213 a Chronological List of Written Histories of Finnish Dance. Appendix 1
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Scaramouche and the Commedia Dell'arte
Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche. -
Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town. -
Programa De Mano
BALLET 2017 JEFE DE GOBIERNO Horacio Rodríguez Larreta VICEJEFE DE GOBIERNO Diego Santilli JEFE DE GABINETE Felipe Miguel MINISTRO DE CULTURA Ángel Mahler DIRECTORA GENERAL María Victoria Alcaraz 4 | BALLET Hojas institucionales 2017.indd 1 3/20/17 12:20 La bella durmiente del bosque BALLET EN UN PRÓLOGO Y TRES ACTOS (1890) INSPIRADO EN EL CUENTO HOMÓNIMO DE CHARLES PERRAULT LIBRETO DE IVÁN VSEVOLOVSKY Y MARIUS PETIPA COREOGRAFÍA DE MARIO GALIZZI BASADA EN MARIUS PETIPA MÚSICA DE PIOTR ILYCH TCHAIKOVSKY REPOSICIÓN COREOGRÁFICA DISEÑO DE VESTUARIO Sabrina Streiff Aníbal Lápiz DISEÑO DE ESCENOGRAFÍA DISEÑO DE ILUMINACIÓN Nicola Benois Rubén Conde REPOSICIÓN ESCENOGRÁFICA PRIMERA BAILARINA INVITADA Christian Prego Marianela Núñez * ROYAL BALLET DE LONDRES BALLET ESTABLE ORQUESTA FILARMÓNICA DEL TEATRO COLÓN DE BUENOS AIRES DIRECTORA PALOMA HERRERA DIRECTOR MUSICAL INVITADO EMMANUEL SIFFERT PRODUCCIÓN DEL TEATRO COLÓN AV | Abono Vespertino. AN | Abono Nocturno. FE | Función Extraordinaria. SEPTIEMBRE VIERNES 29 20 h FE | SÁBADO 30 20 h AN OCTUBRE DOMINGO 1 17 h AV | MARTES 3 20 h FE | MIÉRCOLES 4 20 h FE | *JUEVES 5 20 h FE | *VIERNES 6 20 h FE SÁBADO7 20 h FE Duración total: 2 H 30 min aprox. Con intervalos incluidos. Prólogo: 32 min. Acto I: 29 min. Intervalo. Acto II: 28 min. Intervalo. Acto III: 42 min 6 | BALLET BALLET | 7 REPARTO HADA DE LAS FUENTES DE CRISTAL, BELLEZA SÉQUITO DEL HADA LILA AMIGAS DE LA PRINCESA Ludmila Galaverna (29, 1, 7) Marisol López Prieto (30, 3, 4, 5, 6) Natacha Bernabei, Amalia Pérez Alzueta, Camila Leite, Oana -
Boris Kochno Diaghilev Et Les Ballets Russes
DIAGHILEV ET LES BALLETS RUSSES BORIS KOCHNO DIAGHILEV ET LES BALLETS RUSSES FAYARD Cet ouvrage a été publié dans son édition originale par Harpers and ROkl, N ek' York- Les passages des lettres de Diaghilev à Stravinski sont extraits de Memoirs and Commentaries et reproduits avec l'autorisation d'Alfred A. Knopf Inc. t / p 6 0 by Robert Craft and Igor Stravinsk). La maquette française de ce livre a été effectuée d'après la maquette américaine de Bea Feitler, et les photographies des documents, de la collection de Boris Kochno, sont dues à Niki Ekstrom. Tous droits de reproduction réservés pour tous pays. C 1970 ry Boris Kochno. C Librairie Arthème Fayard, 1973. Dessin de Picasso, pour le programme des Ballets Russes, en 1923. Dédicace de Diaghilev à Boris Kochno sur le programme de la saison des Ballets Russes à Paris en 1923. Pour mon cher Borinka, ce début d'une œuvre qui, grâce à sa sollicitude et son travail, laissera enfin une trace sûre de mes longs efforts. Serge Diaghilev ier décembre IY23 Paris SOMMAIRE DES BALLETS RUSSES LES PARORIGINES ALEXANDRE BENOIS 2 NOTE DE L'AUTEUR 22 LE PAVILLON D'ARMIDE 24 SCÈNES ET DANSES POLOVTSIENNES DE L'OPÉRA LE PRINCE IGOR 26 LE FESTIN 29 LES SYLPHIDES 32 CLÉOPATRE 32 LE CARNAVAL 38 SCHÉHÉRAZADE 42 GISELLE 48 L'OISEAU DE FEU LES ORIENTALES j6 LE SPECTRE DE LA ROSE Óo NARCISSE Ó3 S AD KO 64 PETROUCHKA 66 LE LAC DES CYGNES 73 LE DIEU BLEU 74 THAMAR 79 L'APRÈS-MIDI D'UN FAUNE 80 DAPHNIS ET CHLOE 83 JEUX 84 LE SACRE DU PRINTEMPS 87 SALOMÉ pi LES PAPILLONS 92 LA LÉGENDE DE JOSEPH gf LE COQ D'OR 99 -
