Academic literature on the topic 'Mstislav Valerianovich'

The essay is dedicated to collaboration of Mstislav Valerianovich Dobuzhinsky (1875‒1957) with the Parisian theater “Chauve-Souris,” or “The Bat,” under the direction of the actor, entertainer, stage director and inspirer of the Russian cabaret Nikita Balieff (real name: Mkrtich Balyan, in Armenian: Նիկիտա Բալիեւ; 1877 (?) ‒ 1936). He invited Dobuzhinsky, who was in Berlin at the time, to become the Artistic Director and the lead designer for a new show of his theatre in the season of 1926. Balieff had already established himself as a successful European entrepreneur, and his cabaret theater had three successful tours on Broadway over six years. Dobuzhinsky accepted his invitation, hoping to improve his financial situation, as after more than a year spent in Europe he could not achieve that stability either in Riga, Kaunas, or Berlin. At the end of May, he began preparing the program for the new Paris season in alliance with choreographer Boris Romanov and playwright Piotr Potemkin. Also Dobuzhinsky invited collaboration of his son Rostislav and his wife Lidia Kopnyaeva in designing the sets for Balieff’s interludes. The premiere of the new program took place on October 1, and it gained success and accolades in Paris and later in Berlin. The season of 1926 was perhaps the most significant in the history of “The Bat,” but at the same time decisive for Baliev, since it marked the exhaustion of the very idea of Russian cabaret theater abroad. Despite the fact that the American tour was then canceled, “The Bat” still ended up on Broadway in late autumn of 1927. This program was the last for Balieff’s theater, as to how it was greeted and loved in America. It was already a completely different “Chauve-Souris,” the “Continental”, as American critics called it, of little interest to both Parisian and Broadway audiences.

Мстислав Валерианович Добужинский (1875–1957) относится к художникам, творчество которых принадлежит как русской, так и мировой культуре. Он родился и жил в России, затем в Литве, Америке, многие годы провел в европейских странах – Англии, Франции, Италии. Испытав влияние различных художественных школ и направлений, творчество М.В. Добужинского тем не менее сохраняет цельность, в основе которой лежит верность русской культуре – ее темам и художественным принципам, сложившимся в начале XX века в «Мире искусства». Своеобразный творческий метод М.В. Добужинского складывается в жанре городского пейзажа. Тот факт, что в ретроспективных картинах мирискусников главным лирическим героем оказывается пейзаж, чаще всего архитектурный по характеру, видимо повлиял и на возникновение в творчестве М.В. Добужинского темы города – памятника культуры. В отличие от своих друзей художник остается равнодушен к изображению архитектуры в ретроспективных картинах, предпочитая показывать жизнь прошлого в современности. Mstislav Valerianovich Dobuzhinsky (1875 – 1957) refers to the artists whose work belongs to both the Russian and world culture. He was born and lived in Russia, then in Lithuania, America, spent many years in European countries – England, France, Italy. Having experienced the influence of various art schools and trends, the work of M. V. Dobuzhinsky nevertheless retains integrity, which is based on loyalty to Russian culture – its themes and artistic principles established in the early XX century in the «World of art». A kind of creative method of M. V. Dobuzhinsky is in the genre of the urban landscape. As in the retrospective paintings of the members of the main lyrical hero is the landscape, often architectural in character, it seems to have affected the appearance in the works of M. V. Dobuzhinsky themes of the city – cultural monument. Unlike his friends, the artist remains indifferent to the image of architecture in retrospect paintings, preferring to show the life of the past in modern times.