Presentation for elementary school the history of ballet. Project work on the topic: "Excursion into the life of the opera"

BalletBALET
The ballet is based on some kind of plot, dramatic
concept, libretto,
The libretto is the literary basis of a great vocal (and not
only) writings, secular or spiritual in nature, for example,
opera, ballet, operetta, oratorio, cantata, musical; brief
content of the play's plot.
but there are also plotless ballets.
The main types of dance in ballet are classical dance
And character dance. Plays an important role here
pantomime,
Pantomime - view performing arts, in which the main
means of creating artistic image is plastic
human body, without using words. With which
the actors convey the feelings of the characters, their “conversation” with each other, the essence
what's happening. In modern ballet they are widely used
also elements of gymnastics and acrobatics.

The history of the origins of ballet.

Russian ballet

Modern dance

Ballet as an art

CHOREOGRAPHIC TERMS

“SWAN LAKE” Composer: Pyotr Ilyich TCHAIKOVSKY

Pyotr Ilyich Tchaikovsky May 7, 1840 - November 6, 1893

“THE NUTCRACKER” Composer: Pyotr Ilyich Tchaikovsky

We invite you to visit virtual tour into the world of theater, cinema, opera and ballet. Anna Korzh Olga Khukhrovskaya Anzhelika Kharchenko Advertising author: Yaroslava Bondarenko, 8-A grade Anna Korzh Olga Khukhrovskaya Anzhelika Kharchenko Advertising author: Yaroslava Bondarenko, 8-A grade

The choice of the topic of our excursion is not accidental: Firstly, We want to know more, that is, “to be advanced.” Secondly, January 29 marks the 150th anniversary of the birth of A.P. Chekhov. You ask: “So what?” And the fact that Chekhov’s heroes, like no other, help you see yourself from the outside!!!

1. What genre of art do you prefer? 2. Are you interested in learning about the embodiment of Chekhov’s stories in different types art? 1. What genre of art do you prefer? 2. Are you interested in learning about the embodiment of Chekhov’s stories in different forms of art? We were interested in knowing the opinions of classmates, parents, and teachers, so we asked them the following questions:

It turned out that the majority of respondents prefer cinema, few are fans of the theater, but opera, ballet... They, and we ourselves, to be honest, are little familiar with these types of art. From this the idea was born: to create a Virtual Gallery “Chekhov-Art”! It turned out that the majority of respondents prefer cinema, few are fans of the theater, but opera, ballet... They, and we ourselves, to be honest, are little familiar with these types of art. From this the idea was born: to create a Virtual Gallery “Chekhov-Art”!

While studying the topic, we found out that many famous directors turn to Chekhov’s stories: Andrei Konchalovsky, Karen Shakhnazarov, Joseph Kheifits and others. Joseph Kheifits Based on the writer’s works, the following were shot: Feature Animation Films - 10

Special Prize for Humanism. Special Award on the 13th International festival in Cannes. Best Foreign Film, 1962, London. All these awards were given to the film “The Lady with the Dog,” directed by I. Kheifits. The film was released on the 100th anniversary of the birth of A.P. Chekhov. Stills from the film “The Lady with the Dog”

It is unlikely that anyone will be indifferent to the film directed by Emil Loteanu “My Affectionate and Tender Beast”, based on the story “Drama on the Hunt” by Emil Loteanu. Excellent music that fills the soul with “light sadness”, masterful acting, an intriguing plot. Waltz from the film “My Tender and Tender Beast” Director E. Loteanu Poster for the film “My Tender and Tender Beast”

“Unfinished Piece for Mechanical Piano”, “Man in a Case”, “Dark Eyes”, “Uncle Vanya”! “Uncle Vanya”! These films make you think, empathize, cry, laugh, and just love life! Information: according to directors, it is difficult to create films based on Chekhov’s works, because it is necessary to preserve the style and content of the original work as much as possible. “Man in a Case”, N. Khmelev as Belikov “Unfinished Piece for Mechanical Piano” “Dark Eyes”

