The Institute of Modern Russian Culture
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Iti-Info” № 3–4 (18–19) 2013
RUSSIAN NATIONAL CENTRE OF THE INTERNATIONAL THEATRE INSTITUTE «МИТ-ИНФО» № 3–4 (18–19) 2013 “ITI-INFO” № 3–4 (18–19) 2013 УЧРЕЖДЕН НЕКОММЕРЧЕСКИМ ПАРТНЕРСТВОМ ПО ПОДДЕРЖКЕ ESTABLISHED BY NON-COMMERCIAL PARTNERSHIP ТЕАТРАЛЬНОЙ ДЕЯТЕЛЬНОСТИ И ИСКУССТВА «РУССКИЙ FOR PROMOTION OF THEATRE ACTIVITITY AND ARTS НАЦИОНАЛЬНЫЙ ЦЕНТР МЕЖДУНАРОДНОГО ИНСТИТУТА ТЕАТРА». «RUSSIAN NATIONAL CENTRE OF THE INTERNATIONAL ЗАРЕГИСТРИРОВАН ФЕДЕРАЛЬНОЙ СЛУЖБОЙ ПО НАДЗОРУ В СФЕРЕ THEATRE INSTITUTE» СВЯЗИ И МАССОВЫХ КОММУНИКАЦИЙ. REGISTERED BY THE FEDERAL AGENCY FOR MASS-MEDIA AND СВИДЕТЕЛЬСТВО О РЕГИСТРАЦИИ COMMUNICATIONS. REGISTRATION LICENSE SMI PI № FS77-34893 СМИ ПИ № ФС77–34893 ОТ 29 ДЕКАБРЯ 2008 ГОДА OF DECEMBER 29TH, 2008 АДРЕС РЕДАКЦИИ: 127055, УЛ. ТИХВИНСКАЯ, 10 EDITORIAL BOARD ADDRESS: 127055, MOSCOW, TIKHVINSKAYA STR., 10 ТЕЛЕФОНЫ РЕДАКЦИИ: +7 (499) 978-26-38, +7 (499) 978-28-52 PHONES: +7 (499) 978 2638, +7 (499) 978 2852 ФАКС: +7 (499) 978-29-70 FAX: +7 (499) 978 2970 ЭЛЕКТРОННАЯ ПОЧТА: [email protected] E-MAIL: [email protected] НА ОБЛОЖКЕ : СЦЕНА ИЗ СПЕКТАКЛЯ COVER: “THE ANIMALS AND CHILDREN «ЖИВОТНЫЕ И ДЕТИ ЗАНИМАЮТ УЛИЦЫ». TOOK TO THE STREETS”. 1927 (LONDON, GREAT BRITAIN) 1927 (LONDON, GREAT BRITAIN) ФОТОГРАФИИ ПРЕДОСТАВЛЕНЫ ОТДЕЛОМ ПО СВЯЗЯМ С PHOTOS ARE PROVIDED BY ОБЩЕСТВЕННОСТЬЮ ГЦТМ ИМЕНИ А.А.БАХРУШИНА, PR DEPARTMENT OF A.A.BAKHRUSHIN THEATRE MUSEUM, PRESS ПРЕСС-СЛУЖБАМИ ЧЕХОВСКОГО ФЕСТИВАЛЯ, ОРЕНБУРГСКОГО SERVICES OF CHEKHOV THEATRE FESTIVAL, ORENBURG DRAMA THEATRE ДРАМАТИЧЕСКОГО ТЕАТРА ИМЕНИ М.ГОРЬКОГО, СЛОВЕНСКИМ NAMED AFTER M.GORKY, SLOVENIAN CENTRE OF ITI, “DOCTOR- ЦЕНТРОМ МИТ, БЛАГОТВОРИТЕЛЬНОЙ ОРГАНИЗАЦИЕЙ «ДОКТОР- CLOWN” CHARITABLE ORGANIZATION, THE CENTRE КЛОУН», ЦЕНТРОМ ДРАМАТУРГИИ И РЕЖИССУРЫ, НАТАЛЬЕЙ OF DRAMA AND STAGE DIRECTION, NATALYA VOROZHBIT, ВОРОЖБИТ, ЛЕОНИДОМ БУРМИСТРОВЫМ LEONID BURMISTROV ГЛАВНЫЙ РЕДАКТОР: АЛЬФИРА АРСЛАНОВА EDITOR-IN-CHIEF: ALFIRA ARSLANOVA ЗАМ. -
Faculty Seminar to Russia, Kazakhstan, Kyrgyzstan
Report: Faculty Seminar to Russia, Kazakhstan, Kyrgyzstan Margaret Denton Department of Art and Art History August 5, 2009 My written notes are punctuated with small drawings. For the most part they are of buildings, details of interiors, statues, and works of art. A few are of people we met, but the mobility of humans made them difficult subjects. The drawings are really sketches made quickly, often while standing. What purpose did doing them serve? First of all, the process of sketching helped me to be attentive to my surroundings. Secondly, it enabled me to be actively engaged with new stimuli. In this report these sketches serve as clusters around which my impressions and thoughts are gathered. Portrait of Peter the Great by Mihail Chemiakin, bronze, 1991, St. Petersburg. The large statue of a seated Peter is located within the walls of the Peter and Paul fortress, the physical birth- place of the city. There is something oddly grotesque about the statue. The small head fits uncomfortably on the oversized, angular body. Perhaps the artist’s view of his country’s history was shaped by his non-conformist attitudes, which led to his exile from the Soviet Union in 1971. How the Russians negotiate their past is what impressed me the most during this part of our trip. This manifests itself in physical ways, for example, the luxury cars that are parked in front of restaurants and bars, and in symbolic ways, as in the inclusion of the Romanov family in the Peter and Paul Cathedral. More intangible than these examples is the way in which Russians declare the Soviet era a thing of the past and yet retain certain aspects of its system, most notably corruption. -
Shapiro Auctions
