The card that stole the show

Share on facebook
Share on twitter
Share on pinterest
Share on tumblr
Share on vk

The Card that Stole the Show

I was looking for a memorable card to gift my aunt for her birthday this year, when I came upon an unexpected surprise.

Unsuspectingly, I approached “the great wall” of cards – you know what I’m talking about! — I barely embarked on my mission when I spotted the tip of something buried within the collage that just caught my eye.

I reached for it and pulled it out… or perhaps it pulled me in.

It had a visceral effect on me at first. The image exuded a whimsical beauty interlaced with richness of detail, and an unusual time portal effect.  It took my intellect several seconds to catch up and figure out that this was exactly what I was looking for. I loved it!  And, I loved it for my aunt!

More than a card… this was a piece of art which quickly revealed to me that it was taking center stage – it in effect became the real gift.

My aunt, whom I affectionately call “N”, is a connoisseur of vintage, antique and rare art collector items, and I am inextricably connected to the world of performing arts through ballet. So this was a perfect union – the place where our worlds meet.

Part 2: The Artist

I did a tad of research on the artist, BELLA PILAR, who grew up in New York and studied fashion design at Boston’s Massachusetts College of Art and Design.

What got me right off the bat in Bella’s story is that precious milestone that all of us yearn for yet only few of us ever find: stepping into our Identity.

Bella says when she was just 9 years old, her mom began taking her to art classes, which appealed to her at once: “I immediately caught interest and quickly discovered how happy it made me.  I knew then that creating art would be a part of my life forever.”


Identity is what we see when we are connected with our qualities, our innate talents, and it’s what makes us and those around us happy.

For those of you who follow my work, you know that this topic is paramount in my writings because this is what we are all looking for, and it is what makes a blog or an article relatable to each one of us.  It is what makes Bella’s story meaningful for me.

Bella focused on her work at Papyrus (South Coast Plaza, June 2017)

For years, Bella worked as a makeup artist before her craft was discovered by an art director through an illustration she presented on her business card.

Today, Bella lives in Los Angeles and works out of her home studio.

Something else Bella said captured my attention because it shows how she sees the world:  “I love to paint other people’s visions. I feel like it’s a way of sharing my world with other people.”

It’s all about her ability to CONNECT – a most important aspect of success in any endeavor.

You can read up on Bella in a 2017 WAG magazine article and her profile on Papyrus Behind The Card.

til next time!

Share on facebook
Share on twitter
Share on pinterest
Share on tumblr
Share on vk

SOURCES
http://www.wagmag.com/bella-pilars-most-fashionable-art/
http://www.prgreetings.com/papyrus/btc-detail/bella-pilar#.XY7LLJNKiqA
photo of Bella’s card by Elena Alexandra
photo of Bella from Papyrus Air on Twitter

Midsummer Mayerling in LA

Share on facebook
Share on twitter
Share on pinterest
Share on tumblr
Share on vk

Midsummer Mayerling in LA

There are few things that can get a long-time local to make the drive into hectic downtown LA.  What got me to do it? Seeing the Royal Ballet perform their signature repertoire piece at The Music Center.

Yes, this past weekend I made the trip to Dorothy Chandler Pavilion which typically hosts the dance events at the landmark performing arts complex.

Since it was my first time visiting, I gave myself some x-tra, x-tra time to get there, and arriving with plenty to spare, I took a walk down the streets of angel city capturing the shots below.

Sir Kenneth MacMillan’s raw, unapologetic portrayal of the agonizing cage of human existence – no matter how rich and mighty you are – through the true life drama of Austro-Hungarian Crown Prince Rudolf and his teenage mistress Baroness Mary Vetsera, which ended in the couple’s successfully executed suicide plan in 1889, Mayerling did not disappoint!

But it was dance historian Elizabeth Kaye’s talk prior to the performance that took it to another level, as her talks so often do.

