Mariinsky II (New Theatre)

Synopsis

Prologue

Backstage. Or perhaps a room strewn chaotically with drafts and sketches. Or perhaps the inner space of a soul in turmoil.
A figure lies on the floor. At a gesture from a mysterious Gypsy, he seems to cast off a long, heavy sleep. It is Diaghilev – helpless, disoriented, led like a marionette by a phantom. At last, Diaghilev emerges from his dark trance and opens himself to the world in which he feels alive and complete: the world of creativity, of ideas in flight. Thoughts seize the impresario. He rushes to the drafts, drawing from them strength, the will to live and to create. Confusion gives way to certainty: he has found his path. Yet the image of the Gypsy does not recede. She remains there, a silent reminder of life’s transience. Dark thoughts again take hold of Diaghilev’s mind. The phantom once more tries to subject him to its will, but fortified by the power of his ideas, the im-presario feels able to resist. Diaghilev is swept into a whirlwind of fears and doubts, mingled with an overwhelming desire to create. The Gypsy foretells that he will die by water, then disap-pears, leaving him at a crossroads: to surrender, or to find within himself the strength to live.

Act I

Scattered, chaotic thoughts gradually merge into a single stream. By an act of will, Diaghilev regains control over them: he is the master of his own fate. In his hand a cane becomes a symbol of power, cruelty and despotism. He has made his decision: a new ballet will soon be presented to the public.
With a sweep of the cane, Diaghilev gathers around him the team that will bring his vision to life. The sensual Tamara Karsavina appears, followed by the impulsive Vaslav Nijinsky. With ruthless determination Diaghilev pulls from the crowd the choreographer Michel Fokine, the art-ist Léon Bakst and the composer Maurice Ravel. Here Diaghilev is the puppet-master on whom everything depends. In the harmonious union of three artists the foundation of the future ballet takes shape: images that had existed only in drafts now find embodiment.
The press awaits a major event. The impresario enjoys the attention and condescendingly reveals his ambitious plans to the journalists. Michel Fokine, Léon Bakst and Maurice Ravel take up his account of the new ballet. The presentation culminates in the appearance of the stars: Tamara Karsavina and Vaslav Nijinsky command the correspondents’ attention.
Diaghilev examines the first publications about his creation and again sinks into the slow, viscous current of his thoughts. Among the indistinct shadows the Gypsy flickers. She frightens him and draws him to her at the same time, as though she knows a truth inaccessible to ordinary mortals. They strike a bargain.
In the ballet studio Vaslav Nijinsky rehearses. He searches for the physical embodiment of his character in the new ballet, losing touch with reality: he does not notice the room filling with dancers, nor does he hear the voices addressed to him. The arrival of Tamara Karsavina – his muse and ideal partner – awakens him. But now she dances with the choreographer Michel Fo-kine. Karsavina’s heart does not answer the aspirations of Fokine, who is in love with her, yet she does not want to lose the harmony of their professional partnership and tries, with gentle feminine strength, to smooth the sharp edges.
Tension rises with the arrival of Diaghilev, Bakst and Ravel, absorbed in their work. Diagh-ilev watches everything with a severe eye, pointing out errors and shortcomings to the artists. Léon Bakst suggests that Nijinsky try on the costume for the premiere and meets with the danc-er’s firm refusal. Diaghilev flies into a rage. Karsavina defends her partner, and Fokine supports her but in vain: a fierce quarrel erupts in the studio. Diaghilev’s unquestioned authority and des-potic nature have their effect: Nijinsky breaks. A mad whirlwind of shadows pursues him. Karsavina’s scarf, forgotten in the studio, restores his balance. Diaghilev and Karsavina return and find him in a daze. The impresario accuses Nijinsky of pretending, but the ballerina, moved by sincere compassion, helps her partner rise and leave.
Diaghilev feels his boundless power over people. Only the sudden return of the Gypsy’s prophecy interrupts his self-admiration.

Act II

Diaghilev watches the final preparations before the premiere. After the third bell he with-draws backstage. The ballet begins. Diaghilev cannot let go of the details that still need refine-ment. He longs to add the final touches and burns inwardly at his inability to intervene in the dance.
The applause has died away. The impresario feels emptied out. Indistinct shadows and memories flash before him. Fatigue descends. Diaghilev realises that he has turned his life into an endless pursuit of elusive ideals. His path toward the inevitable end is lit by his own ambitious striving – to outrun the age in which he lives.