The ballet by Aram Khachaturyan "SPARTACUS" was created more than 40 years ago. It has a happy and complicated life. As no other ballet, it obtained many incarnations in numerous productions and versions. Expressive coloured with leit-motives and leit-rhythms music characteristic of this composer has always attracted the attention of many choreographers from different countries of the world.

The most bright productions in the former USSR were made by Yakobson (1965, Kirov Theatre) and by Y. Grigorovitch (1968, Bolshoi theatre in Moscow).

In the Bolshoi theatre in Minsk (Republic of Belarus) SPARTACUS came out in 1964. The ballet found his second life in 1980. This absolutely original version was created by the choreographer V. Velizariev in cooperation with the scenographer E. Lysik and the conductor V. Voschack. The new belarussian SPARTACUS was applauded not only in Belarus, but in many countries of the world: Greece, Spain, Portugal, Great Britain, Germany, Turkey, Singapoare, Thailand Hong-Kong, France.

The author of the new version, Valentin Yelizariev, by that time had already gained a rich experience in staging successful scenery embodiments such as" CARMENT - SUITE", "CREATION OF THE WORLD", "ADAGIETTO" and others. These works have determined the awsthetic programme of the choreographer, his aspirations and his methods.

SPARTACUS has revealed to him the philosophic vision of history and showed the new possibilities of the development of prominent humanistic ideas. Yelizariev remained faithful to his constructive conception to avoid the trivial revelation of the historical theme and heroes when possible, tyrying to penetrate into the logic of historical events, their tragic element. The choreographer practically reconsidered the score of the ballet again. By means of marvellous discoveries of choreographic expression, Yelizariev skilfully puts accents, having concentrated all the attention on the opposition between the Roman tyranny and the insurgent slaves. In contrast to other versions of the same ballet, the Yelizariev's one does not portray Aegina. Crassus' slave and concubine, who had plotted the betrayal of Spartacus.

Inducing to a serious comprehension of that period of the world's history, Valentin Yelizariev deprives from the detail commentaries on the plot, insisting on the generalisation of the titles of each act of the performance. Thus, the sensation of eternity of this theme is achieved by opposing tyrants to slaves.