0:05 Alain Duault rend hommage à Rudolf Noureev. 1er tableau (À la foire du Mardi-Gras - Jour) 2:34 La rue 3:17 Un groupe d'hommes ivres passent 3:38 Le Maître de cérémonie divertit la foule 4:08 Un homme qui joue de l'orgue de barbarie et une danseuse apparaissent 4:29 Il se met à jouer 4:44 Elle se met à danser 4:56 L'homme joue aussi du cornet à pistons 5:07 Une deuxième femme se met à danser 5:48 Le Maître de cérémonie reprend la parole 6:11 Le groupe d'hommes ivres repassent 6:43 Le Maître de cérémonie, encore 7:43 Deux percussionnistes attirent l'attention de la foule 7:55 Un vieux mage sort des rideaux pour le tour de magie 8:27 Il se met à jouer de la flûte 9:28 Les rideaux s'ouvrent (sur la partition ils s'ouvrent à 9:13) 9:40 Le vieux mage anime les 3 marionnettes : le Maure, la Ballerine, le Guignol (Petrouchka) 9:49 Les marionnettes entament une danse russe 12:18 transition 2ème tableau (Chez Petrouchka) 12:34 Petrouchka, seul, se désole 13:32 Il maudit le vieux mage 13:49 Il pense à la Ballerine dont il est amoureux 15:11 La Ballerine entre 15:20 Petrouchka essaie de lui révéler son amour 15:37 La Ballerine repart 16:47 transition 3èùe tableau (Chez le Maure) 17:14 Le Maure, seul, joue avec une noix de coco 18:40 La noix de coco se met à l'obséder 19:06 Il veut la casser mais n'y arrive pas 19:22 Il finir par vouer un culte à la noix de coco 20:16 La Ballerine entre et joue du cornet à pistons 21:09 Le Maure et la Ballerine entament une marche 22:57 Maintenant, une valse 23:37 Petrouchka entre 24:02 Combat entre Petrouchka et le Maure 24:24 Le Maure renvoie Petrouchka 24:35 transition 4ème tableau (À la foire du Mardi-Gras - Nuit) 25:26 La rue 25:45 Danse des nourrices 28:32 Un plouc arrive avec un ours qui marche sur deux jambes et joue de la flûte 29:29 Ils partent 30:04 Un bourgeois et deux gitanes arrivent 30:19 Il joue de l'accordéon tandis qu'elles dansent 31:08 Ils repartent après que le bourgeois ait lancé des billets à la foule 31:17 Danse du cocher et des garçons d'écurie 32:26 Les nourrices se mêlent à la danse 33:41 Des mimes entrent 33:59 Le mime diable entre 34:43 Tout le monde se met à danser 35:21 Suspense
Thank you very much for enabling us to see this video. I Petruschka by Ballet Russes in Opera de Paris decades ago, and it was pure joy and amazement. This video gives me the chance to refresh my memory and enjoyment again and again. Thanks again.
Oh, this is absolutely brilliant - I have always loved this ballet since I was a small girl - now I'm in my mid 70s. Thank you for posting this video. x
I can't thank you enough for providing this video. For years all we've had was a 7-minute clip on UA-cam. I'm thrilled to be able to see the entire brilliant performance.
BTW, here is one more version of the performance on UA-cam ua-cam.com/video/EszSXgodINI/v-deo.html It is quite different, you may find the Magician is awesome, etc
OH MY GOD! THANK YOU, THANK YOU, THANK YOU! I have watched the 7-minute clip so many times before - it was my favorite recording of Petrouchka! But there was always only that little bit, and nothing else on UA-cam or anywhere else... Thank you so much, Louis!! Merci, merci, merci!! ❤️
Merci Louis Madeuf , pour cette excellente rendition de Petrouchka , Noureyef, Pontois et Jude sont excellents, là oû l'on voit que le mime rencontre le ballet dans l'interpretation
Think rudolph was in his element performing. He was one fir slightly over acting and throwing his arms about so this was perfect for him. Absolutely brilliant
1 картина 02:35 тема улицы 04:30 тема шарманки 04:50 тема уличной балерины 07:50 тема фокусника 08:32 фокусник играет на флейте 09:40 русская 2 картина 12:45 тема Петрушки 3 картина 17:45 тема Арапа 20:20 Балерина играет на корнете 21:10 Балерина танцует вальс 22:57 Балерина танцует с Арапом 4 картина 26:30 вдоль по Питерской 27:20 Ах,вы,сени 36:05 смерть Петрушки(скрипка) 38:25 Проклятия Петрушки (тень на занавесе)
Merci d'avoir mis en ligne une vidéo très intéressante historiquement. Je n'ai jamais appris le français, donc je l'écris en anglais. I heard that it was so difficult to re-enact Petrushka because the staff who knew about that time were old and there were only a few people, it's been over 50 years since the premiere.