On September 3, 2009, the premiere of Karen Shakhnazarov’s film “Ward 6” based on the story by Chekhov took place. The authors kept the plot, but moved the action to the present time. And they did it deliberately! Interesting facts: Stills from the film “Ward 6” Important scenes were actually filmed in a psychoneurological boarding school; supporting and extra roles were played by real patients; the script was written 10 years ago

You can talk about feelings and relationships through dance. the premiere of the ballet “Anyuta” took place not in Russia, but in Naples; The film “Anyuta” was purchased and successfully shown in 114 countries around the world. Film-ballet “Anyuta” (fragment) E. Maksimova and M. Tsivin in the ballet “Anyuta” E. Maksimova in the ballet “Anyuta” Scenes from the ballet “Anyuta”

The story “Ward 6” is about misunderstanding, about the fact that a person who is not like everyone else is rejected by society. Isn’t it close to us living in the 21st century? Note: if you once ignored the school curriculum on Russian literature or forgot “Ward 6,” re-read this work before going to the premiere. Choreographer of the Kyiv Modern Ballet Theater Radu Poklitaru Radu Poklitaru Scenes from the ballet “Ward 6”

A citizen of Odessa, Pribik Joseph Vyacheslavovich, conductor of the Odessa Opera House, created 9 one-act comic operas based on Chekhov's stories: Pribik Joseph Vyacheslavovich “In the Dark”; "Forgot"; "Failure"; "Joy"; “Entrepreneur under the sofa”; "Gimp"; "Nerve"; "Offer"; "Siren". Odessa Opera House

The opera “Three Sisters” is a work with complex, exquisite music, probably not for the mass audience. It is unusual in that: it has a unique dramaturgy; The role of sisters is played by men. Peter Eötvös, composer Oleg Ryabets, Spanish. parts of Irina Vyacheslav Kagan-Paley, Spanish. Masha's party

Aksimova-ekaterina-sergeevnahttp://persona.rin.ru/view/f/0/9996/m aksimova-ekaterina-sergeevna let/vasilyev/ let/vasilyev/ /index.shtmlhttp:// /index.shtml teatr.ru /kino/screenwriter/post/18787/ bio/ teatr.ru/kino/screenwriter/post/18787/ bio/ id/ / id/ / Poletti F. “ Literary subjects and characters in works fine arts"(encyclopedia of art). Gorkin A.P. Encyclopedia "Art". Guryeva T.N. "Literary encyclopedic dictionary." T.N. Guryev

Overjoyed, Giselle dances her best dance. Albert joins her. Suddenly Hans runs up, roughly pushes them aside and, pointing at Albert, reproaches him for dishonesty. Everyone is outraged by the insolence of the forester. Then, to confirm his words, Hans shows the dotted precious stones Albert's weapon, which he discovered in the hunting lodge where Albert was changing clothes. Giselle is shocked and demands an explanation from Albert. He tries to calm her down, snatches Hans’s sword, draws it and rushes at the offender. Wilfried arrives in time and stops his master to prevent the murder. Hans blows the hunting horn. The participants in the hunt, led by the Duke and Bathilda, leave the house, alarmed by the unexpected signal. Seeing Albert in peasant dress, they express extreme surprise; he is confused and tries to explain something. The Duke's retinue bows so respectfully to Albert, and the noble guests greet him so cordially that the unfortunate girl has no doubt: she has been deceived. When Albert approaches Bathilde and kisses her hand, Giselle runs up to her and says that Albert swore allegiance to her, that he loves her. Outraged by Giselle's claims, Bathilde shows her her wedding ring - she is Albert's fiancée. Giselle tears off the gold chain Bathilda gave her, throws it to the ground and, sobbing, falls into her mother’s arms. Not only Giselle’s friends and fellow villagers, but even the Duke’s courtiers are full of sympathy for the unfortunate girl. Giselle is in despair. Her mind is clouded. She's dying.