I have come to greatly appreciate the rare aptitude of Ms. Kaye to transport us to another space and time no matter where we are in the moment, and in so doing elevate the entire artistic experience.

enjoy the snaps & check in soon!

Share on facebook
Share on twitter
Share on pinterest
Share on tumblr
Share on vk

photo above: Elizabeth Kaye prepares to talk

Colburn Performing Arts Complex
concert on Grand Ave
view of LA's famous Angel's Flight railway
downtown LA view from 350 Grand Ave
fountain in courtyard near Colburn School
banner with LA Phil music director Gustavo Dudamel
view of courtyard with reflecting pool from Colburn School
The Music Center
"Nureyev" statue in reflection pool of Dorothy Chandler lobby
Mayerling cast & LA Phil conductor take bows after performance
Mayerling marquee at Disney Concert Hall
LA architecture
close-up of LA's famous Angel's Flight railway
long oval reflecting pool behind MOCA
The Broad contemporary art museum
The Walt Disney Concert Hall on 111 Grand Ave
The Music Center entrance... up the stairs
Dorothy Chandler Pavilion Lobby
dance talk space at Dorothy Chandler
wall art installation at upper level of Dorothy Chandler Pavilion
curtain call for Sarah Lamb in role of Mary Vetsera
MOCA: Museum of Contemporary Art
landscapes around Bunker Hill area of downtown LA
view next to Angel's Flight
MOCA Museum courtyard view
Colburn School courtyard entrance
Colburn School CAFE
The Founders wall at Dorothy Chandler
"Ballet Shoes" statue on opposite side of Nureyev statue in lobby of Dorothy Chandler
during intermission.... dance lecture hall at Dorothy Chandler
curtain call for Matthew Ball in role of Prince Rudolf

The Ballet Master.

The Ballet Master.

A look into the Tour de Force Life of Pyotr Andreyevich Gusev.

Pyotr Gusev as “Asak” and Olga Mungalova as “Solveig” as the original performers in the ballet “Ice Maiden” choreographed by Fyodor Lopukhov to music by Edvard Grieg (c. 1927)

It seems an overwhelming task to write about the unique individual whom I have studied for almost a month, a personage who is revered as a supreme authority in the high art of classical dance.

So maybe I should start out by writing about how his students and colleagues felt about him.

Pyotr Gusev as “Boris”and Tatiana Vecheslova as “Olga” in Dmitri Shostakovich’s The Bolt (1931) with choreography by Fyodor Lopukhov

Contact with him would leave a mark in the soul, in the brain.

— Celebrated Mariinsky Theatre Principal Nonna Yastrebova

Ninel Aleksandrovna Petrova (born 1924)

Our generation was very lucky, because in the very beginning of our creative journey we met such a person.  It is to him we owe our accomplishment… we worked with spirit, if only to earn his approval.

— Distinguished Mariinsky Theatre Principal Ninel Petrova

Askold Anatolievich Makarov (1925–2000)

His critique was always targeted, precise. No extensive lectures.  He had the ability to draw out of a person that, which was inherent within…

Nona Borisovna Yastrebova (1923-2012)

… This entire group (of famous dancers):  Ninel Petrova, Askold Makarov, Inna Zubkovskaya, Olga Moiseeva, Alla Osipenko – Pyotr Andreyevich made us all…

— Nonna Yastrebova

Yes, my research project into this exceptionally accomplished dancer, teacher, choreographer, artistic director and writer has taken me awhile… not only because of my translation process from Russian to English… but just to wrap my head around the sheer number of accolades garnered by this individual… to metabolize that this person has literally molded the greats of the greats, among his students the famous choreographer Leonid Yakobson and outstanding dancer Aleksey Yermolayev… and that his school buddy and close friend was none other than George Balanchine.

George Balanchine born Georgiy Melitonovich Balanchivadze (1904 –1983)
Ninel Petrova

But unless you really seep into the depth of this person’s being, unless you really look into “the man behind the mask”, so to speak, he’s just a great, faraway star, someone you can never reach.

