Maya Plisetskaya. Part 2. Two Worlds, Two Dances

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Maya Plisetskaya. Part 2. Two Worlds, Two Dances
Maya Plisetskaya. Part 2. Two Worlds, Two Dances

Video: Maya Plisetskaya. Part 2. Two Worlds, Two Dances

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Video: Maya Plisetskaya Dances Ballet Documentary 1964 2023, January
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Maya Plisetskaya. Part 2. Two worlds, two dances

In her books and numerous interviews, Maya Plisetskaya speaks sharply negatively about Stalin's times, she had to go through too much. But it should be remembered that it is thanks to Stalin and his entourage that Soviet ballet will become the hallmark of the USSR, and its artists will acquire a special caste and privilege …

Part 1. From Dying Swan to Firebird

“When people have power, they do not always use it for good purposes”

Maya Plisetskaya.

A lot of grief fell to her lot. At the age of 11, Maya and her six-year-old brother were left orphans. The father was arrested, the mother, as the wife of an enemy of the people, ended up in KARLAG. There were a good half of such orphans in the choreographic school.

The girl was taken to her by Sulamith Messerer - aunt Plisetskaya, the soloist of the Bolshoi Ballet, and brother Alik was taken into the family by Uncle Asaf, also a ballet dancer and partner of Sulamith.

Every week NKVD officers came for Maya to take her to the orphanage. Then Shulamith adopted a niece. Plisetskaya wrote that the demanding aunt more than once reminded the girl who saved her from the orphanage, and it happened that she humiliated Maya, who was acutely urethral about it.

In order not to think about her aunt, expecting gratitude from her, and not to worry about the fate of her parents, Maya plunged into ballet. Gathering her strength, the girl continued her rehearsals and studies. Constant employment in the dance class, endless performances at children's matinees tempered the character of the little ballerina. In 1941, Maya and Alik's mother returned from the camp with another son in her arms.

There was a war tomorrow

Tomorrow was the war, and today on the stage of the branch of the State Academic Bolshoi Theater the graduation concert of the choreographic school took place. Maya Plisetskaya danced among the best high school students.

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In 1941, the family of Maya Mikhailovna was evacuated to Sverdlovsk. On the way, it turned out that the Bolshoi Theater ballet had been sent to Kuibyshev. Finding no use in the Urals, Maya escapes to Moscow to continue her studies at the Moscow Choreographic School. After graduating from college in 1943, she was accepted into the ballet staff of the Bolshoi Theater.

20 years without the right to leave

In her books and numerous interviews, Maya Plisetskaya speaks sharply negatively about Stalin's times, she had to go through too much. But it should be remembered that it is thanks to Stalin and his entourage that Soviet ballet will become the hallmark of the USSR, and its artists will acquire a special caste and privilege.

“She was born the most weightless. In the world of heavy, stupid objects,”Andrei Voznesensky will say about Plisetskaya. The ballerina will also write in her books about “stupid” and “heavy subjects” - not too smart and educated, such as some of the Soviet special services officers sent to look after Soviet artists on foreign tours.

The absolutely independent Maya Mikhailovna amazed the “KGB officers” with her uncontrollability, day and night never taking their eyes off her.

It was one of them in 1966, on the instructions of the KGB, on a tour in America, would push Plisetskaya to "get to know" the US Secretary of Justice Bob Kennedy. The acquaintance will take place, but not close, although the prima ballerina of the Bolshoi Theater will receive expensive gifts from Kennedy. Later, Maya will see through Bob's plans: there was no more sincerity in the minister's gifts than a desire to lose his precious time with a Soviet ballerina in a car stuck in a New York traffic jam.

The skin world with all its external and internal content is aimed at selling, and it is possible to make a profitable deal only through advertising. The world ballet star, which by that time was Maya Plisetskaya, was quite suitable for the advertising campaign of Robert Kennedy, who was not shy about any PR.

Provocation of the White House

Even during Plisetskaya's first visit to the United States, during her visit to the White House, the owner of which was John F. Kennedy, the restless skin-visual Jacqueline Kennedy, the first lady of America, who supported her husband-president in everything, did not hesitate to offer Maya a check with six zeros for the decision ballerinas stay in the States.

Representatives of the pragmatic West perceive the whole world through their own skin "benefit-benefit". Jacqueline's efforts to arrange the escape of Plisetskaya and thereby provoke an international scandal around the name of the Soviet ballerina failed.

The President, counting on Maya Mikhailovna's greed through the properties of her own skin vector, did not take into account the peculiarities of the dancer's urethral character. Bribe the urethral with money? It's ridiculous to count on it. In addition, Maya was held by the emotional ties that connected her with Moscow. Shchedrin remained at home.

Her husband gave her not diamonds, but ballets

He waited for her from the tour, counted the days - crossed them out on the calendar to know how much time was left before her return. Maya, like an absolutely unadapted child, was led by Rodion Konstantinovich. Shchedrin wrote ballets for her, defended her from the attacks of enemies, remaining, probably, the only person whose opinion she listened to, changing the usual rule - to do everything her own way.

