On October 17th and 18th, the world premiere of the ballet “Two Carpets” will take place at “Astana Ballet,” promising to be a true masterpiece on an international scale and to offer the audience an unforgettable immersion into a world of beauty, mysticism, and history.
Ahead of this momentous event, the artistic director, director, and choreographer of the production, Alexander Mogilev, shared with Trend Life about his work on this international project.
Q: In ballet, directing is the art of creating a harmonious performance by creatively organizing all elements of the production based on the choreographer’s vision, guiding the work of all participants in the performance. In this project, you embody the unity of the creative process. Alexander, tell us about the creation of the ballet “Two Carpets.”
A: The idea of creating the ballet belongs to Mosaic Del Arte, whose main goal is to revive interest in ballet and prove that art knows no boundaries. But we understand that classical ballet today might not be entirely understood by modern audiences. Therefore, our task is to speak the modern language while still respecting traditions. The idea and spirit of Mosaic Del Arte are embodied in this international project, which involves participants from Kazakhstan, Russia, Azerbaijan, and Brazil.
The general producer of Mosaic Del Arte and the author of the ballet’s libretto *”Two Carpets”* Valery Kopeikin was inspired by the history of the Shirvan carpet – a black and red work from the Louvre collection. As we know, Azerbaijani carpets are masterpieces that reflect the inner world of the craftsman.
The story we present is one of love – very touching and profound. The plot centers around a girl named Leyla who weaves a carpet, beginning with red threads – a symbol of love. After hearing of the death of her beloved Samir in the war, she switches to black threads. Later, it is revealed that he did not die but was wounded, captured, and lost his memory in Europe. There, he meets Margot, a woman from Vienna, and they develop feelings for each other and live together. But fate brings that very carpet, woven by Leyla, into their home. Gazing at the patterns on the carpet, Samir’s memory is restored, and he decides to return to Baku. Margot, despite her love, lets him go, realizing that she cannot oppose the light and true feelings Samir now has in his heart. Upon returning to Baku, Samir sees Leyla weaving a second carpet with black threads, but the joy of their reunion transforms her work into red tones. Hence the title – “Two Carpets.”
Q: The large-scale ballet “Two Carpets,” involving more than 140 people, is indeed impressive! You have been involved in many projects as a dancer, choreographer, and director. What personal ideas have you brought to this project?
A: Indeed, this project is significant for us, and a large team of professionals is involved. Out of these 140 people, 50 are orchestra musicians, 33 are ballet performers, and there is also the technical staff, artists, projectors, decorators, etc. There are even children playing young Samir and Leyla, and “four hooligans” who appear on the streets of Baku and Vienna. An invited violist will also appear on stage, playing the role of “the fate of destiny,” appearing at key moments and performing a touching solo.
The specially composed music for the ballet by composer Arseniy Smirnov also includes a script that I wrote. The production features many special effects and projections, along with grandiose and colorful decorations created by artist Anastasia Kapustina, including the design of the carpet with unique patterns. The carpet itself was specially woven for the premiere by the craftswomen of the Azerkhalcha OJSC in a unique piece. The costumes were designed by the famous designer Igor Chapurin.
I would like to note that delving into history and legends is a special pleasure for any director. It’s a very deep and thoughtful job! I turned to Azerbaijani culture, studying the symbolism and meaning of gestures, positions, and folk dances. This was all incredibly interesting. But my task was not to reproduce purely folk dances, but to integrate their elements into classical and modern ballet, creating a neoclassical language of movement.
Additionally, I’m interested in working with visual effects, which can be integrated into classical ballet, where there is a storyline, a narrative, and a legend, and to try to tell this story in a modern language.
For example, in the ballet, there is a scene when the First World War begins, featuring absolutely modern choreography. But then, there is a ballroom scene where Samir invites Leyla to dance. This is a completely classical scene of art – pointe shoes, ballet movements.
The harmony of classical and modern dance, special effects, visual solutions, decorations, and costumes gives the ballet a unique charm and aura. Moreover, I personally took lessons on handling a Simonov rifle to realistically portray how cadets at the Suvorov Military School practice with guns. For this, I consulted with an officer from the Kremlin Regiment. Everything has been done with maximum authenticity. I delve so deeply into the plot and the dance itself that I can confidently take responsibility for every movement, every gesture, and the placement of the performers on stage.
Q: How important is ballet for you as a means of expression?
A: Ballet is one of the deepest forms of art; it is a language of feelings that does not need to be understood – it needs to be felt. It allows each viewer to interpret what is happening in their own way. It is an art that speaks without words but is stronger than words. When you watch a ballet performance, you’re not told what emotions to feel – you are free to choose and interpret the images, discovering new meanings for yourself. This is much more interesting, especially for intellectual and cultured people who enjoy solving metaphors on their own.
Q: What do you expect from the world premiere of “Two Carpets?”
A: “Two Carpets” is my second collaboration with Valery Kopeikin. The first was the rock-ballet “Blind Forgiveness,” presented in Greece.
The ballet premiere in Astana deserves an international stage, as a tremendous amount of work has gone into it. We hope that the performance will tour Europe, Asia, and, of course, be presented in Azerbaijan.
Art enriches a person, and I believe that the audience will not remain the same after the performance, but will change for the better. I hope that they see not just a show, but experience it. I hope they feel the connection between art, passion, and the individual. I hope the ballet “Two Carpets” will touch the hearts of the audience just as it touched ours during its creation.