Живи, а то хуже будет
Прочитала некролог Эрика в Торонто Стар: там сказано, что он "мирно скончался во сне". Может быть, газетное преувеличение, а может, и нет, по книге Мейнерца не поймешь: Леннарт Пасборг не присутствовал при смерти Эрика, а Константин, бывший с Эриком в последние минуты, уже никому ничего не расскажет. Ладно, предположим, что в газете не соврали, и он действительно умер во сне. И хоть эта смерть была легкой, но не хочу даже думать о том, каково было Константину, который сидел рядом и смотрел, как Эрик умирает, и ничего не мог с этим поделать. Ничего удивительного, что он был "совершенно раздавлен". И как будто он чувствовал, что его ждет теперь, после смерти Эрика.
Но сегодня я не буду выкладывать некролог Эрика, а выложу некролог Константина, написанный Уильямом Литтлером, балетным критиком Торонто Стар.
Constantin Patsalas, former first soloist and resident choreographer of the National Ballet of Canada, died Friday night at the age of 45.
A major contributor to the National Ballet's repertoire during the 12 years beginning 1974, Patsalas suffered a near-fatal blow to his career when he was dismissed in September, 1986, for refusing to step down as artistic advisor.
That position was given him on the recommendation of, and following the death of, artistic director Erik Bruhn, earlier the same year.
Threatening suit for wrongful dismissal, he left the company to undertake a freelance career, unsuccessfully seeking an Ontario Supreme Court injunction to prevent the company from performing his ballet Piano Concerto during its November, 1986, O'Keefe Centre season.
Piano Concerto had earlier been instrumental in establishing his reputation as a dancemaker, winning the Boston Ballet's Choreographer's Showcase prize over an international field of 253 entrants in 1979.
Three years and several ballets later, Mr. Patsalas was appointed resident choreographer, eventually contributing 10 of his more than 30 works to the National Ballet repertoire. Some of them also were performed in an all-Patsalas program presented by Balleto Classico in L'Aquila, Italy in 1982.
His pas de deux, Poemes Intimes, was also danced by the National Ballet's Kimberly Glasco and Kevin Pugh as part of their medal-winning participation in the 1981 International Ballet Competition in Moscow.
Other major works of his included Black Angels, The Rite Of Spring, Canciones (originally choreographed for the Ballet Contemporaneo de Camara in Venezuela), Angali, Nataraja, L'Ile Inconnue, Oiseaux Exotiques and Lost In Twilight.
He also created works for the Stratford Festival, Hamilton Philharmonic Orchestra, National Ballet School and Canadian Opera Company. And in the season following his departure from the National Ballet he mounted a program titled Constantin Patsalas And Friends at Harbourfront's Premiere Dance Theatre, with a cast of dancers including some of his former colleagues.
The National Ballet itself has ceased performing his work.
Born in Greece, the son of a military officer, he began to study ballet and modern dance in Germany in 1964, graduating from Kurt Joos' Folkwang Hochschule in Essen before spending three years with the ballet of the Deutsche Oper am Rhein in Dusseldorf.
Joining the National Ballet in 1972, at Erik Bruhn's suggestion, he became a second soloist in 1976 and first soloist in 1979.
Not primarily a classical dancer, he excelled in character roles, including Widow Simone in La Fille Mal Gardee, Madge the Witch in La Sylphide, Dr. Coppelius in Coppelia and the Duke of Verona and Friar Laurence in Romeo And Juliet.
As a choreographer, and an avocational painter, he tended toward the flamboyant and the exotic, claiming to take inspiration from nature and numbering gardening among his hobbies.
Recipient of the Banff Centre's Clifford E. Lee Award for Choreography in 1985, he seemed destined for a long and successful career, when the rupture with the National Ballet came.
"In looking back," he commented the year after his departure from the company, "dance has been a tough life. But I don't regret a thing . . . I'm putting this past year and a half from my memory, pulling myself together and using Erik's death as an inspiration for life."