In fact, you find out it’s quite the contrary when you begin to explore the life of Pyotr Andreyevich.

Ballet great Ninel Petrova recounts a tender experience with her beloved mentor:

“Not long before the departure (of Gusev) we were at his apartment on Rossi Street. There were blini (Russian style crepes), a wonderful meal, and it was very simple and easy for us.  He possessed an incredible talent – he was able to be as an equal.”

So let’s take a closer look at the portrait of Pyotr Andreyevich Gusev, a surprisingly approachable man who lived an extraordinary life and left us an extraordinary legacy.

Pyotr Andreyevich Gusev really does have a remarkable fate in terms of his education and life trajectory from early on — it’s as if he was made for his great role.

It is a rare bird who gets to study from the get-go at a private school with a famous ballerina of the Imperial Mariinsky Theatre, who then brings him into the St. Petersburg ballet school, where he clearly emerges as not only a talented dancer, but a gifted teacher, conducting practice classes with the younger students during his senior years at the school.

Gusev’s famous teacher, Mariinsky Theatre ballerina Olga Preobrajenska (1871–1962)

SIDEBAR

As an older student at the St. Petersburg ballet school, Gusev coached his junior peers including future choreographers Leonid Yakobson and Rostislav Zakharov as well as the future outstanding dancer Aleksey Yermolayev, who even upon becoming the premiere of the Bolshoi Theatre, continued to study with Gusev.

Galina Ulanova

He goes on to become the principal dancer with two of the world’s top-ranking theatres, dancing with partners Galina Ulanova and Maya Plisetskaya, legends in their own right, and later becomes a teacher, choreographer and artistic director of the biggest world-known ballet institutions in his country.  If that isn’t enough, he travels to China to organize a ballet company in Peking and choreographic schools in Shanghai and Canton, pioneering the integration of classical ballet with Chinese classical dance.

Maya Plisetskaya

Here I must interject, because it is impossible to go on talking about Gusev without the inclusion of the historical figure Fyodor Vasilievich Lopukhov.

Spanning the majority of his career, Pyotr Gusev sustains a rare collaborative partnership with the famous Soviet-era choreographer Lopukhov, initially dancing break-out roles in his concept-themed experimental productions, and eventually joining forces with his visionary friend to head up the Mikhailovsky (Maly Theatre) where the two continue to up their game by staging societally risqué productions, taking their creative alliance to the next level.

Fyodor Vasilievich Lopukhov
Pyotr Gusev as head ballet master at Novosibirsk Theater (circa late 1960's)

Down the road, Gusev is invited to stage productions as chief ballet-master at the premiere ballet companies of Stanislavski and Novosibirsk Theatres as well as the aforementioned Mikhailovsky. He also becomes head of the unique Leonid Yakobson Ballet Theater.

Next in his repertoire, Gusev is appointed head of the ballet-master department at the Leningrad Conservatory eventually becoming a professor there.

Along the way he pens a number of poignant scholarly articles dedicated to questions about ballet and preserving the legacy of classical dance.

Believe it or not, this is the short version of the man’s resume.

But in all his achievements, three things
really stand out revealing the secret behind his ultimate value and contribution, making this article worthy of writing… and reading 🙂

An astonishing level of organization.

“He had everything remarkably organized.  Everyone always came prepared to the rehearsals – he was a great authority for us…”

— Ninel Petrova

Perhaps Gusev’s organizational talent had its first visible debut in 1923 via the Young Ballet project which he created with his school friend Georgi Balanchivadze, better known as Balanchine, and several other academy peers who would become future notables. The Young Ballet project was a series of evenings mostly showcasing performances staged by Balanchine, and attracted enthusiasts and young dancers including the acrobatically inclined Olga Mungalova, who would become Pyotr’s irreplaceable partner for many years to come.