Shapiro Auctions RUSSIAN + INTERNATIONAL ART & ANTIQUES Saturday - June 7, 2014 RUSSIAN + INTERNATIONAL ART & ANTIQUES 1: GUSTAV KLIMT (AUSTRIAN 1862-1918), Gustav Klimt. USD 3,000 - 5,000 GUSTAV KLIMT (AUSTRIAN 1862-1918), Gustav Klimt. Funfundzwanzig Handzeichnungen. [Gustav Klimt. Twenty-Five Hand Drawings]. 25 collotype plates, average size 510x330 mm; 20 1/8 x 13 inches, image, tipped to window mounts. Folio, plates and folded folio leaf containing title, plate list, and colophon laid into publisher's boards with cover title. Spine and flaps reinforced with linen. Printed by Max Jaffé. Number 275 of 500 copies. Vienna: Gilhofer & Ranschburg, (1919). Complete as published., 2: EGON SCHIELE (AUSTRIAN 1890-1918), Zeichnungen: Egon USD 7,000 - 9,000 EGON SCHIELE (AUSTRIAN 1890-1918), Zeichnungen: Egon Schiele. 12 Blatter in Originalgrosse. [Drawings: Egon Schiele. 12 Plates in Original Size] 12 Heliotype plates, of which 11 are original and 1 (plate VII) is a facsimile. Average size of plates: 475x310mm (18 3/4 x 12 1/4 in.). The title page HANDSIGNED, DATED AND NUMBERED BY EGON SCHIELE. Folio, introduction plate, and title page containting title, plate list, and colophone laid into publisher's boards with cover illustrated with Schiele's self-portrait . Printed by Max Jaffé. number 245 of 400 copies. Vienna: Buchhandlung Richard Lanyi, 1917. This very rare portfolio was printed in 1917 by Max Jaffe under Schiele's supervision, one year before Schiele's death in 1917. The printing plates and negatives were destroyed after printing to ensure that the printing would stay unique. The inside cover of the portfolio bears an ex-libris sticker from Helene Goldstern. -
The History of Russian Ballet
Pet’ko Ludmyla, Ph.D., Associate Professor, Dragomanov National Pedagogical University Savina Kateryna Dragomanov National Pedagogical University Institute of Arts, student THE HISTORY OF RUSSIAN BALLET Петько Людмила к.пед.н., доцент НПУ имени М.П.Драгоманова (Украина, г.Киев) Савина Екатерина Национальный педагогический университет имени М.П.Драгоманова (Украина, г.Киев), Інститут искусствб студентка Annotation This article is devoted to describing of history of Russian ballet. The aim of the article is to provide the reader some materials on developing of ballet in Russia, its influence on the development of ballet schools in the world and its leading role in the world ballet art. The authors characterize the main periods of history of Russian ballet and its famous representatives. Key words: Russian ballet, choreographers, dancers, classical ballet, ballet techniques. 1. Introduction. Russian ballet is a form of ballet characteristic of or originating from Russia. In the early 19th century, the theatres were opened up to anyone who could afford a ticket. There was a seating section called a rayok, or «paradise gallery», which consisted of simple wooden benches. This allowed non- wealthy people access to the ballet, because tickets in this section were inexpensive. It is considered one of the most rigorous dance schools and it came to Russia from France. The specific cultural traits of this country allowed to this technique to evolve very fast reach his most perfect state of beauty and performing [4; 22]. II. The aim of work is to investigate theoretical material and to study ballet works on this theme. To achieve the aim we have defined such tasks: 1. -
The Institute of Modern Russian Culture
THE INSTITUTE OF MODERN RUSSIAN CULTURE AT BLUE LAGOON NEWSLETTER No. 69, February, 2015 IMRC, Mail Code 4353, USC, Los Angeles, Ca. 90089-4353, USA Tel.: (213) 740-2735 Fax: (213) 740-8550; E: [email protected] website: http://www.usc.edu./dept/LAS/IMRC STATUS This is the sixty-ninth biannual Newsletter of the IMRC and follows the last issue which appeared in August of last year. The information presented here relates primarily to events connected with the IMRC during the fall and winter of 2014. For the benefit of new readers, data on the present structure of the IMRC are given on the last page of this issue. IMRC Newsletters for 1979-2013 are available electronically and can be requested via e-mail at [email protected]. A full run can be supplied on a CD disc (containing a searchable version in Microsoft Word) at a cost of $25.00, shipping included (add $5.00 for overseas