the Institute of national economy, but was forced to withdraw from the 3rd course because of the inability to pay for their further education. Her passions from my youth were the theatre and literature.
The boy from an early age he joined the ballet due to the fact that his family traditionally on Sundays, attended dance performances Opera house. It is therefore not surprising that the earliest artistic impressions formed in his mind, primarily, from contact with such works as "Sleeping beauty" and "Nutcracker" by Tchaikovsky and "Cinderella" by S. Prokofiev staged by the Moscow ballet on ice during his tour in Baku.
Tan--Cevat he started before I learned to read fluently. Of course, their emotii NewMake splashed in improvisational dance monologues under the records of his favorite ballets. And now, 6 years plastically gifted child brought into the nursery choreographer+algebraic Studio at the Central House of officers, where he began his studies at the honoured artist of the Republic L. V. Leonova. This team existed than a year and enjoyed the Bakuvians great popularity. Here began her creative path many famous figures of the ballet theatre, among them – people's artist of Russia, choreographer Valentin elizaryeu, people's artists of Azerbaijan Vladimir Pletnev and Medina Aliyev Foundation, honored artists of the Republic of Irina Nizamutdinov, Vitaly Akhundov and many others. Taking part in some performances of the team ("the Stork" and "Coppelia", "Doll story" and "Cinderella"), teenage soon, therefore, began to grasp the basics of their future profession.
The dance circle is taught only the first, General concepts of ballet art: how to stand at the Barre on reversible legs and right to keep your back, how to walk and run around the stage to make bows and other simple movements. But the most important consideration for diligent "students" was the opportunity to participate in the Children's matinees of the national theatre ballet. And he learned that a true artist will never allow themselves to go on stage even during rehearsals in casual shoes.
Apparently, then inquisitive beginner and passion originated himself to organize performers and make them dance composition. Not to change clothes, dressing up, making up, and then flaunt on podmostkah in Cutesy movements. No. All this was alien to him later. From the very beginning, from the moment of its formation as a figure of choreographic art, he felt his true calling – to become a choreographer, Director of the birth process performance: from concept to implementation it on the theatrical stage.
Leaving the old passion, the ringleader tried with neighbor children to play with him in ballet. Later, during his school years, prankster threw this fun, on the contrary, somehow gathering his friends and acquaintances, and made of them his first initiative group. At home, the benefit allowed spacious two bedroom apartment, he started regular rehearsals seen on the professional stage ballets. Here is almost everything was like in a real theater playbills and tickets, drapery and decorations, special lighting and music. And the young Director did not always participate in performances, preferring to "conduct" their swing. And it's funny, the enterprise did not last long comic about 10 years.
For at about the time the teenager has become a student of the ballet school, once in the class is a wonderful professional, honored teacher of Azerbaijan Rose Alievna Hajiyeva. Slender, with elongated proportions and a slight bounce with natural resistance+Yu, a freshman like he was designed in order to make a career as a classical dancer. However, he felt himself in this element are not quite confident, too shy. It was difficult to predict in a shy fan of Terpsichore artistic talent and predisposition to acute-characteristic dance, he manifested in high school ballet school, his teachers noted P. E. Almazov (acting technique) and A. V. Akopov (folk-stage dance).
Literally every day of the graduate school of ballet – Rashid, as well, and most of his comrades, please return to: regular education special subjects, classes in General education classes, rehearsals of the dance numbers in the academic theatre performances and tireless view all ballet performances of this team. And on Sundays part in the theatre Studio at the House officers or routine in your circle of "chamber ballet", which translated from Italian means a room or home a ball, a masquerade.
In the life of a boy there is a lot of crucial Hobbies and passions, first of all, this insatiable thirst for reading, the study of music literature of all eras and genres, finally opening in itself veins pitl+iwago researcher ballet.
The original "track record" of a student of the Baku-Ho-rheographic school is quite broad: "Nigella" A. AB-Basov and "Maiden tower" by A. Badalbeyli (G. Almaszada), "Seven beauties" (P. Gusev) and "Tropol of thunder" (K. Sergeyev) K. Karayev, "Cinderella" by S. Prokofiev (N. Nazirov) and "Legend of love" by A. Melikov (Y. Grigorovich) and others. In professional repertoire by novice in addition to the aforesaid corps de ballet of the parties it appears new Spanish dance on folk music, which suddenly has clearly delineated his stage temperament. In addition, for the upcoming graduation concert began staging dramatic sketches for the first movement of the 7th Symphony by Shostakovich. But, for some reason, this composition was not completed, so I had to settle for the participation in the restored Qamar Almaszada the good old "Harlequinade".
On this happy childhood ends – matured EN-thusiast his craft for a year or two before the release terribly stretched (1 m, 90 cm) and, thus, unacceptable to a ballet dancer thin. Moreover, he was sorely losing his sight, and now without spectacles could not. Him as if fate itself had the play only one role – don Quixote that he later with glitter and make your own ballet to music by Gara Garayev. And then the question of his classic dance teacher – honoured artist of the Republic of Azerbaijan Rufat Zeynalov – "What are you –now ? will you do?", without hesitation, replied – "I Will come on6 the choreography Department of the Leningrad".