Olga Mungalova with Pyotr Gusev in George Balanchine’s choreographic samples at Petrograd Training Ballet Theatre Academy (Petrograd, 1923)

To organize such a project is no ordinary endeavor. It takes a sharp, focused mind with an unobstructed vision of what you want and the ability to harness it.

It equally demands the kind of broad-mindedness that is driven to create beauty on a grander than personal scale.  Because it is about bringing talents together and seeing them shine as a group.

But that’s not all.  This skill-set must be accompanied by the ability to draw out the best in people, which means to see the best in people.

And this brings us to the next discernible trait of Pyotr Gusev.

A gift to see and draw out talent.

To see the best in people means to see the often less noticeable traits and latent potentials tucked beneath our outermost layers.  And in this respect, Gusev went above and beyond.

“He was able to see talents, with an exceptional ability to grow them,”  as prominent writer D. Truskinovskaya puts it.

Former head of Novosibirsk Ballet and Philharmonic, Alexander Savin recalls:

“Gusev had a god-given talent, to see the potentials of a ballet master in a dancer.”

Savin goes on to say that this is in fact, how world famous ballet figures Oleg Vinogradov and Nikita Dolgushin got their start:

“… he [Gusev] initiated Oleg Vinogradov into producing “Swan Lake” and practically convinced Nikita Dolgushin to start staging his first big works: “Cinderella” and “Romeo and Juliet”.

Oleg Vinogradov
Nikita Dolgushin

From the composite of sources describing his life and career – the two being literally fused – it becomes apparent that Pyotr Gusev’s creative drive was fueled through his work with young dance professionals.

“He always helped young people…” an article quotes ballerina Ninel Petrova’s recollection of Gusev.

“Gusev’s style of work was in his work with the dancers… He encouraged artists to try out for different roles, secured a ballet coach… [and] send them out onto the stage,” contributes Alexander Savin.

“Pyotr Andreyevich Gusev had a principle, from which he even suffered – he promoted the young…” remembers his student and colleague, ballerina Nonna Yastrebova.

Yastrebova further reveals:

His life was not at all easy… Pyotr Andreyevich had very big problems.  He was in fact removed… he left Petersburg. And because of what? Because, he put us, the youth, into productions.  We suffered for him very much. But it was impossible to shove us back.

A part of an earlier quote by ballet principal Ninel Petrova bears repeating in appreciation of his gift:

Our generation was very lucky, because, in the very beginning of our creative journey we met such a person.  It is to him we owe our accomplishment. Pyotr Andreyevich – an incredible leader, dance coach, teacher…

Nonna Yastrebova as the Autumn Fairy in Cinderella (Kirov Ballet, 1940′s)

If Pyotr Gusev was the sculptor of human talent, then these young dancers were the perfect medium for the molding and shaping of its expression.

“King of Partnering”.

Pyotr Gusev with Olga Mungalova in George Balanchine’s choreographic samples at Petrograd Training Ballet Theatre Academy (Petrograd, 1923).

Gusev had a remarkable quality that garnered him the famous title “king of partnering.”

“This artist… contributed a huge amount to the development of partner dance,” writes D. Truskinovskaya, “…and even today not many artists can repeat his almost acrobatic stunts.”

Nonna Yastrebova contributes excitedly:

The way Pyotr Andreyevich lifted you, no one could lift a partner.  No one!

What Lepeshinskaya (renowned Bolshoi ballerina) did in the famous “Moszkowski Waltz”?  She ran to him for the ‘fish dive lift’, holding her arms in back of her and… jumped!  And he caught her. He could catch from any position…

Freeze frame from the famous Moszkowski Waltz performed by Pyotr Gusev and Olga Lepeshinskaya for Bolshoi Ballet (circa 1940)
Pavel Andreyevich Gerdt was the Premier Danseur Noble of the Imperial Ballet, the Bolshoi Kamenny Theatre, and the Mariinsky Theatre with a 56-year tenure (debuting in 1860, and retiring in 1916)

Yastrebova goes on to gives an almost humorous, historical context to the significance of Pyotr Gusev’s partnering know-how:

Earlier, such a thing didn’t exist. Pavel Andreyevich Gerdt (the best dance partner of the imperial theatre era – “News” source) walked next to, some held by the hand, and if he circled around – this was already very good. But to push one up (high), double ‘fish’ lift down – this only Gusev could do.