Ballet's Magic Kingdom
Ballet’s Magic Kingdom Ballet’s Magic Kingdom Selected Writings on Dance in Russia, 1911–1925 Akim Volynsky Translated, Edited, and with an Introduction and Notes by StanleyQ J. Rabinowitz Yale University Press New Haven and London Frontispiece: Yury Annenkov, Akim Volynsky, 1921 (From Yury Annenkov, Portrety [Petrograd: Petropolis, 1922], 41). Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the foundation established in memory of William McKean Brown. Copyright ∫ 2008 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Portions of this book originally appeared in slightly altered form as ‘‘Against the Grain: Akim Volynskii and the Russian Ballet,’’ Dance Research 14, no. 1 (Summer 1996): 3–41, and ‘‘The House That Petipa Built: Visions and Villains of Akim Volynskii,’’ Dance Research 16, no. 1 (Summer 1998): 26–66, and are reprinted by permission of the journal, the Society for Dance Research, and Edinburgh University Press. Set in Adobe Garamond type by Keystone Typesetting, Inc. Printed in the United States of America by Sheridan Books, Ann Arbor, Michigan. Library of Congress Cataloging-in-Publication Data Volynskii, A. L., 1863–1926. [Selections. English 2008] Ballet’s magic kingdom : selected writings on dance in Russia, 1911–1925 / Akim Volynsky ; translated, edited, and with an introduction and notes by Stanley J. -
Don Quijote EL SOÑADOR DE LA MANCHA EL SOÑADOR DE LA MAXIMILIANO GUERRA MAXIMILIANO DEL TEATRO COLÓN ESTABLE BALLET DIRECTOR DIRECTOR
2016 BALLET Don Quijote EL SOÑADOR DE LA MANCHA BALLET ESTABLE DEL TEATRO COLÓN MAXIMILIANO GUERRA DIRECTOR PUBLICIDAD ROLEX JEFE DE GOBIERNO Horacio Rodríguez Larreta VICEJEFE DE GOBIERNO Diego Santilli JEFE DE GABINETE Felipe Miguel MINISTRO DE CULTURA Darío Lopérfido DIRECTORA GENERAL DIRECTOR ARTÍSTICO María Victoria Alcaraz Darío Lopérfido TEATRO COLÓN El Colón Descubrí todo lo que pasa dentro y alrededor del Colón desde adentro en el Canal de la Ciudad y en La Once Diez DIRECTORA GENERAL DIRECTOR ARTÍSTICO María Victoria Alcaraz Darío Lopérfido DIRECTORA EJECUTIVA DIRECTOR GENERAL GERENTE GENERAL María Videla Rivero DE PRODUCCIÓN ARTÍSTICA Cristian Mealla Guillermo Scarabino DIRECTORES VOCALES JEFE DE GABINETE Carlos Lorenzetti DIRECTORA GENERAL ESCENOTÉCNICA Juan García Aramburu Eugenia Schvartzman María Cremonte Hugo Gervini DIRECTORA GENERAL TÉCNICA, ADMINISTRATIVA Y LEGAL Carolina Clavero ESPECIALES DEL TEATRO COLÓN ABONO 1110 DIRECTORA DE ESTUDIOS MUSICALES DIRECTOR DEL CENTRO DE DIRECTOR GENERAL DE PLANEAMIENTO Conducción: Victoria Casaurang Conducción: Martín Leopoldo Díaz Eduviges Picone EXPERIMENTACIÓN Bruno Faccone SÁBADOS 20h LUNES A JUEVES 20h Miguel Galperin Telecentro canal 71 / Cablevisión canal 2 / Cablevisión Digital canal 702 DIRECTOR DEL BALLET ESTABLE DIRECTORA DE RELACIONES Maximiliano Guerra DIRECTOR DEL PROGRAMA INTERNACIONALES COLÓN CONTEMPORÁNEO Zulema Scarabino Martín Bauer DIRECTOR DE LA ORQUESTA DISPOSICIONES GENERALES FILARMÓNICA DE BUENOS AIRES DIRECTOR TÉCNICO OPERATIVO DIRECTOR DEL INSTITUTO • El Teatro Colón se reserva el derecho de cambiar las fechas de las funciones, programas o elencos por razones de fuerza mayor, en cuyo caso informará oportunamente sobre la Enrique Arturo Diemecke Juan Manuel López Castro SUPERIOR DE ARTE reprogramación realizada. Las entradas no tienen cambio ni devolución. • Se solicita al público apagar por favor los teléfonos celulares o cualquier equipo con alarma o radiollamada antes del comienzo de la función. -