airmail). RUSSIA. Instead of the customary editorial note, we are pleased to publish this nostalgic reminiscence by Alexander Zholkovsky, professor of Slavic languages and literatures at the University of Southern California, Los Angeles. The Gift I'm not very good at giving presents. Nobody taught me to do this at an early age and I still don't know how to. Taking along a bottle of wine or, worst case scenario, a box of chocolates for the hostess, not to mention presenting colleagues with copies of my books, well, that's not a problem. But offering bouquets of flowers or perfumes to ladies of the heart, well, I could count such cases on one hand alone and, in any case, such affairs do bear an increasingly foreign fragrance. -
Ballet, Culture and Elite in the Soviet Union on Agrippina Vaganova’S Ideas, Teaching Methods, and Legacy
Ballet, culture and elite in the Soviet Union On Agrippina Vaganova’s Ideas, Teaching Methods, and Legacy Magdalena L. Midtgaard Magdalena Midtgaard VT 2016 Examensarbete, 15 hp Master program, Idéhistoria 120 hp Balett, kultur och elit i Sovjetunionen Om Agrippina Vaganovas idéer, undervisningsmetoder och arv Magdalena Midtgaard vt. 2016 Abstract. Balettutbildning har varit auktoritär och elitistisk i århundraden. Med utgångspunkt i Agrippina Vaganova och hennes metodiska systematisering av balettundervisning diskuteras frågor om elit, lärande och tradition inom balettundervisning. Vaganova var en länk mellan tsartidens Ryssland och det nya Sovjet och bidrog aktivt till att balett som konstform, trots sin aristokratiska bakgrund, fördes vidare och blev en viktig kulturpolitiskt aktivitet i Sovjet. Med underlag i texter av Bourdieu och Said diskuteras elit, kulturellt kapital och elitutbildning för att förklara några av de politiska och samhällsmässiga mekanismer som bidragit till balettens unika position i Sovjet. För att placera Vaganova som pedagog i förhållande till balettundervisning och balett genom tiden, presenteras korta informativa kapitel om baletthistoria, och utveckling och spridning av Vaganovas metod, både i Sovjet/Ryssland och i andra länder. Key words: Classical ballet, Vaganova, ballet education, elite education, cultural politics in the Soviet Union My sincere thanks to Sharon Clark Chang for proof reading and correcting my English, and to Louise Midtgaard and Sofia Linnea Berglund for valuable thoughts on Vaganova and ballet pedagogy and education in general. 2 Contents 1. Introduction p. 5 1.1 Sources and method p. 6 1.2 Theoretical perspectives on elite culture p. 7 2. Background p. 8 2.1 A short history of ballet p. -
The Neocommunist Manifesto
FAMOUS – BUT NO CHILDREN FAMOUS – BUT NO CHILDREN J O RABER Algora Publishing New York © 2014 by Algora Publishing. All Rights Reserved www.algora.com No portion of this book (beyond what is permitted by Sections 107 or 108 of the United States Copyright Act of 1976) may be reproduced by any process, stored in a retrieval system, or transmitted in any form, or by any means, without the express written permission of the publisher. Library of Congress Cataloging-in-Publication Data — Raber, J. O. Famous, but no children / J.O. Raber. pages cm Includes bibliographical references. ISBN 978-1-62894-042-8 (soft cover: alk. paper) — ISBN 978-1-62894-043- 5 (hard cover: alk. paper) — ISBN 978-1-62894-044-2 (e) 1. Childfree choice. 2. Men. 3. Women. I. Title. HQ734.R117 2014 306.87—dc23 2014001045 Printed in the United States TABLE OF CONTENTS INTRODUCTION 1 Author’s note 4 CHAPTER 1. TO BEAR OR NOT TO BEAR: THAT IS THE QUESTION 5 CHAPTER 2. DON’T THEY LIKE CHILDREN? 13 The Ann Landers Survey 18 If You Had It To Do Over Again—Would You Have Children? 18 CHAPTER 3. QUESTIONS AND ANSWERS 25 CHAPTER 4. THE PROCREATION – I.Q. CONNECTION 33 CHAPTER 5. CHILD-FREE AND THE PROFESSIONS 37 Actors/Actresses: 38 Adventurers (explorers, daring risk takers) who did not sire/bear children 39 Architects who did not sire/bear children 40 Artists who did not sire/bear children 40 Cartoonists who did not sire/bear children 42 Champion Athletes who did not sire/bear children 42 Comedians who did not sire/bear children 44 ix Famous — But No Children Dancers/Choreographers -