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Ballerine... combien de ce mot... The ballerina has always been considered a symbol of true femininity and beauty. The gracefulness of her movements, the sophistication of her figure and her majestic posture have always been an object of admiration among men and envy among women. However, in order to achieve perfect form, modern ballerinas have to work hard on themselves. Little girls starting ballet school, studying hard and following a diet, prepare with bated breath for the moment when they can move on to the senior class. After all, not every one of them will be able to pass difficult exams. These problems are related somewhat to the imperfect technique and skill of young ballerinas, as well as to changes in their figure. Ballerina... so much in this word...

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It just so happens that the transition to high school coincides with the transitional age for girls, which is naturally accompanied by changes in appearance. Therefore, every girl who claims to be a ballerina strives to lose excess weight as much as possible in every possible way. And sometimes this does not lead to anything good. Of course, at a ballet school, the students’ meals are well thought out and balanced; the diet includes foods that will not only keep them in shape, but also give them strength. Because this is very important for a developing child’s body and the heavy loads it experiences. But even in this case, little ballerinas try to eat less so that during control weighing the extra grams do not appear. Girls entering the fifth grade of ballet school are supposed to not weigh more than fifty kilograms. After all, it is at this stage of training that ballerinas hone their skills in pair dancing, and young dancers find it difficult to lift a heavy ballerina. However, despite all the difficulties that young dancers have to go through, it is not yet known whether they will shine on theater stages, or whether they will be assigned a role in the corps de ballet. In addition, girls must pass theory exams, because knowledge of dance theory is very important.

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Moving further away from anorexia However, it is worth noting that the thinness of ballerinas was not always in fashion. For example, in the era of Romanticism, ballerinas with thin, almost transparent forms were welcomed. Their figure was also emphasized with unique outfits. At a turning point for ballet art, turn of the 19th century and the 20th century, thinness for a ballerina was considered unacceptable. The dancers had to captivate the audience with their rounded forms. In addition, such ballerinas, not embarrassed by the characteristics of their bodies, sought to shorten their skirts. Later, they stopped paying attention to the ballerina’s appearance altogether. After all, both miniature dancers and quite large ones began to perform on the stage of theaters, which in no way fit the image of light and graceful. Over time, the fragility of the ballerina ceased to play a role at all, the main thing is that the woman performs her part correctly and masterfully. Small and graceful ballerinas are being replaced by tall and large ones who masterfully perform all the elements of dance. At the moment, a ballerina is valued for her dancing skills, although this also depends on the dancer’s body structure. Plus loin de l"anorexie

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Ballet is always surrounded by an aura of grace for the viewer. Few for real knows the real price of beauty and grace of dancers on stage. Pain, broken fingers remain in the shadows... Ballet, the highest level of choreography (from the Greek choreia - dancing and grapho - writing), in which dance art rises to the level of musical stage performance; it arose as a courtly and aristocratic art much later than dance, in the 15th–16th centuries. The term "ballet" appeared in Renaissance Italy in the 16th century. and meant not a performance, but a dance episode. Ballet is a synthetic art in which dance, the main expressive means of ballet, is closely connected with music, with a dramatic basis - libretto, with scenography, with the work of a costume designer, lighting designer, etc. Ballet originated in Italy and immediately captured France. Russia, possessing rich folk choreography, has attracted many talented choreographers from Europe. Which contributed to the unification of cultures, enrichment of the language and bringing countries closer together. Italian and French choreographers developed ballet techniques in Russia, a country that is rich in national dances, and classical dance appeared. The most significant movement in the culture of the 18th century. Is the Enlightenment. Originated at the end of the 18th century. In England it reached its peak in France in the second half of the 18th century. His influence was so great that the time of his existence is often called an entire era. Sur l "origin de l" art du ballet About the origin of the art of ballet

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This is a period of new ideas and outlooks on life, changes and reforms, when canons and traditions were questioned. The Enlightenment, contrasting itself with previous eras and movements, had a serious influence on the development of all spheres artistic culture. Ballet performances of that time were still based on the canons of past centuries, which determined the theme and form of the ballet. And the Enlighteners proposed to move away from the norms of classicism with its desire for an ideal representation of reality and turn to the life of a “natural person.” Thus, in their opinion, they provided an opportunity for the development of the meaningfulness of ballet and, accordingly, its independence in theatrical art. After all, at that time ballet was not an independent performance. The opera was accompanied by ballet performances, which, as a rule, were not related to the actions of the performance. But nevertheless, the ideas of classicism, which gave so much to ballet, survived until the beginning of the 19th century. This duality will be present in the art of ballet for a hundred years.

