Russian Actors » art

Biography of Agrippina Vaganova Yakovlevna

admin — Mon, 24 Jan 2011 02:22:23 +0000

Agrippina Vaganova Yakovlevna (24.06 (06.07) .1879 – 05.11.1951), Soviet ballet dancer, choreographer and teacher, People's Artist of the RSFSR (1934). In 1897 she graduated from Petersburg Theatre School (student LI Ivanova, EO Vazem. Gerdt, PA). In 1897-1916 performed at the Mariinsky Theatre (St. Petersburg). I received fame as a virtuoso classical dancing. Among the best parts: Odette-Odile ("Swan Lake" by Tchaikovsky), king-girl ("Humpbacked Horse" Pugni), and others leave the stage, started in 1917 as a teacher. Since 1921 teacher of the Leningrad Choreographic School (since 1946 a professor). In the 1931-37 artistic director of Ballet of Leningrad Opera and Ballet Theatre. Kirov, where he staged ballets: "Swan Lake" (1933), "Esmeralda" Pugni (1935). Choreography activities Vaganova marked the search for new expressive means of classical dance, yavivshimisya excellent school of performing arts, dance and acting. In 1946-51 headed the department of choreography at the Leningrad Conservatory. Rimsky-Korsakov. Teaching methods outlined in the book "Fundamentals of Classical Dance" (1934, reprinted four times), the essence of which is a requirement of comprehension and artistic expression of dance movements, fluency in technology, based on a correct formulation of the body and hands. Educational system prevalent in the Soviet Vaganova Choreography pedagogical practices, has a significant impact on foreign ballet. Among Vaganova's pupils: G. Ulanova, M. Semenov, OG Jordan, NA Anisimova, T. Vecheslova, NM Dudinskaya, AY Rustle etc. State Prize USSR (1946). She was awarded the Order of Labor Red Banner and medals.

Lit.: Bogdanov-Berezovsky, VM, Vaganova, Moscow – Leningrad, 1950; Vaganova. Articles. Memoirs. Materials. (Collection), Moscow – Leningrad, 1958.

Maya Mikhailovna Plisetskaya Biography

admin — Sun, 23 Jan 2011 05:40:46 +0000

Plisetskaya, Maya Mikhailovna (11/20/1925), Soviet ballet dancer, national artist of USSR (1959).

In 1943 he graduated from the Moscow Ballet School (teachers Gerdt, Mikhail Leontiev), and was admitted to the Bolshoi Theater.

The first major party – Masha ("The Nutcracker" by Tchaikovsky, 1944). In plastic Plisetskaya dance art reaches a high harmony ("The Dying Swan" to music by Camille Saint-Saens, and others), she found new ways of interpreting the music of Tchaikovsky, Glazunov, Bizet.

Artistic individuality Plisetskaya close and lyrical, and the heroic roles: Odette-Odile ("Swan Lake" by Tchaikovsky), Mistress of Copper Mountain ("The Stone Flower" by Prokofiev), Raymonda (Raymonda Glazunov), Kitri (Don Quixote "by Minkus) Aurora ("Sleeping Beauty" by Tchaikovsky), Carmen ("Carmen Suite" to music by Bizet – Shchedrin), Anna Karenina (Anna Karenina "Shchedrin), etc.

In the dance of Maya Plisetskaya combines the best traditions of Russian culture and innovative choreographic aspirations of the Soviet choreographers. In 1972, together with NI Ryzhenko and VV Smirnov-Golovanov put ballet "Anna Karenina" (by Leo Tolstoy) at the Bolshoi.

She has toured the U.S., Britain, France, Italy, Canada and other countries. Lenin Prize (1964). She was awarded the Order of Lenin and medals.

Lit.: Roslavlev N., Maya Plisetskaya, M., 1968.

