CC BY
8ART
MODERN NATIONAL CHOREOGRAPHY ON THE STAGE OF THE «ASTANA OPERA»
Sarzhanov A.,
The Kazakh National Academy of Choreography
Master student Faculty of Arts Saitova G.
The Kazakh National Academy of Choreography, professor, Ph.D. in History of Arts Faculty of Arts DOI: 10.5281/zenodo.7408521
ABSTRACT
The article deals with the creation of the national ballet "Call of the Steppe" staged by the French choreographer Patrick de Bana and his interesting, creative idea for the Kazakh historical value in abstract images of an eagle, wolf and horse. The author studies the work of the Western production group with Kazakhstan art workers and their symbiosis in the creation of modern national ballet, their achievement and promotion of the final product of both East and West.
Keywords: French choreographer, theater, interpretation, stage, modern choreography.
Introduction. Patrick de Bana is a French choreographer and a citizen of the world. His collaboration and creative ideas with numerous world stars in various areas of theatrical art plunges into amazement. In such vectors of art as dramaturgy or cinematography, visual and musical art, scenography and, of course, choreography, we can fully enjoy the versatility of Patrick de Bain.
Aim: to determine the individual hand and style of the choreographer Patrick de Bana in the process of staging the ballet "Call of the Steppe" on the stage of the Kazakhstan Theater "Astana Opera".
Research methods:
- method of structural analysis and synthesis;
- method of observation and interviewing;
- empirical method
Our versatile hero was born in the north of Germany in the city of Hamburg in an international family. His mother is German by nationality, and his father is a native of the West African Federal Republic of Nigeria. His extraordinary origins most likely influenced his ability to express his feelings in the language of dance. Perhaps the ancestors of Patrick de Bana are African sorcerers, and when creating his choreographic text, he seems to enter a trance, where the mysterious magic of dance is born. An extraordinary personality: "he studied at the choreographic school at the Hamburg Ballet under the direction of John Neumeier and Truman Finney" [1]. Patrick de Bana received a good school in modern German dance and subsequently developed his innate talent from the venerable choreographer Maurice Bejart. Under the direction of M. Bejart in the troupe "Ballet de Lausanne" Patrick de Bana rose to the position of leading soloist. Thereafter, "he moved to the Spanish National Dance Company under the direction of Nacho Duato, where he remained the premiere for over ten years and danced in productions by Nacho Du-ato, Jiri Kilian, Ohad Naarin, William Forsythe, Mats Ek, Hans van Manen and others" [1].
Work on the ballet "Call of the Steppe" went on for a long time. Firstly, the idea of origin and the search
for a choreographer who could embody what was conceived and bring something new into the performance of a national character is not a piece of cake. The acquaintance of Patrick de Ban with the dancers of the ballet troupe of the Astana Opera and the preliminary rehearsal began in the second half of 2019. According to the plan, work ought to be continued in the first half of 2020. However, there is the second factor of obstacles, the global pandemic of the COVID-19 Virus, which has introduced its own adjustments in all areas of the life of all mankind. Thirdly, just before the premiere of the performance, unflattering, contradictory claims flared up around the use of the author's music by the Kazakh composer Tles Kazhgaliyev.
As it is seen, the birth of this performance experienced ups and downs, nevertheless, the premiere of the ballet "Call of the Steppe" took place on December 15 and 16, 2020. It was symbolic since it was dedicated to the Independence Day of the Republic of Kazakhstan, evoking patriotic feelings of joy for the national product that was created by the joint efforts of a Kazakh and foreign team. The libretto for the ballet was written by Kazakh film director, screenwriter and poet Bakhyt Kairbekov, who has recently been working closely with the Astana Ballet Theatre. But the adaptation of the choreographic libretto was provided by the French specialist Jean Francois Vazel.
Initially, Patrick de Bana conceived to intertwine organically the traditional elements of Kazakh dance with modern choreography. "The idea of the continuity of traditions and connection with the roots is the connecting thread between the choreography and the storyline of the ballet" [2], - notes the information portal Kapital.kz. Continuing the idea and plot of the ballet, he emphasizes that "it is respect for one's own history and veneration of ancestors that gives the heroes the strength to move confidently into the future" [2].
