马林斯基剧院, 大剧场

小驼背马

两幕芭蕾舞剧

Performers

指挥:

安东·托尔别耶夫

Ivan the Fool: Sergei Umanetc
The Tsar-Maiden: Katerina Floria
The Little Humpbacked Horse: Shunyo Mori
Gentleman of the Bedchamber: Sergei Amanbaev
The Tsar: Sergei Zolotarev
The Young Mare: Lilia Berezhnova
Horses: Viktor Mulygin and Oleksy Skalun

Credits

Music by Rodion Shchedrin
Сhoreography by Alexei Ratmansky (2009)
Libretto by Maxim Isaev after the tale of Pyotr Yershov
Musical Director: Valery Gergiev
Set and Costume Design: Maxim Isaev
Lighting Design: Damir Ismagilov
Lighting Adaptation for the Mariinsky II by Andrei Ponizovsky

SYNOPSIS

第一幕

1. 在原野旁边的一座房 子里,一个老人在家里。加夫里洛和达尼洛在家里。傻子伊万也在家里。在拥挤的房子。老人外出收割黑麦小麦。加夫里洛和达尼洛非常高兴。加夫里洛和达尼洛在寻欢作乐。加夫里洛和达尼洛安排在野外联欢。加夫里洛和达尼洛跟奶妈们跳舞。老人从田野回来。老人把奶妈们赶走。老人告诉他的儿子这是一个可怕的恶棍。这恶棍在晚上出来。恶棍不被任何人看到。恶棍践踏和破坏人们的小麦。必须将恶棍捕捉并消灭掉。老人觉得自己势单力薄和体弱者。老人叫他的儿子出来看守小麦田。加夫里洛和达尼洛开始在巡逻,他们不接受伊万。他们认为伊万太年轻而且笨拙。伊万询问是否可以带上兄弟,伊万同样想去捕捉。伊万知道恶棍可能会反抗。伊万提出独自去田野。

2. 在晚上。 伊万守着田野。一头年轻的母马跑进了田野。年轻的母马是美丽和野生的。年轻的母马在践踏和破坏小麦田。年轻的母马在独自享受。伊万抓住年轻的母马的尾巴。伊万灵巧地骑到年轻的母马的背上。伊万发现这非常地有趣。年轻的母马觉得很重并试图甩开伊万,但无济于事!年轻的母马将背驼起让伊万稍尝马的技能。伊万只有将马释放!马确实是美丽并非常强壮。那批神驼马却很小,很弱,但却非常特别。他该怎么办呢? 火鸟飞到了田里,开始跳舞玩耍。然后,火鸟自由自在地飞走了。伊万追击火鸟。 加夫里洛和达尼洛来到了田里,看到了那些马。他们很喜欢那些马,于是拐走了它们。他们真狡猾。 伊万回来时带着一根火鸟的羽毛,而且他很喜欢这根羽毛。他很放松、自在。看到马不见了,他很伤心,于是悲伤地哭了起来。神驼马安慰他,建议他去找拐走马的人。神驼马答应他会帮他。其实,神驼马能帮很大的忙。

3. 首都的一个广场 人们在广场玩得很高兴。人们围成一圈,在跳方格舞。加夫里洛和达尼洛也在广场,打算卖掉那些马,因为他们缺钱。沙皇来到了广场,喜欢很他的子民一起跳舞,人民也喜欢看到他们的沙皇。沙皇喜欢四处转,结果发现了那些马。他很喜欢那些马,打算买下。 伊万和神驼马挤进了广场,认出了自己的马和自己的哥哥。他责骂了他的哥哥,从他们手里带走了马,因为那些是他的马。沙皇已经迷恋上了那些马,向伊万谈论价格。伊万打算把马放走。因而买卖没有成功。沙皇脱下了内宫侍臣的帽子:一个很高的价钱。伊万很喜欢这顶帽子,而帽子也十分适合伊万。侍臣对伊万很生气。

4. 皇宫内 沙皇寝宫。奶妈在喂沙皇。沙皇吃饱后睡下了。在寝宫入口,伊万躺下睡着了。内宫侍臣打量着伊万,从他身上偷走了那根火鸟的羽毛,然后溜进了寝宫内。侍臣叫醒了沙皇,给她看那根羽毛。伊万从哪儿弄来的这根羽毛呢?沙皇很喜欢那根羽毛,他看见了幻觉,看到了火鸟,看到了沙皇少女,接着幻觉消失了。但是沙皇已经爱上了沙皇少女。沙皇想要沙皇少女。沙皇于是下了一道命令!内宫侍臣叫醒了伊万,给他看沙皇的命令。伊万感到很绝望,因为他不知道去哪里找这个沙皇少女。那匹神驼马安慰他,因为它知道该怎么做。伊万和神驼马一起离开了皇宫。

第二幕

5. 火鸟生活在世界边缘,沙皇少女和它们住在一起 伊万和神驼马来到了世界边缘,看到了火鸟和沙皇少女。伊万想抓住火鸟,火鸟却飞走了。伊万一看到沙皇少女就被她吸引住了。真是奇迹,多么美丽呀!沙皇少女允许伊万抓住她,准许自己被他带入皇宫,因为她喜欢伊万。

6. 沙皇和贵族们在皇宫内等待着沙皇少女 沙皇很心急,想热锅上的蚂蚁。沙皇后来睡着了,忠诚的贵族们也睡着了。然而有一位贵族没睡着,他看到伊万、神驼马和沙皇少女回来了。这位贵族叫醒了沙皇,沙皇醒来后送走了所有人。 沙皇向沙皇少女宣布,他要娶她。伊万很沮丧,因为他爱沙皇少女。贵族们带来了订婚戒指。沙皇少女答应嫁给沙皇,但是光有戒指还不行。想要结婚,沙皇少女需要一块海底的宝石戒指。沙皇很困惑,怎样才能得到这样的宝石戒指呢?内宫侍臣在沙皇旁边说,让伊万怎么样?内宫侍臣派伊万去海底,伊万很悲伤。侍臣能够很高兴,等待伊万死亡的消息。

7. 海底 在海底,人们过着海洋生活。伊万和神驼马到达了海底。戒指不见了,伊万四处找戒指!怎么办呢!伊万去寻求大海公主的帮助。是的,大海公主会帮助伊万!啊,太好了,海底的人们找回了戒指!

