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Theater "Ballet Moscow"

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Inessa was 28 december on Cafe Idiot

Choreographer Alexander Pepelyaev presented his vision of Dostoevsky's famous novel Idiot. If you are wondering how it is possible to put a huge romance in an hour and a half ballet - this performance (laureate of the Russian National Theater Award “Golden Mask” -2016 in the nomination “Modern Dance / Best Performance”) will help to answer it. The action takes place in the cafe Idiot - this is a kind of place to which the viewer comes, perhaps without even thinking about any novel, where different things start happening to him in a mystical, dostoevsky way. In the foreground are cafe tables, and the characters are a lot of dancers, women and men, in bright red costumes stylized as the second half of the 19th century. Nastasya Filippovna stands out among them - at the beginning in a white dress, an innocent young girl, then she grows up, falls into a whirlpool of passion, and now people in red are already exposing her, leaving only underwear. A quiet child's voice reads excerpts from the novel, about Nastasya Filippovna’s childhood, about Prince Myshkin’s epilepsy. It really helps to clarify what is happening on stage. It is interesting that each artist of the novel is represented on the stage by several artists: the images flow one into the other, and you catch yourself thinking that it is not clear whether Myshkin or Rogozhin, Aglaya or Nastasya Filippovna are in front of you. Is it really important? Plastic performance perfectly conveys the impressions arising from the reading of "Idiot". Lyubov Myshkina to Nastasya Filippovna, her lostness and loneliness, Rogozhin's jealousy. Nastasia Filippovna’s throwing between Myshkin and Rogozhin, as well as several variants of her death, are very gracefully shown. I think that the play deserves its “Golden Mask” - an incredibly beautiful visual component, an amazing plastic of artists and a deep philosophical meaning, all that is so valued in contemporary art!

Anna was 17 december on Thumbelina

Last week, the boys and I went to the ballet "Thumbelina" from Ballet Moscow. I want to teach children to beautiful art now. I strongly recommend everyone to study the libretto before the ballet (they give out free programs at the entrance), so it will be much easier and more interesting for the kids to watch. I liked the scene design very much. Huge multimedia screens, the animation for which was prepared by Studio 7BIOZ, helped to create a fabulous atmosphere. The ballet is modern, not classic. Almost all the characters dance without pointe shoes, in pointe we see only Thumbelina and elves, perhaps this is done in order to show their exaltation. The choreographers of Anastasia Kadruleva and Artyom Ignatiev managed to create a dance that is understandable for both children and adults. The costumes are very interesting. Thumbelina looks like a flower: it was dressed in a pink short flying board, reminiscent of a rose bud and bright green tights. Very effects costumes leaves, mole, mice. Of the characters I liked the mole most of all - Azamat Ishkin. He has some kind of incredible plastic, his every movement enchants. The children really liked the Thumbelina dance (Alexandra Kirschina) with the Swallow (with Semyon Ilyin) and the Thumbelina dance with the elf (Mikhail Kirshin). My boys took the girl Sonya (Eric Asai) for Thumbelina’s mother, before the first act we didn’t read the program) The children appreciated that there is a sound in this ballet, a cry, minimal, but the words ... The presentation does not last long. Just over an hour, and even with an intermission. During the break, the children rushed in, rested, and looked at the fairy tale with pleasure. We liked the ballet!) We’ll definitely come back!) The next shows will take place: 01/26/19, 02/24/19, 03/23/19 To keep the kids from getting bored while waiting for the performance on the Ballet Moscow website, you can download the coloring)