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Russia turned out to be very fertile ground for the development of ballet theater. Comprehending the science taught by foreigners, the Russians, in turn, introduced their own intonations into the foreign dance. In the 1730s. in St. Petersburg, ballet scenes in court opera performances were staged by J.-B. Lande and A. Rinaldi (Fossano). In 1738, the St. Petersburg Ballet School opened (now the St. Petersburg Academy of Dance named after A.Ya. Vaganova), the creator and director of which was Lande. In 1773 in the car wash. Empress Anna Ioannovna is the founder of the choreographic education system in Russia. The first choreographic performance in Russia was "The Ballet of Orpheus", shown in the "comedy mansion" of Tsar Alexei Mikhailovich in his estate - the village of Preobrazhenskoe near Moscow (February 13, 1675). From the 1st half of the 18th century. ballet was introduced by choreographers and dance teachers from Italy and France. Possessing its own rich dance folklore. Jean Baptiste Lande - founder of the Vaganova Academy of Russian Ballet L "émergence du ballet en Russie tsariste The emergence of ballet in Tsarist Russia

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The educational home opened a ballet department - the forerunner and foundation of the Moscow Choreographic School. One of his first teachers and choreographers was L. Paradise. By the end of the 18th century. serf troupes began to develop in the estates of the Sheremetev counts near Moscow (Kuskovo, Ostankino), etc. By that time, St. Petersburg and Moscow had court and public theaters. Major foreign composers, choreographers and many Russian performers worked there. S. Sergeeva, V. M. Mikhailova, T. S. Bublikov, G. I. Raikov, N. P. Berilova. At the turn of the 18th - 19th centuries, I.I. worked at the school. Walberch (Lesogorov) is the first Russian choreographer who trained many talented artists, among whom is the bright dancer and dramatic actress Evgenia Kolosova. Walberch prepared the school and theater troupe for the arrival of the French choreographer C. Didelot (1767-1837). Since 1756, after the decree of Empress Elizabeth Petrovna on the creation of the Russian theater, educational institution, created by Lande, was gradually transformed into a “Theater School”. The second (1756-1829) period in the history of the school began, when training in all types of art (ballet, drama, music, painting) was carried out in an integrated manner with gradual specialization based on an analysis of the successes achieved in one of them. From that time until the beginning of the twentieth century, dance education developed in close contact with the training of specialists in other types of theater: dramatic actors, artists, musicians, circus performers. Ivan Walberkh - the first Russian choreographer Charles Louis Didelot - founder of modern classical dance techniques

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Didelot's activities contributed to the establishment and consolidation of the French school of classical pointe dance in Russia. Didelot's activities contributed to the beginning of the third (1829-1917) period in the history of the school, when the organizational development of ballet education began. Its main goal was to provide quality vocational training ballet dancer, the volumes gradually began to increase general education. Since 1829, the training of dancers has been separated from the training of artists of other arts. During this period, the structure of the dancer training program was formed, formed by a combination of professional and general education. Thanks to Didelot's work, ballet education reached a fairly high level, primarily because Didelot included Russian ballet pedagogy in the space of contemporary ballet art in Europe, where a new system of theatrical pointe classical dance was taking shape, which was fundamentally different from the previous one, close to the system of ballroom and everyday dance. Didelot demanded from his students not only perfect technique, but also acting expressiveness. It is no coincidence that A. Pushkin said that there is more poetry in Didelot’s ballets than in all French literature. In 1816, A. Istomina, a student of Didelot, graduated from school. For Didelot, as subsequently for his compatriot M. Petipa, Russia became a second home, and Russian ballet at the turn of the 18th-19th centuries was in many ways superior to the largest foreign theaters. In 1816, A. Istomina, a student of Didelot, graduated from school. Three cycles of disciplines took shape: special, auxiliary and general education. The core of the program of special disciplines was classical dance, which was facilitated by the teaching activities of the French choreographer C. Didelot. The duration of the program took seven years. The principles of admission to dance training were established (constant age restrictions for admission and the requirement of special natural abilities) and certification of students (annual competitive transfer from class to class). The herald of the romantic era in Russian ballet was Maria Taglioni, the first La Sylphide, who visited St. Petersburg in 1837. The ballet La Sylphide brought her worldwide fame. Istomina A.I.