Biography Davydov, Vladimir Nikolaevich

admin — Sun, 23 Jan 2011 03:49:58 +0000

Davydov, Vladimir (1847 – 1925). In the Maly Theatre in 1922 g.Lish at sunset of his life Davydov came to the Maly Theatre, at the theater, which a student, Ivan Nikolaevich Gorelova (this is the real name of a famous actor) made him such a strong impression that the choice of future career for him was solved yet. Having broken with his family – his father was a soldier, did not think that his name "came on the scene, turned into a bauble, and fluttered on the fence on the dirty bills" – Davydov became a provincial actor (1867-1880 years).. His work is associated mainly with the St. Petersburg Theatre of Alexandria, was familiar to Moscow and the theater Korsch, where Davydov created Miser – Moliere and his famous images of the mayor, Famusov, Rasplyuev, and many latter-day tour. This first-class actor, the essence of his creative method was close to the art of the Maly Theatre. When Petersburgers participated in performances of this troupe, even though it was a juicy, bright and true consumer actor Varlamov, always clearly felt the difference of their "tone" manner of acting, an approach to the role of generally accepted in the Maly Theatre. Davydov was in the basis of their creativity successor of the same school of artistic realism, which is inherent in small theater, so it is well suited to it. Softness imposed their colors, simplicity, and spoke of genius, savings and complex diversity of creativity, simplicity, which was not a single superfluous gesture, not a single artificially exaggerated intonation, extraordinary skill elocution, which precludes all theatrical declamation, alien to the Russian living word, beautiful dialect Russian is a specific feature of this huge master, allowing more than any actors, thc Davydova with Schepkinym.Vmeste so his game was a further development of stage art. Mastery of the external transformation, the force of internal transformation, which he reached the parts, the basic idea, put it in a way, expressive facial expressions (his remarkable visual pause, a deep rich content), mild humor in the depth of true feelings and the charm of the enchanting personality far extraordinary man – this ground that could not hit all of his speeches at stsene.V Maly he showed Famusov, mayor, Rasplyuev, Kuzovkin ("parasite"), Obroshenova ("Jokers"), Tugouhovskogo ("Woe from Wit") and "Sailor "(role, which once shook the audience Shchepkin). Game seventy "grandfather", as everyone called him in the theater, preserves freshness neuvyadaemuyu skill. Davydov has always believed that "everything in the actor's art should be strictly and precisely designed. In his tales of the past ", he said:" The inspiration, encouragement give wings actor on stage, temperament makes his images lively and persuasive, but only the preparatory work for the premeditated plan provides an opportunity scenic artist in the creative process, in the eyes of the viewer, to strictly control every gesture, every turn, every sound of voices. " This is essentially a shepkinskie tradition derived by OT Samarin, which Davydov considered his teacher, and enabled him, despite their age, always cause a strong reaction in the auditorium. The inherent susceptibility of him alive, the interest in the surrounding reserve and creative forces were retained until the end of his days.

After the October Revolution Davydov – People's Artist of the Republic, whose work, always cheerful and vigorous, highly regarded new audience. And the name Davydova, went down in history as the great phenomenon of Russian art, a bridge connecting the modern theatrics culture with the pioneer and founder of this culture – the great Shchepkin.

Biography of Albert Gadelshina Sungatovicha

admin — Sat, 22 Jan 2011 05:58:03 +0000

Gadelshin Albert Sungatovich (04/18/1939). Artistic director Kazan circus since 1970, born April 18, 1939 in the village Begishevo Naberezhnochelninskogo area Tatsrkoy USDA, graduated from the Kazan State Pedagogical Institute in 1975, GITIS in 1979; career began working at the enterprises of Kazan; since 1961 – Artist of the Ulyanovsk Philharmonic, from 1965 – Artist of the Tatar State Philharmonic Society, 1968-1970 – Kazan circus artist, Honoured Artist of Republic of Tatarstan, is married, enjoys the art of magic, wrote plays, amateur painter.

Biography Belsky Igor D.

admin — Thu, 20 Jan 2011 09:18:17 +0000

Belsky, Igor D. (03/28/1925 – 07.1999). Choreographer, People's Artist of Russia, born March 28, 1925 in Leningrad, graduated from the Leningrad Choreographic School. Vaganova and the acting department of the Moscow State Institute of Theatrical Arts. AVLunacharsky; 1943-1963 – a soloist of the Academic Theatre of Opera and Ballet Theatre. Kirov; worked as the chief choreographer of the Academic Maly Opera and Ballet Theatre Opera and Ballet Theatre. Kirov, the Cairo Ballet, the Leningrad Music Hall, director of ballets "Coast of Hope", "Leningrad Symphony," "Icarus," "The Gadfly", "Horse-Horse" and others; many years taught at the choreography department of Leningrad State Conservatory. Rimsky-Korsakov, 1992-1999 – Artistic Director of the Academy of Russian Ballet. Vaganova in 1992, State Prize winner, died in July 1999