Mihail was 13 december on SOUND ARCHITECTURE

BALLET, WHEN YOU WANT MORE MORE Delight, admire the beauty and elegance of the dance, its design, performance, like admiring a porcelain figurine or elegantly carved cameo. You are not only waiting for the magic, plunging into what is happening, when you don’t select patterns and details, are absorbed in his emotions, phrases, breathe and hear the dance without experiencing language barriers. At such moments, the libretto is not necessary, as you understand and speak in one language, the language of image and emotion. Coming to the Russian ballet, whether modern, classical, filled with expectations of beauty and perfection. Russian ballet, as well as Russian, is poetic, melodic and perfect. Like the Russian language, Russian ballet has such a magnificence of means of expression and description of images that no other language in the world has. As in Russian, in Russian ballet, changing sometimes “insignificant” signs, phrases acquire different meanings. See the music. Hear the breath of dance. Revel in poetics. Expectations of magic. I waited for this and enjoyed it on a succession of one-act ballets, built on the evening of modern ballets “The Architecture of Sound” of the “Ballet Moscow” Theater. A pleasant surprise was the intermission, which made it possible to comprehend what was seen in the first part with a cigarette and switch from the former to the future. I admire the skill and courage of the production team. Sometimes poised peaks seem to be unattainable, to which the director's vision should be lifted. People, their feelings and emotions, being an instrument for expressing the director's idea, are not always permanent, disrupting the artistic intent and reducing the fruits of painstaking work to nothing ... The first interlude that reminded gymnastic exercises didn’t fall in love with itself. You should not rely on modern dance, the rhythm and sequence of movements is not yet a dance, but only a drawing, maybe just a sketch of an image ... But then, according to the laws of drama, it became all addictive and fascinating. Music, detached from images, became a continuation of the movement. Not forming the beginning of the dance, but its reflection. Continuing the bends of the hips and plexus hands. Forming a special language, its melody, its sound. Sometimes you think about erotica, what should it be, how to express it? How to be reflected in the dance, not going to symbolism or gender monotony? How should express feelings penetrated by eroticism? Stage eroticism, which is formed not by tight-fitting costumes and muscular bodies, not by hints and movements, but by choreographic images. One global picture, consisting of plastics of many bodies and large emotional images. Kirill Radev bowed to classical ballet, synthetically weaving into it the irregularity of his vision. Lighting solutions that enhance the perception of the drawn images, created by artists Luis Perdigero and Rebecca Vicente Arnaldos. Slawna Martinovic, costume designer, succinctly added the finishing touches to this magnificence.

Elena was 05 december on SOUND ARCHITECTURE

Recently, I was able to once again come into contact with the beautiful in the face of the Ballet Moscow Theater. This time I watched Sound Architecture. This turned out to be completely new to me impressions. A small ballet connoisseur, so far I have limited myself to “plot” performances — for example, the Kreutzer Sonata here. This time I went to neoclassical ballets, in which the content, plot, narration of events is not the main thing. All that was known to us, the audience, was that the first act was Konstantin Semenov’s labyrinth to music by Boris Tchaikovsky, and the second was Kirill Radev’s Three Poems to the music of Yury Abdokov. It turned out that such a "plotless" ballet is incredibly beautiful, subtle and sensual. The beauty of the human body, the harmony of music and movement, the accuracy of the lines and incredible energy. There is no live music here, of course, but the sound quality is excellent. And in the first part, in “Labyrinth”, the recording of the concert is used, in which the author of music is the soloist - Boris Tchaikovsky. By the way, this music has never been interpreted before on the ballet scene! Hayato Nasijima is the soloist in the Labyrinth, whom I remembered from the Sonata. Very very beautiful! Still, ballet is a universal art, its language is clear to everyone. Makes you immerse yourself in music, feel every movement ... I start to love "Ballet Moscow" :)

Anastasiya was 30 november on Medea.Equusal.

"Medea" and "Equus" are modern one-act ballets, which I looked at the other day by my favorite ballet Moscow. Short, bright, beautiful and very expressive. Jealousy, protest and other destructive feelings - companions of ruined love - are pushing Medea to murder, and the final is tragic. Crazy passion, dreams of happiness, pain and suffering in every look and gesture of Lyudmila Doksomova. Modern ballet has its own language, its own aesthetics of movement. A lot of choreography on the floor and contact, dancers can not tear themselves apart, adding passion or tenderness, and from this the dance looks even more beautiful. I like it very much when they are dancing barefoot, in usual clothes, Medea was incredibly fragile and thin, and these features perfectly emphasized her long black skirt and stylish casual button-down blouse. “Hitting the strings of the soul”, “carving the fire in the hearts of people” is just what this modern ballet manages. There is no need to talk much, you need to see, feel, live. "Equus" is an interesting performance about the exhausting work of ballet, requiring daily exercises and mental strength. Behind the beautiful light and graceful world and beautiful smiles there is so much work and tension. The dancers move mechanically, hysterically and try to show the viewer what they went through in order to achieve perfection and perfection. Why do I love "ballet Moscow"? Their performances are filled with expression, they surprise, and you always discover something new for yourself!

Elizaveta was 30 november on Medea.Equusal.