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At the turn of the century, court ballet opened its doors to professional dancers and gradually became accessible to the public. At this time, the dance technique is enriched and a system for recording it is created. It is not precisely established who is the author of the dance recording system. It is known that it was challenged by the French choreographer and dance theorist P. Beauchamp and the dancer-choreographer R.o. Feye. Beauchamp's work remained unpublished, and Feuillet's book “Choreography, or the Art of Recording Dance” was published in 1701. Already in the first flood of the 18th century. In England, choreographer and ballet theater theorist D. Leaver created pantomime performances, which were the beginning of a meaningful, holistic ballet. By the middle of the 18th century. The ideas of transformation in art were expressed by many writers, composers, artists and choreographers. For example, the term “effective dance” was first mentioned by the dance theorist, writer Louis de Cahuzac, in 1754. Reform ideas also concerned music. Reformism manifested itself in the music of K. V. Gluck, who took lessons from Boguslav Chernogorsky. But Zh.Zh. became a legendary figure. Noverre (1727-1788). He began the ballet reform on well-prepared ground. The result of several years of work would be the 1760 publication “Letters on Dance and Ballets.” L. Dupre, a teacher of the now recognized artist, largely influenced the personality of the future reformer. K.V. Gluck J.J. Noverre l‘ arrivée du grandré formateur The coming of a brilliant reformer

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In 1758, Jean Georges Noverre staged his first ballet in Lyon and wrote his theories about dance. In 1760 he published his book Lettres sur la danse et les ballets (Letters on Dance and Ballets), which concentrated on the development of an action ballet in which the movements of the dancers were designed to express meaning and convey a story. This seminal book was important in establishing the 18th century as a period of refinement in ballet's technical standards and a period in which ballet became a serious dramatic art form alongside opera. To make everything that happens on stage as truthful as possible, Noverre chose pantomime as his main method. By the mid-18th century, many monarchist courts in Europe were trying to be like Versailles. Opera houses opened in different places. Dancers and teachers easily found work. During this time, women played a supporting role as ballet dancers, as they wore crinolines, corsets, wigs and high heels. In such costumes worn by ballerinas of that era, it was difficult for them to dance, and since they wore leather masks, it was difficult for them to act. Noverre contributed to changing the traditional costume of ballerinas and in 1763 he staged Jason and Medea without masks. The expressions on the dancers' faces were visible, and the enormous expressiveness of the performance sometimes greatly impressed the ballet audience. The costumes required changes, the vision and attitude to the dance were waiting for changes... The world is waiting for the Taglioni family... Liberté de circulation Freedom of movement

