''To be or not to be'' is the immortal phrase of the great Shakespeare, which everyone interprets in their own way. As philosophers believe, if the meaning is not clear, it is logical to return to the idea. Numerous viewers had the opportunity to reflect on this topic, having become living witnesses of the miracle that took place before their eyes on the stage of the Maisonneuve theater in Montreal. In mid-February, for a week, Montreal's Place des Arts was the epicenter of absolute magic that reigned during the showing of the ballet production of ''Hamlet'' based on Shakespeare's tragedy of the same name to the music of John Gzovsky.
The performance went on without an intermission and lasted exactly one hundred minutes. These were minutes of absolute magic. One hundred hours have passed since the viewing, and another hundred days will pass, and I, like all thinking viewers, will continue to search for answers to the eternal question of existence. The theater is in many ways a magical place. Addressing the spiritual world of man from the stage, the theater is called upon to leave a mark on the hearts of the audience. The more professional and harmonious the team of creators and performers of each specific performance, the deeper the mark will be, especially from a ballet production.
Graceful, perfectly honed movements, technically conscious choreographic phrases, eloquent pantomime mastery are harmoniously intertwined in the art of ballet, "the most MORAL of all arts", as P. I. Tchaikovsky considered it. Classical ballet and modern choreography are two opposites. Having seen several hundred ballet performances, I have always given unconditional preference to the classics. The avant-garde production of "Hamlet" that I saw in Montreal is the most vivid and profound presentation of modern dance that I have ever seen.
The author of the choreography and the performer of the role of Hamlet is the star premier of the National Ballet of Canada, French Canadian Guillaume Côté, who has been trying his hand as a choreographer for several seasons. His graceful physique, posture, and musicality are what add to his nobility. But what raises him to a higher level is his gift as a ballet director, which is not given to every dancer from above. Even an unprepared viewer cannot fail to notice G. Côté's interesting choreographic discoveries. In "Hamlet" there were no pointe shoes or dizzying fouettés, mostly, as ballet people joke, "rolling on the floor". Hamlet's solo with a sword looked very impressive. The sword, like other props, is very symbolic in this performance and produces a powerful impact on the audience. Masterful swordsmanship means close interaction with professional epee fencers. Contrasting white and scarlet ribbons, originally attached to the swords in another scene, seem to transport the audience to the world of rhythmic gymnastics for a couple of minutes. Mirrors, present on the stage but invisible, are borrowed from circus performances. The wise, very unusual use of symbolic masks causes complete delight. For me personally, the most impressive was the scene with Ophelia against the background of a blue curtain-abyss, on the other side of which were her stage partners performing complex supports with her, remaining invisible to the audience! Such a synthesis of several types of art in one performance is still called ballet.
The performance, despite the lack of live music, undoubtedly leaves an indelible impression and a deep mark on the souls of the audience. The choreographer and performers deserve a lot of credit for this.
What makes it a masterpiece is its impeccable scenography, that is, stage design (sets, costumes, make-up, masks, lighting, sound, video, props) and its creator, the internationally recognized artist, native of Quebec Robert Lepage.
For several years, R. Lepage directed the French Theatre at the National Arts Centre in Ottawa. In the mid-90s, he founded his own multidisciplinary production company, and a little later, an interdisciplinary production centre. The director of several Cirque du Soleil performances, the creator of a number of exhibitions, the director of many rock concerts and dramatic performances, made a great contribution to the art of cinema. The brilliant R. Lepage also touched upon the art of opera. For example, the opera ''Das Rheingold'' in his production was shown with incredible success at the Metropolitan Opera in New York. Such versatility of a gifted creative personality makes us take our hat off to him.
Lepage's triumphant entry into the world of ballet is connected with fruitful collaboration with G. Côté. Robert Lepage is one of the greatest theatre directors of our time. Using new technologies, he constantly pushes the boundaries of theatrical performances, and a fairy tale becomes reality, and the impossible becomes possible. Even those who are not very knowledgeable about ballet will not remain indifferent to the performance, to which Robert Lepage had a hand.
The ballet "Hamlet" will come to Ottawa next theatre season. Don't miss it! Touch the magic, and get at least 100 minutes of extraordinary emotions.
MARINA KOCHETOVA