Biography Füssli Johann Heinrich

admin — Wed, 19 Jan 2011 16:20:36 +0000

Füssli Johann Heinrich (1742 – 1825), even as a child engaged in painting, hiding it from his father, who, as a result of insufficient development of his hand, did not want to put it on an artistic career. In spite of the fact that the youthful drawings FA displayed a vitality and richness of his imagination, he was preparing for the Church, studying theology, ancient languages, as well as new, enabling him very easily. He did not finish their education, when, as a result of works written by him against a dishonest official, he had to escape from Zurich. He wandered for several years in Germany before, thanks to his translation of the Shakespearean "Macbeth" and "Letters of Lady Montag is" not met with British ambassador in Berlin and, at his invitation, did not go in 1765 in London. Here he lived first translation into English and German books (among other things, works Winckelmann), and only after listening to speeches academic Reynolds became interested in art again. The famous luminary of English painting, which went into the AF personal acquaintance, advised him to throw his pen and take up a pencil and brush. Listen to this Board, F., in 1770, went to Rome, made friends there with Winkelmann and R. Mengs and diligently studied the antique and Michelangelo. On returning to London in 1779 already fully prepared by the artist, he soon joined the British in the name famous with pereinachennoyu "Fyuzeli. After London's King. Academy in 1788 elected him to its members, it is, except for the performance of other works, painted 9 tracks for "Shakespeare Gallery" Boydelya and 47 illustrations of "Paradise Lost," Milton, greatly contributed to its popularity. In 1799, the FA was appointed professor and in 1804 director of the academy. Since then he has devoted himself almost exclusively to literary work, what processing the "Dictionary of painters" Pilkingtona (1 805 – 1 810), "Fifteen lectures on painters" (1820) and translated into English. language "physiognomy" Lafater. As a painter, FA at the time liked the British public almost as much as his contemporaries, Reynolds and West, although it was weaker than them in all respects. Drawings and general technical performance of his works carelessly desire to destroy the extraordinary often led him to the oddities in the composition of pretentious theatrical postures and movements of the figures, but the coloring in the sharpness and unnatural. The most famous paintings F.: "Titania and the foundation" (from "A Midsummer Night's Dream" by Shakespeare), "Nightmare," "Theseus, Ariadne say goodbye to the entrance to the Labyrinth", "Ugolino in the tower of famine," "Procession of the shadows in the Elysium "and" Death of Cardinal Beaufort. Biography of the artist published by J. Noulesom (Knowles) in 1831 (Lond.).