@Louis Madeuf Je suis très heureux que. Merci d'avoir évalué les commentaires J'ai eu cette information dans magazine de ballet publié au Japon. A une époque similaire, j'ai acheté un disque laser Ballets Russes. Monique Loudières a joué le rôle de ballerine dans l'œuvre de PETROUCHKA.
Посмотрела 4 версии, (эта, Большого театра(две) и Ленинградского театра), эта - вроде бы незамысловатая, но понравилась больше всех. Нуриев превосходен - Петрушка у него - робкий, неуверенный, его действительно жаль.
Я потрясена, настоящая трагедия,"убийство" на сцене, страшно было смотреть концовку... перекликается с Балаганчиком Лорки. Все потрясает!!! Нуриев велик...
Remember they are dolls not people. Also the ballet was first performed in 1911. Times have changed but you can stil admire the artistry of the music and design, and enjoy the dancing whilst not agreeing with the portrayal of the ‘Blackamoor’ puppet. This is a constant in art - It is always of its time and so are t its creators - I hate Hitler but I can still appreciate Wagner.
Comme c'est très souvent le cas, les problèmes se présentent quand il s'agit de traduire les temps de verbes; mais pourquoi donc, ce M.Alain Duault n'a-t-il pas demandé à un anglophone comment traduire cette remarque 'Quand je ne danserai plus, je serai mort'? (car dans le contexte syntactique 'When I'll stop dancing' est une construction impossible: il faudrait plutôt mettre 'when I've stopped dancing': dans ce cas, l'emploi du parfait traduit l'idée de Nijinsky, d'une éventualité dans un temps futur. N.B. En fait, ce n'est même pas sûr que N ait dit cela, mais plutôt 'As long as my ballets are danced, I will live!'... pas tout a fait pareil, n'est-ce pas! )
I'm showing this to my son who loves ballet and when he saw the puppet in blackface he asked, "What is that?" First word that came to mind was, 'racist,' but that's not something I can explain to a two year old. I went with, "He's supposed to be a doll."
This is NOT "blackface," as you point out, from that knee-jerk little mind of yours. First of all, it is theatrical stage make-up. The character is a "Blackamoor," meaning a dark, North African of the Berber race. Not Negroid. These are conventions and traditions that stretch back through time to the masking traditions of the ancient Greeks and probably older. There was never, and is not now, anything wrong with a dancer applying make-up to help create AN ILLUSION!!! Jesus, that's what theater is all about!!! Get over your own social justice warrior sense of self-righteousness.
@@LazlosPlane hi. Here is the definition of blackface “used to refer to the practice of wearing make-up to imitate the appearance of a black person”. This ballet is using a white personal to imitate a person of colour through stage makeup. Still just as offensive I’m afraid.
@@mariapyne120 A simple definition written for simpletons. Blackface has a long and complex history; it has meant different things at different times to different people; to sum it up like that is not only wrong, it is insulting. I've studied the history of blackface for over 30 years. I think I've learned a little something. By the way, when they do "Hamlet" in Japan, what do you suppose they do about the fact that all the characters are supposed to be Danish? Should they be prevented from doing Hamlet? Or suppose your High School wants to do "Julius Ceasar," should they take out an ad for actors who are also ancient Romans? Did you know that Orson Welles produced an all-black version of Macbeth ON BROADWAY? Was he wrong to do that? Use your brain. Start thinking like a grown-up. The world is not as simple as you think it is.
