Maya Plisetskaya. Part 1. From Dying Swan to Firebird
Grumant City - the appealing name of the second city on the island after Barentsburg, delighted the girl so much that one day she dared to go there on skis …
“Don't humble yourself, don't humble yourself to the very brink.
Even totalitarian regimes retreated, it happened, before obsession, conviction, persistence.
My victories only kept on that"
Maya Plisetskaya
The red-haired girl, who was not even a year old, firmly held onto the back of the crib and did her first stretches to the beat of the nanny's voice, exercising her muscles. Soon the legs became so strong that they were ready to carry a small urethral body on tiptoes along the corridor of grandfather's huge apartment. The toes of the boots were constantly knocked down. The future ballerina, not knowing fatigue, ran from infancy on high half-toes.
“The child must be adapted in the team,” the parents decided and sent Maya to kindergarten. The urethral girl is not by nature to obey the general regime and pressure of nannies with educators. Once, after a walk in the kindergarten group, Maya was missing. Without asking anyone's permission, she just went home.
A child with a urethral vector, like an adult, makes decisions on his own and acts as his own nature tells him. Getting under the pressure of external pressure, the mental urethral is focused on the desire to escape from this oppression. The inner state, unable to obey, pushes the physical body out into the open, out into the street, beyond the boundaries of the hated barriers and walls.
Life in Svalbard
In the early 1930s, Maya's father was appointed consul general and head of the coal mines in Spitsbergen. To get there, you had to travel half of Europe, sail for two weeks on a steamer. The Arctic region met Maya with a short, bright summer, easily turning into long snowy winters, a polar night of six months and the northern lights.
Grumant City - the appealing name of the second city on the island after Barentsburg, delighted the girl so much that one day she dared to go there on skis. A urethral baby gives parents a lot of trouble. He is not familiar with the feeling of fear, he boldly rushes into any abyss of events, often at the risk of his life.
Parents did not know about this journey, and who could have forbidden the little urethral to expand the geographical boundaries of her children's world. Upon learning of the disappearance of her daughter, her mother, who worked as a telephone operator in Svalbard, managed to quickly raise the alarm. Skiers came to the rescue with a rescue dog.
The traveler, tired of the long journey, sat down to rest and fell asleep under the snowdrift that covered her. If it were not for the dog Yak, trained to find people, Maya would have met the fate of the heroine of Andersen's fairy tale "Girl with matches". The dog pulled the sleeping child out of the snowdrift and dragged him by the collar to the people.
Daddy's principles
The Plisetskikh family, despite the position of the head of mines and consul held by their father, always lived modestly. Furniture and all the necessary household utensils in the apartment were state-owned.
Then, 70 years later, a famous ballerina, who lives in Munich from time to time, will explain to annoying journalists who are ready to make a sensation out of every little thing that they have a rented apartment with Shchedrin, and there is not a single tablecloth, cup or spoon in it that belonged to to them. The urethral is not engaged in hoarding, does not go to auctions, does not buy antiques and jewelry. They are simply presented to him according to the ranking.
Once, before Christmas, the Norwegians sent the Russian consul Mikhail Emmanuilovich Plisetskiy a whole box of oranges as a gift. Without letting his wife recover, Maya's dad ordered to take the package to the miner's cafeteria and distribute oranges to all the children. Mom did not dare to object, although she knew that her daughter and she herself needed vitamins.
In the summer of 1934, after a two-year business trip to Spitsbergen, the Plisetskys returned to Moscow. The path again lay through Berlin, which struck little Maya with the cleanliness of the sidewalks, washed with brushes and soapy water, the motley of standards with the fascist swastika, well-groomed ladies in trouser-skirts fashioned by Marlene Dietrich.
Brilliant, semi-airy …
On Svalbard, Maya was successful for the first time and felt an irresistible desire to continue performing on stage. After hard work, miners found time for amateur performances, adults and children played in amateur performances. Since then, the girl harassed her parents with her acting and dancing, and a small apartment became her first stage and a rehearsal room.
After returning to Moscow, the main concern of the family was the determination of their daughter to the Moscow Choreographic School. The competition was small.
Valery Chkalov, the Stakhanovites and the Chelyuskin heroes were an example for boys and girls in the mid-30s. Everyone dreamed of soaring skyward as Stalin's falcons and drifting at the North Pole, and certainly not dancing on the stage of the Bolshoi or Kirov theaters.
The country was completing its first five-year plan, and ballet was considered an old-regime anachronism. It was later, in the 60s, thanks to the Soviet ballerina Maya Plisetskaya, our ballet would be “ahead of the rest of the planet”, and so far it was of little interest to the leadership of the USSR and all the people, whose thoughts were aimed at the industrialization of the country.
