马林斯基剧院, 大剧场

印度寺院的舞蹈女

三幕芭蕾舞剧

首演

Performers

指挥:

安东·托尔别耶夫

妮基娅: Anna Samostrelova
加姆扎特季: Lilia Berezhnova
索洛尔: Sergei Umanetc
金神: Shizuru Kato
三影子: Madoka YanoSaki NishidaDaria Tikhonova

Credits

作曲:路德维希·明库斯
编舞:弗拉季米尔·波诺马廖夫与瓦赫坦格·恰布基阿尼(1941),改编自莫里斯·珀蒂帕的编舞(1877),包含几个由孔斯坦京·谢尔格叶夫与尼古拉·祖布科夫斯基编舞的节目
编剧:莫里斯·珀蒂帕与谢尔盖·胡杰科夫

布景设计:米海尔·希什良尼科夫(根据阿多利夫·克瓦普普, 孔斯坦京·伊瓦诺夫, 佩特尔·拉恩宾,奥列斯特·阿尔列格里布景设计)
服装设计:叶夫格尼·波诺马廖夫
灯光设计:米海尔·希什良尼科夫

SYNOPSIS

第一幕

第一场

最尊贵的武士索罗尔,带领一队武士猎虎归来,途经神秘森林。索罗尔召唤出苦行僧头领,玛格达维亚,请求帮助他与神庙最美的舞者妮基娅,在午夜时相会。

婆罗门大祭司率领众僧来到神庙外的圣火前,吩咐苦行僧与舞者为庆典燃起圣火。圣火庆典开始,美丽的神庙舞者妮基娅跳祭祀舞蹈。

婆罗门大祭司被圣洁的妮基娅的美丽所倾倒。他向妮基娅示爱,却被拒绝。尽管大祭司献上象征地位的礼物证明爱意,妮基娅仍不接受,留下受伤的大祭司而去。

深夜,妮基娅悄悄从神庙出来,她与索罗尔相会。索罗尔欣喜地与她共舞,倾诉爱意。大祭司一直在暗处怒视着这对热恋的情侣,因此,他极为愤怒,祈求诸神帮他杀了索罗尔。

第二场

国王为了表彰索罗尔的勇敢,表示要将女儿甘扎蒂嫁给他。索罗尔被甘扎蒂的美貌所震惊。尽管他已与舞姬妮基娅发誓要永远相爱,却仍然无法拒绝国王的提议。

大祭司也来到了皇宫。大祭司要求与国王单独面谈,告知索罗尔不忠于感情,正在与妮基娅谈恋爱,希望国王能处死索罗尔。然而,令大祭司难过的是,国王决定杀死妮基娅。

甘扎蒂偷听了大祭司与国王的对话后,召妮基娅来到皇宫。甘扎蒂试图用珠宝、礼物利诱妮基娅,并且告诉妮基娅她舞姬的身份根本配不上索罗尔,让她离开索罗尔,但妮基娅拒绝了。争执中,悲愤的妮基娅试图刺杀甘扎蒂,但被女仆阿雅阻止。

第二幕

国王皇宫举办盛大的索罗尔与甘扎蒂的订婚仪式。大祭司刻意带来了妮基娅为订婚仪式献舞。有人给舞姬一个藏有毒蛇的花篮。妮基娅被藏在花篮里的毒蛇咬伤。大祭司给垂死的舞姬解药,请她忘掉索罗尔。但生无可恋的妮基娅摔碎了解药的瓶子,她宁愿死。

第三幕

第一场

索罗尔为妮基娅的逝去受到良心的谴责,悔恨交加。为了让索罗尔排除烦闷,玛格达维亚请弄蛇人来吹笛子。听着音乐,索罗尔入睡。

第二场

在幻觉中,索罗尔看到去世的人的幽灵。一个接一个,他们从黑暗中的山壁上走下来。其间,索罗尔看到了妮基娅。她招手叫他来……

ABOUT THE PRODUCTION

La Bayadère is one of the most popular ballets in the classical legacy. It is a story of love told through demure dance duets and pantomime dialogues, large-scale corps de ballet ensembles and the striking dances of the soloists. A colourful and vast canvas, woven together using highly complex choreographic language, La Bayadère is a test of professionalism, the sparkle of the ballerina and the male principal and the acting abilities of the performers. Marius Petipa created this production in 1877 for the gala performance of the virtuoso ballerina Yekaterina Vazem in an attempt to showcase the talent of his favourite ballerina as fully as possible and which would be worthy of the setting. Petipa laid out his dance poem based on a plot about the love between a noble Indian warrior and a temple dancer. The exotic flavour was to be a keystone of the spectacle, while the melodramatic story of a love deceived, typical for the theatre in the middle of the 19th century, was simple in terms of its literary exposition; in its choreographic revelations Petipa filled it with depth, nuances and generalisations. The structure of the production was moulded by the brilliant flair of the choreographer who knew how to blend together the necessary proportions of the grand divertissement of a palace celebration and the piercing emotion of the abandoned heroine's tragic monologue, the tense emotionality of the pantomime depiction of worldly events and the aloofness of classical dance in the Kingdom of Shades. With the passing of time this structure was altered. In the 20th century La Bayadère "lost weight" by dropping an entire act – the rationalsim of the Soviet view of the world rejected the use of simple-hearted props to depict retribution for breaking an oath, and along with the final destruction of the palace the ballet also lost its dramatic and dance dénouement. The realities of 19th century theatre that remained in the ballet, plush tigers and elephants on wheels look touchingly amusing today, but their modest specific details set off the timeless harmony of the act of the Shades, Petipa's bewitching masterpiece in which his genius was as never before close to absolute perfection.

Olga Makarova


首次演出:1877年1月23日,圣彼得堡大剧院
弗拉季米尔·波诺马廖夫与瓦赫坦格·恰布基阿尼的编舞首演:1941年2月10日,基洛夫歌剧舞剧院(如今马林斯基剧院)

演出时长:2小时55分钟(含两次中场休息)

Age category 6+

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