chester and lev cleared safijiiva the other day

Nutcracker Season!

Nutcracker season can elicit an array of feelings. Some love it, some hate it. I was falling into the indifferent category. I don't live in a major city, so the month long onslaught of ballet school-civic rep level productions has me a bit bummed out…and ready to tune it all out. AND THEN…I stumbled upon this very interesting panel discussion lead by ballet critic, Alastair McCauley, comparing the original Lev Ivanov Sugarplum PDD to the Balanchine version, getting into the nitty gritty of the score and the choreographic language that can be found in both versions, pointing out the various ways in which Balanchine quoted Ivanov. This is so interesting and only available online until Dec. 17, so hurry and watch it while you can. Who knew about the original version of the Sugar Plum sliding across the stage on point on a hidden stage tracking device?! If you do anything, watch this first video with the panel talk and demonstrations. The videos I included after that are just if you want to get obsessive like I did to dig deeper. Panelists: Suki Schorer, Wendy Whelan, Sara Mearns, Jonathan Stafford. (Watching Suki coach is worth watching!) NYCB Dancers: Chun Wai Chan, Ashley Hod (Balanchine version) & Anthony Huxley, Emma Von Enck (Ivanov Version)

MacCauley mentions the Fonteyn version a few times during this talk, so I found it for you. The tempo is certainly much faster, and it really makes you appreciate Fonteyn's speed! But I actually prefer the slower tempo, which allows the music to really soar. But I also wondered if it was the audio quality of this historic recording is simply too compressed and tinny to do it justice.

The Mariinsky dances the Vasily Vaionen version of the Nutcracker, and I wanted to see how it compared to the Ivanov version. I really love the Mariinsky version. It's a departure from Ivanov, but still very classical and regal. PPD below with Baby Shakirova.

BONUS: If you want to watch the full Mariinsky Nutcracker, here's a 1994 recording with Larissa Lezhnina and Victor Baranov. And for some real fun going down the rabbit hole, this is an amazing Soviet black and white recording of the PDD with the late Svetlana Efremova (SHE IS AMAZING!) and Sergei Vikulov. Notice that the extra four cavaliers are not in this one, so the choreography is adjusted. I have a thing for soviet era black-and-white ballet films. Not to be overlooked, the Grigorivich version at the Bolshoi is worth mentioning. There are a few things that stood out to me. Its religiosity, for one. The PDD essentially starts with Masha and her prince praying together as if at a mass. And then, towards the end, are the huge lifts that end with an upside down ballerina (not my favorite pose…)

Interestingly, ABT's version by Ratmansky also incorporates the same big lift, but transitions into a spin. You can see it here, and it's a much smoother transition. Ignore the weird speed manipulation in this video. It can give you motion sickness.

AND….I found this POB version. The Nureyev choreography is horrible and Tsikaridze knows it. He can barely hold back his own laughter as how bad this performance is. When I watched this, my first thought is that Nureyev must have been a misogynist because the Sugar Plum/Clara choreography is so god awful that it seems like he's trying to humiliate ballerinas. Poor Myriam Ould-Braham, she does her best to dignify the choreography with her impeccable technique, but there is no saving this. Another thing that bothers me is that the couple are hardly dancing together, it's like a bad ballet class where they dance side to side. I hope this version soon disappears forever. Watch at your own risk. It made my blood boil.

Okay, that's it for a while. I may go see the Houston Ballet's Nutcracker if I have time. But I will mostly be focused on taking time off with the family, puttering in the garden, and catching up on my ever-expanding to-do list. Wishing everyone a wonderful holiday season!