Frankly, the real value lies not in his “stunts”, but what enabled Pyotr Gusev to impeccably perform the never-before seen feats. We can certainly get a clue as to what it is from exalted Mariinsky Theatre prima Tatyana M. Vecheslova’s quote:

Gusev was glorified as an outstanding partner, “king of partnering”… the  real virtuosity was that Gusev never clung to his partner. Performing the most difficult combinations, he barely touched her.  This created a feeling of lightness, ease. His technique, developed to the level of excellence, giving the dance an [exceptional] mood.

 

Pyotr Gusev and Olga Mungalova in Alexander Serov’s Opera “Judith” Dance of the Egyptian acrobats with choreography by Fyodor Lopukhov (1925)

What does this clue to Gusev’s rare aptitude imply?

Apart from the caliber of preparation required from a professional on this level – a given – this picture clearly denotes Gusev’s ability to genuinely CONNECT with his partner, to feel and gauge the mood, energy and character with whom he was dancing.

In fact, you can see the element of CONNECTION running through all the facets of Pyotr Andreyevich:

Pyotr Andreyevich Gusev with influential ballet educator Alisa Vasilevna Nikiforov at Novosibirsk Theatre (circa late 1960's)

… through the impressive synergy in the wiring of his brain allowing for genius in organization

… through his uncanny insight into the ability of others

… through his flair to bring talents together into a collaborative unit

… through his power to sear knowledge into the mind and heart of those he worked with

… through his piecing together of prior works with meticulous attention and methodical re-staging technique

… through his versatility in staging numerous and multifaceted ballets ranging from classic revivals to avant-garde abstractions

… through his capacity to bring the elite world of ballet to a greater audience, giving us insider access to privileged information through his earnest, concise and encompassing writing on the subject.

All these things – the ability to envision, construct, order, relay, transform – are based on CONNECTION…  a connection of qualities that Pyotr Gusev possessed within himself.

Ultimately, Pyotr Gusev was able to inspire the formation of personality in others.  He had the gift to grow Identity. Really, he was just passing onto others what he himself already had.

And in all likelihood the framework of classical ballet is what fostered this phenomenon.

“Seven Beauties” to music of Gara Garayev, staged by Pyotr Gusev at the Azerbaijan State Academic Opera and Ballet Theater in Baku, Azerbaijan in 1952, and in Leningrad’s Kirov Theatre in 1953
Gusev teaching in Peking (circa 1960)

Ballet is a uniquely powerful instrument proven to develop the integrity of the mind-body unit as one, promoting the functions of focus, orderliness and adaptability, bolstering mental acuity, confidence and very importantly the ability to connect with others.

Connection with others comes through connection with yourself… which in turns comes through connection with your own innate qualities.

This is what it means to have Identity… to “Know Thyself” as the famous aphorism goes.

And this is what ballet can help to bring out in us… the innate capacities already living within.

To know thyself is to have everything and Pyotr Gusev’s life is an exemplary portrait of this.  Through this point of view, he’s not just a dusty old figure in the annals of ballet history, but he comes to life as the ignitor of the great potential in all of us.

The creative offspring of Pyotr Andreyevich Gusev.

Perhaps one of Gusev’s most devoted students, Aleksey Yermolayev went on to pass the torch of his knowledge to the next generation of greats including the supreme Bolshoi principal and ballet master Mikhail Lavrovsky and famed Bolshoi dancer Vladimir Vasiliev, named “God of the dance” by Fyodor Lopukhov.

