The ballet that incited a riot - Iseult Gillespie

Prevodilac: Milenka Okuka Lektor: Ivana Krivokuća

We typically think of ballet as harmonious, graceful and polished–

Balet obično smatramo harmoničnim, prefinjenim i uglađenim -

hardly features that would trigger a riot.

to teško da su osobine koje pokreću nerede.

But at the first performance of Igor Stravinsky’s "The Rite of Spring,"

Međutim, tokom prvog izvođenja „Posvećenja proleća” Igora Stravinskog,

audience members were so outraged that they drowned out the orchestra.

članovi publike su bili toliko zgroženi da su nadglasali orkestar.

Accounts of the event include people hurling objects at the stage,

Izveštaji sa događaja uključuju ljude kako bacaju predmete na scenu,

challenging each other to fights, and getting arrested–

izazivaju jedni druge na tuče i bivaju odvođeni u pritvor -

all on what started as a sophisticated night at the ballet.

a sve je počelo kao prefinjeno veče uz balet.

First performed in May 1913

Prvi put izveden u maju 1913. godine

at the Théâtre des Champs-Elysées in Paris,

u pozorištu Šanzelize u Parizu,

"The Rite of Spring" is set in prehistoric times.

„Posvećenje proleća” se dešava u praistorijskom vremenu.

The narrative follows an ancient Pagan community

Pripovedanje prati drevno pagansko društvo

worshipping the Earth and preparing for the sacrifice of a woman

koje se klanja Zemlji i sprema se da žrtvuje ženu

intended to bring about the change of seasons.

kako bi došlo do smene godišnjih doba.

But the ballet is much more concerned with the violent relationship

Međutim, balet se daleko više bavi

nasilnom vezom između ljudi, prirode i kulture

between humans, nature, and culture

than with character or plot.

nego što se bavi likovima ili zapletom.

These themes manifest in a truly upsetting production

Ove teme se ispoljavaju u istinski uznemirujućoj postavci

which combines harsh music, jerky dancing, and uncanny staging.

koja kombinuje prodornu muziku, nagle plesne pokrete i stravičnu scenografiju.

It opens with dancers awakening to a solo bassoon,

Balet počinje tako što plesače budi zvuk solo fagota,

playing in an eerily high register.

koji svira u jezivo visokom registru.

This gives way to discordant strings, punctured by unexpected pauses

Ovo otvara put disonantnim gudačima koje prekidaju neočekivane pauze

while the dancers twitch to the music.

dok se plesači grče na zvuke muzike.

These frightening figures enact the ballet’s brutal premise,

Ove zastrašujuće poze otelotvoruju brutalnu premisu baleta

which set audiences on edge

koja je smestila publiku na ivicu sedišta

and shattered the conventions of classical music.

i razbila konvencije klasične muzike.

In these ways and many more,

Na ove i razne druge načine,

"The Rite of Spring" challenged the orchestral traditions

„Posvećenje proleća” je preispitalo orkestarsku tradiciju

of the 19th century.

XIX veka.

Composed on the cusp of both the first World War

Komponovan neposredno pred kako Prvi svetski rat,

and the Russian revolution,

tako i Rusku revoluciju,

"The Rite of Spring" seethes with urgency.

„Posvećenje proleća” se žurno razbuktava.

This tension is reflected in various formal experiments,

Ova tenzija je odražena u više formalnih eksperimenata,

including innovative uses of syncopation, or irregular rhythm;

uključujući inovativnu upotrebu sinkope, to jest neujednačenog ritma;

atonality or the lack of a single key,

atonalnosti ili nedostatka jedinstvenog ključa,

and the presence of multiple time signatures.

kao i prisustva višestrukih promena taktova.

Alongside these strikingly modern features,

Uz ove upadljivo moderne karakteristike,

Stravinsky spliced in aspects of Russian folk music–

Stravinski je upleo obrasce ruske folklorne muzike -

a combination that deliberately disrupted

a to je kombinacija koja je namerno narušila

the expectations of his sophisticated, urban audience.

očekivanja njegove sofisticirane, urbane publike.

This wasn’t Stravinsky’s first use of folk music.

Nije ovo bio prvi put da Stravinski koristi folk muziku.

Born in a small town outside of St. Petersburg in 1882,

Rođen u malom gradu blizu Sankt Peterburga 1882. godine,

Stravinsky’s reputation was cemented with the lush ballet "The Firebird."

reputacija Stravinskog je zapečaćena raskošnim baletom „Žar-ptica”.