Urethra with skin out of tune
Flexible and rhythmic in skin, swift and hardy in urethral fashion, seven-year-old Maya struck examiners with her graceful curtsy. Throughout her creative life, Maya Mikhailovna suffered from the fact that she did not receive a real ballet school at the choreographic school.
This basic lack of a dancer made her even more demanding about herself and her work: “All my life I was eaten by the longing for a professional classical school, which I had not really been taught since childhood. I knew something, spied on something, got to something with my mind, listened to advice, stuffed bumps. And all in fits and starts, from case to case”[M. Plisetskaya "I, Maya Plisetskaya …"].
The properties of the skin vector forced the ballerina to discipline and many hours of training, and the urethral pulled to drop everything and run away from the stuffy dance class and from the sidelong glances of fellow practitioners.
“It is impossible to force a person with a urethral vector to submit to discipline,” Yuri Burlan says at lectures on systemic vector psychology. For Maya, any ballet training ended with the fact that she ran away from him.
She always wanted to dance, and not work out ballet steps at the barre, bringing them to automatism to the detriment of the emotional beginning. For the visual vector of a ballerina, artistry, and it does not exist without emotions, has always been in the first place.
The famous Agrippina Vaganova, choreographer and teacher, with whom Plisetskaya had a chance to work for several months, nicknamed Maya "the red crow". “Red because her hair was red, and black because Plisetskaya’s student was inattentive and did not know how to concentrate well” [M. Baganov "Maya Plisetskaya"].
Vaganova, noting Maya's natural abilities, invited her to Leningrad. She promised to stage the ballet "Swan Lake" with her "in such a way that the devil would be sick." Plisetskaya refused. The "provincial" stage of the Mariinsky was not on the same scale. Agrippina Vaganova did not offer anything new, and Maya could dance classics on the Bolshoi stage.
The internal conflict between the urethral and skin vectors of the ballerina never stopped, but Maya Mikhailovna managed to control her own states, where the dominant urethra remained the invariable winner.
From Dying Swan to Firebird
Whatever difficult historical stages the USSR went through, the country has always paid great attention to the upbringing of children and adolescents. Boys and girls were brought up not only on ideological and heroic examples, classical art always went alongside, instilling cultural values in the younger generation.
The country held many activities for children, in which the children themselves took part. In music schools, ballet schools, art studios, folk theaters, creative teams and hobby groups, children and adolescents received their first professional skills. Maya's performances at children's matinees and concerts determined her future ballet destiny.
“Who told you that I am fond of ballet? - Maya Plisetskaya once answered the question of what else besides ballet you are fond of. “This is my job, for which I receive money. I'm not such a ballet dancer, I like sculpture more …"
Plisetskaya, who has lived a long and successful life in ballet, was often asked: "Why didn't she create her own school?" The urethral person always rushes forward "for the flags", he has no time to mess with students, and there is no desire to methodically transfer his skills and experience to others. His psychic is not adapted to long-term monotonous work. It is not at all in the nature of the urethral person to engage in pedagogical activity, to transmit information to the future. In general, the urethral in ballet is a rare, even unique phenomenon.
As a rule, ballet dancers are people with the optic cutaneous ligament. Discipline is so dear to the leatherworker that he is ready to work all day long, training his own body in order to once go on stage and "unscrew" the prescribed number of pirouettes or take a jump equal to Nureyev's "flight".
In the "skin" ballet, the technique, the ability to control one's body, admires, but there is no soul or that which Maya Mikhailovna has always appreciated - artistry. Artistry is the attitude to what you are dancing: dramatic image, character, role.
To learn to dance like Maya Plisetskaya, you need to be born a ballerina with an urethral vector. She did not have her own technique of performance, her dance is an improvisation within the framework of a given theme, agreed upon with the choreographer and partners. It is impossible to repeat the improvisation, it always comes from within the performer, based on his emotions, mental state and inspiration.
The developed properties of the visual vector of the unique ballerina helped to grasp the most subtle nuances when observing birds, and then accurately and recognizably express their features in the dance. This is how the images of the Swan, the Seagull, and the Firebird were born.
The viewer comes to the theater to fill his own emptiness and balance the emotional state due to the acting output. Dance is a special kind of art, without words capable of expressing the inner state of a character, evoking a flurry of emotions in the viewer, which he returns with applause, which, in turn, fills the actor's vacuum. The complex psychological states of a person on the stage and in the hall are so simply explained.
You can learn more about the rare combination of urethral, cutaneous and visual vectors in a person at the training on Systemic Vector Psychology by Yuri Burlan. Registration for free online lectures at the link:
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