The Stanislavsky and Nemirovich-Danchenko Musical Theater hosted the premiere of the ballet “Vain Precaution,” first staged by Oleg Vinogradov exactly 30 years ago.

Over the years, Oleg Vinogradov’s play has had 40 productions around the world. For the audience, this is a tightly knit, cheerful, dynamic ballet. For theaters - a guarantee of box office receipts. For artists there is a scattering of excellent roles. For specialists, this is an instructive example of the relationship between the sixties and classical dance. Nobody thought about authenticism and restoration of heritage then. It was customary to “develop creatively” the classics. Oleg Vinogradov destroyed the ancient pantomime, replacing it with a semi-dance version; taught “effective” dances, where the heroes dance “for a reason”, but “because”; turned the French peasants of the times into porcelain paisans and restored the music of Louis Joseph Ferdinand Herold, to which they danced at the premiere in 1789.

Vinogradov’s “Vain Precaution” curiously puts into practice the theoretical postulates of the 60s. In those days, acrobatism was considered a sign of technical progress, but they also observed “loyalty to the era”: although the partner carries the ballerina in his arms throughout the adagio, he does not lift her above the shoulder - the choreographer remembers that “upper” lifts came into use a hundred years later. Feet were considered an indispensable attribute of ballet humor, and the desire to “dance” every eighth note of a musical clavier was considered an adequate reading of the score. To solve formal problems, the choreographer inserts as many as three pas de deux of the main characters into a two-act performance. One is built on the synchronized movements of dancers (a sign of pre-romantic ballet), the other develops “modernity” - the inclusion of elements of acrobatics in the classics, the third is a digest of classical exercise, playing out the then fashion for all kinds of class concerts.

The troupe of the Stanislavsky Theater reproduces the production of the Soviet classic with reverence, sometimes excessive. The corps de ballet and luminaries are absorbed in “technology” - they monitor the accuracy of the arms and legs, the correct functioning of the body and are intensely trying to fit sophisticated cascades of steps into the music. These aspirations are laudable, but so far they are too conspicuous. Soloists are worse at playing. Ekaterina Safonova grimaces especially hard, having successfully overcome the technical riffs of Lisa’s part. Her partner Roman Malenko also has problems with acting organically, but also lacks natural turnout, sharpness and quickness of the feet: in the middle of sophisticated variations, his Kolen begins to “rake” with his feet and completely forgets about decent fifth positions. From the pleasure of seeing the classical premiere Vladimir Kirillov in the role of the comic old woman Marcelina, the audience is ready to forgive him for some monotony of facial techniques. And only Anton Domashev in the role of the idiotic groom is truly relaxed and, accordingly, homerically funny.

The production of "A Futile Precaution" 30 years ago does not look like a random act. The revival of the Soviet legacy of the 60s and 70s has become the main trump card of the capital's theaters: the Bolshoi recently restored Yuri Grigorovich's Swan Lake. The matter will obviously not stop there: the state fashion for patriotism and conservation of foundations has found devoted adherents in the Moscow ballet. Only the successful Mariinsky Theater can afford to flaunt European cosmopolitanism or fail a domestic experiment. Muscovites have placed their bets on the officially recognized “golden fund” of their national heritage - inexpensively and for sure. However, the contents of the fund do not always stand the test of time. Thus, an unprincipled ballet comedy turned out to be much more viable than a “philosophical poem”, choreographer Vinogradov was more interesting than choreographer Grigorovich, and the choice of the Stanislavsky Theater was much more accurate than the Bolshoi’s bid.

Vremya MN, June 1, 2001

Leila Guchmazova

Peisanki in the old fashioned way

Having gotten used to the fact that there is a problem with fresh ideas in our ballet, the choreographers of the first galaxy are becoming more and more affectionate towards remakes and renewals. About five years ago, having left the post of chief choreographer of the Mariinsky Theater with a scandal, Oleg Vinogradov is restoring ballet antiquity around the world. The Stanislavsky Musical Theater also joined in. From now on the repertoire includes “Vain Precaution” from the 1789 vintage in Oleg Vinogradov’s version.

