Sasha Makhov biography singer

Bengt Heger, Swedish Ballet theorist, President of the UNESCO dance section So enthusiastically a world -famous ballet critic responded to the Czech dancer and choreographer, when in the end of the 10s he saw the “Red Mac” by R. Sasha Makhov for his short and very difficult life to make the Czech ballet to become significant and self -suitable a phenomenon of national art.

His father farming, was engaged in the repair of agricultural guns, and held a small bench. It is hard to imagine that a world -class ballet star appeared in this environment. Meanwhile, the mobile and cheerful boy from childhood differed from the brothers not only with a fragile physique, but also with completely different interests. They teased the gentle, musical, enthusiastic brother.

Was it a form of children's protest or the first signs of its sexual orientation that showed in the future? Some researchers of the dancer's work believe that Makhov chose from this self -advice was born. According to another version, he became a reflection of his admiration for Russian ballet art. The family from Vysochina moved to Prague in the year. Here Sasha first studied at the gymnasium, and then at the Technical School, where he received the profession of a laboratory chemist.

True, in the specialty he worked for only a few months, deciding to completely devote himself to the ballet. Makhov had no, even basic, dance skills - nothing but the innate grace of movements, a slender figure, a little higher than average growth, cm, excellent motor memory and musicality, the young man could not bring Tornihors to the altar. And yet, contrary to the dissatisfaction of relatives and warnings of professionals “Age, young man, age!

Why is it going to a private school, which was opened by the Russian ballerina in Prague in Prague, the soloist of the National Theater Elizabeth Nikolskaya, see the teacher, was a year younger than the talented student, but much more experienced. She immediately saw in him an exceptional dancer and future partner, and classes went very successfully.

A year later, on May 13, Makhov submits an application for admission to the ballet troupe of the ND National Theater, where he worked as a lot in the gymnasium years. He was refused permanent work, but freeze cooperation was proposed as an artist of the corps de ballet. A native of Kyiv, a student of chief Ballet ND Augustine Berger, he was professionally more prepared than Makhov, although five years younger by age.

It was Ivo that was able to recognize the creative potential of the colleague, was not afraid of competition and did everything in his power so that Makhov received the engagement in ND. He was invited by Yirzhi Freik - one of the most active “builders” of the new theater of the young republic, with whom Sasha was familiar from the elementary school in Patsov.

With this performance, the artist’s love for the avant -garde dance and theater began. On a professional scene, Sasha Makhov first danced on October 18. This happened in the then new German Theater of Neues Deutsches Theater - now the state opera, where he appeared in all three group dance numbers of the “sold bride” by B. Smetana, staged by Joe Yenchik, and even danced Solo. The manner of Makhov’s performance was to the taste of the yard, who was justified in Prague, Creushleva, a dancer-expressionist, choreographer, one of the most significant figures of the dance art of Czechoslovakia.

In her presentation, the ballet of the present and future was to combine the facial and rhythmic, and Sasha Makhov fit into this concept perfectly. This was the first independent work of Makhov as a choreographer, in addition, he danced in the performance of solo parties and a duet with Yarmila. Their cooperation will continue in the future. Similar large -scale projects and invitations to ND were episodic, so he tried to earn a living of Machs wherever his art: he performed in Prague night clubs and bars, and took on the role of a dance partner at balls and secular raautes.

He even tried himself as a teacher of ballroom dancing, but not in Prague, where there was a huge competition, but in suburbs. Thus, Sasha not only earned, but also constantly supported a professional form. A significant role was played by performances with a former teacher, and now partner Elizabeth Nikolskaya. But shortly before his emigration, the ballerina invites Sasha Makhov to take part in joint tour, and in the year they dance the magnificent “Kabatsky” duet in the production of the Comedy Theater “Children of Paris”.

In that issue, the talent of Makhov was manifested not only as a dancer, but also as an expressive artist-mim. After the avant -garde and classic, after the departure of Nikolskaya from Prague, Sasha Makhov did not stay long outside the theater scene. His fate and career continued to determine Yirzhi Freik. Standing at his origins, Freik invited his acquaintances from the Legion to cooperate, including Sasha Makhov.

Let's not forget that most of these energetic innovators were only a little more than twenty years old.He dances himself and acts as a choreographer of most of the avant -garde productions of OD. In his creative handwriting, elements of the game, cowthrous comedies, bizarre stage images and poetic metaphors are increasingly appearing. All, without ceasing, moved in a grotesque dance.

What danced? A large nonsense, through which at times a poetic image flickered, which was caricatured by himself. " The next step in the career of Sasha Makhov, as in the annals of the Czech Theater of the first third of the 20th century, was the premiere of the famous Vest Pocket Revue show founded by the handle of the DADA theater of DADA. Several friends in the gymnasium, a classmate of the Voskoson from Dijon, young actresses Vlast Petrovichov and the beginning artist of ballet Sasha Makhov gathered.

The rehearsals were in the empty apartment of the parents of one of the actors, and later in the West End cafe, the owner of which provided an empty room for the kitchen for this purpose, ”said Jan Verich. There, the legendary musical and comedy show was born, full of imagination, innovative ideas, puns, songs and dances, which were shown at the premiere. Sasha danced in four of them.