St. Petersburg has always powerfully attracted the imagination of susceptibility-chive dreamer. First, his adolescence acquaintance with the book of Mikhail Fokine's "Against the tide", captured the artistic and creative atmosphere, the fate of many figures of "Russian seasons". Secondly, the young man was shocked by the recent tour in Baku ballet theatre of Opera and ballet. S. Kirov, among whom was Mikhail Baryshnikov, as well as performances of the Leningrad theatre of choreographic miniatures by Leonid Yakobson, especially his "Exercise of the twentieth century" to the music of J. S. Bach. Finally, for the first time during the Christmas holidays in Leningrad and saw "Sleeping beauty" performed by Irina Kolpakova and Yuri Soloviev, he realized that this city will determine his fate.
This teenager dream come true in two years: first was service in the army, first in the ensemble of song and dance at the officers ' club. A. Aslanov (together with the leading dancers of the Opera house E. Aliev and V. Akhundov), and then to flight school Latvian town of al?ksne. Matured and strengthened, Rashid arrived in Leningrad, and the first attempt was adopted at the ballet Department of directing of the Music Academy. N. A. Rimsky-Korsakov in the Studio of people's artist of Russia, the chief choreographer of the theater of Opera and ballet. M. P. Mussorgsky (Malahat) Nikolai Boyarchikov. All teachers on the gr+s ' subjects are direct students of the Vaganova. And that's it. In five years of study in the University and staging practices at the Opera Studio at it from a talented, promising student was forged into a true master of ballet and dancing-crate armed with his craft.
On vstupitelnym interview P. A. Gusev, who was then head of the Department of choreographers, was amazed at the amount and variety composed "for himself" songs 20-year-old applicant. In the folder was written in his own system, plastic scores and production solutions ten (!) ballets: "Manfred" and "Storm", "Francesca da Rimini" and "hamlet", "Romeo and Juliet" by Tchaikovsky, "card Game", "the Firebird" and "Petrushka" by I. F. Stravinsky's "Scheherazade" by N. Rimsky-Korsakov and "the Four temperaments" Concerto grosso A. J. Eshpai. Many of these pieces were fitted with sketches of scenery and costumes in the author's performance. Cycle of symphonic program P. Tchaikovsky (including all of the Overture-fantasy) reflected the passion of the neophyte dramatically intense music software, which can be a basis for striking choreographic performances. In this sense, he considers himself the successor of the great traditions Fokine, founded by master in the entreprise "Russian ballets of Sergei Diaghilev. A collection of articles of the choreographer, which is a reference book that constantly stirs the imagination, fuelling fresh ideas. Once and for all ill "Russian seasons" in the E-RFO PE, he would later write as a continuation of their loved bestseller – a monograph on the third choreographer Diaghilev's enterprise – Leonid Massine.
During the period of study in the walls of the famous Department (folk artists A. A. Makarov and N. A. Petrova, teachers L. A. Linkboy and T. V. Buyanovskaya, A. G. Pustovoy and O. M. Berg, M. B. Insurance and N. C. Annis) they were put miniatures on the music of composers, mostly of the twentieth century. The initial courses that were working on the works of Igor Stravinsky ("Tale") and Rodion Shchedrin ("two..."), T. Khrennikov ("Concert for the feet") and G. Cupriavidus ("Bell"). He later wrote several more productions, including: stylistic triad "Britten – Karayev – Britten" and "Prometheus" B. Bart?k, "memorial Michelangelo" and "trio Pathetique" by Shostakovich. Every thing, on demand N. N. Boyarchikov, was supposed to be a mini-ballet with a few number of performers – from three or four to ten. However, any short story had to contain a persistent search for new means of expression, genre originality and dramatic brightness of the idea, its alluring appeal. Method Boyarchikov-teacher does not involve violence to the individuality of a student choreographer, and, just opposite, is the awakening, identifying and underlining it as such.
On the penultimate course he wrote two important for the formation of a beginner choreographer: "Chaconne" by J. S. Bach and "Orpheus" by C. W. Gluck. Both innovations were preceded by "silent prologues" without music, corporate conquest R. Z. Ahmedov, where as in a coiled spring enclosed synopsis of the plot, which during deployment of musical and choreographic material, revealed all the more clearly and specifically, and not a hint in his intonation. The first one is the culmination of his quest in the genre of contemporary dance and the second is the apotheosis of his on-the Walker in the field of neoclassical Economics and to develop their+original style.
It is no coincidence that the last song was a certain stage of maturation of the talent of the choreographer, appearing in the drama core when creating his first two-act play "In honor of the dance team music – thesis graduate opener-ditch torii at the Theatre square in St. Petersburg. It was carried out in Baku on the basis of the children's Folk ballet, which began with tvorcheskaya biography R. Z. The Martyr-VA.
Staged the first-born choreographer has resulted in a fruitful attempt to bring within its orbit sculpture, music and the word. Here danced by adults and young artists, and in the Intro-prologue played a dramatic actor. Further, in many early works of the choreographer will be present poetry included in the full flesh of his stage compositions.
вторник, 1 ноября 2016 г.
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