Презентация по Английскому языку "Maya Plisetskaya"

Maya Plisetskaya

Автор: Ярочкина В.В.

• The main difference between the art of the actor and all other arts is that every other [non-performing] artist may create whenever he is in the mood of inspiration. But the artist of the stage must be the master of his own inspiration, and must know how to call it forth at the hour announced on the posters of the theatre. This is the chief secret of our art . Constantin Stanislavski

Theatre

• One of the wonderful ancient kinds of art is theatre. Theatre is a kind of art which consist of many other kinds such as literature, music,choreography, singing, visual art and so on.
• Theatre differs from other kinds of art in that it has ist own peculiarities. Here the centre of all that happens is an actor.
• An actor expresses the dramatic nature of the performance.

Maya Plisetskaya

• Maya Mikhailovna Plisetskaya was a prima ballerina assoluta of the Bolshoi Ballet.
• She was born on November 20, 1925, in Moscow into a Jewish theatrical dynasty.

• Her father, Mikhail Plisetsky, was a famous engineer and communist.
• For over 70 years the Messerer family(mother's family) played a prominent part in the Soviet theater and films, as well as in the ballet world.
• Her mother, Rakhil Messerer, was a well-known silent-film actress .
• Maya's brother Azari became a dancer.
• Her Aunt Elizaveta was an actress in Moscow.
• Maya's cousin Boris was a distinguished set designer.

• Balletic influence came from her mother's sister and brother, Sulamith and Mikhail Messerer, both talented soloists and later distinguished teachers with the Bolshoi Ballet, who coached and encouraged the young Maya from earliest days.
• When she was eight, her Aunt Sulamith took her to the Moscow Choreographic School, which produces most of the Bolshoi dancers. She requested that they admit Maya a year earlier than the usual entrance age because of the child's obvious talent and also because "at home, she just can't help dancing.”
• Her teacher for six years was the legendary Yelizaveta Gerdt,
• Gerdt called Plisetskaya her "little diamond" and lovingly polished and refined the young pupil's talent.

• To be a student at the ballet school meant taking part in performances with the company at the Bolshoi Theatre. When she was 11, Plisetskaya appeared as the Bread Crumb Fairy in Asaf Messerer's production of "The Sleeping Beauty." A year later she danced the role of the cat in a children's ballet, "The Little Stork, " and in her seventh year at the school, her sparkling interpretation as leading dancer in the divertissement from "Paquita" aroused much interest.

• Upon graduation from the school in 1943, she was accepted immediately into the Bolshoi company, not as a member of the corps de ballet but as a soloist.
• For the role of Masha in "The Nutcracker, " Plisetskaya received the coaching of yet another legendary figure in the history of Russian ballet—Agrippina Vaganova.
• Agrippina Vaganova the director of the Leningrad ballet school whose methods of teaching were the basis at all Soviet ballet schools.

• The ensuing years saw Plisetskaya performing in all the classical roles, offering individual but convincing interpretations.
• She danced Raymonda, the dual role of Odette-Odile (Swan Lake), Aurora (Sleeping Beauty), Myrthe (Giselle), Kitri (Don Quixote), Tsar-Maiden (The Little Hump-backed Horse), and, of course, "The Dying Swan" which Michel Fokine created for Anna Pavlova and which later was associated as a showcase for Plisetskaya's famous plasticity—the suppleness of her back and the remarkable pliability of her arms, which ripple with grace, seemingly boneless.

• One of her most famous—and favorite—contemporary roles was Carmen, in the ballet "Carmen-Suite" by Cuban choreographer Alberto Alonso.
• The ballet gave full rein to her dramatic and artistic talent. She portrayed the young girl as a passionate, tempestuous, and sensual character. Bizet's famous score was arranged by Rodion Shchedrin, Plisetskaya's husband.
• The French choreographers Roland Petit and Maurice Bejart created "La Rose Malade" and "Isadora, " respectively, for her.

• Another facet of Plisetskaya's talent was her choreography.
• Her ballets "Anna Karenina, " "The Seagull" and "Lady with a Lapdog" are all based on Russian literature with music especially composed by Shchedrin and created as vehicles for her own star quality.

• Plisetskaya won the top civilian award, the Lenin Prize, in 1964 and the French Pavlova Prize in 1962.
• She taught master classes in many cities, including New York, and was the artistic director of The National Ballet of Spain beginning of 1988.

• After her departure from the Bolshoi Ballet, Plisetskaya continued to astound audiences world wide.
• She was accorded one of the highest tributes that a dancer could receive, an international ballet competition was named for her in 1994.

• When most prima ballerinas would have long retired, Plisetskaya continued to perform on stage. In 1996, at age seventy, she received rave reviews for her remarkable performance of her signature "The Dying Swan" at New York City Hall.

• In 2005 Plisetskaya received Spain’s Prince of Asturias Award for the arts, and the following year she was granted the Japan Art Association’s  Praemium Imperiale  prize for theatre or film.

• Maya Plisetskaya died in 2015.
• Conductor and artistic director Valery Gergiev gave a concert in Moscow on November 18 2015, dedicated to her memory. On November 20, 2015, the government of Russia named a square in her honor in central Moscow.

Thank you for attention

Reference list:

• https :// www . britannica . com / biography / Maya - Plisetskaya
• https://biography.yourdictionary.com/maya-mikhailovna-plisetskaya
• Internet resources