BÜYÜK BİR DEVRİMİN 105.YILI✊🏻 VLADİMİR İLYİNÇ ULYANOV LENİN ÖNDERLİĞİNDE Kİ KIZIL ORDU FAŞİST ÇARLIK REJİMİNE SOM VERİP YENİ BİR DEVLET,YENİ BİR REJİM,YENİ BİR SİSTEM KURDULAR✊🏻 YAŞASIN İŞÇİ KÖYLÜ DEVRİMCİ İTTİFAKI ✊🏻 BÜYÜK DEVRİMİN 105.YILI KUTLU OLSUN ✊🏻

SOVYETLER'DE MENŞEVİKLER GEÇİCİ HÜKÜMETİN DESTEKLENMESİ YOLUNDA Kİ, YIĞINLARI DEVRİMCİ HAREKETTEN UZAKLAŞTIRAN AYNI SİYASETİ İZLİYORLARDI. EKİM DEVRİMİNDEN SONRA, SOVYET İKTİDARINA KARŞI YÖNELTİLEN KOMPLO VE AYAKLANMALARI DÜZENLEYİP YÖNETEN MENŞEVİKLER, AÇIKÇA KARŞIDEVRİMCİ BİR PARTİ DURUMUNA GELDİ. ( TEK ÜLKEDE SOSYALİST DEVRİM VLADİMİR LENİN)

TOPRAĞA TAMAMEN VE TEK BAŞINA SAHİP OLACAK VE ELDE BULUNDURMA VE YARARLANMANIN YEREL KOŞULLARINI SAPTAYACAK OLANLAR,YEREL VE BÖLGESEL KÖYLÜ TEMSİLCİLERİ SOVYETLERİDİR. YOKSA BÜROKRASİ YANİ MEMURLAR DEĞİL. ( TEK ÜLKEDE SOSYALİST DEVRİM VLADİMİR LENİN)

BİZ MARKSİSTLER, NE BİRİNCİ GRUPTAN EMPERYALİST SAVAŞÇILARIN DİPLOMAT VE BAKANLARININ RESMİ VE TATLI YALANLARI, NE DE ONLARIN ÖTEKİ GRUPTAN MÂLİYECİ, VE ASKER RAKİPLERİNİN GÖZ KIRPMA VE SIRITMALARI İLE KENDİMİZİ SAŞKINLIĞA KAPTIRMADAN GERÇEĞE DOST DOĞRU BAKMALIYIZ. (TEK ÜLKEDE SOSYALİST DEVRİM VLADİMİR LENİN)

Alena Kovaleva as Odile, “Swan Lake", libretto by Yury Grigorovich, Vladimir Begichev and Vasily Geltser, choreography by Yury Grigorovich (2001), Marius Petipa, Lev Ivanov and Aleksandr Gorsky, music by Pyotr Tchaikovsky, Bolshoi Ballet, Moscow, Russia (September 25, 2019)

Photographer Natalia Voronova

Viktorina Kapitonova (Odile) and Alexander Jones (Prince Siegfried), “Swan Lake” by Marius Petipa and Lev Ivanov, Ballet Zurich, 2016

The Tale of Tsar Saltan – is a 1984 Soviet traditionally animated feature film directed by Lev Milchin and Ivan Ivanov-Vano and produced at the Soyuzmultfilm studio. It is an adaptation of the 1831 poem of the same name by Aleksandr Pushkin.

Hi :) I read in a review about Ratmansky's Swan Lake reconstruction that Odile's costume wasn't black but dark. Is that true? I couldn't find a source other than the Gramilano review.

Hello and thank you for your question!

You are correct, Odile did not have a black costume back in 1895 in Petipa/Ivanov first Swan lake - according to costume designs her tutu was midnight blue with multicolour sparkles. I don’t know about the 1877 Moscow version, but its libretto is not talking about any black swans either, so i suppose no black costume for Odile there either.

There was no reason for her to wear black, since she WAS NOT a black swan, but simply Rothbart’s daughter made to look like Odette. There were black swans in this productions, but only in the last act (in some Russian productions they are still there as well as in the Ratmansky reconstruction).

Even in 1910’s Odile was still not known as the black swan, that came later, but I’m not sure now when this change happened. Something’s telling me it has to do with one of Gorsky’s production, but I might be completely wrong here.