The choreographer did not hide the fact that he multiplied his “Vain...” throughout the cities and villages forty times. Having officially bought the Kirov Ballet School trademark and settled in New York, the “Leningrad Grigorovich”, and now a candidate for the “Russian Lacotte”, is proud of his bestseller. In life there is fierce competition for a place in the sun, on the screen there are action films and stress, and in the theater there is the most trouble-free classical ballet. Among the three pillars of antiquity that have survived to this day, “Vain...” is the oldest and most sensible. She indicated that some no longer want allegories and myths with the Minervas in the ballet, while others still cannot romantically separate the dreams and reality of La Sylphide and Giselle. “Vain...” is a simple story “about life,” that is, about “The Badly Saved Daughter” (the moralizing title of the Old Moscow, of course, not the French version). The daughter loves the poor but nice man, the mother guards her for the stupid but rich man. I had already saved it, was about to marry it, and suddenly - what an affront! The daughter locked in the bedroom is not alone, but with that lucky man. Out of excitement, everyone momentarily forgets about pirouettes and desperately mimes. The long-awaited wedding and dancing until you drop. In a word, a classic unclouded by reflections.

Vinogradov, following Frederick Ashton, preferred Louis Herold's earlier musical score as equal to the mood of the performance. Peisans and peisanwomen knit sheaves to the simple “one-two-three” - the Herald interspersed with orchestrated primordial simplicity, peasants could easily have fun to such music. Everything that was needed, and even more, was done by the production designer Vyacheslav Okunev - it’s as if the majolica is pretending to be Gzhel, the porcelain cows look luxurious in the gilded baguette of the stage. Everything is bright, joyful, smells of cultivated nature and a tapestry with shepherdesses. The artists would be able to cheat a little - and, lo and behold, it would turn out to be a normal billboard item. Alas.

The dance text is completely simple, with the exception of Kolen's (Roman Malenko) solo in the final scene. No technical achievements were required from the actors, only a little taste and grace. If they are dusted with the sign of the Art Ballet, from which the troupe of the Stanislavsky Musical Theater grew, then it is all the more fitting for them to be actorly precise and expressive. And then the hilariously funny Vladimir Kirillov unwittingly made his mother Marcelina the main character. Neither the cheerful rural youth, nor the main characters (although rivals R. Malenko and A. Domashev were more interesting than their partners), nor the stilted supporting characters were in place. And the formula for positive emotions from the performance was summarized - Okunev plus Kirillov.

Ballet antiquity is, of course, convenient. Insipid simplicity can always be called unpretentiousness and refer to the original source. But antiquity is a delicate thing, you can approach it in different ways. You can really delve into the archives and make a museum remake (the case of “Sleeping Beauty” at the Mariinsky). You can, by tinkering with your right to a version by joining the continuous line of performers, which transfers steps from foot to foot in the ballet, to make “your own look in the taste of antiquity” (the case of “The Pharaoh’s Daughter” by Pierre Lacotte). Vinogradov did not engage in PR, which does him credit, or speaks about possibilities - in the end, this is the business and choice of the theater management. But somehow I couldn’t find the message, stuck somewhere between “doing the old stuff” or “playing the old stuff.” And he did not explain to the artists of the Stanislavsky Theater the difference between peasants and collective farmers. That's all.

Izvestia, June 2, 2001

Elena Gubaidullina

Mother Goose's Tale

"Vain precaution" at the theater. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko

Yesterday the premiere of the performance took place, staged by the famous choreographer Oleg Vinogradov. In Soviet times, he headed the Kirov (now Mariinsky) Ballet for about twenty years. The choreographer came to the Moscow production from Washington, where he directs the Kirov Ballet Academy (the name was officially purchased from the St. Petersburg theater for 250 thousand dollars). A month ago, Vinogradov’s “Vain” was staged in Indianapolis. Thus, the number of theaters where this ballet is performed has exceeded forty.