MEDEUM / ECUSUS Historically, ballet in Russia for more than two centuries has been the favorite art. In Moscow alone, no less than ten choreographic troupes work all year round, add more tours, festivals and all kinds of gala here, and it will become clear that you can survive in such tough competition only with your own face and exclusive repertoire - the Theater has such qualities Ballet Moscow ". But although in Russia they love ballet, they mostly love classical ballet, but most viewers do not understand modern choreography, do not try to understand it, and deny it for the most part. One must have great courage in such conditions to swim against the current, relying on young choreographers and avant-garde repertoire. And as a result, in spite of everything, the Ballet Moscow Theater occupies a special niche, has its own audience, is awarded prizes and shows performances in crowded halls. For some time I have also become a fan of this theater. This time we were presented a program from two ballets “Medea” and “Equus”. When I was going to the show, I was particularly attracted to "Medea" - and the antiquity of the plot, and the name of the choreographer - it was interesting how Cyril Simonov interprets the supertragic myth. But it was precisely this ballet that disappointed me - the terrible ancient Greek tragedy with the killing of children was transferred to the domestic plane, when a deceived wife wets in a trough of a rival. But all the shortcomings of the performance were bathed for me by the fact that Medea was dancing Lyudmila Doksomova - from the very first seconds she completely attracted attention and did not let go until the end of the ballet. Her flexible, expressive, weightless body spoke more about the soul of a suffering woman than all the other components of the play. Unfaithful Jason, a blonde ruler, Medea's shadows in veils - it was all a second time — Lyudmila Doksomova did the ballet. But “Equus” went with a bang - and the neoclassical style of choreography was more easily perceived, and the idea of ​​the performance in choreography by Anastasia Kadruleva and Artyom Ignatiev - we are all a little horse, corps de ballet-stable, tutor-breeder - witty and entertaining. This is where the classic troupe of the Ballet Moscow Theater truly shone with humor while playing up its “horse” work. The ballet and live music by Alexei Aigi performed by Alexei Aigi of the ensemble “4'33” was very graceful.

Tatiana was 13 october on Kreutzer Sonata

Fantastically beautiful ballet, The main performers dance with such emotional impact, just bravo. I could not imagine how it was possible to convey all the experiences with the help of the dance, but Robert Binet managed it

Nadegda was 24 april on Frozen laughter

Very unusual action. This can not be called a dance, it was not music. But the plastic is amazing. The play keeps in suspense. Very interesting, I'm delighted, I strongly advise everyone who is ready for the unusual.

Tat`yana was 12 october on Frozen laughter

It's very, very cool !! Recommended only for those who are ready before entering the theater to throw out of my head everything that I saw before, and open up to completely new facets of art. If it seems to you that you saw everything, then go to "Frozen laughter".

Tat`yana was 27 september on Frozen laughter

Terrific .. Still under the impression. I'll go for the second time on October 11

Marina was 31 january on Thumbelina

Excellent modern production, and funny, and touching. Special thanks for the images of the heroes of the fairy tale: even the minor characters are thought through to the smallest detail. The ballet is very dynamic, music, light, scenery - everything is on top.

Ludmila was 09 october on Minos. Eros.

The second act ("Eros") - just great! Stunning choreography! Elegant performance! Has received unforgettable pleasure, thanks!

Anastasiya was 10 april on Minos. Eros.

So far the best production of Ballet Moscow from those that have seen. Many thanks to all the actors. Separate applause to Constantine Matulevsky.

Aleksandr was 05 jule on Minos. Eros.

A wonderful and exciting show. The setting is mesmerizing and looks in one breath.

Vitaly was 28 march on Minos. Eros.

A brilliant premiere, an excellent troupe, a good performance

Tat`yana was 28 june on Sound Architecture

Excellent! A beautiful modern ballet! Performers - just great!

Irina was 28 june on Sound Architecture

To be honest, I watched almost all of the troupe's productions, but this disappointed. Beautiful music, but complete non-state. As if a draft. Almost all ballerinas trembled. And there was no familiar energy. Better less productions, but qualitative. Thank you

Daniil was 28 june on Sound Architecture

The ballet caused shivers and tears every gesture, every note and every turn of the head, it was more than music, stronger than the dance, brighter than the cinema, deeper than the book. It was immersion in Eternity.

Elizaveta was 28 june on Sound Architecture

"Dance is a soul invested in music," one can rightly say about "Sound Architecture". I was amazed by the performance with my asceticism, the subtlety of lines, the sculpture of light and ... my soulfulness. So complex a palette of human feelings, expressed in the harmony of movement, light and music. For the first time, I experienced a "presence" when you are so immersed in space that it seems that your thoughts and feelings are dancing on the stage. The lack of scenery and pointers, the noise of which distracts, allowed to concentrate as much as possible on acting. Thank you, the best modern ballet I've ever seen.

Alena was 28 june on Sound Architecture

The first department caused a feeling of dissonance of music and dance. The second branch corrected everything. In general, very much. Thank you.

Alina was 28 june on Sound Architecture

Excellent ballet, almost everything was pleasant. Beautiful music and choreography. The only thing that sat on the 2nd row, and the scene was high, it was not very good to see some episodes, but this is the problem of the site, not the ballet. And the ballet is excellent.

Ol`ga was 01 march on Sound Architecture

We were the four of us, and we all really, really liked it! And music, and ballet! Expressive, exciting and very beautiful! To tears...

Daniil was 01 march on Sound Architecture

The ballet "Architecture of Sound" left an indelible impression, striking with the power, the depth of expression of dancers and genius music, which captured both the heart and the mind. The admiration and huge gratitude to all who embodied this project in life !!!