@@LazlosPlane well no he wasn’t wrong to direct that play because he was not using white people to imitate a person of colour. For someone who has studied blackface for over 30 years you surely have been feeding yourself the wrong information and can’t see how racist you are coming across for supporting the use of it. It’s a sick and outdated form of stage makeup which should not be supported, forgiven or used in any manor.
finally somebody said something 😭 i’m barely seeing the ballet of petrushka and my jaw stooped so low seeing the blackface, but not as low as the people who created that racist character. i would love to know if that’s not supposed to depict Black folks because it’s looking really minstrelsy and that’s really the last thing i expected in a stravinsky ballet-
@@harmonicminorenthusiast unfortunately its as racist as it seems. a "moor" was a very broad term used in Europe for anyone dark skinned and originating from non European descent. the term doesn't even bother to note where the person is from, could be India, could be Kenya. It's similar to the term "negro" in American vernacular, which is no longer used.
one hundred year after the creation, such representation is not possible anymore, it's not only the blackface but also the gestures, the coconut, etc... I don't know how it's possible to represent this ballet, now, live, without changing a lot of things ! In 1976, few people thought about this being offensively racist (they should have !) and also, in France, the blackfaces were less an issue than in USA, we didn't have the minstrels. However this is still an issue, for exemple, in the north of France, in the Carnival days, there are still groups of blackfaces !
@@tarantellalarouge7632 PEOPLE GET OVER YOURSELVES. This is NOT "blackface," as you point out, from that knee-jerk little mind of yours. First of all, it is theatrical stage make-up. The character is a "Blackamoor," meaning a dark, North African of the Berber race. Not Negroid. Second, these are conventions and traditions that stretch back through time to the masking traditions of the ancient Greeks and probably older. There was never, and is not now, anything wrong with a dancer applying make-up to help create AN ILLUSION!!! Jesus, that's what theater is all about!!! Get over your own social justice warrior sense of self-righteousness. What a sad world we live in that people have been brain-washed in this manner.
@@LazlosPlane the "moors" (maures in French) meant everyone living in Africa, not only Arabs, the flag of Corsica is called "tête de maure" and it is a black person profile.
0:05 Alain Duault rend hommage à Rudolf Noureev.
1er tableau (À la foire du Mardi-Gras - Jour)
2:34 La rue
3:17 Un groupe d'hommes ivres passent
3:38 Le Maître de cérémonie divertit la foule
4:08 Un homme qui joue de l'orgue de barbarie et une danseuse apparaissent
4:29 Il se met à jouer
4:44 Elle se met à danser
4:56 L'homme joue aussi du cornet à pistons
5:07 Une deuxième femme se met à danser
5:48 Le Maître de cérémonie reprend la parole
6:11 Le groupe d'hommes ivres repassent
6:43 Le Maître de cérémonie, encore
7:43 Deux percussionnistes attirent l'attention de la foule
7:55 Un vieux mage sort des rideaux pour le tour de magie
8:27 Il se met à jouer de la flûte
9:28 Les rideaux s'ouvrent (sur la partition ils s'ouvrent à 9:13)
9:40 Le vieux mage anime les 3 marionnettes : le Maure, la Ballerine, le Guignol (Petrouchka)
9:49 Les marionnettes entament une danse russe
12:18 transition
2ème tableau (Chez Petrouchka)
12:34 Petrouchka, seul, se désole
13:32 Il maudit le vieux mage
13:49 Il pense à la Ballerine dont il est amoureux
15:11 La Ballerine entre
15:20 Petrouchka essaie de lui révéler son amour
15:37 La Ballerine repart
16:47 transition
