#maya plisetskaya
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Ballerina Maya Plisetskaya and Natalie Wood, 1960s
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Old Boyfriends (1979) by Joan Tewkesbury
Book title
Midnight Express (1977) by Billy Hayes and William Hoffer
A Book of Common Prayer (1977) by Joan Didion
Going Crazy: An Inquiry into Madness in Our Time (1976) by Otto Friedrich
Living Well is the Best Revenge (1971) by Calvin Tomkins
Heavily Tattooed Men and Women (1976) by Spider Webb
Maya Plisetskaya (1976)
Secret Passages and Hiding Places (1974) by Jeremy Errand
Dispatches (1977) by Michael Herr
Collected Shorter Poems 1927-1957 (1962) by W. H. Auden
Slapstick (1976) by Kurt Vonnegut
Colette: A Taste for Life (1977) by Yvonne Mitchell
The Laszlo Letters (1977) by Don Novello
Cheap Chic (1975) by Carol Troy and Caterine Milinaire
#old boyfriends#joan tewkesbury#midnight express#billy hayes#william hoffer#books in movies#a book of common prayer#american literature#joan didion#going crazy#otto friedrich#living well is the best revenge#calvin tomkins#heavily tattooed men and women#spider webb#maya plisetskaya#secret passages and hiding places#jeremy errand#dispatches#michael herr#collected shorter poems 1927-1957#w. a. auden#slapstick#kurt vonnegut#colette a taste for life#yvonne mitchell#the laszlo letters#don novello#cheap chic#carol troy
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♡‧₊˚˗ˏˋ 🩰 ˎˊ˗₊‧♡
original video by LENFILM, published 1959. - x
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maya plisetskaya photographed performing in philip glass and astad deboo’s passage of life by alexander orloff
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instagram
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Ah e qui pensavo fossero 18 minuti di full Bolero, colpa mia
#peccato#grande Bèjart però#roberto bolle#sanremo#devo cercare chi sia#mine#sanremo 2024#bolero#maurice bèjart#ah anche originariamente fu fatto per una donna#non mi ricordo chi solo che Maya Plisetskaya non era la prima di farlo
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Виктор Петров и художественный руководитель театра Майи Плисецкой Стефан Ласточкин.
Viktor Petrov and artistic director of the Maya Plisetskaya Theater Stefan Lastochkin.
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Ballerina Maya Plisetskaya
Plisetskaya recognized clothes only by Pierre Cardin. "This is the standard of taste, imagination, beauty… It never becomes obsolete." At the costume fittings the designer asked her to make arabesques to make sure that the ballerina was comfortable in her clothes.
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André Perlstein Maya Plisetskaya and Rudy Bryans Dancing "La Rose Malade," Paris 1979
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Deep Dive: Eleonora Sevenard’s Debut as Carmen
26 November 2023 — Eleonora Sevenard, in my opinion, has been a reliable dancer for the Bolshoi. Among the promotions of the new prima ballerinas, Alyona Kovalyova, Eleonora Sevenard, and Elizaveta Kokoreva, Elya's promotion was the one I expected to happen the soonest. I have watched her since she debuted as The Spanish Doll (Fairy Doll) in Vaganova and I always thought she rose to the occasion. She's versatile and she has character, which is why it pains me to write this review.
One of the first things I took note of in this variation was how nearly every movement had an accent, as if every thing was emphasized. When everything has emphasis, nothing has emphasis. This is how I felt with the whole performance. One of my favorite interpretations of Carmen is Ulyana Lopatkina's so we'll compare the two for this deep dive.
It was obvious from the beginning that Elya chose to do more outward movements. In this iconic diagonal, you'll see the difference between outward vs inward movement, especially with the hands. My personal preference is ending with the arms and hands going in. When Ulyana does it, there's a matador-like quality with her stance. Carmen, in my opinion, should be a temptress inviting the audience towards her. Between the two, I think Ulyana feels more intriguing.
If there's one word to describe the score for this variation, it's pompous. While it may be tempting to match every grand sound with an equally grand movement, I don't think it makes for good choreography. There was simply too much flailing and tossing of the arms. It felt as though I wasn't even watching the same choreography. Although, I think this may be because I was distracted with her arms, I could barely see what her body was doing.
My consolation was that she nailed this part. You have to match the rest with a rest, and Elya did that here. I just wish she settled for more rests, more subtle movements in other parts of the dance.
Again, from start to finish, the widespread arms and hands were just ever-present. I expected more.
Now, I understand that it may be unfair to compare her side by side with Ulyana, but Elya's already a prima ballerina.
To add to that, here's a video of Anastasia Smirnova's interpretation of Carmen in the Moscow ballet Competition. I thought she was a happy medium of Elya and Ulyana's interpretations. While I still prefer Ulyana's, I would undoubtedly rank Anastasia's performance over Eleonora's.
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P.S. I wanted to also add gifs of Maya Plisetskaya but I didn't have time to do a three part comparison :(
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maya plisetskaya photographed as the title role in victor smirnov-golovanov, natalia ryzhenko, and maya plisetskaya's anna karenina by nikolai nikolaevich rakhmanov and a. a. makarov
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