Once again, the irrefutable truth is confirmed -there is no future without the past or everything new is well-forgotten old. Also, you cannot argue with these
statements. The very name "Call of the Steppe" contains the ancient postulates of the truth of our ancestors, which we must adhere to, honor and propagate to the masses. It should be noted that the Kapital.kz article talks about the interweaving of traditional elements of folk dance with modern choreography, although in the ballet itself the techniques of Kazakh dance are not traced at all. In the costumes of the Father and Mother, glimpses of national color are visible and nothing more or in a Shaman costume, the uniform of which consists of the attributes of the Kazakh shapan and tymak. In the setting of the stage space there is a sacred place - the Mausoleum of the Ancestors. That's all the positioning with national symbols in this performance.
I would like to note that: "Earlier, Patrick de Bana worked on national ballets in China, Turkey, Japan and Bahrain" [2]. Thus, holding extensive experience in creating national ballets, the French choreographer decided to stage the Kazakh ballet in the light of his vision. This is the story of a simple family dreaming of having a child. Parents ask the Almighty and pray for the birth of a baby. Here, it was very important to show a new look at the Kazakh culture, mentality and way of life, which is embodied in a modern interpretation.
As mentioned above, work on the performance began even before the global pandemic. The plot of the ballet "Call of the Steppe" echoes a series of films about the first president of the Republic of Kazakhstan. The narration of the story comes from the Shaman character, deeply revered by the people, closer to the Kazakh culture of Baksy. Why did they leave the more common terminology of the Sorcerer? It is most likely that it is easier for the Western team to work in the direction of Orientalism. The catch is not in the name of the character, but what he represents. The young talented artist Gumar Sultanbek was entrusted with making the Shaman a reality. Its plasticity and flexibility of the body subjugates easily the gaze of the audience, as if bewitching and transferring human consciousness to another dimension. Sultanbek has a great sense of improvisation and hears the musical component of this performance subtly. The shaman is the only character in the ballet who practically never leaves the stage. Speaking to the audience in the language of modern Western choreography superimposed on folk music, modified with elements of electronic sound inserts. Sul-tanbek admits that working with Patrick de Bana was exciting. The French choreographer is an excellent motivator and his requirements are clear to everyone, since we speak the same language, the language of dance.
A shaman is a mediator between the worlds and a chosen one of spirits, who has the ability to see a different reality. In this performance, the Shaman is a guide to another universe, to the world of dreams and dreaming. Throughout the action, abstract images of an eagle, a wolf and a horse obey him. In the mythological consciousness of the Kazakh people, the eagle had the ability to disperse unclean forces. Thus, during childbirth in women, this sacred bird protected the woman in labor from the evil influence: the evil eye, slander. In the projection on a person, the eagle gives him significant character traits of courage, determination and leadership. For Kazakhstan, the eagle plays an important
role as a symbol of love of freedom, because Kazakh from ancient Turkic means a free nomad. It is not for nothing that the eagle is depicted on the flag of the republic with widely spread wings.
From time immemorial, the Kazakh people led a nomadic lifestyle, and for a free nomad and warrior, a horse is an obligatory animal. The horse is a true friend of man in this world. During the tengrism, after the death of its owner, the horse accompanied him on his way to heaven.
It is known that in folklore - the wolf represents ferocity, deceit, cruelty and evil, all the negative criteria of human character. But in this ballet, the wolf personified courage and victory. In certain circumstances, the wolf could become a powerful protector of helpless creatures, and in this production, the wolf assists the main character.
The protagonist, who embodies all the positive aspects of the human character, throughout the performance, transforming himself, goes through all types of psychological maturation of a person: the youth, the son and the master. He must go through his life. "Having come into this world, he, the future architect, becomes the main character of the work, around which all further events unfold. The fight against envious people, meeting with his beloved, building a city and much more awaits him on the path of life" [3]. The performer of the main part Nurmukhamet Galymzhan for the first time tried on the role of the leading part in the performance. It should be noted that the artist coped with the task, because there was nothing difficult for the artist in the choreography. According to Galymzhan, at the time of studying at the AHU. A. V. Seleznev, their course took the program "Modern Dance", so he did not have any difficulties in mastering modern choreography on a national theme presented by the French production.
As with all literary works, there must be conflict in the plot. Conflict of interests of good and evil, black and white. This conflict occurred between the antipode of the protagonist of the Man in Black. This character was embodied by Bekzat Orynbaev, who is like the exact opposite reflection of the main character. Bekzat described his version of the Man in Black as a zealous leader with his own internal unresolved psychological problems. Bekzat studied together with Galymzhan on the same course, respectively, the innovative production of the French choreographer did not cause any difficulties for him.