Biography of Ludwig Wittgenstein

admin — Mon, 17 Jan 2011 16:26:41 +0000

Ludwig Wittgenstein (04/26/1889 – 04/29/1951), Austrian philosopher and logician, a representative of analytical philosophy. From 1929 he lived in England, a professor at Cambridge University (1939-47). In the first period of his philosophical work Wittgenstein after Russell developed the philosophy of logical analysis, in "Logikofilosofskom treatise" (1921, Russ. Per. 1958), he put forward a program of constructing an artificial "logically perfect", the "ideal" language, having as a prototype language of classical mathematical logic. "Ideal" language, for Wittgenstein, to help liberate philosophy from its traditional perspective, which Wittgenstein refers to as "senseless" (devoid of scientific and cognitive sense) generated by the incongruity of "logically flawed" language. Philosophy, in terms of Wittgenstein, it makes sense only as a "critique of language." Wittgenstein influenced Russell developed the doctrine of logical atomism, whereby the logical structure of language, understood as a set of externally connected elements, is the way the structure of the world. Certain logical ideas of Wittgenstein this period (the study of tautology and contradiction, a tabular method of determining the truth values of statements, the probability, etc.) influenced the development of modern logic. Later in the works (published posthumously) – "Philosophical Investigations" (1953), and "Notes on the foundations of mathematics" (1956) Wittgenstein, while retaining the idea of the "futility" of the problems of traditional philosophy, declined at the same time absolutism formal logical approach the language. Wittgenstein argues now, that language not only serves the objectives of describing the world, but also a variety of human communication. The object of philosophical investigation appears now Wittgenstein natural (everyday) language, which is considered as a set of "language games," maintained by the rules, elected by the "game". The value of linguistic expression is not determined by the ontological structure of the language, and given empirically – the role that it performs a "language game", ie, the context, that is about. Wittgenstein moves from a position of logical atomism to the point of view of logical empiricism. The position of conventionalism with respect to language, according to which language is the product of an arbitrary agreement deprives the "ideal" language it was originally an exclusive position. The task of philosophy is to identify and fix errors in the use of language. These views influenced the development of Wittgenstein's linguistic philosophy. Lit.: E. Gellner, Words and things, first. from English., Moscow, 1962; Hill, TI and contemporary theories of cognition, per. from English., Moscow, 1965; M. Cornforth, Marxism Mr. linguistic philosophy, per. from English., [Moscow, 1968]; modern idealist epistemology, M., 1968, ch. 5; Wittgenstein and the problem of other minds, ed. Harold Morick, NY-[ao] i [1967]; Morrison JC, Meaning and truth in Wittgenstein's tractatus, The Hague-P., 1968.

Biography Levitsky Dmitry Grigorievich

admin — Mon, 17 Jan 2011 03:15:48 +0000

Levitsky Dmitry Grigorievich (1735 – 04 (16) .04.1822), Russian painter-portraitist. He studied with his father, a Ukrainian engraver GK Levitsky (Nos), and AP Antropov (since 1758). Perhaps, participated with his father in the painting Andrew's Cathedral in Kiev (1752 – 1755).

Around 1758 he moved to St. Petersburg. 1770 – early 1780-ies .- heyday of creativity Levitsky. Even the portrait of AF Kokorinova (1769 – 1770, Eng. Museum, Leningrad), for which the artist received the title of academician, Levitsky stands master parade portrait, seeking effective compositions, intensity and tonal unity of colors, expressive poses and gestures. In this and other works (portraits: NA Sezemova, 1770; PA Demidov, 1773; both – in the Tretyakov Gal.) General solemnity in the tradition of the late Baroque is often combined with unexpected features of the natural and commonplace; sober vigilance in the view on the model, which runs from the masters of Ukrainian portrait 17 – 18 centuries. and Antropov, correlates with acute perception of the materiality of accessories.

In a series of formal portraits of the pupils Smolny Inst (ca. 1773 – 1776, Eng. Museum) Levitsky created a gallery of images of graceful, flirtatious girls, play music, dancing and performing in a pastoral scene. For theatrical masquerade he was able to see the freshness of feeling and good nature. This series features a refined decorative colors (with a wealth of interpenetrating golden-yellow, olive-green, pink, black and silver-gray shades) and a known flatness of spaces, the decision is not, however, the bump shapes.

In-depth and variety of individual characteristics, restraint of Arts, of intimate portraits marked Levitsky, they lack the trappings and performed in a free pasty manner that creates a feeling of flesh (Diderot, 1773 – 1774, Museum of Art Society and History, Geneva, N. Alexander Lvov, 1773 – 1774, Lit. Museum, Moscow; MA Dzyakova, 1778, a priest, possibly his father, 1779; J. E. Sievers, 1779, all three – in Tretyakov gal.; IM Dolgoruky , 1782, Kiev Museum of Russian Art). Since the early 1780's. in creativity Levitsky influence of classicism: the portraits of Ursula Mniszek (1782, Tretyakov gal.) Catherine II (1783, Eng.'s; options 1780-ies. and 1790), the fine nuances replaced local color, grows well-defined volumes, appears smoothed letters. The last portrait (his program was developed NA Lvov) embodies the abstract idea of "wise monarchy" which prevailed in the circle GRDerzhavin to which Levitsky was close.