I believe you could find more either in Cyril Beaumont The ballet called Swan Lake or Roland Wiley Ballets of Lev Ivanov (I don’t have the books with me at the moment, so can’t check for you).

Hope this answered your questions and should you have more, by all means, ask away!

The Nutcracker Ballet is originally choreographed by Marius Petipa and Lev Ivanov with a score by Pyotr Ilyich Tchaikovsky in 1892. The backdrop of the scenography is a ONEOFF production with laser cut technique. ⁠ ⁠ ⁠#lasercut #lasercutting #scenography #mockup #2dmodel #3dmodeling #architecturalmodel #architecturemodel #modelloarchitettonico #teatroallascala #thenutcracker #schiaccianoci ⁠ #teatrolascala (presso ONEOFF) https://www.instagram.com/p/CYuBK82suWJ/?igshid=NGJjMDIxMWI=

i started playing hogwarts legacy and therefore made my oc in it so i can live out his pottermore!AU life hehe

My recent fascination with the Swan Lake has gotten me thinking about today’s concept of authorship. Pretty much everyone knows the Swan Lake as Pyotr Tchaikovski’s masterpiece. But the version that is performed today is almost never Tchaikovski’s original 1877 version, nor the revised version he made already during the same year, but a version made in 1895 by the composer Riccardo Drigo (with input from Tchaikovsky’s brother Modest), two years after Tchaikovsky’s death. Drigo both removed several parts of the original, but also added new music from other Tchaikovsky pieces, and reorchestrated both the added bits and much of the original.

Similarly, while Tchaikovsky did write the original music, he did not come up with the plot – it is unknown who actually did. But this, too, was radically altered for the 1895 version, with the removal of several characters and altering several plot points (including the ending). But in all likelihood the ending you’ll see if you go watch it is neither the 1877 original nor the 1895 revision’s ending – Wikipedia lists 14 different endings in addition to those (some of which use different music), and the one I saw earlier this week was different from all versions mentioned in Wikipedia.

Then there’s the choreography. The original 1877 version was by Julius Reisinger, but pretty much all performances of today are to a large degree based on the 1895 version by Marius Petipa and Lev Ivanov.

So if you go to see the Swan Lake today (or listen to a recording that is not specifically mentioned to be the 1877 original version), what you’re hearing and seeing is not Tchaikovsky’s masterpiece as he intended it, but a fan rewrite that has gone through numerous revisions by different people in different points in time. And no-one has a problem with this. Drigo’s changes to the music and plot made the ballet better and punchier, and the later changes to the ending have made it better still – the 21st century ending variation where Siegfried (the protagonist) accidentally shoots Odette (his main love interest) in the ending while aiming for the bad guy is both so much better than the original ending (where Siegfried purposefully but indirectly causes Odette’s death when she spurns her) and the Drigo ending (where Siegfied and Odette commit double suicide).

The point where I’m going with all this is that it would be very hard to do something similar today, especially outside the field of opera and ballet (and to a larger extent music, where the tradition that a piece can be changed or covered in a manner different from the original lingers). The ideas instilled by capitalism of authorship and the original author and/or company owning the copyright having full control over a piece is making the spread of reworks like this very difficult (at least outside the circle of fanfic). And yet I would argue that the making of such variations of stories and other forms of art has, for the most of the existance of humanity, been the norm. As illustrated by the Swan Lake, a little over a hundred years ago it was still perfectly okay to take a ballet made someone who had just died and radically rework it – in the process making it so much better that it superceded the original.

Tchaikovsky: Swan Lake - The Kirov Ballet

Swan Lake is a ballet composed by Pyotr Ilyich Tchaikovsky in 1875–76. It is one of the most popular and beloved ballets in the world. The ballet is based on a Russian folk tale about a princess named Odette who is transformed into a swan by an evil sorcerer's curse. The only way to break the curse is for a man to swear eternal love to Odette.

The ballet has been choreographed by many different choreographers, including Marius Petipa, Lev Ivanov, and Rudolf Nureyev. The most famous production of the ballet is the one by the Bolshoi Ballet in Moscow.

