Живи, а то хуже будет
Королевский датский балет отправился на гастроли по стране с "Сильфидой" и "Темой с вариациями". Вчера состоялся первый спектакль, и на моем любимом балетном форуме уже появился большой и ужасно интересный отзыв. Автор отзыва всем отдает должное и так зажигательно рассказывает о господине Мэдже в исполнении Себастьяна Клоборга, что я уже вся изнываю от нетерпения и жду не дождусь, когда наконец увижу его своими глазами. И радуюсь, что увижу его целых два раза, а не один. Кажется, он и в самом деле прекрасный Мэдж - не хуже, а может быть, даже и лучше Мэджа-Хюббе. Впрочем, нет, не лучше, не хуже, а просто он другой - и явно замечательный.
Выложу пару цитат из форумного отзыва:
However much that I loved Susanne Grinder’s Sylph when the production opened last season and however much Birkkjær opened my eyes to James as a character, seeing him tonight with a new Madge finally tied together this new production into a whole. Last time, however admirable I found Hübbe as Madge and the entire concept behind his creation, I found Hübbe himself somewhat uneasy to watch. Larger than life, but also just slightly uncomfortable – a feeling I didn’t have at all when I later saw Sebastian Haynes in the role. Tonight, I saw Sebastian Kloborg in the role for the first time and all my great, great expectations were met and more. He was the glue that made everything fall into place. As his Madge skilfully manipulated the sense out of James’ head, he made certain not to let it go to waste. He led the audience through the story from start to finish. Because of him, La Sylphide turned into a universal tragedy. When the metaphorical rocks had fallen and left James as well as his Sylph dead, Kloborg’s Madge alone was standing, left behind to stare at his own hands and wonder how it came to this. It was masterly.
The cauldron scene that had seemed so awkward when I first saw it was spectacular tonight. Very different from Haynes’, too, although I liked his as well. Kloborg’s Madge is more mature and more consciously manipulative and the way he used his companions felt less erotic (though still decidedly gay) and more obsessively controlling, my girlfriend even used the word “sadistic” about him which I think fits rather well. Kloborg is a master of the subtle gestures and constantly directed his companions with small waves of his hands. He looked so gaunt and bitter and as the cauldron disappeared off stage, the background turning white, he simply stood there. Rubbing the veil against his face. It established a very clear connection not only to the plot, but to both the Sylph and James. As if they were both a part of his past, in some way. In this version, it might not make sense to literally assume that Madge was once a sylph, but the chase on which he sends James to capture her felt too close to home. Perhaps Madge, in this version, once chased a sylph of his own and lost her, the pattern cursed to repeat itself over and over. Maybe, if James were to open his eyes again after curtain fall, he’d wake up to become someone else’s Madge.
О боже мой, дайте мне хотя бы побольше фотографий с Мэджем-Клоборгом, а то ведь я не доживу до февраля!
Выложу пару цитат из форумного отзыва:
However much that I loved Susanne Grinder’s Sylph when the production opened last season and however much Birkkjær opened my eyes to James as a character, seeing him tonight with a new Madge finally tied together this new production into a whole. Last time, however admirable I found Hübbe as Madge and the entire concept behind his creation, I found Hübbe himself somewhat uneasy to watch. Larger than life, but also just slightly uncomfortable – a feeling I didn’t have at all when I later saw Sebastian Haynes in the role. Tonight, I saw Sebastian Kloborg in the role for the first time and all my great, great expectations were met and more. He was the glue that made everything fall into place. As his Madge skilfully manipulated the sense out of James’ head, he made certain not to let it go to waste. He led the audience through the story from start to finish. Because of him, La Sylphide turned into a universal tragedy. When the metaphorical rocks had fallen and left James as well as his Sylph dead, Kloborg’s Madge alone was standing, left behind to stare at his own hands and wonder how it came to this. It was masterly.
The cauldron scene that had seemed so awkward when I first saw it was spectacular tonight. Very different from Haynes’, too, although I liked his as well. Kloborg’s Madge is more mature and more consciously manipulative and the way he used his companions felt less erotic (though still decidedly gay) and more obsessively controlling, my girlfriend even used the word “sadistic” about him which I think fits rather well. Kloborg is a master of the subtle gestures and constantly directed his companions with small waves of his hands. He looked so gaunt and bitter and as the cauldron disappeared off stage, the background turning white, he simply stood there. Rubbing the veil against his face. It established a very clear connection not only to the plot, but to both the Sylph and James. As if they were both a part of his past, in some way. In this version, it might not make sense to literally assume that Madge was once a sylph, but the chase on which he sends James to capture her felt too close to home. Perhaps Madge, in this version, once chased a sylph of his own and lost her, the pattern cursed to repeat itself over and over. Maybe, if James were to open his eyes again after curtain fall, he’d wake up to become someone else’s Madge.
О боже мой, дайте мне хотя бы побольше фотографий с Мэджем-Клоборгом, а то ведь я не доживу до февраля!