3èùe tableau (Chez le Maure)
17:14 Le Maure, seul, joue avec une noix de coco
18:40 La noix de coco se met à l'obséder
19:06 Il veut la casser mais n'y arrive pas
19:22 Il finir par vouer un culte à la noix de coco
20:16 La Ballerine entre et joue du cornet à pistons
21:09 Le Maure et la Ballerine entament une marche
22:57 Maintenant, une valse
23:37 Petrouchka entre
24:02 Combat entre Petrouchka et le Maure
24:24 Le Maure renvoie Petrouchka
24:35 transition
4ème tableau (À la foire du Mardi-Gras - Nuit)
25:26 La rue
25:45 Danse des nourrices
28:32 Un plouc arrive avec un ours qui marche sur deux jambes et joue de la flûte
29:29 Ils partent
30:04 Un bourgeois et deux gitanes arrivent
30:19 Il joue de l'accordéon tandis qu'elles dansent
31:08 Ils repartent après que le bourgeois ait lancé des billets à la foule
31:17 Danse du cocher et des garçons d'écurie
32:26 Les nourrices se mêlent à la danse
33:41 Des mimes entrent
33:59 Le mime diable entre
34:43 Tout le monde se met à danser
35:21 Suspense
@user-td5hv6nh4e
素晴らしい動画をアップしてくださりありがとうございます。ダンサーはもちろんのこと、衣装、舞台セット、ストラビンスキーの音楽も含め、すべてが一体となり、観る者を圧倒させる迫力があります。
Thank you VERY MUCH for sharing this! What a treasure to be able to view!
Thank you very much for enabling us to see this video. I Petruschka by Ballet Russes in Opera de Paris decades ago, and it was pure joy and amazement. This video gives me the chance to refresh my memory and enjoyment again and again. Thanks again.
ヌレエフのペトルーシュカが観れるなんて幸せです！やはり存在感と表現力でこの方を越えるバレエダンサーは現れない。
Never seen Rudi dance Petrushka. ❤❤❤❤❤ Thanks for posting.
Oh, this is absolutely brilliant - I have always loved this ballet since I was a small girl - now I'm in my mid 70s. Thank you for posting this video. x
Best choreography of Petrushka on UA-cam
I can't thank you enough for providing this video. For years all we've had was a 7-minute clip on UA-cam. I'm thrilled to be able to see the entire brilliant performance.
Glad you enjoyed it! I couldn't keep this piece to myself at home. It has to live on!
Linda Cantoni, it is with pleasure that I comment in the interest of music that soars
BTW, here is one more version of the performance on UA-cam ua-cam.com/video/EszSXgodINI/v-deo.html It is quite different, you may find the Magician is awesome, etc
Que maravilla! Impresionante considerando la época. Mil gracias por compartir ❤
OH MY GOD! THANK YOU, THANK YOU, THANK YOU!
I have watched the 7-minute clip so many times before - it was my favorite recording of Petrouchka! But there was always only that little bit, and nothing else on UA-cam or anywhere else...
Thank you so much, Louis!! Merci, merci, merci!! ❤️
Merci de tout mon coeur!
Merci Louis Madeuf , pour cette excellente rendition de Petrouchka , Noureyef, Pontois et Jude sont excellents, là oû l'on voit que le mime rencontre le ballet dans l'interpretation
Think rudolph was in his element performing. He was one fir slightly over acting and throwing his arms about so this was perfect for him. Absolutely brilliant
Good to see this on Channel. Many thank yous. Stravinsky did a great score for this ballet
Une sublime partition ! Une des plus belles du xx éme siècle.
Merci pour cette vidéo superbe c'est merveilleux de voir Noureev danser..
1 картина
02:35 тема улицы
04:30 тема шарманки
04:50 тема уличной балерины
07:50 тема фокусника
08:32 фокусник играет на флейте
09:40 русская
2 картина
12:45 тема Петрушки
3 картина
17:45 тема Арапа
20:20 Балерина играет на корнете
21:10 Балерина танцует вальс
22:57 Балерина танцует с Арапом
4 картина
26:30 вдоль по Питерской
27:20 Ах,вы,сени
36:05 смерть Петрушки(скрипка)
38:25 Проклятия Петрушки (тень на занавесе)
Merci infiniment. J'avais moi aussi fait un enregistrement VHS ce soir-là, mais il n'existe plus, et il me manquait beaucoup.