Swan Lake is a story of love, betrayal, and redemption. It is a ballet that has been enjoyed by audiences of all ages for over 100 years.

Here are some of the reasons why Swan Lake is so popular:

The music is beautiful and memorable. Tchaikovsky's score is one of the most famous in the world. It is full of melodies that are instantly recognizable and that have been used in many popular films and television shows.

The choreography is beautiful and expressive. There are many iconic moments in Swan Lake, such as the White Swan pas de deux and the Black Swan pas de deux. The choreography is both technically demanding and emotionally engaging.

The story is timeless and universal. The story of Swan Lake is a story of love, betrayal, and redemption. It is a story that has been told for centuries and that continues to resonate with audiences of all ages. If you have never seen Swan Lake, I highly recommend seeing it. It is a ballet that is sure to leave you breathless.

Renata Shakirova as Odile and Yevgeny Konovalov as Prince Siegfried, "Swan Lake" choreography by Marius Petipa, Lev Ivanov and Konstantin Sergeev, music by Pyotr Tchaikovsky, costumes design by Galina Solovyova, Mariinsky Ballet, Saint Petersburg, Russia

Photographer Marianna Sorokina

The Dyatlov Pass incident- The UFO Theory [Part 7]

How do you prove or disprove this one, when we don’t know for a fact what UFOs are made of, and what they are capable of? In 1990, Lev Ivanov – the man who lead the initial investigation into the incident – published a sensational article claiming he’d been ordered to censor some of his key findings. In particular, the unusual char marks on trees near where the bodies were found, which in…

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He had always possessed an exceptional talent for deceit, for he found pleasure in the act of betrayal. This delight was akin to a forbidden fruit, alluring and sweet at first glance, but searing to the touch. Like a sinister angel, it seduced man into its embrace, tempting him with promises of joy and fulfilment, only to leave him in agony and ruin. And yet, despite these dire outcomes, people persisted in their love of betrayal, ensnared by their own cravings and frailties, unable to extricate themselves from its clutches.