The secret of the success of Oleg Vinogradov’s play, which he composed exactly thirty years ago for the Leningrad Maly Opera Theater, is easy to explain.

The original and complex choreographic text is “embroidered” according to the outline of the ancient libretto by Jean Dauberval, filled with charming comic situations. For performers it is a real expanse. There is a place to show off both acting skills and classical dance techniques. There are no less pleasures for the audience - aesthetic pleasures, entertainment, and teaching. The moral of the ballet, expressed in the proverb “From bad to good - one step” (one of the original names of the old “Vain”), is also encouraging.

The theater troupe copes with complex choreographic patterns easily and playfully.

The level of the corps de ballet has increased noticeably.

The soloists, Ekaterina Safonova (Liza) and Roman Malenko (Kolen), also shine with virtuoso grace.

Although these performers of the roles of young lovers still lack acting freedom. And therefore their sentimental romance recedes somewhat into the background. And the main character of the ballet is Mother Marcelina.

Porcelain in the barn

Ballet "Vain Precaution" on the stage of the Musical Theater

"VANIED PRECAUTION" was first staged in France, in Bordeaux, by choreographer Jean Dauberval. This happened in 1789, but that production was not preserved and was restored only at the end of the 20th century. The ancient sitcom was once a modern ballet that almost revolutionized: instead of sterile allegorical virtues and mythological characters, rude representatives of the third estate appeared on the ballet stage. Naturally, these representatives were ennobled into pastoral landscapes. The plot is tied to the matchmaking of the idiotic Alen, the son of a rich miller, with the broken beauty Lisa, the daughter of the peasant woman Marcelina (this role is traditionally played by men).

Liza, naturally, loves poor but handsome Colin, and after funny misunderstandings everything comes to a happy ending.

Whoever has taken on a pastoral, simple plot - several versions of the ballet are known, including the world-famous performance by the Englishman Ashton, selected by the Bolshoi Theater for production next season.

Ballet from the 18th century is a great opportunity to play with modern ideas about “La Belle France” before the French Revolution.

The desired style of “Vain” is something similar to a figurine in a cowshed: a mixture of antics from the Rococo era with healthy peasant self-confidence. In the scenery of Vyacheslav Okunev, ancient houses in beige, pink and blue shades - surrounded by funny fake chickens and cows - are reminiscent of Sèvres porcelain and Delft faience. Irina Press's costumes are especially successful in the harvest scene (there they are the color of ripe wheat) and are moderately colorful - just enough so as not to interfere with the consideration of the corps de ballet design, ingeniously composed by Vinogradov from combinations of triplets.

Dancers must transfer the combination of "dancing pantomime" with fast "tipping" into the dance itself. So-de-basque, after which they fall to the floor. Arabesque - and the game of "okay".

Skirmishes giving way to grimaces of all temperaments. So it was not in vain that Ekaterina Safonova (Liza) received applause from the audience: with her somewhat dry manner and acting tightness, she basically coped with the twists of the technique. And the excellent ballet actor Anton Domashev irresistibly parodied the scene of madness from Giselle, galloping on a toy horse and catching flies with his hands in the role of the village fool Alen (according to information that came from the dress rehearsal, Domashev also brilliantly did the role of Marcelina, which he will perform in second composition). At the first performance, the role of the formidable mother was performed by the former classical premier of the theater, Vladimir Kirillov. With an enormous bust and huge clogs, he delights in playing the role - he brutally straightens his bodice, stomps his feet at a village festival and threatens his unlucky daughter with his mother’s finger. This humor, as well as the funny dance of the four saboteurs, was a huge success with the public, who had recently watched Kirillov in the roles of princes and hero-lovers.