Alexei Ratmansky on ABT’S Harlequinade
Spring-Summer 2019 Ballet Review From the Sp/Su 2019 issue of Ballet Review Alexei Ratmansky on ABT’s Harlequinade Cover photo by Paul Kolnik, NYCB: Joseph Gordon in Dances at a Gathering. © 2019 Dance Research Foundation, Inc. Ballet Review 47.1-2 Spring-Summer 2019 Editor and Designer: Marvin Hoshino Managing Editor: Roberta Hellman Senior Editor: Don Daniels Associate Editors: Joel Lobenthal Larry Kaplan Ballet Review is a nonprofit Alice Helpern journal pub lished by the Dance 168 Webmaster: Research Foundation, Inc. It David S. Weiss is supported in part by funds from the National Endowment Copy Editor: Naomi Mindlin for the Arts, the New York State Council on the Arts, The Fan Photographers: Fox and Leslie R. Samuels Tom Brazil Foundation, and individuals. Costas Contributions to the Dance Associates: Research Foundation, Inc., Peter Anastos 100 Hudson St. – Apt. 6B, Robert Greskovic New York, NY 10013, are 76 George Jackson tax-deduc tible. Elizabeth Kendall Board ofDirectors: Paul Parish Hubert Goldschmidt, Roberta Nancy Reynolds Hellman, Marvin Hoshino, James Sutton Nancy Lassalle, Dawn Lille, Edward Willinger Michael Popkin, Theodore C. Sarah C. Woodcock Rogers, Barbara E. Schlain, David Weiss. * For the latest information on subscriptions, see our website: balletreview.com. Current 95 double issue: $35. Editorial correspondence, books for review, subscriptions, and changes of address to Ballet Review, 100 Hudson St. – Apt. 6B, New York, NY 10013. Manuscripts must be accom- panied by a self-addressed, stamped returnenvelope. E-mail: [email protected]. * 207 ©2019 Dance Research Foun- dation, Inc. All rights reserved. Printed in China. issn: 0522- 0653. Periodical postage paid at New York, NY, and additional mailing offices. -
Kathryn Morgan Maria Riccetto Craig Hall Adrian Danchig-Waring Cory Stearns
AtheneumDanceFestCovers10:AtheneumDanceFestivalCovers10 7/15/10 4:36 PM Page 1 NANTUCKET ATHENEUM DANCE FESTI VAL July 26 –31, 2 01 0 Friday, July 30th, 6:30 P.M. Saturday, July 31st, 6:30 P.M. Nantucket High School Mary P. Walker Auditorium 1 AtheneumDanceFestCovers10:AtheneumDanceFestivalCovers10 7/15/10 4:36 PM Page 2 DANCE FESTIVAL COMMITTEE 2010 Marion Martin Jane Tyler Marcia P. Welch Dance Festival Co-Chairs Mary Randolph Ballinger Cosby George A. Steven Perelman Susie Belcher Tim George Samantha Sandler Roxanne Casscells Nan Geschke Denise Saul Barbara G. Cohen Molly Harding Maria Spears Patti Deuster Kathryn Kay Pam Thomas Barbara J. Fife John W. Loose Mary Wolff Alan Forster Mary Ann Peglar NANTUCKET ATHENEUM BOARD OF TRUSTEES Alice F. Emerson Stephen C. Anderson Chair Vice-Chair Judith Tindal Opatrny Alan Forster Secretary Treasurer Margaret Gaffney Benedict Timothy M. George Donald M. Stewart Susan Boardman Elizabeth Grubbs Bernard L. Swain William J. Charlton Kathryn Kay Jane Tyler Tharon Dunn Jeanne Casey Miller Marcia P. Welch Douglass N. Ellis A. Steven Perelman Jay M. Wilson Barbara J. Fife Anne Phaneuf Ronald Winters William G. Spears Chairman Emeritus Trustees Emeriti John W. Loose Nan Geschke Martha Groetzinger Executive Director President Emeritus Nancy A. Newhouse Molly C. Anderson Robert F. Mooney Honorary Trustees Mr. and Mrs. Robert Diamond Jr. Lucile W. Hays Mr. and