Olga Spesivtseva

Spesivtseva Olga was born on July 5, 1895 in Rostov-on-Don.Her father was an actor in the theater.When Olga was six years old, he died of tuberculosis, leaving destitute big family, in which, besides Olga, had four children.Three of them the mother was forced to give to the children's shelter at the house scene veterans.

Among them was, and Olga, who from an early age and was a gifted plastic girl.Soon among other pupils Spesivtseva Olga was admitted to the Theatre School after his elder brother Anatoly and sister Zinaida.Here her first teacher was KMKulichevskaya.

Already on graduation performance Spesivtseva proved talented classical dancer."The most able of the young daughters of Terpsichore Spesivtseva believe that nominated on examination performance in the ballet" The Tale of the White Nights "- reported" Petersburg newspaper. "

ballerina debut at the Mariinsky Theatre was held in 1913 in the ballet "Raymonda", where she played one of the bit parts.Outstanding ability and excellent external dat

a quickly pushed Spesivtseva of the soloists.

girl of eighteen entered the Mariinsky stage in the difficult period of stagnation, frustration and confusion the past to the future.

It was very difficult not to get lost in this vast stormy world."The body is a prison, it entered into the soul" - this phrase of Goethe Olga Spesivtseva has written in his notebook, clearly felt, that in this and it is the task of the ballerina - by dancing free the soul, give her space and freedom.

dance becomes not a profession, and a pressing need for it.From performance to performance perfected her skill - the degree of virtuosity Spesivtseva increasingly compared with the virtuosity of Anna Pavlova, finding unique features in the dance of the young ballerina.

Within two years after the start of her performances was invited to perform on tour in America as part of Diaghilev's troupe.But under the influence of his close friend, the writer and critic L. Akim Volynsky, who was a fierce supporter of the purity of classical dance and the implacable enemy of innovation Fokina, Spesivtseva refused to participate in the tours.Volyn believed that participation in Diaghilev's troupe can not give anything truly classical ballerina.

Volyn Influence on personality Olga Spesivtseva and the formation of her talent can not be overestimated.It was from him she learned to treat his dance as something sacred.He became her "unique and incomparable Maestro", which translated ballet terms at will, and the language of feeling."All lit up your soul the doctrine of classical dance clarity.Your words reached me as the echoes of a distant paradise.And the art of ballet in front of me gets transformed in a white bridal dress ... »

ballet was for Spesivtseva religion and Volyn - an icon, it is not surprising that she did not yield to persuasion administrator Diaghilev's troupe.

But what was to happen, yet it happened a year later - Olga Spesivtseva went on tour in the United States as part of Diaghilev's troupe, led by Vaclav Nijinsky.

meeting with the great dancer, located at that time already on the edge of the abyss of madness, left an indelible imprint on the delicate and impressionable nature Olga Spesivtseva.This meeting has played a huge role in her creative life, becoming a turning point of its self-disclosure.She became his partner in "Les Sylphides" and "Phantom of roses."

great performers duo became part of history.On his return position Spesivtseva changed: since 1917, it became the leading ballerina of the Mariinsky Theatre.

During this period, the creative life was intense ballerina.One after another, she danced the leading roles in "The Nutcracker", "Les Sylphides", "Paquita".Ballerina is not always cope with the huge workload.Strict and partisan critics began to notice the technical error in execution.

Since 1919 Olga Spesivtseva started practicing at Vaganova.Classes have been very useful for the young ballerina.It was with her she prepared his famous roles in ballets "Giselle" and "Swan Lake".Nineteenth Year - the most complicated time in Russian history, and therefore it is not surprising that these classes were held in harsh conditions.Everything is falling apart, but actors continued to dance.It was at this time Olga Spesivtseva debuted in its crown roles - the role of Giselle.

«Spirit, crying on their borders" - a saw Gisele A. Volyn-Spesivtseva.Here, with the maximum fullness revealed her tragic gift.Spesivtseva in no way did not repeat his great predecessors Anna Pavlova and Tamara Karsavina, her Giselle was not like any of them.

Spectators shook final scene of the ballet when Spesivtseva - thin, translucent like a real ghost risen from the grave, slowly moved across the stage.The image was filled with foreboding emergency destruction, doom laced with bright, but brief flashes.Her Giselle built on contrasts, it has become one of the three great and unforgettable Giselle twentieth century, one of the samples, which subsequently was equal to more than one generation of dancers.

One of the friends of her youth remembered the debut Spesivtseva-Giselle in a letter to her sister Zinaida: "Finale of the first act she performed only in the dance, without pantomime.And in the theater we were all crying.After the first act of the whole orchestra stood up and she arranged an unprecedented standing ovation.And the next morning she came to me sadly killed.She spoke as if to himself: "I should not dance Giselle, I too get used to it. '"The letter is kept in the archive of the Kirov Theatre.

role of the Swan in the ballet Tchaikovsky's "Sleeping Beauty" - a kind of "baptism" for the ballerina.You can not claim to fame, not danced Odette.Immortal works of Tchaikovsky was the impetus for the birth of a whole galaxy of great, unique images, one of which was the image created by Olga Spesivtseva.