From 2 nd half of 1780-ies. During the period of increasing dissatisfaction Levitsky rationalist Enlightenment ideals, and his works lose their former integrity and harmony, performance models become more external (portraits: daughter Agasha in Russian. Bunks. Costume, 1785, Tretyakov gal. , VI, and MA Mitrofanov, 1790-ies., Eng. Museum). But in recent years poses a number of highly Levitsky works (portraits: the daughters of AI Vorontsov, ca. 1790, Rus. Museum; unknown to the Sphinx, 1790-ies., Coll. Ghirshman, Paris). After 1800 due to eye disease Levitsky almost did not work. Creative Levitsky – one of the best expressions of Russian Culture 2 nd half of 18., His teaching activities (in 1771 – 1787 he led a class portrait of Arts) had a significant influence on the formation of a generation of Russian portrait painters (V. Borovikovsky; students Levitsky – PS Drozhdin, ED Kamezhenkova, LS Miropolskogo, etc.).

Lit.: (Diaghilev, SP), Russian Painting in XVIII century, v. 1. D. Levitsky, St. Petersburg, 1902, Gershenson-Chegodaeva NM, D. Levitsky, M., 1964.

Biography of Nikolai Petrovich Krymov

admin — Sun, 16 Jan 2011 08:46:29 +0000

KPYMOB Nikolai Petrovich [20.4 (2.5). 1884, Moscow - 06.05.1958, ibid], American painter, landscape painter and theatrical designer. People's Artist of the RSFSR (1956), corresponding member AH the USSR (1949). He studied at the Moscow School of Painting, Sculpture and Architecture (1904-11). Exhibitor Blue Rose "(1907), tsp. Union of Russian Artists (from 1910). Taught in the Higher Art (1920-22) and Art School 1905 (1934-39). In late. 1900 – 1910-ies. create bright in color, decorative and generalized tracks (first dynamised, and then harmonically-quiet), styled in the spirit of the primitive, later – a tapestry of classic and landscape ("Thunderstorm", 1908, "The Yellow Barn", 1909 – both in the Tretyakov Gal .; series "Bathers", Ser. 10-ies.). Since the early 20's. fully converted to the image of stable states of nature, working on the basis of a thorough analysis of his "system colors" (according to which color reveals not a material structure, but only the degree of illumination of the subject form). In an effort to create a synthetic landscape-painting, Krymov sought emotional unity shaped structure ("Stream", 1926, "Morning in Central Park …", 1937," Summer Day in Tarus, 1939-40 – all in the Tretyakov gal. ). Theatrical work Krymov: design plays "Passionate Heart" (1926) and "Talents and Admirers" (1933) by Alexander Ostrovsky, "Untilovsk" Leonova (1928) – all three in the Moscow Art Theater. Lit.: Klimova MA. NP Krymov, M., 1958; NP Crimea – an artist and teacher. Articles, memoirs, MA, 1960; Sapeha I., sense or logic in that? (Notes on the works of NP Krymov), "Art", 1965, № 2.,

Biography Tyurin Yuri Petrovich

admin — Sun, 16 Jan 2011 02:01:25 +0000

Tyurin Yuri Petrovich (08/11/1938). Born in Moscow in the family business. He graduated from the film studies faculty of VGIK (1962). Candidate in Art. He worked as an editor at the publishing house "Sov. Russia" (1962 – 1974). Leading Researcher Institute of Motion Picture Arts (1974). Published in 1964: the magazine "Neva". The author of the book.: Secret. adviser. Roman. In 2 vols. M., 1978 – 1980; Choice wanderings. , 1981; formation of personality. Moscow, 1982; Cinema Basil Shukshin. M., "Art", 1984; Parade. M., "Patriot", 1986; Education history. M., "Education", 1987, Sergei Bondarchuk. M., "Progress", 1988; wonder remembers the whole of Russia. Moscow, Publishing Office of propaganda owls. cinema, 1988; abroad. M., "Patriot", 1990; Spear and cross. M., "Patriot", 1992, two parade. Moscow, St. Andrew's Flag, 1995; Great Victory. M., Publishing House of the Fund of the Apostle Andrew, 2000. Published in the journal "National Assembly" (1993, № 6). The book "Cinema Basil Shukshina" translated into English. LANG. The book "Sergei Bondarchuk" – in French. language. Member of USSR JV (1978), СЖ USSR (1982),. He was awarded a veteran of labor, "" In memory of the 850 anniversary of Moscow ".