Произнес он эти слова в октябре 1987 года, а через полтора года его не стало.
Но сегодня я не буду выкладывать некролог Эрика, а выложу некролог Константина, написанный Уильямом Литтлером, балетным критиком Торонто Стар.
Exotic Constantin Patsalas rode out rocky dance career
Constantin Patsalas, former first soloist and resident choreographer of the National Ballet of Canada, died Friday night at the age of 45.
A major contributor to the National Ballet's repertoire during the 12 years beginning 1974, Patsalas suffered a near-fatal blow to his career when he was dismissed in September, 1986, for refusing to step down as artistic advisor.
That position was given him on the recommendation of, and following the death of, artistic director Erik Bruhn, earlier the same year.
Threatening suit for wrongful dismissal, he left the company to undertake a freelance career, unsuccessfully seeking an Ontario Supreme Court injunction to prevent the company from performing his ballet Piano Concerto during its November, 1986, O'Keefe Centre season.
Piano Concerto had earlier been instrumental in establishing his reputation as a dancemaker, winning the Boston Ballet's Choreographer's Showcase prize over an international field of 253 entrants in 1979.
Three years and several ballets later, Mr. Patsalas was appointed resident choreographer, eventually contributing 10 of his more than 30 works to the National Ballet repertoire. Some of them also were performed in an all-Patsalas program presented by Balleto Classico in L'Aquila, Italy in 1982.
His pas de deux, Poemes Intimes, was also danced by the National Ballet's Kimberly Glasco and Kevin Pugh as part of their medal-winning participation in the 1981 International Ballet Competition in Moscow.
Other major works of his included Black Angels, The Rite Of Spring, Canciones (originally choreographed for the Ballet Contemporaneo de Camara in Venezuela), Angali, Nataraja, L'Ile Inconnue, Oiseaux Exotiques and Lost In Twilight.
He also created works for the Stratford Festival, Hamilton Philharmonic Orchestra, National Ballet School and Canadian Opera Company. And in the season following his departure from the National Ballet he mounted a program titled Constantin Patsalas And Friends at Harbourfront's Premiere Dance Theatre, with a cast of dancers including some of his former colleagues.
The National Ballet itself has ceased performing his work.
Born in Greece, the son of a military officer, he began to study ballet and modern dance in Germany in 1964, graduating from Kurt Joos' Folkwang Hochschule in Essen before spending three years with the ballet of the Deutsche Oper am Rhein in Dusseldorf.
Joining the National Ballet in 1972, at Erik Bruhn's suggestion, he became a second soloist in 1976 and first soloist in 1979.
Not primarily a classical dancer, he excelled in character roles, including Widow Simone in La Fille Mal Gardee, Madge the Witch in La Sylphide, Dr. Coppelius in Coppelia and the Duke of Verona and Friar Laurence in Romeo And Juliet.
As a choreographer, and an avocational painter, he tended toward the flamboyant and the exotic, claiming to take inspiration from nature and numbering gardening among his hobbies.
Recipient of the Banff Centre's Clifford E. Lee Award for Choreography in 1985, he seemed destined for a long and successful career, when the rupture with the National Ballet came.
"In looking back," he commented the year after his departure from the company, "dance has been a tough life. But I don't regret a thing . . . I'm putting this past year and a half from my memory, pulling myself together and using Erik's death as an inspiration for life."
Произнес он эти слова в октябре 1987 года, а через полтора года его не стало.
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09.11.2015 в 21:17Но интересно, что в некрологе не пошли по принципу "о мертвых либо хорошо, либо ничего": не сгущали красок, но честно изложили, что знали, об истории "развода" в НБК после смерти Эрика. Никого не обвиняя и не принимая чьей-то стороны. А портрет Константина получился не приукрашенный, но все равно симпатичный.
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09.11.2015 в 21:35А Константин сам был симпатичный, несмотря на все свои закидоны, вот и портрет получился такой же.)
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