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This choreographer, like Dauberval, remained in history as the author of one ballet - La Sylphide, although he staged many performances. But even more than his choreography, he became famous for being the father of the famous ballerina Maria Taglioni. Philip Taglioni was born in Milan in 1777. He was the eldest son of the Piedmontese dancer Carlo Taglioni. He began his dancing career in Naples, and in the years 1795–1798 he became the first dancer in the theaters of Livorno, Florence, Venice, Turin and Milan. In 1799 he came to Paris and managed to dance there, but did not stay long. He was invited to Stockholm to dance at the Royal Opera, and there he spent three years. In March 1831, Louis Veron became director of the Opera. He understood the tastes of the public, which constantly demanded updating of the repertoire, and he perfectly saw how romanticism with its fantastic characters - ghosts, sylphs, evil and good spirits - was coming into fashion. This had to be taken into account - and on November 21, 1831, the premiere of Meyerbeer’s opera “Robert the Devil” with a dark demonic plot took place. Main character, knight Robert, entered an abandoned monastery at night to get a magical talisman. There he was surrounded by the ghosts of sinful nuns who had risen from their graves. The part of their leader, Abbess Helena, was danced by Maria Taglioni. Taglioni, who staged this scene, showed himself to be a true romantic - among forested ruins in a mysterious moonlight Ethereal white shadows appeared to the viewer and wove a ghostly round dance around Robert. This dance was observed from behind the scenes by the young dancer Jules Perrot - and the memories of “Robert the Devil” came to life ten years later in the ballet “Giselle”. The nuns' dance was one of the first sketches of "white ballet" in world choreography. Père et fille Taglioni Father and daughter Taglioni

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Maria Taglioni (Italian: Maria Taglioni; April 23, 1804, Stockholm - April 22, 1884, Marseille) is a famous Italian ballerina, a central figure in ballet of the Romantic era. Maria was born into the family of choreographer and choreographer Philippe Taglioni. The girl had neither a ballet figure nor a special appearance. Despite this, her father decided to make her a ballerina. Maria studied in Vienna, Stockholm, and then in Paris with François Coulon. Later, her father worked with Maria himself; in 1822, he staged the ballet “The Reception of a Young Nymph at the Palace of Terpsichore,” with which Maria made her debut in Vienna. The dancer abandoned the heavy outfits, wigs and makeup inherent in ballet, dancing only in a modest light dress. Maria captivated the Parisian public in 1827 at the Venice Carnival, and since then she has often danced at the Paris Grand Opera. There, in March 1832, the premiere of the ballet La Sylphide took place, marking the beginning of the era of ballet romanticism. It was she who then introduced the tutu and pointe shoes to ballet. On a moonlit night in the winter of 1835, Marie Taglioni's carriage was stopped by Russian robbers; Taglioni was forced to dance for them on the skin of a panther, unfurled in the snow under the stars. From this real event and a legend arose... to preserve the memory of the adventure, Taglioni got into the habit of putting pieces artificial ice into her box on the table with a mirror in front of which she dressed... where, melting among the shining stones, a hint of the atmosphere of the starry skies awakened over the landscape covered with ice. Le Première Sylphide à Pointe First Sylphide in pointe shoes

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For the next fifteen years, Maria Taglioni toured throughout Europe: from London to Berlin and from Milan to St. Petersburg. Marius Petipa wrote a large number of ballets for her. According to eyewitnesses, Taglioni's dances were the embodiment of grace and elegance. Best roles She was in the ballets: “The Sleeping Beauty”, “God and the Bayadère”, “La Sylphide”, “Zephyr and Flora”, “Cinderella”, “Vain Precaution”. Maria's contribution to the life of ballet is invaluable. Taglioni took ballet to a completely new height. There were ballerinas before her who took pointe shoes, in particular Istomin in Russia. But it was Taglioni who learned not just to rise and fall from her fingers, but to dance on pointe shoes easily, organically, while remaining graceful and agile. Her father told her during classes that he would simply die of shame! Ballerina's Rest (1968). Drawing by Nadya Rusheva, a brilliant girl artist who died at the age of 17. Ballerina Solo (1968). Drawing by Nadya Rusheva Taglioni's grave

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However, romantic art achieved its greatest influence on the Russian ballet school during the period of work in Russia by the French dancer and choreographer Jules Perrault (from 1848 to 1859). He arrived in St. Petersburg at the invitation of the Directorate of Imperial Theaters. In an era when women reigned supreme in romantic ballet, Perrault was one of the rare exceptions as a male dancer. He staged performances for ballerinas, in particular, he participated (together with J. Coralli) in work on the ballet Giselle (music by A. Adam, 1841) at the Paris Opera, where the title role was played by his student and wife Carlotta Grisi (Perrault staged all her dances) .

