Virsaladze Simon Bagratovich( Artist)
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Biography Virsaladze Simon Bagratovich
Simon Bagratovich Virsaladze (genus. 1909) - an outstanding artist of modern Soviet and world ballet. He began his artistic career after graduating from the Leningrad Academy of Arts (class M. Bobyshova) in the early 30-ies, first in Tbilisi, at the Opera and Ballet. 3. Paliashvili (1932-1936), then, since 1937, in Leningrad, at the Theater of Opera and Ballet. S. M. Kirov. From the very first of his works Virsaladze has proved interesting artists of the music scene. But the full measure and in full, it was revealed only in the late 50's, when carried out its first production-ballet 'The Stone Flower' N. Prokofiev (along with choreographer S. N. Grigorovich). In this and other joint productions, . carried out during the 60-bit and 70-ies ( 'The Legend of Love', . Nutcracker, . 'Spartacus', . 'Ivan the Terrible', . 'Sleeping Beauty', . 'Romeo and Juliet', etc.), . Virsaladze in creativity and design in the art of ballet performances of the Soviet theater happened assertion qualitatively new principles of cooperation of the artist and choreographer,
. It is based on creating a single painting-ballet steps, revealing a musical drama performance. The essence of reform, perfect Virsaladze in the art design ballet performance, was primarily in the concept of a new main task of the artist Musical Theater. Until recently, this problem was seen to create a stage image of the place in which the events occurred Ballet. Course, . with the most outstanding masters of the Soviet decorative arts (and Virsaladze among them), . solving this problem as a major, . sought in the individual performances and a genuine heartfelt disclosure picturesque means the emotional content of music,
. However, the deliberate rearrangement of emphasis from the place of the music as the main object of scenic realization occurred only in the 'Stone Flower', where the paintings 'merged' with dance. Images of the artist were created as a dynamically developing plastic and color motifs, which were visible embodiment of the topics of musical drama. Creative method Virsaladze called 'beautiful symphony'. This quality of scenic thinking Virsaladze making it a theatrical painter of a new type.
For each performance artist creates a common representational medium, which determines the general character of the ballet. In 'Stone Flower' in such a unifying plastic motive was malachite casket, where as it came out dancing action. Like from the pages of an old book, covered with ancient Iran miniatures, characters, ornaments, went to the scene the characters 'Legends of Love'. In 'The Nutcracker' is a fairy-tale fantasy world of the Christmas tree, . in 'Spartake'-heavy clutch mossy, . soaked with the blood of the stones of Ancient Rome, . in 'Ivan the Terrible' - semi-circular apse with the motives of iconographic paintings and belfry as plastic sign Russian Cathedral,
. One image was revealed in the course of action: malachite casket was found in his paintings depth of picturesque woods, fairs, possessions Mistress of Copper Mountain, turn the pages of ancient Iran miniatures, complex and
. diverse world concealed in the needles increased, shows how to close up the Christmas tree
. Accordingly, changes and general colouristic painting, on the basis of which is already unfolding itself beautifully-choreographed action. It is constructed by the artist on a few main colors, which are difficult to develop, simulate, complement each other, collide with each other according to the laws dictated by the laws of musical drama.
. Thus, in accordance with the shaped structure of a musical symphony painting 'Fair' in 'Stone Flower' has been developed by the artist of color development of pictorial choreography
. Joy burning warm red suit people at some point replaced the ill-lilac sarafans lonely, . grieving for her beloved Catherine, . again flashed a bright chord, . to finally fade away, . fade to the end of the dance gypsy, . alarmingly red clothing which dramatized the increasingly growing black, . gray and purple patches,
. Sharp dissonance burst on the scene and rushed to her purple shirt stain Severyana. And, finally, the dramatic resolution of the image becomes black dress fair Mistress of Copper Mountain, suddenly emerged in front of a raging Severyanov. In 'Legend of Love' was the culmination of a beautiful symphony scene 'Pursuit', . which faced the main color themes Running time: Pearl Shirin, . turquoise Farhad, . pursuing their black and white and black and red warriors, . gray-brown elders and heads of the terrible tornado of black Vizier and fiery red, . tragic-expressive Mekhmene-Banu.,
. If Virsaladze 'hear' music in the ballet 'Sleeping Beauty' image of the garden, then it is not necessary to depict the garden as a decoration
. Garden blooms for the stage, appears in the form of painting-dance pictures. In the first act - a spring garden, light green and tender lettuce, living with garlands of flowers. In the second act and autumn, though besprent purple. And when the topic of the garden ends and the stage empties, the Prince is already in the silver-black among the dead wood, from which it takes a good Lilac Fairy. So, using one or another color spots of individual suits or dresses, groups, the artist depicts the freely created their scenic picture.
. One of the most vivid images of the ballet 'Spartacus' is the image of a slave rebellion which was done by the artist with the highest skill
. Through a color and textural evolution of the costumes, like pattern corresponding to the development of choreography, Virsaladze showing the process of converting slaves initially separated into an organized army Spar-tock. In the earthy-gray, brown rags be gradually intersperse elements of red: the tibia, the femur, chest and t. d. This created the impression that in the dance of red all add and add-and at the end of the dance before the audience are brought warriors Spartacus, they poured their leader, and behind every flying scarlet cloak.
Complex multidimensional structure of the picturesque images of 'Spartacus' was perfect. Its evolution, precisely and deeply due to the music, the dynamics of coloristic disclosure stage action was developed from episode to episode, from act to act. Painting Virsaladze largely determined the plastic figure choreography and yet she was designed for life in dance and perceptions together in symbiotic relationship with the music. In this sense, the ballet 'Spartacus' was an example of the highest synthesis of music, . choreography and painting, . and quite naturally, . that because of this performance Virsaladze (together with Grigorovich and implementing major parties) has been awarded the Lenin Prize in 1970.,