Why innovative production? Because any choreographer has his own style, and Patrick de Bana has such a style. According to Bekzat, the only thing that did not bring comfort in the role was the life drive in which the Man in Black should be. By nature, Bekzat is phlegmatic and thus he did not fit his character. The physical body of the performer must be hardy and ready for various overloads. An artist is an artist because he must be ready for different roles. Bekzat is the only ballet dancer who was involved in two groups of performers.
Patrick de Bana, first worked with the young ballet troupe of the capital's theater. Talking about the process of creating a national ballet, the choreographer em-
phasized: "... for myself I decided not to make a reproduction of the Kazakh dance, for this the viewer just needs to go and watch the performance of the national creative team. Everything that I do, I do with great respect for the land on which I am, because I am a guest" [3].
Thereby, the first act of the ballet reminds us more of the past, and above all, emphasizes the forces and significance of nature: the sounds of the wind, the murmur of water and the howl of wolves. Abstract sacred animals were portrayed by young, promising ballet dancers such as Akhmetov Zhanserik in the role of the Eagle, Akarys Beybarys - the wolf, Saukymbekov Zhaksylyk - the horse. It is noteworthy that all these characters, including the Shaman, perform their dances with a naked torso, showing the beauty of their upper body. Moving to the beat of the music, simultaneously improvising, everyone revealed their images. Especially in their solo performances, where there is no musical introduction. The dance is accompanied by electronic music in the synthesis of various folk instruments.
The second act is our modern world, where the steppe life is being transformed in the context of modern society. As mentioned above, "The main idea of this whole story is that moving forward is impossible without awareness of one's roots and respect for the past, for one's ancestors" [3]. Initially, the musical basis of this national performance was the work of the talented Kazakh composer Tles Kazhgaliyev. Unfortunately, unforeseen circumstances occurred, the directors were forced to abandon the music of the Kazakh composer. And in a short period of time, the modern composer Re-nat Gaysin contributed his musical component to the performance. The unique folklore group "Turan" made a great contribution to the development of the national ballet "Air Nomad", then continued its partnership in the play "Call of the Steppe".
In the first act of the ballet, "composer-arranger Carlos Pino-Quintana created a compilation of sound picture, built from music of his own composition, as well as music of Kazakh authors" [4]. Uniting under the slogan "Beauty saves the world", the joint work on the national performance emphasized the creative style of the French choreographer Patrick de Bana, revealed the
performance potential of the Astana Opera ballet dancers.
The results of the foreseen study showed that the artistic director of the ballet troupe Altynai Ab-duakhimovna Asylmuratova with many years of experience in the West and high aesthetic taste chose Patrick de Bana as the choreographer for this national production. Since the French choreographer continued the professional development of ballet dancers in modern dance. He gave the ballet dancers the opportunity to get to know and touch the European school, modern choreography more closely as well as to gain deep and meaningful experience in the little-studied style of the choreographer. As a result, we saw another facet of the Kazakh dance heritage through the prism of the Western choreographer. Without offending anyone, having pushed aside the old blurry stereotype of perception of Kazakh dance, we continue to search for our own style with the help of Western choreographers.
Conclusion
Taking above mentioned facets into consideration, we can say that a new meeting of the Kazakh public with a ballet on a national theme, staged in modern choreography, has strengthened the ranks of fans of ballet art. The vividly tangible emotional and expressive world of movements in the ballet "The Call of the Steppe" by Patrick de Bana gave impetus to the work of the Astana Opera ballet troupe. The modern ballet art of Kazakhstan lives largely because of the powerful impulse of talented choreographers, librettists, artists, conductors and artists as well [4].
References
1. The Call of the Steppe - [B.M.]: [B.I.], 2021.
2. The world premiere of the ballet "The Call of the Steppe" took place in the capital -https://kapital.kz/lifestyle/91979/v-stolitse-sostoyalas-mirovaya-prem-yera-baleta-zov-stepi.html
3. The National Ballet "The Call of the Steppe" can become the hallmark of the culture of Kazakhstan - https://www.zakon.kz/5048187-natsionalnyy-balet-zov-stepi-mozhet.html
4. "The Call of the Steppe": The world premiere took place on the stage of the Astana Opera -https://tengrinews.kz/news/zov-stepi-mirovaya-premera-proshla-na-stsene- astana-opera-423358/