A well-constructed performance, in the finale of which the divertissement dance gradually builds up to an apotheosis, will clearly receive a long-term registration in the playbill.

After all, it can be considered equally suitable for both children and adults, and can be used for matinees and evenings.

Vremya Novostei, June 4, 2001

Olga Gerdt

It's a pity that cows don't dance

In Vinogradov’s ballet, “birds, cows, butterflies and flies are present, but they do not dance.” This warning in the poster is both a cute joke and a serious concept. “Vain Precaution,” staged thirty years ago at the Leningrad Maly Opera, is remembered by eyewitnesses as a “light and charming” performance. Reproduced later in more than forty theaters, the ballet, as it turned out, has not lost its charm. Despite the fact that Vinogradov was clearly interested in the porcelain statuesque quality of the performance, staged in the city of Bordeaux in 1789, what is demonstrated here is not the manners of the 18th century, but that very effective classic of the seventies, when everyone danced - soloists, extras, and miming characters. Vinogradov’s works are as tireless as bees, and the loving couple Liza and Kolen, and the moneybag Michaud with his stupid son, and mother Marcelina (this role, created for the happiness of all retired premieres, is performed in the new production by the theater’s former hero-lover Vladimir Kirillov), and others peasants and peasant women in seductive costumes. We have not seen such density and elaboration of classical texts for a long time. Even the full-length cows standing on stage, hilariously shaking their porcelain heads, do not look static (artist Vyacheslav Okunev).

Today Vinogradov would probably be called a postmodernist, given that from time to time he does not forget to ironically “work” with the classical heritage, introducing, for example, into a sentimental vaudeville show “memories” of the then-unstaged “Giselle”, a scene of madness from which Lisa's unlucky fiancé, Alain, comically imitates. The madness of this lover of butterflies and girls drives the audience into hilarious hysterics. It can be assumed that the same effect was achieved in their time by Dauberval and Herold, who simplified the pompous allegorical plots in “Vain.”

The Stanislavsky Theater troupe, however, turned out to be not very receptive to stylistic subtleties. The corps de ballet performs with coherence and accuracy.

The soloists, Ekaterina Safonova (Liza) and Roman Malenko (Kolen), cope with technical nuances much more successfully than with acting ones. The lyrical scenes are much paler than the grotesque ones - the trio of Marcelina, Alain and Michaud or the dance of hippie stunt saboteurs. The love triangle is falling apart for the same reason - the comic character of Anton Domashev is clearly in the lead in it, capable of turning quite ordinary entrechat into individual funny remarks. His acting reactions in ensembles are also amazingly fast - it’s a pity that his partners sometimes have nothing to respond to them with.

Nevertheless, the theater can be congratulated on its successful repertoire find. As it turns out, in order to make something antique, you don’t have to hire an expensive and fashionable stylist from Paris or rummage through the archives.
It is enough, looking back into the recent past, to discover with amazement that someone has already done similar work with no less creative passion, but with less pretension. Fortunately, Oleg Vinogradov, who returned Herold’s lost score to Vain, a simple musical text inspired by popular melodies (later more “serious”, but not at all French music for the play was written by the German Hertel), did not think that he was making an archival revolution . Otherwise the result would probably have been different.

Price:

1500-3500rub
Ticket prices:
1 tier 1500-2500
Mezzanine 2000-3000

Amphitheater 2500-3000
Parterre 2500-3300
Fragments of music by Riccardo Drigo, Louis Herold, Cesar Pugni, Georges Bizet were used.

Set restoration artist: Mikhail Sapozhnikov.

The parts are performed by students of the Moscow State Academy of Choreography.

Duration: 2 hours 10 minutes.