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En prévision d'un Français de Saint-Pétersbourg Perrault performed his first significant productions in Vienna in the second half of the 1830s, but his greatest fame was brought to him by the ballets created on the stage of the Royal Theater in London: Ondine, or Naiad (music by C. Puni, 1843 ), Esmeralda (music by him, 1844) and Pas de Quatre (music by him, 1845), where four great romantic ballerinas simultaneously participated: Maria Taglioni, Carlotta Grisi, Fanny Cerrito and Lucile Gran; ballet Catarina, the Robber’s Daughter (music by Pugni); , 1846); as well as the ballet Faust staged for the first time in Milan (music by G. Panizza, M. Costa and G. Baieti, 1849). In 1848-1859, Perrault was a dancer and chief choreographer at the Bolshoi Theater in St. Petersburg. ballets he staged. Jules Perrault (1810-1892) Perrault is considered the greatest choreographer of the Romantic era. His strengths were performances in the genre of social and love drama. Perrault often turned to the plots of famous ones. literary works(Esmeralda, Faust, etc.). The artist was a master of solo classical dance, which always served as an expression of the character’s inner state, and at the same time succeeded in staging crowd scenes and ensembles. Many of Perrault's ballets continue to remain in the repertoire modern theater, but, as a rule, in later alterations. At the same time, it should be noted that Perrault’s pedagogical activity has been studied very little. The Swedish dancer and choreographer Per Christian Johannson, who arrived in St. Petersburg in 1841, made a great contribution to the development of Russian ballet pedagogy. Waiting for a Frenchman from St. Petersburg

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Despite the fact that Saint-Leon changed a lot in P.P.’s fairy tale. Ershov, replacing the Russian Tsar with a Khan, and also introducing a “loyal” scene, where all nations glorified Ivanushka, who had turned into Tsar (which caused criticism from progressive critics), the ballet had many advantages, primarily dance richness, as well as the opportunities that his images opened up actors, not only classical ones (the Tsar Maiden, dancers in fantastic scenes at the bottom of the sea and on the island of mermaids), but especially characteristic ones ( folk dances) and mimes (the roles of Ivanushka, Khan, etc.). It is no coincidence that the performance was revived many times and remained in the repertoire of the St. Petersburg (later Leningrad) theater and Moscow Bolshoi Theater from the 1860s to the 1930s, it was performed in many other theaters around the country. Saint-Leon's ballets, where external enchanting effects often came to the fore at the expense of meaningful motives, marked the decline of romantic ballet, the heyday of which occurred in the previous 1830-1850s. At the same time, they contained rich choreographic findings that enriched the vocabulary of ballet dance and contributed to the development of its technique. Thus they were preparing an offensive new era- the “grand ballet” of Marius Petipa, which in its own way was no less significant and brought world recognition to Russian ballet. Unfortunately, the role of Saint-Leon in the development of Russian ballet pedagogy has been practically not studied. However, the decisive influence on the development of the methodology at the school was exerted by the choreographer and teaching activities of Marius Petipa, who came to St. Petersburg in 1847 at the invitation of the Directorate of the Imperial Theaters. The entire second half of the 19th century is the era of M. Petipa. The great choreographer created many original performances, preserved and enriched the ballets of his predecessors. Arthur Saint-Leon

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1.http://ru.wikipedia.org/wiki/Gluck,_Christoph_Willibald 2.http://ru.wikipedia.org/wiki/Nover,_Jean_Georges 3.http://belcanto.ru/taglioni_filippo.html 4.http ://step-journal.ru/?page_id=1603 5.http://ru.wikipedia.org/wiki/Taglioni,_Maria 6.http://www.arcadja.com/auctions/en/haytley_edward/artist/ 31481/ 7.http://www.vaganova.ru/page.php?id=7&pid=6 8.http://balet-v-teatre.ru/balerina.html Bibliographic list.

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