Thank you for sharing this work of art! Though it has outdated modes of representation, it is such a masterful work of art!
Many if not most works of the past have "outdated modes of representation."
Thanks! I added this to my playlist here on YT "14 Great Ballets".
GOD I love this ballet
This expresses the universal and inexplicable fear of being.
Not only that, it's got a dancing bear!! Ha,ha! A bear!!!
Merci d'avoir mis en ligne une vidéo très intéressante historiquement.
Je n'ai jamais appris le français, donc je l'écris en anglais.
I heard that it was so difficult to re-enact Petrushka because the staff who knew about that time were old and there were only a few people, it's been over 50 years since the premiere.
@Louis Madeuf
Je suis très heureux que.
Merci d'avoir évalué les commentaires
J'ai eu cette information dans magazine de ballet publié au Japon.
A une époque similaire, j'ai acheté un disque laser Ballets Russes.
Monique Loudières a joué le rôle de ballerine dans l'œuvre de PETROUCHKA.
Quel talent
Muchas gracias por este gran regalo, saludos desde Perú 🇵🇪
magnifique spectacle qui demande du monde mais c'est l'opéra de paris quand meme
Merci!
Посмотрела 4 версии, (эта, Большого театра(две) и Ленинградского театра), эта - вроде бы незамысловатая, но понравилась больше всех. Нуриев превосходен - Петрушка у него - робкий, неуверенный, его действительно жаль.
Great video!, many thanks for sharing it!
Я потрясена, настоящая трагедия,"убийство" на сцене, страшно было смотреть концовку... перекликается с Балаганчиком Лорки. Все потрясает!!! Нуриев велик...
What interests me is that it can be listened both orchestration based on 1911 and 1947 in this movie.
38:28 Omg this is so creepy! Gave me shivers :o
Remember they are dolls not people. Also the ballet was first performed in 1911.
Times have changed but you can stil admire the artistry of the music and design, and enjoy the dancing whilst not agreeing with the portrayal of the ‘Blackamoor’ puppet. This is a constant in art - It is always of its time and so are t
its creators - I hate Hitler but I can still appreciate Wagner.
It’s also good to keep in mind that the blackamoor doll is the obviously more desirable and cool one. It’s poor clown petrouska who is the outcast
And yes- this does play to modern stereotypes of the black guy as the cool guy. But those were not necessarily applicable when this show was made
Were they to film it now I’d say change that doll into whatever the current stereotype of cool is…
Biker? That might make a doll…
Shame its hardly ever performed at the royal ballet
Massa!!!
Comme c'est très souvent le cas, les problèmes se présentent quand il s'agit de traduire les temps de verbes; mais pourquoi donc, ce M.Alain Duault n'a-t-il pas demandé à un anglophone comment traduire cette remarque 'Quand je ne danserai plus, je serai mort'? (car dans le contexte syntactique 'When I'll stop dancing' est une construction impossible: il faudrait plutôt mettre 'when I've stopped dancing': dans ce cas, l'emploi du parfait traduit l'idée de Nijinsky, d'une éventualité dans un temps futur. N.B. En fait, ce n'est même pas sûr que N ait dit cela, mais plutôt 'As long as my ballets are danced, I will live!'... pas tout a fait pareil, n'est-ce pas! )
Thank you for sharing. Wonderful and timeless. Although the blackfacing part looks awkward in 2020.
Facepalm
@@StephenChoma life is complicated. Even more so in 2021.
Andreas N Even in 1976. Was it that hard to find a black ballet dancer?
@@jenneacubero1036 Petrouchka,La ballerine, Le maure are dolls, not people... So there is no problem in ballet - the problem is in your head...