An interesting fact is that Jean Dauberval did not attract a single composer to write music for the ballet; instead he used folk French motifs. The premiere of the ballet “Vain Precaution” took place in Bordeaux on July 1, 1789. There are various legends about how the plot of this production originated. It was initially believed that Dauberval himself came up with the plot. The second version - I didn’t invent it, but was inspired by a real funny story of a peasant family. There is even a third version - Jean Dauberval somehow caught the eye of Chauffard’s etching based on a painting by the artist Baudouin. The etching depicted a cheerful everyday scene - a young girl, with downcast eyes, listens to her mother's scoldings, and in the background the girl's lover runs away down the stairs, holding his pantaloons in his hands. The boldest legend claims that in the ballet “Vain Precaution” Jean Dauberval shares with the audience the moments of his own love affairs!

In any case, the ballet turned out to be really fun - light, funny, colorful. Literally, the original title of the production is translated as “The Badly Saved Daughter” - due to the cacophony for the Russian ear, the name was changed in domestic theaters. The plot is unpretentious and simple. The young girl Lisa is distinguished by her enchanting beauty, and her mother dreams of marrying her off to a rich groom. However, Lisa already has a lover - a beggar guy, the peasant Kolen. The mother does her best to prevent her daughter from meeting Colin, and in the end she completely locks her in the closet. But neither she nor Lisa know that Colin has already snuck into the closet and does not want to leave his beloved! Meanwhile, the mother is actively preparing for the wedding and gathering guests. And so, when the house is already full and everyone is ready for the ceremonial denouement, the closet is unlocked... and Liza and Kolenny appear before the eyes of those gathered, and in what form! As a result, the mother has no choice but to bless the marriage of young people who love each other.

“Vain Precaution” is a wonderful ballet, rare in its genre. Tickets for this performance at the Bolshoi Theater are a wonderful opportunity to spend a memorable evening enjoying the classical art of dance and at the same time a playful, funny and comic plot.

Act I

Scene 1

Early morning. A young peasant, Colin, appears at the house of the rich farmer Marcelina. He is in love with Marcelina's niece, Lisa, and is looking for a meeting with her. But it's not that easy! Even when hiring peasants to harvest the harvest, Marcelina does not let Lisa go with them, but finds her work in the yard. It is not surprising that the first date of lovers takes place at a butter churn. But Marcelina appears again and drives away the unwanted suitor.

And here is a profitable groom - Nicaise. Although he is stupid, his father, Michaud, is very wealthy, and Marcelina seriously persuades Lisa to meet rich guests. Only Colin's intervention was able to upset this matchmaking.

Scene 2

Harvest. While worrying about the harvest, Marcelina still continues to dream of the wedding of Lisa and Nicaise, despite his stupid antics. But the engagement, started as a game with ribbons, ends again in favor of Lisa and Colin. ...The general dances are interrupted by a thunderstorm. Everyone runs away to escape the bad weather.

Act II

Scene 3

The storm has passed. Marcelina and Lisa return home and sit down at the spinning wheel. Peasants bring sheaves saved from the rain. Marcelina leaves with them, locking Lisa with a key.

Offended Lisa dreams of her beloved. Suddenly she notices Colin hiding. Lisa is embarrassed and tells him to leave. But the door is locked, and Colin cannot leave. However, Lisa is not angry for long, and as a sign of reconciliation, she and Colin exchange handkerchiefs.

A noise is heard outside the door. In a panic, Lisa hides Colin in the closet. Marcelina enters and notices someone else’s scarf on Lisa’s neck and, as punishment, locks her in the same closet, not suspecting that Colin is there.

As Michaud enters his home. He is followed by a notary to sign the marriage contract and even a brass band hired for the occasion. Marcelina does not hide her joy and hands Nicaise the key to the closet. The door opens, and... embarrassed Lisa and Colin appear on the threshold. Michaud is mortally offended. The marriage contract is broken. The lovers throw themselves at Marcelina’s feet, and all she can do is bless them.

We present to your attention the libretto of the ballet "Vain Precaution". Ballet "Vain Precaution" in two acts. Composer Louis Herold. Libretto and production by J. Dauberval.