But don’t take my word for it!  Here’s an excerpt describing the rehearsal image from its contributor, The Reborn Art Foundation in Moscow:

In the 1960s, stars of world ballet and the best dancers of the Bolshoi, such as Mikhail Lavrovsky, Yuri Vladimirov, Maris Liepa, Boris Akimov, Alexander Godunov, and Vyacheslav Gordeev, all worked with Yermolaev. 

Vladimir Vasiliev was Yermolaev’s first student and his successor as a dancer.

Alexei Yermolaev rehearsing with his student Vladimir Vasiliev; photo by Leonid Zhdanov (1971)
Vladimir Vasiliev
Mikhail Lavrovsky
Mikhail Lavrovsky and Natalia Bessmertnova in “The Legend of Love” at the Bolshoi Theatre
Lali Kandelaki rehearsing “Romeo and Juliet” with Mikhail Lavrovsky at State Ballet of Georgia (2011)

Pyotr Gusev’s mentee Leonid Yacobson was instrumental in influencing and helping to shape the creative force of Boris Eifman, a pioneer of ballet exploration in his own right.

Boris Eifman, photo by Sasha Onyshchenko
Tableau of the “Gates of Hell” from Boris Eifman ballet “Rodin”; photo by Gene Schiavone

A good note to end on….  is that all this circles back to ‘lil ole me’ through my dear ballet friend Anna Korotysheva, a student of Inna Zubkovskaya, one of the members of Pyotr Gusev’s famous group of proteges.

til next time... be inspired to explore, expand and share your find!

Share on facebook
Share on twitter
Share on pinterest
Share on tumblr
Share on linkedin

The Story of Vaganova

The story of Agrippina Vaganova

Far from the iconic image of a ‘ballet dancer’ herself, one of the greatest minds of the 20th century single-handedly created the system which serves as the foundation of classical ballet as we know it today.

The 10-year old girl from a poor family who would be considered an ‘ugly duckling’ by conventional standards, got into the Imperial ballet school in 1888, through a paid grant from the institution, available to children of families with low means.

young Agrippina Vaganova
Agrippina Vaganova as Paquita

With physical attributes not up to par in the ballet world and an independent and prickly character, her training and career as a dancer was rough.  Vaganova was badly criticized by the legendary Marius Petipa who was then chief choreographer of the Russian theatre, and rejected by one of her most valued teachers because she did not possess the physical proportions so highly valued by the instructor.

Vaganova finally received her acclaim as a gifted technician after a phenomenon whereby an Italian ballerina performed an amazing move called a fouetté.

Everyone tried to replicate and understand this astonishing new move, but it was Vaganova who got it.  In the graduation performance the committee noted her technical skill and accepted her into the Mariinsky Theatre. Eventually she became known as the queen of variations for her stand-out artistic skill and mastery of technique.

The Imperial Ballet School (now Vaganova Ballet Academy). Class of 1897. Agrippina Vaganova on far right.

Vaganova went on to codify the extraordinary artform aesthetically rooted in math and physics, bringing into existence the educational system of classical ballet used the world over.

Today, the Imperial ballet school into which Agrippina Vaganova was accepted in 1888, carries her name, Vaganova Academy of Russian Ballet and her book, Fundamentals of the Classical Dance (1934), remains the standard text for the instruction of ballet technique.

The renowned Vaganova Academy has been, and continues to be, an elite cradle producing extraordinary ballet dancers and celebrated artists of the world.

Vaganova Academy of Ballet (known as Kirov Ballet School in 1958)
World-renowned Vaganova graduate, Mikhail Baryshnikov, during his academy years (front)

Underlying the unparalleled success of the Vaganova Academy are principles that build character and form identity – this is the real and greatest treasure of Vaganova’s legacy.

Vaganova’s students, and in turn, their students, a number of whom are legends in their own right, speak of receiving this most prized gift and how it has affected their lives, their nation and the world.

Share on facebook
Share on twitter
Share on google
Share on pinterest
Share on tumblr