NEW BABYLON, THE
[Новый Вавилон, NOVYI VAVILON]
DC area premiere!
This astonishing achievement from the peak of the Soviet silent film era is a historical epic, both whimsical and tragic, set during the 1871 Paris Commune. Originally banned for its excess and aesthetic frivolity, this energetic avant-garde extravaganza represents the apotheosis of the experimental Factory of the Eccentric Actor (FEKS), founded by directors Grigori Kozintsev and Leonid Trauberg, and was to be their final silent film. Centered around the forbidden romance between a luxury department store shopgirl (Elena Kuzmina) and a heroic young soldier (Pyotr Sobolevsky) who find themselves on opposing sides of the political turmoil, THE NEW BABYLON was the first of Dimitri Shostakovich's historic collaborations with filmmaker Grigori Kozintsev — a relationship spanning decades, all the way to their epochal KING LEAR (1971). The score, which bears the Opus number 18, was lost shortly after the premiere, and was only rediscovered shortly after Shostakovich's death in 1975. DIR/SCR Grigori Kozintsev, Leonid Trauberg. USSR, 1929, b&w, 93 mins. Silent with Russian intertitles and English subtitles. NOT RATED
No passes accepted.
About PostClassical Ensemble
PostClassical Ensemble (PCE) was founded in 2003 by Angel Gil-Ordoñez and Joseph Horowitz as an experimental orchestral laboratory. In Fall 2017, PCE became Ensemble-in-Residence at the Washington National Cathedral. The Ensemble's point of origin is the conviction that musical events demand a sense of occasion, and that this criterion has been sacrificed to familiarity and routine. PCE is committed to radically rethinking the concert experience, to refreshing both format and repertoire. All PCE programing is thematic. Many programs integrate theater, dance or film. Gil-Ordoñez and Horowitz gravitate toward works deserving greater advocacy. The marginalization of classical music in 21st-century America, Gil-Ordoñez and Horowitz believe, cannot be counteracted by diluting or simplifying the listening experience. Rather, music of consequence should be creatively contextualized in new spaces for audiences, old and new, in search of deeper paths of engagement both intellectual and spiritual.
NEW BABYLON, THE Showtimes
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