First performance (with group music): Bordeaux, July 1, 1789; with music by Herold - Paris, Grand Opera, November 27, 1828

Characters: Marcelina, a wealthy peasant woman. Lisa, her daughter. Colin, poor peasant. Michaud, farmer. Nicaise, his son. Notary. Lisa's friends. Peasants and peasant women.

The greedy farmer Marcelina wants to marry her daughter to the stupid guy Nicaise, the son of the tax farmer Michaud. But Lisa loves the poor peasant Kolen. Marcelina does not allow her daughter to meet Colin.

Peasant women arrive - Lisa's friends and Colin's friends. They sympathize with the grief of Lisa and Colin with all their hearts, but they cannot help. Marcelina does not take her eyes off her daughter for a minute, forcing her to work around the house: feeding the chickens, churning butter, sweeping the yard.

Field. The peasants are working. Among THEM are Lisa, Nicaise, Colin and Marcelina. A thunderstorm is coming. Gusts of wind pick up Nicaise, who takes off on a huge umbrella. General laughter.

A room in Marcelina's house. The peasants bring sheaves damp from the rain and put them in a corner. Colin also sneaked into Marcelina's house unnoticed to see Lisa.

Soon Marcelina leaves the house, locking the door. The daughter is indignant at her mother's precautions.

Lisa dreams of her future life when she marries Colin and has children. She will teach them to read and will be an affectionate mother, but if necessary, she will also be strict.

Suddenly the sheaves move apart, and Colin appears in front of Lisa. Lisa is confused and scared. But the thought that they can finally be together fills them with joy and happiness. They exchange neckerchiefs. The idyll of Lisa and Kolen is short: the steps of Marcelina’s returning are heard. What to do? Lisa hides Colin in the closet and begins to spin, but she does it so unnaturally that Marcelina suspects evil. And Kolen’s scarf on Lisa’s neck gives her away.

The enraged Marcelina, as punishment, locks Lisa in the closet, in which Colin is already located.

Marcelina is waiting for the notary. The profitable marriage of Lisa and Nicaise makes her happy and she respectfully greets Michaud, Nicaise and the peasants who came after the notary. Now Marcelina will let her rebellious daughter out of the closet.

The closet door opens, and embarrassed Lisa and Colin appear on the threshold. They throw themselves at Marcelina’s feet, who has no choice but to agree to their marriage.

L. Entelis

Article "Ballet Vain Precaution. Libretto" from the section

A Vain Precaution (ballet)

A futile precaution
La fille mal gardée

Composer	P. Gaveau (1796, adaptation into a comic opera); L. Herold (1828); P. Hertel (1864)
Choreographer
Number of actions
First production
Place of first production

"Vain Precaution"(fr. La fille mal gardée- in literal translation Poorly looked after daughter listen)) is a ballet in two acts created by the French choreographer Jean Dauberval.

“Vain Precaution” is the only ballet of the classical repertoire that has survived to this day, in which the characters were contemporaries of the viewer of the days of the premiere.

History of creation

According to another version, he was inspired by an etching by Pierre-Philippe Choffard (1730-1809) based on a painting by Baudouin depicting a comic everyday scene: an elderly lady is scolding a young girl, and her lover is running away up the attic stairs as fast as he can with pantaloons in his hands.

And there is a version that in the image of the handsome Colin, Jean Dauberval hinted at himself and his own amorous adventures.

Characters and plot

The characters and plot are given according to the version of the composer L. Herold, translated into Russian, recorded by L. Entelis. Initially, according to J. Dauberval's plan, the names of the characters were somewhat different from later editions. So, the main characters were not called Lisa (French: Lise) and Colin (French: Colin), but Lison (Lison) and Colas (Colas). And the modern Marcelina was called the widow Ragotte or in later versions - Simone, while her ballet role was always left to male performers.

Characters

Lisa's friends. Peasants and peasant women.