Mrs. Richard Menschel Richard M. Scaife Margaret B. Scaife 2 AtheneumDanceFestCovers10:AtheneumDanceFestivalCovers10 7/15/10 4:36 PM Page 3 NANTUCKET ATHENEUM DANCE FESTI VAL 201 0 Featuring stars of American Ballet Theatre and The New York City Ballet Benjamin Millepied Artistic Director Gillian Murphy Teresa Reichlen Jennie Somogyi Wendy Whelan Tyler Angle Gonzalo Garcia David Hallberg Benjamin Millepied Jonathan Stafford Kathryn Morgan Maria Riccetto Craig Hall Adrian Danchig-Waring Cory Stearns Amanda Hankes Blaine Hoven Pianist: Cameron Grant Cellist: Ann Kim Nantucket High School Auditorium Friday, July 30, 2010 at 6:30 p.m. -
Una Historia De Amor Y Decadencia B a L L E T E N T R E S a C T O S
PALACIO DE BELLAS ARTES Fotografía: Carlos Quezada Una historia de amor y decadencia BALLET EN TRES ACTO s ESTRENO Compañía Nacional de Danza Director artístico: Mario Galizzi Director ejecutivo: Enrique Tovar “Dieck” Orquesta del Teatro de Bellas Artes Director: Srba Dinić Coreografía: Sir Kenneth MacMillan Música: Jules Massenet Orquestación y arreglos: Martin Yates Coreógrafos repositores: Karl Burnett | Patricia Ruanne Producción y coordinación general: Enrique Tovar “Dieck” Producción ejecutiva: Francisco Muñoz Diseño de iluminación: Rafael Mendoza Diseño de vestuario y escenografía: Peter Farmer Producción escenográfica y de vestuario: Teatro Municipal de Santiago de Chile Enlace internacional: Aldo González | Miguel Hernández Denisse Gómez PALACIO DE BELLAS ARTES JUNIO 2017 Sáb 17 y 24, 13:30 h Dom 18 y 25, 17:00 h Mar 20 y Jue 22, 20:00 h ELENCO Manon Greta Elizondo (17-13:30h, 22-20h y 25-17h) | Ana Elisa Mena (18-17h, 20-20h) Agustina Galizzi (24-13:30h.) Des Grieux Sebastian Vinet (17-13:30h,22-20h y 25-17h) | Gerardo Wyss (18-17h, 20-20h, 24-13:30h) Lescaut Erick Rodríguez (17-13:30h, 22-20h y 25-17h) | Rodrigo Ortega (18-17h, 20-20h) Roberto Rodríguez (24-13:30h) Amante Agustina Galizzi (17-13:30h, 22-20h y 25-17h) | Blanca Ríos (18-17h, 20-20h) Bárbara Treviño (24-13:30h) Señor GM Raúl Fernández (17-13:30h, 22-20h y 25-17h) | Antón Joroshmanov (18-17h, 20- 20h) | Aarón Cuellar (24-13:30h) Madame Jacqueline López (17-13:30h, 22-20h y 25-17h) | Irina Marcano (18-17h, 20-20h, 24-13:30h) Beggar Chief Julio Morel (17-13:30h, 22-20h -
PALACIO DE BELLAS ARTES Fotografía: Carlos Quezada Compañía Nacional De Danza Director Artístico: Mario Galizzi Director Ejecutivo: Enrique Tovar “Dieck”
PALACIO DE BELLAS ARTES FOTOGRAFÍA: CARLOS QUEZADA Compañía Nacional de Danza Director artístico: Mario Galizzi Director ejecutivo: Enrique Tovar “Dieck” Programa: La Bayadera / tercer acto 28’ Coreografía: Marius Petipa Música: Léon Minkus Raymonda / tercer acto 29’ Coreografía: Fernando Bujones / Marius Petipa Música: Alexander Glazunov Don Quijote / tercer acto 21’ Coreografía: Marius Petipa Música: Léon Minkus PALACIO DE BELLAS ARTES AGOSTO 2017 Mar 15 y Jue 17, 20 h Sáb 19, 19 h Dom 13 y 20, 17 h ELENCOS LA BAYADERA Nikia Mayuko Nihei (13 – 17 h, 17 – 20 h, 20 – 17 h), Yoalli Sousa (15 – 20 h, 19 – 19 h) Solor Sebastian Vinet (13 – 17 h, 17 – 20 h, 20 – 17 h), Argenis Montalvo (15 – 20 h, 19 – 19 h) Variación 1 Elisa Ramos (13 – 17 h, 19 – 19 h), Iratxe Beorlegui (15 – 20 h, 20 – 17 h), Alicia Hauffray (17 – 20 h) Variación 2 Yoalli Sousa (13 – 17 h, 20 – 17 h), Greta Elizondo (15 – 20 h, 19 – 19 h) Nayely Quiroz (17 – 20 h) Variación 3 Bárbara Treviño (13 – 17 h, 19 – 19 h), Michele