#vakhtangov

[akuaktor]

Yevgeny Vakhtangov Si “Pencipta Fantastic Realism”

Susah kan untuk menyebut nama Yevgeny Vakhtangov? Kalau kata Wikipedia, kamu bisa menyebut Yevgeny seperti ketika kamu ngomong Eugene. Jadi jauh lebih mudah kan kalau begitu. Meski kalau kamu dengar nama lengkapnya, akan pusing lagi menyebutkannya. Nama lengkap dari aktor yang satu ini Yevgeny Bagrationovich vakhtangov. Doi lahir di Vladikavkaz, sebuah daerah di Uni Soviet pada 1 Februari…

[princessmacabre]

day 71/100 days of productivity

got up at 7.30

morning tea

household chores

worked on my final assignment from 11 am till 10 pm (an analysis of the Russian production of Eugene Onegin, Vakhtangov theatre)

submitted my assignment

i managed to write my final assignment in 10 h although i had time for a month. i submitted it one time, i am relatively content with what i wrote and this is exactly the reason why i never change. sometimes i truly am a pain in my ass. but yeah. guess thats me. it always works. and thus, why should i change? guess i am just not ambitious enough in regards of academics.

bisous

xx

p. s: if you ever get the chance to watch above mentioned production do so. i have never seen a more beautiful performance and i study this shit.

[welcomemoscowwalks]

Monument to the founder of the Evgeny Vakhtangov Theater - director, actor, teacher Evgeny Bogrationovich Vakhtangov. Moscow, Arbat Street.

[sixty-silver-wishes]

Shostakovich-Sollertinsky letter translations- letters 4 and 5

11th January 1928, Moscow

Dear Ivan Ivanovich. If you will write to me, be sure to mention Meyerhold in the address (V.E. Meyerhold for Shostakovich), or else I will not reach it. Greetings, D. Shostakovich.

-

(Content warning: Letter 5 contains a brief description of sexual harassment.)

21 January 1928, Moscow

Dear Ivan Ivanovich,

I'm sorry that I write on such inelegant paper; I have no other paper. I have wanted to write to you for a long time, but I didn't have the time to. I have spent all my free time working on "The Nose." Now, I'm writing the entire note, and therefore I'm doing nothing. It's a terrible feeling to be addicted to manuscript paper. In general, life isn't bad. I don't have much work, and I can't tell exactly what it is. Not long ago was the meeting between Mestkom and Erkak [1], jointly with the administration and at this meeting, I was approved on "musical parts." To start with, I make arrangements for musical parts, I am responsible for the parts entrusted to me, etc. I attend theatres intensively. In addition to all Meyerhold productions, I saw "The Armoured Train" and "The Days of the Turbins" in the Khudozhestvennom [a cinema], and "Rift" in the studio, Vakhtangov's "Day and Night" in the Kamernom and many others. In the Khudozhestvennom, I saw an amazing cast of actors. Artists- some of the best. "Day and Night" is an extremely cheerful operetta and a very good production. But in one place I am slightly sick of the incredible aestheticism. Green flashlights, blue lighting, women in short skirts and multicoloured pants. Terrible, but "beautiful." "The Iron Train" as a performance is extremely successful, despite the presence of Kachalov (rise up the people and for freedom - give up your wives and mothers. We will achieve our peasant freedom with our own meat. Hey, Pyatrukha! Look, is there a member of the bourgeoisie hiding under a bush?). In everything there is a full glare, in order to achieve the style of the peasant-Russian-revolution.

"Fault" was a lousy play, so much that I was ashamed that I watched the whole show. In "The Days of the Turbins" there was a place of such genuine tragedy that even in the theatre, there was loud crying. But it was all spoiled by the last act, with the official ending. The play that made a strong impression on me was "The Inspector-General," which I saw in Meyerhold's theatre. Now I have seen it three times there, and seven times in all. The more I saw it, the more I liked it. I listened to Malko. Tchaikovsky's violin concerto and 3rd suite. Twelve-year-old Borya Feliciant participated. Borya played technically well, sometimes absolutely antimusically. In general, the phenomenon was not brilliant. After the 3rd Suite, Malko was wildly successful. He was called back four times. At intermission, I went to give my thanks to him for the concert. He sat without a tailcoat. His bald head was shining, and so was his face. With his whole being he expressed, "finally I am understood, appreciated!" I did not hear "Ecstasy." I went home. "Volitional impulse" and "Flight" act strongly on the public. So probably after "Ecstasy" he was a success.