Plot

Marcelina dreams of a profitable arrangement for her beautiful daughter Lisa to marry Nikez, the son of the local rich man Michaud. But the daughter herself has already chosen her beloved - this is the neighbor's poor peasant guy Kolen. This turn of events does not suit the mother seeking material well-being at all, and she does not take her eyes off her daughter, preventing her from dating Colin. But the agile poor man is not going to betray his beloved. He sneaks into the closet of the house where Marcelina and Lisa live and hides in a haystack. And Marcelina, knowing nothing about Colin’s deceit, conceived her own deceit: so that her daughter would not run away to her impoverished lover at an inappropriate moment, she locks her in the closet - the same one where Colin hid. She herself is actively preparing for the upcoming wedding of her rebellious daughter, and only when everyone is gathered in the house: the notary, the rich man Michaud, his son fiancé Nikez, the peasant guests, she solemnly releases the prisoner-daughter from the closet. But two people appear before the eyes of those present - lovers Liza and Colin, and in what form! Lisa and Kolen.

Premiere

July 1, 1789 - Bordeaux, Grand Musical Theater; entitled Le Ballet de la paille ou Il n’y a qu’un pas du mal au bien(“The Ballet of Straw, or From Good to Bad is Just One Step”), to a selection of music. The main roles were performed by: Lizon - Marie-Madeleine Crespe, Cola - Eugene Hus, the stern widow mother Ragotta - dancer Francois le Riche.

Productions

J. Dauberval also repeated his invariably popular ballet on other stages. Then the productions began to be resumed by other choreographers. At first, any music to the taste of the directors was used. In 1796, P. Gaveau wrote music for remaking the ballet into a comic opera, and Omer used this music for his production of the ballet. However, Pierre Gaveau's music did not last long. In 1828, composer L. Herold finally endowed the ballet with permanent music. And in 1864 another composer, P. Hertel, made his own musical version. Thus, one piece had two scores at once. The ballet was performed in almost all the world's musical theaters.

The ballet itself was full of frivolous humor and ambiguous allusions. These love scenes were staged differently at different times, depending on generally accepted moral standards, which quickly changed: the haystack was either placed in the middle of the stage as the main scene of action, or chastely removed behind the scenery away from view, and in the foreground the hardworking Lisa - depending on the imagination and knowledge of the director in the field of peasant life and its color - she fed real chickens, did laundry and ironing, spinned, or, sighing sadly, vividly imagined a happy family life with her beloved Colin and the birth of their children - in a word, she did whatever she wanted, but not intended according to the scenario in the hayloft in the arms of a loved one.

Some performances:

From that time on, J. Dauberval's ballet triumphantly walked across European stages.

In the same version, the ballet was staged in Vienna (1794), Marseille (1795), Lyon (1796), Naples (1797).

September 15, 1837 - Royal Academy of Music and Dance, Paris, revival of the production with music by Louis Herold, but with the addition of a pas de deux, written by E. Leborgne for F. Elsler. First performers: Lisa- F. Elsler; Knee- J. Mazilier.

In the version of music by Louis Herold, the ballet was repeatedly staged on European stages, including in Russia: in St. Petersburg at the Bolshoi Kamenny Theater: November 20, 1848 (edited by C. Didelot, Lisa- F. Elsler; Knee- H. P. Ioganson; Marcelina- J. Perrault) and October 28, 1854 (choreographer J. Perrault, Lisa- Anna Prikhunova) and at the Moscow Bolshoi Theater: February 12, 1845 (choreographer I. N. Nikitin, edited by S. Didelot, Lisa- E. A. Sankovskaya; Knee- I.N. Nikitin) and May 11, 1850 ( Lisa- F. Elsler).

Natalie Bock in the ballet "Vain Precaution". 1987

During its existence since 1789, this ballet attracted the attention of many outstanding choreographers, and the performers of the roles were world-famous ballet stars. But all these created performances, with different music, are firmly based on the very first production by Jean Dauberval.