Based on a Russian fairytale,

Zasnovana na ruskoj bajci,

this production was steeped in Stravinsky’s fascination

ova izvedba je bila ispunjena očaranošću Stravinskog

with folk culture.

folklornom kulturom.

But he plotted a wilder project in "The Rite of Spring,"

Međutim, u „Posvećenju proleća” osmislio je sumanutiji projekat,

pushing folk and musical boundaries to draw out the rawness of pagan ritual.

pomerajući folklorne i muzičke granice da bi postigao sirovost paganskog rituala.

Stravinsky brought this reverie to life

Stravinski je oživeo svoje snoviđenje

in collaboration with artist Nicholas Roerich.

u saradnji sa umetnikom Nikolajem Rerihom.

Roerich was obsessed with prehistoric times.

Rerih je bio opsednut praistorijskim vremenom.

He had published essays about human sacrifice

Objavljivao je eseje o žrtvovanju ljudi

and worked on excavations of Slavic tombs

i radio je na iskopinama slovenskih grobnica,

in addition to set and costume design.

kao i na dizajniranju scenografije i kostima.

For "The Rite of Spring," he drew from Russian medieval art

U „Posvećenju proleća” bio je inspirisan ruskom srednjovekovnom umetnošću

and peasant garments to create costumes that hung awkwardly

i odeždama seljaka kako bi stvorio kostime koji su neprirodno visili

on the dancers’ bodies.

na telima plesača.

Roerich set them against vivid backdrops of primeval nature;

Rerih ih je suprotstavio živopisnoj pozadini prastare prirode,

full of jagged rocks, looming trees and nightmarish colors.

ispunjene škriljcima, senovitim drvećem i grozomornim bojama.

Along with its dazzling sets and searing score,

Uz zaslepljujuću scensku postavku i paklenu muziku,

the original choreography for "The Rite of Spring"

prvobitna koreografija „Posvećenja proleća”

was highly provocative.

je bila veoma provokativna.

This was the doing of legendary dancer Vaslav Nijinsky,

A to je delo legendarnog plesača Vaclava Nižinskog,

who developed dances to rethink “the roots of movement itself.”

koji je izumeo plesne pokrete kako bi preispitao „korene samog pokreta”.

Although Stravinsky later expressed frustration

Iako je Stravinski naknadno izrazio frustraciju

with Nijinsky’s demanding rehearsals

zbog zahtevnih proba Nižinskog,

and single-minded interpretations of the music,

kao i svojeglavog tumačenja muzike,

his choreography proved as pioneering as Stravinsky’s composition.

ispostavilo se da je njegova koreografija nova koliko i kompozicija Stravinskog.

He contorted traditional ballet–

Iskrivio je tradicionalni balet -

to both the awe and horror of his audience,

kako na oduševljenje, tako i na zgražavanje publike,

many of whom expected the refinement and romance of the genre.

u kojoj su mnogi očekivali prefinjenost i romantičnost žanra.

The dancing in "The Rite of Spring" is agitated and uneven,

Ples u „Posvećenju proleća” je nespokojan i neujednačen,

with performers cowering, writhing and leaping about as if possessed.

gde se izvođači povijaju, grče i bacaju okolo kao da su posednuti.

Often, the dancers are not one with the music

Često plesači nisu usklađeni s muzikom,

but rather seem to struggle against it.

već pre kao da se bore protiv nje.

Nijinsky instructed them to turn their toes inwards

Nižinski ih je podučio da povijaju prste ka unutra

and land heavily after jumps, often off the beat.

i da se snažno prizemlje nakon skokova, koji su često aritmični.

For the final, frenzied scene,

U poslednjoj, grozničavoj sceni,

a woman dances herself to death to loud bangs and jarring strings.

žena pleše do smrti na zvuke glasne lupe i neusklađenih gudača.

The ballet ends abruptly on a harsh, haunting chord.

Balet se naglo završava grubim i opojnim akordom.

Today, "The Rite of Spring"

Danas „Posvećenje proleća”

remains as chilling as its controversial debut,

i dalje zvuči jezivo kao i tokom kontroverznog debija,

but the shockwaves of the original work continue to resound and inspire.

međutim, udarni talasi prvobitnog dela i dalje odjekuju i inspirišu.

You can hear Stravinsky’s influence in modern jazz’s dueling rhythms,

Možete da čujete uticaj Stravinskog u modernim sukobljenim džez ritmovima,

folky classical music, and even film scores for horror movies,

folklornoj klasičnoj muzici, pa čak i u muzici iz horor filmova,

which still illicit a riotous audience response.

koja i dalje izaziva burne reakcije publike.