07.10.2015 01:25
St. Petersburg Museum of Theatre and Music presented one of its main projects of the new season – the exhibition “Divine Maya”, dedicated to the coming 90th anniversary of Maya Plisetskaya. KIRA Dolinin says.
Exhibition ballet
This exhibition is about ballerinas and Fashion. That’s right, with a capital letter, written especially important words in the catalog to the exhibition in the Sheremetev Palace. It was conceived during the life of the heroine, and Maya Plisetskaya was going to come to its opening. Today, the exhibition turned out post-mortem, and a memorial of her character to get his paint on all the exhibits. By and large, the exhibition turned out not so much about fashion, but about the legend created around the main Soviet ballerina others and her own.
The idea is simple and beautiful – the relationship of haute couture and Maya Plisetskaya were close (she wore a dress from Chanel, Saint Laurent and especially from Pierre Cardin, who has done for her more than 20 costumes) and long – from the first received as a gift by Coco Chanel in 1961, Silk “uniform” and the rest of her life. This relationship is dedicated to the first part of the exhibition. The second is pure fantasy – a dedication and tribute ballerina of modern Russian designers, of which only Tatiana Parfenov had the honor to see their clothes on real Plisetskaya.
The palace halls, huge screens on which the shadow, the reality dancing Plisetskaya, luxury showcases even more luxurious dresses. Mostly black – homage to Black Swan, without which represented neither Russian ballerina and “Carmen”, without which there can be represented only Plisetskaya. 11 dresses from the theater and the personal wardrobe of the Maya Mikhailovna. The most important of them – costumes, invented for various ballets and performances Plisetskaya by Pierre Cardin, most of which was transferred to the St. Petersburg ballet dancer as a gift to the museum in the 2000s. “Anna Karenina” (1972), “The Seagull” (1980), “The Lady with the Dog” (1985). Istorizovannye detailed costumes Karenina, “rustic” in the blue and white cage dress Nina Zarechnaya, one for the whole ballet costume Chekhov Anna Sergeyevna, who for the performance dramatically changed its appearance completely dependent on one of the two available to him zones or conversely from the complete absence of any belt. Water flowing dress, which Plisetskaya was supposed to play the role of water in the Soviet-Hollywood film “The Blue Bird” (1976, the role did not take place). And finally, the most favorite and most famous of haute couture-dresses ballerina – black velvet dress concert, “contracted to the waist satin green belt and black as taftovym friction.” In it, she appeared on stage in 1995 during several gala concerts of its joint project with the Pierre Cardin “Fashion and dance.” This thing is so regal, so not a museum of his article and the sense that it carried almost yesterday that it alone is able to keep the whole exhibition space living memory, not the dusty windows.
It is much harder to say this about dresses composed by St. Petersburg artists. Brand new, literally a brand dresses mostly absurdly pretentious. Avoid this was only Tatiana Parfenova (its underwater vision do not pay so much as a purely artistic object, a tribute to one of the most illustrious clients of her fashion house) and Tatiana Kotegova, come up with a dress for “Carmen” that and the line and the sharpness of the cut, and sits on the silhouette, which he did not wear, but which it is dedicated. Almost all other designers opted for the substrate under the ponderous narrative thing or absolutely standard for themselves, or that of his literary stillborn. A pile of feathers (Swan, oh, this swan!) Alena Ahmadullina. Banal in front, but with a cut to the coccyx back black dress flying Larissa Pogoretskaya. Black same dress to the knee, but with “Tutu” over a narrow skirt, the most visible part of which is a powerful (and a cross on the chest of the author’s) signature Igor Gulyaev belt. Girly floral placers Stas Lopatkin and his “Studio of beautiful clothes.” Golden Ball tail Olga Malyarova. There is unlikely to question whether it would put Plisetskaya – here the trouble with taste, thus taste of perfection which is so much talk of the exhibition organizers. And this problem is just allowed here once and for all – photos and video Plisetskaya completely consume all these dresses initiation. With the victory goes it alone.
And, honestly, at these photos it becomes clear that Plisetskaya could wear anything, but at the same time remained the same “divine Maya.” She loved good and expensive things, respected fashion and was ready to play with her, in 1950 she made a tailor or bought foreign clothes from the famous to the entire secular Moscow fartsovschitsy Clara, every two or three years to alter the same coat, in 1960 there were presents from overseas fans, and shopping on the road, meeting with Cardin gave enchanting experiences with the theatricality of haute couture. She appeared on the legendary people in costumes, but most often seen her in slacks and a long sweater. But the effect was the same: a look, a movement of hands, bowed his head a little to one side – the crowd at her feet. No wonder it is so fond of fashion designer – she could do any of the royal dress. Regal they remained even after her death.
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