Cutri (15 – 20 h y 20 – 17 h), Isabel García (17 – 20 h) Cuerpo de baile Raquel Cadena, Fernanda Cervantes, Delia Cruz, Lara Delgado, Stephanía Fierro, Lorena García, María García, Ximena González, Scarlett Güémez, Sonia Jiménez, Natalia Lemus, Edith Luna, Valeria Mariaud, Irina Marcano, Sofía Martínez, Valeria Méndez, Maya Morales, Aisha Moreno, Isis Murcio, Yania Noyola, Nayely Quiroz, Cecilia Rodríguez, Andrea Salazar, Daniela Sánchez, Mariana Torres, Yohana Yáñez. RAYMONDA Raymonda Ana Elisa Mena (13 – 17 h, 17 – 20 h), Blanca Ríos (15 – 20 h, 20 -
Views and Circus Trends.15
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2016 Two Examples of Music in 1920S France: A Study of Sergei Prokofiev's 1924 Quintet, Op. 39 and the Subsequent Ballet TrapÈZe, and Francis Poulenc's 1926 Trio for Oboe, Bassoon, and Piano Mary Rachel Maczko Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC TWO EXAMPLES OF MUSIC IN 1920S FRANCE: A STUDY OF SERGEI PROKOFIEV'S 1924 QUINTET, OP. 39 AND THE SUBSEQUENT BALLET TRAPÈZE, AND FRANCIS POULENC'S 1926 TRIO FOR OBOE, BASSOON, AND PIANO By MARY RACHEL MACZKO A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2016 Mary Rachel Maczko defended this treatise on November 22, 2016. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Deborah Bish Committee Member Jeffrey Keesecker Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii For Mom iii ACKNOWLEDGEMENTS There are many people to whom I owe thanks and gratitude over the past several years. First of all, thank you to my advisor and mentor Dr. Eric Ohlsson. Your patience and confidence has helped me through many difficult times. Thank you for leading me through this academic jungle while simultaneously giving me the courage to be a better performer. Thank you to my committee members, Dr. -
La Moda Ed Il Costume Russi Da Djagilev Alle Fashion Week Di Mosca
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Lingue e letterature europee, americane e postcoloniali Curriculum: Slavistica Tesi di Laurea La moda ed il costume russi da Djagilev alle Fashion Week di Mosca Relatore Ch. Prof.ssa Svetlana Nistratova Correlatore Ch. Prof.ssa Donatella Possamai Laureando Valeria Manilla Matricola 835571 Anno Accademico 2012 / 2013 INDICE ВВЕДЕНИЕ ............................................................................................................................. 2 INTRODUZIONE ................................................................................................................... 12 Capitolo 1 – LA MODA RUSSA IN EUROPA .......................................................................... 14 Il ballo del 1903. Le “Stagioni Russe” di Djagilev. ............................................................... 14 La grande emigrazione. Nascita delle maison russe a Parigi. .............................................. 31 Le stelle del teatro, della moda e del cinema oltre confine. Le prime indossatrici russe. .. 72 Capitolo 2 – LA MODA E LO STILE IN UNIONE SOVIETICA. .................................................. 81 I neppisti ed il byt sovietico. Le restrizioni del regime. La prozodežda e la nascita del costruttivismo di Rodčenko. ................................................................................................ 81 Da Mjur i Meriliz ai Magazzini Centrali Universali “CUM” ................................................ 112 La moda sovietica e la moda europea