Entering the circle of those who are considered to be the founders of Czech avant -garde art, Makhov was imbued with their worldview, ideas, plans and did not abandon them in his subsequent work. Moving from the production of the production, the dancer acquired new connections and acquaintances that influenced his development as a person of art and in life circumstances.

Such a fateful meeting occurred just in DADA, where Emil Frantishek Burian, another star of the Czech interwa vanguard, looked after the new impressions and to present his creative invention Voice Band. And it is Makhov Burian that offers to become a choreographer. The best scene, the best dance ensemble of the country, the orchestra of the highest class, a worthy budget for costumes and decorations is impossible to refuse!

And Sasha agrees. He puts the ballet, dances in it the main male party and again plunges into the atmosphere of the traditional theater. After the premiere of February 2, critics and spectators dispersed about a new performance. Makhov and M. Other opinion was expressed by Yaroslav Hawks in the journal Rozpravy Aventina: “It was not even a ballet performance, but some kind of embarrassment.

The only plus was the appearance of a new figure on the stage of the National Theater - the young dancer Sasha Makhov, who had already tried himself in choreography, but succeeded as a dancer much more. He is flexible, technical, he feels great music and he has amazing facial expressions. ” Although the ballet itself was accepted coolly and lasted the last idea in the repertoire of less than three months - April 23, Makhov’s solo exit to the ND scene without the protection and support of influential backstage forces can be considered great success.

He proved that he has courage and talent. Leaving Prague ... All the year was successful for Sasha Makhov. In addition to the debut seen by the public and the press on the main stage venue of the country, he finally found constant work to his liking and talent - a successful dancer and choreographer received an offer from Ostrava. At the end of the year. In the opera repertoire of the National Moravian-Silesian Theater, the illustrious conceptual conductor, the work specialist of Richard Wagner and Leosha Yanachek Yaroslav Vogel, will be in the drama, a young progressive theater figure of the old-lord Stibor, reigns.

Thanks to him, the liberated theater comes to the tour, whose performances are very successful with the audience. And the leadership of the theater, in which the Baletmeister’s vacancy has just appeared, decides to offer this position to Sasha Makhova. He accepts an offer. It seemed that now nothing could prevent the young choreographer from realizing at least part of his plans.

Already in the first season with a small and not very well -prepared troupe of fourteen people, he releases four ballet performances. Despite the enormous popularity of productions among young spectators, the aldrushas, ​​Stebor feels the pressure of the conservative part of the public, on which the financial well -being of the theater depends. He offers colleagues to create an independent studio for the implementation of their avant -garde plans.

The second season of Makhov was marked by another interesting premiere - the Iris ballet to the music of the Romanian musician and composer Konstantin K. Unfortunately, the economic crisis, who erupted throughout the world, put the theater in an acute survival. He was not closed, but before the departure of the year, Makhov was no longer allocated for any large -scale ballet production.

This did not mean at all that the choreographer was sitting idle - over five years of work in the Ostrav, he set forty -nine dance numbers in operas. In some of them, such as Wagner's Tanniger, Prince Igor Borodin or Aida, Verdi, the ballet component played an equally important role than singing.In the same years, Makhov developed a choreography of dances for Czech groups - participants in the World Exhibition in Chicago, although he himself did not go to the United States.

Thinking about Makhov’s “Ostrav period”, one of the most authoritative researchers of his life and creativity Vladimir Vashut writes: “Ostrava is so far only Makhov Wanderjahre - years of search, throwing, he has not yet become a master. Talent, yes, he was noticeable then. Interpretation, choreographic, pedagogical and organizational talent. After all, he worked in Ostrava in the most difficult years, when the theater fought for existence day after day.

Two years spent in this team Makhov had a decisive influence on his further formation as a choreographer-monitor. Burian created all the conditions for the implementation of the most daring plans to the young talent. Sasha wrote about this period like this: "My cooperation with E. Burian turned out so that the dance and movement became the same important component of stage realization as light, color or music." Makhov’s work in “DECHE” is extremely multifaceted.

It was he who developed the concept of stage movement in most Burian performances, in many cases, in fact, became its full co -author. In the choreography of Makhov, the audience saw the “Venetian merchant”, the cantata “Song of Songs” for the voice and orchestra, “The Opera of the Pants”, “Lovers from the Kiosk” Nonvil. But Sasha Makhov was able to completely develop the originality of his dance concept in two truly legendary productions - in the processing of Burian “May”, Maha, which was performed on April 16, to the centenary of the poet’s death, and in the business card “dechi” - “Burian war”.

Here Makhov fully demonstrated his attitude to folklore, using it in modern dance. To this technique, he would be returned again and again in the prime of creative forces. In addition, he himself acts in a number of performances as a dancer and actor: Lorenzo in the “Venetian merchant”, Walter in “The Opera of the Bears”, Melchior in the famous production “Awakening of Spring” by Frank Venedikt, Alyosha in the “Aristocrats” Pogodin.

Among other things, Sasha Makhov turned out to be an excellent teacher, and his role in increasing the level of skill of the troupe is undeniable. In e gg. Makhov was very in demand as a dancer and a choreographer.