At the concert, I met A.V. Lunacharsky, who told me a few kind words and expressed the hope that he would succeed in encountering my triumphs "in detail."

In the evening, I spoke to my mother on the telephone. I was able to hear her wonderfully. What a great human invention.

Meyerhold's children have a nanny, who has tender feelings for me and sometimes pisses me off. Especially in the mornings, when she enters my room and begins to say, "it's time to get up, it's time to get up," while pulling off the blanket and groping my naked body. Yesterday, it got to the point where she kissed the part of my body that touches the chair when I sit. I told her yesterday that if she didn't stop touching me, I would tell Zinaida Nikolaevna [Raikh]. Today, therefore, she was quieter. Her hands did not penetrate beyond the chest. (Translation note- I believe he means here that she now didn't touch him anywhere lower than the chest.) At first, it made me laugh; now it annoys me; the thirty-four-year-old maid craves what must be (to her) heavenly bliss. Hell knows she's ugly. If tomorrow morning she touches and kisses me again, then I will definitely complain. When we meet again, I will tell you more about her in detail.

It worries me that, at the conservatory, I still haven't been given a postgraduate handout. I fear that my hard work will be without pay. I sent them 35 rubles not long ago. I couldn't send more, because I received 1/4 of my salary and paid part of it to my hosts. Yesterday I spoke with my mother, about money for the conservatory that hasn't been issued yet. Hell knows what else. I think that in February, I will live in Moscow, but in March I'll quit my job and return to Leningrad. Not long ago I had (met?)… Messelman or Musselman [2] (note- name refers to an orientalist and journalist); Varzar [3] happens to know. He struck me with his presence.

Don't forget to write to me. I was terribly glad with your letter, and will also be glad with the next. Your loving D. Shostakovich. Knipper [4] sends regards.

Footnotes:

1- Erkak- a workers' control commission system

2- Likely refers to Aleksandr Davidovich Meiselman, an orientalist and journalist.

3- An unspecified relative of Nina Vasiliyevna Varzar, whom Shostakovich would marry in 1932.

4- Lev Konstantinovich Knipper, a composer.

[princessmacabre]

EUGEN ONEGIN | Vakhtangov State Academy Theatre of Russia, dir. Rimas Tuminas

watch trailer here:

"SCREAMING BEAR (BJÖRK)" JEAN-BAPTISTE MONDINO // 2002 [chromogenic print | 42-1/4 x 33-1/4"]

[sheetmusiclibrarypdf]

Aram Khachaturian Waltz from Masquerade (sheet music)

Aram Khachaturian Waltz from Masquerade, arrangement for solo piano (Murray McLachlan, piano)Download Khachaturian's sheet music from our Library.Masquerade BackgroundPlease, subscribe to our Library. Thank you!SuiteRecordingsBest Sheet Music download from our Library.Browse in the Library:

Aram Khachaturian Waltz from Masquerade, arrangement for solo piano (Murray McLachlan, piano)

https://vimeo.com/495785314

Download Khachaturian's sheet music from our Library.