— Lev Alexandrovich Ivanov & Maxine Jill Kerrigan, from Love is a hanged man

Verona, al Teatro Filarmonico il “Lago dei cigni” della solidarietà

Verona, al Teatro Filarmonico il “Lago dei cigni” della solidarietà.   Domenica 8 gennaio alle 17 lo spettacolo  “Lago dei cigni”: nel corpo di ballo, oltre a solisti di fama internazionale e ballerini professionisti, anche i talenti emergenti della scuola. Il ricavato finanzierà i progetti solidali della Fondazione, anche a favore delle nuove generazioni. “Abbiamo concesso con piacere uno dei palcoscenici più importanti di Verona per le arti formative per questo progetto – commenta l’assessora alla Cultura Marta Ugolini – Uno spettacolo di danza che vede il ballo classico connettersi con il mondo di formazione degli allievi e con i ballerini professionisti. Valore aggiunto è lo scopo benefico dell’iniziatica, si insegna e si educa con l’insegnamento”. Il progetto formativo. Lo spettacolo è il risultato del percorso di alternanza scuola-lavoro proposto da Cristiana Cristiani, maestra di danza e coreografa, con la compagnia Chrono Ballet al liceo Agli Angeli di Verona, unico liceo coreutico statale del Veneto. Lo spettacolo, in quattro atti, sarà il primo vero banco di prova per questi giovani talenti emergenti. “Ogni anno organizziamo uno spettacolo di fine anno scolastico, ma è la prima volta che viene messa in scena un’opera intera, per di più nel teatro più grande e importante della città – spiega Mario Bonini, dirigente scolastico del liceo Agli Angeli – Per i nostri ragazzi è un’occasione unica di esperienza e formazione: danzeranno accanto a ballerini professionisti di chiara fama. Sono mesi che si preparano e in questi giorni di vigilia e di prove generali, l’emozione è davvero palpabile. Il liceo è nato nel 2014 e da tempo è nostra intenzione creare una rete di collaborazioni con le istituzioni e le realtà artistiche del territorio, a cominciare dal Comune e da Fondazione Arena, per valorizzare i nostri giovani artisti. Mi auguro che questo spettacolo rappresenti un punto di partenza in questo senso”. “Abbiamo riscontrato, nel mondo coreutico, la necessità dei giovani di calcare il palcoscenico e fare esperienza come veri professionisti – spiega Cristiani – Grazie alla collaborazione con Maria Grazia Garofoli, già direttore del corpo di ballo dell’Arena di Verona e al supporto del dirigente scolastico, che hanno creduto in questa iniziativa, si è creata l’occasione per questi ragazzi di vivere in prima persona la vita del danzatore professionista, con l’aiuto della maitre Loredana Bordoni e dei professori Stefano Augelli e Rossana Sechi, che li hanno preparati quotidianamente ad eseguire le coreografie realizzate da Garofoli e tratte da Marius Petipa e Lev Ivanov. Le innovative scenografie di Flavio Arbetti daranno risalto alla messa in scena, che sarà coordinata da Sergio Ariota”. La finalità benefica. Il ricavato dello spettacolo sarà devoluto alla Fondazione Fevoss Santa Toscana, nell’intento di sensibilizzare anche i giovani alle tematiche sociali. La Fondazione lo metterà a servizio dei suoi numerosi progetti solidali, rivolti anche all’universo dei ragazzi e dei giovani. “Lo scorso novembre abbiamo infatti inaugurato, in via San Nazaro a Verona, il BambiBazar, terzo punto vendita del progetto Bazar Solidale, il primo dedicato alla fascia d’età 0-16 – spiega Alfredo Dal Corso, presidente della Fondazione – I valori fondanti restano gli stessi: economia del dono, economia circolare e inclusione, anche lavorativa: nel corso del 2022, grazie ai proventi dell’attività di questi negozi, che promuovono il riuso e il riciclo dei beni donati dalla cittadinanza, abbiamo garantito un contratto di lavoro a otto donne, mentre nei nostri punti vendita operano altre sei persone con progetti in collaborazione con i Servizi sociali territoriali. Inoltre, abbiamo sottratto alle discariche oltre 55mila capi di abbigliamento inutilizzati. E per il 2023 abbiamo in animo altre iniziative per intercettare i giovani, con progetti pensati nel campo della formazione artigianale. Ringrazio sin d’ora chi vorrà contribuire a queste opere di bene, acquistando i biglietti dello spettacolo”. I biglietti (platea 30 euro, 1° e 2° galleria 15 euro) sono acquistabili nei giorni 6-7 gennaio telefonando al numero 347-2559109.      ... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

COME BACK (SHORT FILM) from KINEMOTOR PRODUCTION on Vimeo.

It is hard to leave abusive relationships for a number of reasons. But our team hope, that by recognizing ourself, a friend or a sister in the main character, more women will find the strength to ask for help.

Director Roman Duneshenko | Director of photography Vasily Ivanov | Producers Vitaly Kapitonov Kirill Borisov | Executive producers Polina Petrova Lera Zingarevich ⠀ Cast Yana Pronina Lev Grishin Konstantin Fisenko ⠀ 1AD Daria Rumyantseva | Producer assistants Daniil Karmanov Daria Kondratova-Gushan | Location manager Maria Sytnik ⠀ Production designer Alisa Solovieva | Costume designer Ines Kolosova | Costume designer assistant | Maria Kovaleva | Make-up artist Anastasia Zherbina | Make-up artist Assistants | Lilia Vinda Natalia Obruch ⠀ Edit Roman Duneshenko | Color Matvey Bunaev | CG Evgeny Poikin Danya Chigrin | Title photo Stasia Gospodarik | Sound Daniel Dzhagaryan | Composer | Eugeny Teilor ⠀ Production KINEMOTOR, STORM, RAISE.AGENCY ⠀ Thnx LKS