Conducted by Rosenthal! He knew Ravel etc
PLKxSoso Maness on est là
23:47 when you alone with your girl but then your roommate walks in
15:36 LMAOOOOO
I'm showing this to my son who loves ballet and when he saw the puppet in blackface he asked, "What is that?" First word that came to mind was, 'racist,' but that's not something I can explain to a two year old. I went with, "He's supposed to be a doll."
bravo roger delmotte
Who was the conductor? Sounded great
The credits say it was Manuel Rosenthal.
at 12:18 her shoes died lol
2:34
9:48
24:40
Někdo 4.b? :D
yo igual
So hard to play piano
also hard to mime
A great ballet but such a shame about the black face.... I can’t believe people get away with this
This is NOT "blackface," as you point out, from that knee-jerk little mind of yours. First of all, it is theatrical stage make-up. The character is a "Blackamoor," meaning a dark, North African of the Berber race. Not Negroid. These are conventions and traditions that stretch back through time to the masking traditions of the ancient Greeks and probably older. There was never, and is not now, anything wrong with a dancer applying make-up to help create AN ILLUSION!!! Jesus, that's what theater is all about!!! Get over your own social justice warrior sense of self-righteousness.
@@LazlosPlane hi. Here is the definition of blackface “used to refer to the practice of wearing make-up to imitate the appearance of a black person”. This ballet is using a white personal to imitate a person of colour through stage makeup. Still just as offensive I’m afraid.
@@mariapyne120 A simple definition written for simpletons. Blackface has a long and complex history; it has meant different things at different times to different people; to sum it up like that is not only wrong, it is insulting. I've studied the history of blackface for over 30 years. I think I've learned a little something.
By the way, when they do "Hamlet" in Japan, what do you suppose they do about the fact that all the characters are supposed to be Danish? Should they be prevented from doing Hamlet? Or suppose your High School wants to do "Julius Ceasar," should they take out an ad for actors who are also ancient Romans? Did you know that Orson Welles produced an all-black version of Macbeth ON BROADWAY? Was he wrong to do that? Use your brain.
Start thinking like a grown-up. The world is not as simple as you think it is.
@@LazlosPlane well no he wasn’t wrong to direct that play because he was not using white people to imitate a person of colour. For someone who has studied blackface for over 30 years you surely have been feeding yourself the wrong information and can’t see how racist you are coming across for supporting the use of it. It’s a sick and outdated form of stage makeup which should not be supported, forgiven or used in any manor.
@@LazlosPlane blackface is pretty simple. Like I said it is imitating a person of colour. It is wrong and disrespectful
awesome until the blackface
finally somebody said something 😭 i’m barely seeing the ballet of petrushka and my jaw stooped so low seeing the blackface, but not as low as the people who created that racist character. i would love to know if that’s not supposed to depict Black folks because it’s looking really minstrelsy and that’s really the last thing i expected in a stravinsky ballet-
@@harmonicminorenthusiast unfortunately its as racist as it seems. a "moor" was a very broad term used in Europe for anyone dark skinned and originating from non European descent. the term doesn't even bother to note where the person is from, could be India, could be Kenya. It's similar to the term "negro" in American vernacular, which is no longer used.
one hundred year after the creation, such representation is not possible anymore, it's not only the blackface but also the gestures, the coconut, etc... I don't know how it's possible to represent this ballet, now, live, without changing a lot of things ! In 1976, few people thought about this being offensively racist (they should have !) and also, in France, the blackfaces were less an issue than in USA, we didn't have the minstrels. However this is still an issue, for exemple, in the north of France, in the Carnival days, there are still groups of blackfaces !
@@tarantellalarouge7632 PEOPLE GET OVER YOURSELVES. This is NOT "blackface," as you point out, from that knee-jerk little mind of yours. First of all, it is theatrical stage make-up. The character is a "Blackamoor," meaning a dark, North African of the Berber race. Not Negroid. Second, these are conventions and traditions that stretch back through time to the masking traditions of the ancient Greeks and probably older. There was never, and is not now, anything wrong with a dancer applying make-up to help create AN ILLUSION!!! Jesus, that's what theater is all about!!! Get over your own social justice warrior sense of self-righteousness.
What a sad world we live in that people have been brain-washed in this manner.
@@LazlosPlane the "moors" (maures in French) meant everyone living in Africa, not only Arabs, the flag of Corsica is called "tête de maure" and it is a black person profile.
Прыжки Нуриеву не даются.
Merci !