The Institute of Modern Russian Culture at Blue Lagoon
THE INSTITUTE OF MODERN RUSSIAN CULTURE AT BLUE LAGOON NEWSLETTER No. 77, February, 2019 IMRC, Mail Code 4353, USC, Los Angeles, Ca, 90089-4353 USA Tel. : (213) 740-2735 Fax: 740-8550 E: [email protected] website: https://dornsife.usc.edu/sll/imrc STATUS This is the seventy-seventh biannual Newsletter of the IMRC and follows the last issue which appeared in August, 2018. The information presented here relates primarily to events connected with the IMRC during the spring and summer of 2018. For the benefit of new readers, data on the present structure of the IMRC are given on the last page of this issue. IMRC Newsletters for 1979-2018 are available electronically and can be requested via e-mail at [email protected]. All IMRC newsletters are available on University of Cincinnatii's institutional repository, Scholar@UC (https://scholar.uc.edu). RUSSIA: Оurs is the Victory One of the most prominent leit-motifs in everyday Moscow life is the word, concept, and metaphor of “victory” (pobeda) and its analogy “triumph”. Of course, Moscow has engineered many conquests, from the rout of Napoleon in 1812 to the rout of Hitler in 1943, but, even so, the persistence and application of “victory” is so striking that its continued omnipresence might well inspire the following scenario: After arriving on Victory Airlines on 9 May (Victory Day), I checked into the Hotel Victory not far from the Victory of Taste Supermarket adjacent to Triumphal Street downtown. Taking a Victory ‘Bus to the nearby Victory Café, I ordered a Victory Salad and a slice of Victory Cake out of their Victory refrigerator. -
World-History-Timeline.Pdf
HISTORY TIMELINE WORLD HISTORY TIMELINE FROM ANCIENT HISTORY TO 21ST CENTURY COPYRIGHT © 2010 - www.ithappened.info Table of Contents Ancient history .................................................................................................................................... 4 100,000 to 800 BC...........................................................................................................................4 800 BC to 300 BC............................................................................................................................5 300 BC to 1 BC................................................................................................................................6 1 AD to 249 AD............................................................................................................................... 8 249 AD to 476 AD .......................................................................................................................... 9 Middle Ages .......................................................................................................................................11 476 AD to 649 AD......................................................................................................................... 11 650 AD to 849 AD ........................................................................................................................ 12 850 AD to 999 AD........................................................................................................................ -
Ted Braun Edited Interview 4-3-15
Ted Braun Edited Interview 4-3-15 Speaker key JP Jonathan Pitches EB Edward Braun JP As you know I've got the job of writing a short introduction to a new edition of Meyerhold on Theatre, and I don't want to mess with any of the material that you so expertly put together, so the introduction is going to sit outside and try and comment on the way in which you've organised things. So I wanted to go right back, really, and find out, in the first instance, what was the publishing landscape like in 1964 when you were first beginning to stumble across this area and what led you to Methuen ultimately? 