Masquerade

was written in 1941 by Aram Khachaturian as incidental music for a production of the play of the same name by Russian poet and playwright Mikhail Lermontov. It premiered on 21 June 1941 in the Vakhtangov Theatre in Moscow. The music is better known in the form of a five-movement suite. Background Khachaturian was asked to write music for a production of Masquerade being produced by the director Ruben Simonov. The famous waltz theme in particular gave Khachaturian much trouble in its creation: moved by the words of the play's heroine, Nina – "How beautiful the new waltz is! ... something between sorrow and joy gripped my heart." – the composer struggled to "find a theme that I considered beautiful and new". His former teacher, Nikolai Myaskovsky, attempted to help Khachaturian by giving him a collection of romances and waltzes from Lermontov's time; though these did not give immediate inspiration, Khachaturian admitted that "had it not been for the strenuous search" for the appropriate style and melodic inspiration, he would not have discovered the second theme of his waltz which acted "like a magic link, allowing me to pull out the whole chain. The rest of the waltz came to me easily, with no trouble at all." Khachaturian dedicated the waltz to the actress who played Nina, Alla Kazanskaya. Masquerade was the last production staged by the theatre before the invasion of the USSR by Germany, and the production run was cut short.[ Suite Later, in 1944, Khachaturian extracted five movements to make a symphonic suite. The movements are: - Waltz - Nocturne - Mazurka - Romance - Galop Recordings In 1954, Khachaturian recorded the Waltz, Nocturne, and Mazurka from the Suite, conducting the Philharmonia Orchestra for Columbia (also setting down some of his other scores in the same sessions). - 1958, RCA Victor Symphony Orchestra, Kirill Kondrashin (CD), RCA 09026 63302 2 - 1992, Scottish National Orchestra, Neeme Järvi (CD), Chandos 8542 - 2008, Armenian Philharmonic Orchestra, Loris Tjeknavorian (CD), ASV CDDCA 773 Read the full article

[valkyries-things]

VERA MUKHINA // ARTIST

“She is known as the queen of Soviet sculpture', and for her work in Cubist and socialist realism. She also taught and designed clothes, textiles, porcelain, as well as theatrical costumes for Moscow's Vakhtangov Theatre. In 1940 she campaigned to stop the Freedom Monument in Riga, Latvia, being replaced with a statue of Stalin. Creator of world's first welded sculpture.”

[matryokeshi]

Fountain "Princess Turandot" on Arbat street, Moscow, Russia

[luminatofestival]

Isn't this weather snow much fun?? ❄️☃️❄️ It really makes us look forward to MASQUERADE, a melancholy Commedia dell’Arte set in mysterious, snowy Saint Petersburg and presented next June 9-10 by Luminato & Show One Productions Presents.

VISIT our website for info: http://bit.ly/Masquerade-snow-fb

[theallart]

Yevgeny Vakhtangov, Time, 1982

[wordsfordeadauthors]

Fantastic Realism

“Fantastic realism” is a combination of the reality of life and the “fantastical” nature of theatre. To say it another way “fantastic realism” is theatrical realism (i.e. a whole complex of theatrical methods by which one can express real life on stage).

Russian actor and theatre director, Yevgeny (or Eugene) Vakhtangov believed that there is no such a thing as an objective character on stage: He subscribed to the thought that all characters created by actors are subjective. That is to say that they are a combination of the actor’s personality and what has happened to them so far that day, prior to their entrance on stage, AND their character’s intentions within the play. This far from subscribes to Stanislavsky’s principal that the actor should leave their day at the stage door.

Vakhtangov encouraged actors to feed their immediate mood and experiences directly into their acting.

The first feeling with which the actor walks on stage or into a rehearsal room is their “life state” (i.e. a chain of incidents that have happened to them and affected them thus far in that day). This state must be preserved as it will enable the actor to bring to their role a sense of unique immediacy and responsiveness.

The second feeling - or character mood - which is activated by the actions in the play is the combination of the actor’s personal mood with the character’s states. Both of these then, in turn, create a rich expressive range within the portrayal of a role.

The fact that the actor keeps their personal mood active up to the very moment he walks on stage renders the special and often lengthy pre-performance preparation, during which they work on “channelling” in order to become a character, unnecessary. Instead we should be able to take on a character in an instant or - using Vakhtangov’s own words - “jump into the role”.

He also established the concept of “inner justification” for the actor. Contrary to Stanislavsky, who placed the actor’s identification with the character deriving from the given circumstances of a play alone; Vakhtangov believed that the performer’s justification of their stage actions could be totally unrelated to the conditions of either play or character.

In conclusion, justification is an actor’s secret weapon and we must always remember that we undeniably have the ability to invent our own inner reality at any particular moment.

And for me, this simple technique breeds the most pure form of creativity: a belief in oneself.

[aydinoztoprak]

Yuriy Butusov diye bir rejisör var; diğer adı Allah. Rusça bilmiyorsanız röportajları geçebilirsiniz. Oyunu anlamak için ise dile ihtiyacınız yok. Oyunculuklar ve reji çok temiz.

