"Her name is short as most of our contemporaries have and thunderous as the name of a pagan goddess — Maya."
Her main principle, which goes through the whole life, is the refusal to do things any way but her own. And "She Did It Her Way".
If "manners maketh man" as someone said
Then she’s the hero of the day
It takes a man to suffer ignorance and smile
Be yourself no matter what they say
It is a short extract from the song of Sting "Englishman In New York" that I would like to suggest as the highlight of my article about Russian ballet dancer, Maya Mihailovna Plisetskaya.
Once on the television I’ve seen one of her great ballets, it was "Swan Lake"; even now I remember almost all the details of that performance. I was charmed with her passionate manner of dancing and her technique; it was the impression that she didn’t even pay attention to her pa-de-de, it seemed to me that she had forgotten about them. The famous ballerina was concentrated only on the work of her arms, her image as a whole. "Gesture is the second organ of speech, which was given to a man by nature"; she understands it properly and uses it right. Later I found out that the role of Odette in "Swan Lake", which I was fortunate to see, was her outstanding success all over the world. She danced it over eight hundred times from 1947 to 1977. Thirty long years, the whole life, it sounds strange, doesn’t it? Maya Plisetskaya believes that "her manner, trends, several innovations were accepted by younger generations of ballet dancers". She is glad to it.
In her book "I, Maya Plisetskaya" she tells the reader about overwhelming triumph (27 curtain calls) in Paris. She understood that the technique that time wasn’t as good as before, but she could put the accent on her gestures and even on the impression of her eyes. After it she said: "I had forced the audience to switch its interest from abstract technique to soul and plasticity. When I danced the finale of the second act, people’s eyes were glued to the line of the swan’s arms, the angle of the neck; no one noticed that my bourres were not so perfect".
"As soon as I saw her on the stage I knew she had that incredible stage presence which you either have or don’t have. It doesn’t matter how clever you are if you don’t have it you can’t hold the audience", these are the words that can be heard after every of her performances. It should be added here that her repertoire includes just about all the significant roles in classical ballet, such as Raymonda, Odette from "Swan Lake", and, off course, a cold and brilliant Odile in the Black act, which I’ve mentioned before, Kitri from "Don Quixote", "Carmen", "Anna Karenina", and "The Lady With A Dog". In spite of a great number of divine ballets Maya Plisetskaya is always critical to the work she does. She can never be satisfied with what has already been done, always looking for something new, extraordinary and even shocking. That’s why, in my opinion, she was interested in working not only with the Russian Ballet but also with foreign too. She danced nearly everywhere she was offered, collaborating with such well-famous choreographers as Alonso, Roland Petit, Maurice Bejart (the passage from her book about Bejart left an indelible impression on me, it’s dynamic and bright, I think it’s worth reading), taking part in the performances, which were staged especially for her in Paris, Brussels, Marseilles, New York, Buenos Aires, it wasn’t the tour of the Bolshoi Ballet, it was her own unforgettable experience of collaboration with other ballet schools of different artistic trends. But most of all Maya Plisetskaya likes the stage of the Bolshoi’s Theatre.
"Three beats left. Two beats left. One beat. Here it is. My music. I step on my stage…" It’s the place where she made her first fouettes and where the Bolshoi’s gala celebrating of her 75th birthday took place. In her memoirs she says that this stage was "a close friend of her, animated partner, whom she talked to and thanked for all."
"But a man always lives at present, only at present!" Now she travels around the world giving a series of lectures, and not long ago she decided to do something new, something unknown to the general public, which knows only about her ballet life. Her memoirs "I, Maya Plisetskaya" were published in Russian and English. I believe, she has done her best to render the appearance, atmosphere and people of Russia. The prima ballerina has also allowed her imagination some play. And there can be no doubt that the average reader would gain more from her not long but original book, and better knowledge of the Bolshoi’s Ballet background than he would from any of the detailed but dry and dull monographs. And we don’t know what else she can offer to the world.
Once she was asked: "What’s the main trait of your character?"
"Spontaneousness", she replied.
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