00:00:39 EB Well Methuen was the obvious choice. I mean Methuen dominated the field of drama publishing and continued to do so for many years after that. I mean there were other publishers in the field, principally relating to individual dramatists. So, you know, Faber had a small stable, MacMillan in due course launched their series of dramatists. CUP published a certain amount. Calder more or less cornered the market when it came to Artaud and that kind of theatre, but Methuen was really dominant, and that was due to the influence of two men, quite specifically. The one was John Cullen who was the managing editor. And John had a French wife and spoke fluent French. And had a significant background in French theatre and his Drama editor was Geoffrey Strong. Geoffrey, like myself, had done the service’s Russian course, so he had decent Russian. -
Mihail Chemiakin
Mihail Chemiakin Mihail Chemiakin was born in Moscow in 1943, grew up in occupied East Germany, where his father was a governor of several towns. He returned to Russia in 1957 where he was admitted to the Special High School of the Repin Academy of Art in Leningrad. He was expelled from art school for failing to conform to Socialist Realist norms, and from 1959- 1971 worked as a labourer in various capacities. He was subjected to compulsory treatment at a mental institution, which was a standard way of dealing with ideological dissidents at that time. For five years he worked on the maintenance crew of the Hermitage Museum. In 1967, the artist founded the St. Petersburg Group and developed the philosophy of Metaphysical Synthesism, dedicated to the creation of a new form of icon painting based on the study of religious art of all ages and peoples. He had six exhibitions in USSR; all of them were arrested and lasted only 2 days. In 1971 Chemiakin was forced out of the USSR by the Soviet authorities. He settled first in France, then moved to New York City in 1981. While in Paris he edited and published Apollon-77, an almanach of post-Stalinist art, poetry and photography in which many of the “non-conformists” were first published. Chemiakin also recorded and published the first disks of gypsy singers Vladimir Poliakoff and Aliocha Dmitrievich, both of whom lived in Paris. He worked for several years with Russian bard Vladimir Vysotsky, systematically recording his songs for what became a seven-record set of Vysotsky's music. -
Shapiro Auctions
Shapiro Auctions RUSSIAN AND INTERNATIONAL ART AND ANTIQUES Saturday - May 18, 2013 RUSSIAN AND INTERNATIONAL ART AND ANTIQUES 1: RUSSIAN ICON OF SPAS OPLECHNII 18TH CENTURY USD 1,800 - 2,200 A RUSSIAN ICON OF SPAS OPLECHNII, 18th C., Egg tempera and gesso on wood panel with a kovcheg. Two insert splints on the back. 31.5 x 26.2 cm. (12 3/8 x 10 1/4 in.) PROVENANCE: Purchased by the Mother of the current owner in Russia during the 1920s; thence by descent in Family Collection. LOT NOTES: During the late 1920s, shortly after the Russian Revolution, two young New York society women, sisters Adelaide and Helen Hooker secretly traveled to Russia “out of curiosity and cussedness.” Unbeknownst to their father, the president of the American Defense Society, they spent over six months in snowy Russia, pursuing adventure in Moscow, Leningrad, Vladimir, Novgorod, and Suzdal among other cities. Searching for a glimpse of “Old Russia,” the women sought-out ancient churches and monasteries, just as they were being taken over by the government and converted to Anti-Religious museums. This icon was among those that Adelaide and Helen Hooker purchased from these establishments and brought to the United States, in effect saving them from becoming victims of iconoclasm. In the States, the icons were kept in esteemed family collections. One of the sisters would go on to marry the IRA officer Ernie O'Malley, the other the writer John P. Marquand. Their youngest sister, Blanchette, went on to marry John D. Rockefeller III, and would become a major benefactor of the Museum of Modern Art, where she served as president from 1972 to 1985.