[welcomemoscowwalks]

The Princess Turandot Fountain near the Vakhtangov Theater. "Princess Turandot" based on a fairy tale by Carlo Gozzi is the last lifetime performance by Evgeny Vakhtangov, staged by him in 1922. Moscow, Arbat Street.

[samstree]

It's been two years since I saw the vakhtangov theater’s production of Eugene Onegin and I’m still not over it.

[chicago-geniza]

did you know that leon schiller put on a yiddish production of the tempest in lodz in 1938 & aaron zeitlin (!!!) translated it & jakub appenszlak reviewed it for nasz przeglad & his language re: polish/jewish theater & universalism is extraordinarily similar to stefania’s language about polish/jewish film & polish/jewish art & universalism? did you know that abram morewski, best known for his role on stage & screen as the tsaddik/reb azriel in the dybbuk, played prospero? did you know that jakub appenszlak also wrote a critique of vakhtangov’s dybbuk which echoes stefania’s critique of waszynski’s dybbuk? did you know that appenszlak was one of several co-founders of the jewish arts promotion/patronage organization whose exhibit stefania reviewed in 1928 for her short-lived journal wiek XX? did you know that i’m autistic & have exactly three (3) interests, which happen to be stefania zahorska, the dybbuk by s. an-sky, & the interwar polish press? 

[sheetmusiclibrarypdf]

Mascarade: 1. Valse (Khatchatourian)(partition, sheet music)

Mascarade: 1. Valse (Khatchatourian)(partition, sheet music) Téléchargement des meilleures partitions dans notre bibliothèque. Masquerade Background Suite Please, subscribe to our Library. Thank you!

Mascarade: 1. Valse (Khatchatourian)(partition, sheet music)

https://vimeo.com/495785314

Masquerade

a été écrite en 1941 par Aram Khatchatourian comme musique de scène pour une production de la pièce du même nom du poète et dramaturge russe Mikhail Lermontov. Il a été créé le 21 juin 1941 au Théâtre Vakhtangov de Moscou. La musique est mieux connue sous la forme d'une suite en cinq mouvements. Background Khatchatourian a été invité à écrire de la musique pour une production de Masquerade produite par le réalisateur Ruben Simonov. Le célèbre thème de la valse en particulier a donné beaucoup de fil à retordre à Khatchatourian dans sa création : émue par les mots de l'héroïne de la pièce, Nina – « Comme la nouvelle valse est belle ! … quelque chose entre le chagrin et la joie m'a saisi le cœur. – le compositeur a eu du mal à « trouver un thème que je considérais comme beau et nouveau ». Son ancien professeur, Nikolai Myaskovsky, a tenté d'aider Khatchatourian en lui donnant une collection de romans et de valses de l'époque de Lermontov; bien que ceux-ci n'aient pas donné une inspiration immédiate, Khatchatourian a admis que « sans la recherche acharnée » du style approprié et de l'inspiration mélodique, il n'aurait pas découvert le deuxième thème de sa valse qui a agi « comme un lien magique, me permettant pour tirer toute la chaîne. Le reste de la valse m'est venu facilement, sans aucun problème. Khatchatourian a dédié la valse à l'actrice qui jouait Nina, Alla Kazanskaya. Masquerade était la dernière production mise en scène par le théâtre avant l'invasion de l'URSS par l'Allemagne, et la production a été écourtée. Suite Plus tard, en 1944, Khatchatourian extrait cinq mouvements pour en faire une suite symphonique. Les mouvements sont : - Valse - Nocturne - Mazurka - Romance - Galop Enregistrements En 1954, Khatchatourian enregistra la Valse, la Nocturne et la Mazurka de la Suite, dirigeant le Philharmonia Orchestra pour Columbia (établissant également certaines de ses autres partitions au cours des mêmes sessions). 1958, RCA Victor Symphony Orchestra, Kirill Kondrashin (CD), RCA 09026 63302 2 1992, Orchestre national écossais, Neeme Järvi (CD), Chandos 8542 2008, Orchestre Philharmonique d'Arménie, Loris Tjeknavorian (CD), ASV CDDCA 773 Read the full article