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And also in the field of ballet, we are ahead of the rest

“The urethral girl replaces the urethral leader where he is not there,” says Yuri Burlan at his lectures. In such an ephemeral, illusory art like ballet, there are not a lot of leaders. Skin leadership and skin ambition reign there. In a way, Maya Plisetskaya also became a leader, raising Soviet ballet to the highest level of elite culture not only in the USSR, but also in the West.

Colleagues in the shop more than once plotted against Maya Mikhailovna. But, as is known from system-vector psychology, the urethral person "does not notice" the skin, continuing to do what is more important for him.

During the period allotted to the ballerina, Plisetskaya danced the entire repertoire of the Bolshoi Theater. Skin-visual dancers leave the stage at the age of 40, remaining at the theater in ballet-master or administrative positions.

Plisetskaya, despite her age, was not going to leave, but she didn’t want to dance giselles either, Raymond and Odette-Odile any more. In creative terms, she has long outgrown the images of these gentle airy creatures. When a urethral person has a growing shortage of "bestowal", upsetting his natural psychological balance, he, like any other person, seeks to fill his emptiness.

Maya Mikhailovna was not interested in the traditional ways to such content through the ballet master's work. She wanted to dance herself, not teach others. I had to look for new opportunities for myself. Her husband-composer came to the rescue. Together they expanded the repertoire of world ballet, bringing new artistic images and fresh dramatic collisions to it.

Maya's bright powerful temperament distinguished her from all previous examples of the Bolshoi Theater. Brilliant skin-visual Galina Ulanova was romantic, airy, unprotected. Plisetskaya burst into the big ballet like a hurricane. The power of her pressure conquered everyone at once. As she led the scene, developing the plot laid in her, everything else around faded.

Her Carmen tempted, seduced, intoxicated with her pheromones, mocking the weakness of men who were ready to open all the prison doors to her. The smell of will, freedom, independence came from the urethral gypsy, which was danced by the urethral Maya Plisetskaya. She was drunk and crazy. Just as the urethral Sonya-Golden Pen was deprived of the mind of its guards, and they, not understanding what was happening to them, arranged for her to escape.

Two worlds, two dances

If Galina Sergeevna Ulanova, a follower of musical traditions in ballet, took the innovation of composers hard, Maya easily coped with the classics and easily danced modern.

Ulanova danced love, Plisetskaya danced passion. Having danced all the ballet classics at the Bolshoi, Maya herself admitted that she never succeeded in creating her own image of Giselle. No wonder. The inconsolable anal-visual Giselle is not interesting to the urethral woman to dance, the role is too inexpressive. Maya give character, passion, temperament.

Plisetskaya broke traditions, destroyed ballet stereotypes, created new interpretations of prototypes, most of which were imposed on the imperial Russian ballet by Western skin ballet masters.

The West always tries to reveal Russia through itself, through its vision of the world, and when the irrepressible Russian soul does not fit into the skin standard, it, having failed to cope with the task, declares it “mysterious”.

The king is played by the retinue

A leader without a pack is not a leader, a king without his people is not a king. Even being born at the end of the world in a simple family, the urethral is able to realize the properties of a leader given to him by nature. The urethral-cuto-visual Maya rose to the very top of the ballet hierarchy and was surrounded by musicians, poets, artists and fashion designers. They were happy to serve their queen.

Rodion Shchedrin, Plisetskaya's husband, filled his sound-visual lack when he wrote ballets for her. Both of them, in love with each other and with Russian classical literature, created on the ballet stage "Anna Karenina", "The Seagull", "The Little Humpbacked Horse", "Lady with a Dog".

Pierre Cardin, the famous French fashion designer, found his Muse in Maya Plisetskaya, filling his own creative void. The modern fashion designer, thanks to the ballerina, discovered the world of classical ballet costume, the styles of the era of Tolstoy, Chekhov, Turgenev, the beauty and passion of the Russian character.

Stage costumes for the heroines of Maya were not limited to. In life, Plisetskaya was also dressed by Cardin. It is true, the queen must have her own anal-visual couturier, for that she is the queen.

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Who, other than Pierre Cardin, was able to see the special structure of the figure, arms, face and neck of a ballerina, and then emphasize them with high collars and bell sleeves? Perhaps Cardin was the first to discern in the appearance of Maya Plisetskaya a resemblance to the female portraits of Modigliani.

Andrei Voznesensky sang her in poetry and poems, and Plisetskaya posed for Marc Chagall, inspiring him to create a panel at the Metropolitan Opera in New York. Great choreographers Alberto Alonso, Yuri Grigorovich, Maurice Bejart staged new ballets for Maya Mikhailovna.

For researchers of ballet, the secret of Plisetskaya's creative longevity still remains unsolved. It was a whim of nature, a sacred secret, which was easily revealed by the system-vector psychology, having identified in Maya Mikhailovna a rare natural set of vectors.

The realization of the ballerina's talent allowed Maya Plisetskaya to rightfully take first place among ballet dancers and shine with inspiration on the Theater Olympus for many decades, giving all fans joy and pleasure from contact with unique creativity.

You can understand more deeply what attracts people so much to a personality with a urethral-skin-visual vector set, including creativity, personal life, and any other manifestations of such a person, at the training on System-Vector Psychology by Yuri Burlan. Registration for free online lectures at the link:

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