Kristina was 01 march on Sound Architecture

1 did not like the department, the music was in desynchrony with the movements of the dancers. 2 branch is brave! Sensual, inspirational, talented !!!

Viktoriya was 08 february on Medea.Equusal.

Two one-act ballets, modern choreography. The music of Pavel Karmanov was very pleasant, it's a pity that it sounds in the recording. Beautiful actors, interesting production. Despite all the attributes of contemporary art (graphic decorations and costumes, weird props, uncomfortable and uncomfortable hall of the Meyerhold Center), the performances are quite possible for the unprepared spectator.

Dar`ya was 08 june on Medea.Equusal.

A wonderful ballet! One and a half hours fly by completely not noticeable. The plastics of the artists are fascinating, the production itself is of interest. One can not but note the musical accompaniment - two famous minimalist composers wrote music to Medea and Ekvus, one of them was Alexei Aigi (Ekvus). In general, the event is very worthy)

Ekaterina was 11 october on Medea.Equusal.

The view is amazing, and the first and second performance. I liked the children. Not very good impressions left from the place itself - loose seats and a bad sound. And thank you very much!

Aton was 10 october on Medea.Equusal.

Great !!

Only for children
Only adults
127055, Москва, Новослободская ул., 23
01 h 00 min
Theater Dance and Interactive Schedule for Motives Novel F. M. Dostoevsky "Idiot" Choreography : Alexander Pepeliaev Music : Nick Birch ( Switzerland ) Media : Maxim Yakhontov Scenography , artist by Suits : Sergey Illarionov What is "Cafe Idiot"? This is a place in which the viewer comes, maybe even without thinking about any novel, where with him a mystical, Dostoevsky way begin to walk with different things. He is fascinated to watch the movement of the thought, emotion or body of the actor, peers at the screen, watches the movement of heroes in costumes in the style of freak haute couture, listens to unusual hits. He tries to distinguish the many Rogozhins from We shine, and Nastasya Filip n ram - from Aglaya. it way Falls and Search Balance created Methods Visual Theater that and Spy , and Actors pass Together . it Job about How can Visualize those States that Laid down at The legendary Novel and Awake at us At him Reading . Heroes Will remain , but their will be Several . Each actor Will try on Yourself A well-known Reincarnation Then at Prince - epileptic , then at Merchant - troublemaker , and then and Does Uneven on Party Observer . Asking Issues "Christ I or Antichrist ? " , " The idiot or A saint ? " , " I can Whether I Try on on Yourself these The role of or Will stay at Side ? " , Dancers together With Viewers Will take place way knowledge Yourself and In its own way Will decide Issues raised at Novel . This Staging - Idiosyncratic Homage Pine Bausch at her anniversary Year , reference to Spectators to the   "A cafe Müller , the manifesto Visual Theater . Girl from Tied Eyes , not To the source , where Will lead her Momentum , and young A man , helpfully Cleaning chairs from her Pathways - what can Brighter transfer to relations Nastasya Filippovna and Prince Myshkin ?   Using potential and    flexibility Dancers Modern Troupes Theater "Ballet Moscow " , and also Methodologies Theater Of modern Dance , Alexander Pepelyaeva Builds His The work So that viewer smog get not only Aesthetic pleasure from Beauty and Graphics Bodies , but and been through together from Dancers Micro catharsis Recognizing Yourself .

Hey-hey, do not pass by! Cafe "Idiot" is ready to open its doors for any visitor. And to glance at the friendly light of this cozy establishment, it is not necessary to be a big admirer of Dostoevsky!

You can not even reconcile the name and work of the great author. Just getting inside, do not be surprised when you swirl a whirlwind of extraordinary, "Dostoevsky", mystical events.

Here you can also look at the huge screen, watching the transformations, all the mysterious meaning of which emphasizes the unusual costumes of the dancers in the style of freak haute couture, and you can try to distinguish one Prince Myshkin from another, oh, maybe even from the third!

But will it be released when he was just Prince, but now he clearly resembles the rebel Rogozhin! And who is this girl? Maybe Nastasya Filippovna? But why are her eyes tied? However, if they were not tied up - she would still not see where her whims and follies lead. And the young man, fussily cleaning the chairs on her way, the new Myshkin ... How touching and sad ....

And how amazingly subtly conveys the absurdity and beauty of what is happening - the path of the fall, which, together with the dancers, the viewer also passes. How bright is the meaning, laid in one of the most difficult novels, in dance, turning into something incredibly close, voluminous and understandable in its sensuality.

So, the visual theater invites you to a dialogue. And only you can tell if he has succeeded in recreating the feelings and images that arise when we open the worn cover of an old book.


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