Alexandra Shatskikh

Alexandra Shatskikh
The Theatre in the Biography of Marc Chagall

Special issue. Marc Chagall "BONJOUR, LA PATRIE!"

Abram Efros's brilliant essay on the great artist contains the following disappointingly unfair lines. "It can now be said that Chagall made us pay a high price for his Jewish form of stage imagery. The theatre is simply not in his blood."1 These words reflect the conflict that arose in 1921 in the Jewish Chamber Theatre between Marc Chagall, on the one hand, and director Alexei Granovsky and Efros himself, in charge of design, on the other. Today this distant conflict and Efros's assessment of it merely serve to illustrate how stupendous, how overwhelming was the Vitebsk master's work in the theatre. For the best part of a century Marc Chagall showed on many occasions that there was a rich vein of theatre in his blood.

EXCLUSIVE PUBLICATIONS

A. SHATSKIKH
RUSSIAN CHILDREN’S PICTURE BOOKS

№3 2004 (04)

IN RUSSIA THE CONCEPT OF BOOKS FOR CHILDREN AS A SPECIAL KIND OF ARTISTIC ACTIVITY APPEARED AT THE TURN OF THE 19–20TH CENTURIES, INTRODUCED BY THE "MIR ISKUSSTVA" (WORLD OF ART) MOVEMENT ALONGSIDE OTHER ARTISTIC CREATIVE ENTERPRISES OF ITS MEMBERS.

EXCLUSIVE PUBLICATIONS

A. SHATSKIKH
MARC CHAGALL ANIMATES GOGOL'S "DEAD SOULS"

№1 2003 (01)

MARC CHAGALL’S ARTISTIC HERITAGE IS REALLY ILLUSTRIOUS, DISTINGUISHED AND RENOWNED, AND THESE ARE NOT MERE WORDS. BUT STILL SOME OF HIS CREATIVE RESULTS ARE ABSOLUTELY NOTABLE. CHAGALL’S THREE GRAPHIC CYCLES, MADE BY THE ORDER OF THE FRENCH MARCHAND, ART DEALER AND PUBLISHER AMBROISE VOLLARD STAND APART FROM ALL CHAGALL’S CREATIVE ACTIVITY, SPARKLING LIKE THE THREE GREAT DIAMONDS FACETED BY THE ARTIST’S KEEN SIGHT, HIS STRONG AND STEADY HAND HOLDING A DRY POINT OR A NEEDLE.

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