8. 首都的一个广场 沙皇邀请沙皇少女去跳舞,沙皇很快就累了,因为他太老了。伊万和他的神驼马出现了。沙皇少女很高兴伊万没有受伤,内宫侍臣却很生气。内宫侍臣从伊万手里拿过戒指,赶走了他,因为他不再需要他了。沙皇马上要结婚了,可是沙皇少女不愿意,因为他不希望沙皇做她的丈夫。她希望自己的丈夫非常英俊。如果沙皇要娶她,他必须变得非常英俊。怎样才行呢?他必须跳入烧开水的大锅里。就是这样!锅抬过来了,沙皇很害怕。他怎么能跳入锅里呢?内宫侍臣建议把伊万扔进锅里。伊万被扔进了锅里,神驼马开始施魔法,伊万于是变成了一个非常英俊的小伙子。他成为了一位王子。人们很高兴,也很着急,因为他们都想变得年轻、英俊,都想变成沙皇和王子。沙皇命令所有人远离那口锅。他自己跳入了锅里,接着就消失了。百姓开始哀悼,然后埋葬了沙皇。人民发现没有了沙皇日子很不好过,人民需要一位沙皇。伊万王子和沙皇少女很高兴,因为他们开始筹备婚礼。人民也很高兴,因为他们将要有新的沙皇了。帅气和年轻。

马克西姆 •伊萨耶夫

ABOUT THE PRODUCTION

The music for the ballet The Little Humpbacked Horse is an early, a very early, work of mine. But it is the work of an era important in terms of my emergence as a composer and which defined much in my life. A work with which I firmly “grasped” the unearthly Firebird – Maya Plisetskaya. The score is dedicated to her…
Of course, “from today” I see much naivety and imperfection in my youthful work. But the score was written with sincerity, honesty and enthusiasm. I imagine that this can be heard and sensed even now. “I do not reject every line of the past,” as Andrei Voznesensky wrote. I, too, have no such intentions. Rather I am filled with a sensation of pleasurable anticipation of happiness and artistic creativity.

Rodion Shchedrin
4 March 2009

The Little Humpbacked Horse is a successful blend of many of the ingredients necessary for success – the fairy-tale plot so attractive for children, the ironic interpretation that is interesting for adults, the extravagant and stylish designs by Maxim Isaev, the talented and inventive choreography of Alexei Ratmansky and the emotional music of Rodion Shchedrin. The score of the ballet The Little Humpbacked Horse was written by the young Shchedrin, then still a student at the Moscow Conservatory. With its humour, mischief, colourfulness and affirmation of life it has inspired many musicians and choreographers. Everyone can find something individual in it. Alexander Radunsky, the choreographer of the first version of Shchedrin’s The Little Humpbacked Horse at the Bolshoi Theatre (1960), heard a traditional ballet fairy-tale in it, with ballerina princesses, tsars who didn’t dance very much and traditional divertissements that filled the ballet with dance. Igor Belsky, who staged his own version of The Little Humpbacked Horse at the Maly Opera in 1963, heard sharp satire in the music. First and foremost this concerned the image of the Tsar; it also matched the literary basis, Yershov’s fairy-tale, and the ideological framework of the age when the score was composed. The Tsar in Belsky’s ballet unambiguously brought Khrushchev to mind with his gestures. In 1981 Dmitry Bryantsev staged his own version at the Kirov Theatre, combining fairground decorativeness with incredibly human portraits of the protagonists. Ratmansky’s ballet is a child of the early 21st century; in this dynamic, merry and ironic production there is also enough room for the dance itself, both classical and character, mime scenes, serious virtuoso skill and reckless humour. Interestingly, Ratmansky’s humour comes not at all from the playful scenes, mimes or gestures; the choreographer can make the audience smile through the actual dance. His divertissement in the production is a witty paraphrase on the theme of traditional divertissement character pieces. From the standpoint of a contemporary postmodernist, the choreographer looked at the old tradition of “revising” folkloric dance steps for classical productions, and he has brought this to life with a bold sense of humour. Recognising the quotations gives the choreography historic depth, and without having to solve the enchantingly ironic rebuses the production is engaging enough in its merriment. The dances conjured up by the choreographer are also interesting for the dancers, each role opening up a broad expanse in which to be creative – on the one hand, for acting skills and improvisation and, on the other, to test themselves with this technically demanding dance text. If, in the role of the amusing and grotesquely presented duffer that is the Tsar the playful element is richer than the dance component and the expressions of the “splinted” Father and Brothers of Ivan are simple in terms of the movements, then Ivan the Fool and the Tsar Maiden, in some scenes childishly capricious and in others virginally tender, and the fleet-footed and dexterous Horse reveal their characters through the dance.

Olga Makarova


World premiere: 1960, Bolshoi Theatre, Moscow
Premiere of this production: 14 March 2009, Mariinsky Theatre, St Petersburg
Premiere at the Primorsky Stage of the Mariinsky Theatre: 15 December 2018, Vladivostok

Running time: 2 hours 15 minutes
The performance has one interval

Age category 6+

小驼背马
on the playbill
1 2020, 14:00
1 2020, 19:00
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