Author :
Abstract
The history of the cycle of Arabian fairy tales called «Thousand and One Nights” is calculated for many centuries. The first mention of it is Baghdad written sources of the tenth century. Subsequently, the literary evolution of the collection continued until the XIV-XV centuries. The “book” at its source was created by unknown storytellers and those who wrote down and processed their work. According to experts, at the early stages of the formation, it absorbed the plots and motifs that exist beyond the borders of the Arab world. With amazing perfection, these fairy tales express the violent, flowery fantasy of the peoples of the East – Arabs, Persians and Indians. There are no original sources of specific Arabic melodies in the ballet and no quotations of Arabic or Azerbaijani or other. In it is a fusion of intonations. The ballet was created with a focus not on one any nation, let’s say, Egyptian or Iranian, but on a wider eastern ethnic environment. In ballet, the number of fairy tales, scenes, characters, compared with the original reduced. Borrowed from it are: the initial exposition, the plot of intrigue, the finale, and the three most popular fairy tales, both occurring on their own: a) Sinbad the Sailor and the magic bird Ruch; b) Aladin and beautiful Budur; c) Ali Baba and the Forty Thieves. “The ballet libretto belongs to the brothers playwright writers and screenwriters Rustam and Magsud Ibragimbekov, choreographer Naila Nazirova, who is based on Oriental Scherezade tales. Ballet “A Thousand and One Nights” consists of II acts. “Talles of a Thousand and One Nights” is a monument to medieval Arabic and Persian literature, a collection of storiers framed by the story of the Persian king Shahriyar and his wife, Shakherezad. “The basis of the ballet was the popular “The Tale of King Shahriyar”. The plot of the story and the libretto of the ballet is dedicated to those distant times when there were harsh and cruel punishments by people for their unfaithfulness in love, which in many respects differed from modern ones. Each image, the character in the ballet carries its own symbolism
Keywords
Abstract
The history of the cycle of Arabian fairy tales called «Thousand and One Nights” is calculated for many centuries. The first mention of it is Baghdad written sources of the tenth century. Subsequently, the literary evolution of the collection continued until the XIV-XV centuries. The “book” at its source was created by unknown storytellers and those who wrote down and processed their work. According to experts, at the early stages of the formation, it absorbed the plots and motifs that exist beyond the borders of the Arab world. With amazing perfection, these fairy tales express the violent, flowery fantasy of the peoples of the East – Arabs, Persians and Indians. There are no original sources of specific Arabic melodies in the ballet and no quotations of Arabic or Azerbaijani or other. In it is a fusion of intonations. The ballet was created with a focus not on one any nation, let’s say, Egyptian or Iranian, but on a wider eastern ethnic environment. In ballet, the number of fairy tales, scenes, characters, compared with the original reduced. Borrowed from it are: the initial exposition, the plot of intrigue, the finale, and the three most popular fairy tales, both occurring on their own: a) Sinbad the Sailor and the magic bird Ruch; b) Aladin and beautiful Budur; c) Ali Baba and the Forty Thieves. “The ballet libretto belongs to the brothers playwright writers and screenwriters Rustam and Magsud Ibragimbekov, choreographer Naila Nazirova, who is based on Oriental Scherezade tales. Ballet “A Thousand and One Nights” consists of II acts. “Talles of a Thousand and One Nights” is a monument to medieval Arabic and Persian literature, a collection of storiers framed by the story of the Persian king Shahriyar and his wife, Shakherezad. “The basis of the ballet was the popular “The Tale of King Shahriyar”. The plot of the story and the libretto of the ballet is dedicated to those distant times when there were harsh and cruel punishments by people for their unfaithfulness in love, which in many respects differed from modern ones. Each image, the character in the ballet carries its own symbolism
Keywords
- 1. Виноградов В. Мир музыки Фикрета. Баку, издательство «Язычы», 1984 г. 130 с.
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- 4. Самед Мохбаддин. Тогрул Нариманбеков. Живопись. Графика: Альбом. – Б.: Ишыг. 1984. - 32 с.
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- 6.http://www.theatre-vrn.ru/repertoire/balety/tysyacha-i-odna-noch/.В Воронежском театра состоялась премьера в 1980 году.