Awareness of the role it is to not immediately ballerina.In December 1923, she wrote in her diary: "Today is the" Swan Lake ".I figure out how many possibilities !!!How to get them all.All acts are good, there is one, there is another, and the third my whole soul.Do not sorrow and sadness, humility - strained, tormented.And this circle of black swans.Circle souls mourning and unity in the merger.Separate from the life of sobriety and envelop it yourself.Then time and enough strength.Work! »

Spesivtseva loved Tchaikovsky, and" Swan Lake "was for her most intimate content ballet.And her Odette, as well as Gisele, was not unlike any of its predecessors.Subject doom beautiful, foreboding of death and there was the leitmotif.Her swan was a bird with broken wings.

Arts Olga Spesivtseva became very popular.Eloquent memory of Professor Peter A. Gusev Choreography: "I have worked with Spesivtseva from 1921 to 1924 and saw her in all roles.It was a beautiful, perfect shape, amazingly seductive, while remaining a little chilly.All she did was incredibly beautiful, but especially ideal were the hands.I remember ballerina exit in "La Bayadere".She appeared on the scene, veiled in silence, there was a Brahmin, was bowing to him, fell on his knees, he took the veil off ... And then started something incredible.The hall thundered!She literally charmed the audience.

But especially good Olga was in the stage of "Shadows."Unearthly beauty.As Kitri - it seems to be better can not dance.But in this case - it is still cold.Similarly, in the "Paquita".In the code, when she started making combined with rond de jambe en l'air in the room was a groan - so immaculate, delicately performed, it is a movement.Agrippina Vaganova and Fedor Lopukhov always all the dancers, as an example, led the dance Spesivtseva ".

In 1919 Olga Spesivtseva received the title of ballerina.To her repertoire added "Le Corsaire", "La Bayadere" and loved it, one of the best roles - Esmeralda.Fragile health Spesivtseva not withstand such a load, besides, life in post-revolutionary Petrograd was heavy.Opened pulmonary tuberculosis require treatment and rest.

in May 1921, only a year Spesivtseva returns to work - at the theater she brilliantly takes Nikia in "La Bayadere".At the same time, Sergei Diaghilev Spesivtseva invites to take part in the London production of "Sleeping Beauty".After receiving permission, Spesivtseva goes on tour.The tour, but success brought Spesivtseva and benefits: while attending Diaghilev productions she has worked with teacher Enrico Cecchetti.

returning to Petrograd Spesivtseva was in a state of creative takeoff.Graphically clear fragile line of her dance, exquisite appearance fragility, a premonition of tragedy in every generated image made Spesivtseva bright representative of expressionism.

In 1924, requesting leave for treatment in Italy, Spesivtseva with his mother, Ustinov Markovna, left Russia.Director of the Grand Opera ballerina proposed contract.Agreeing, Olga Spesivtseva Russian became the first star of the first French theater.

Spesivtseva appearances in "Giselle" on the stage of the Grand Opera accompanied by great success.But in 1926 she accepted the invitation of Sergei Diaghilev, who directs his troupe repertoire on classics specifically for the rare talent Spesivtseva.On tour in Italy in 1927 she dances "Firebird", "Swan Lake", "The wedding of Aurora."In the same year, George Balanchine specifically for her staged the ballet "The Cat" to music by Gore.The performance was a success.

Life ballerina in this period very vividly describes her mother, Ustinov Markovna, in a letter from Monte Carlo: "Today, Olga dances, and in the morning put the banks ... Do ... With tears fluttered Before Beauty.I knew that is not under its power ... All earned is spent on hotels and feeding.I do not remain on the clothes ... Oh, bought a ring.Yes, for an apartment.And now February and March, not dance.Diaghilev with debt ... all figured and gave her the same amount, so that she only lives and gone.It will delay it.She found herself in bondage. "

Returning to Grand Opera, Olga Spesivtseva participated in the ballet "The Tragedy of Salome" to the music of F. Schmitt and N. Guerra.After the post of chief choreographer Serge Lifar won, she played roles in his ballets "The Creatures of Prometheus", "Bacchus and Ariadne".But the thirst for classical ballet makes her look for their creative application possibilities with other companies.

Since 1932 Spesivtseva working with the company Fokin in Buenos Aires, and in 1934, the position of the stars, she visits Australia as part of the former company of Anna Pavlova, who at that time headed by Victor Dandre.This trip was for touring ballerina real test: to the already tense work adds another and inability to adapt to an unfamiliar climate.Besides its troubled thoughts about remaining in the mother's Paris, which, without waiting for the return of his daughter, left for Russia.All this is bound to affect the state of mental health Spesivtseva.

After returning to Europe and Spesivtseva treatment starts to work again - open a small studio, tries his hand in pedagogy, trying to put the performance of students forces.

threat of war looming over Europe, makes Spesivtseva along with her companion, Mr. Brown, to go to America, but her biggest desire at that time was to return to Russia.However, he refuses to return to her Soviet passport, and after a serious explanation of scenes with him Spesivtseva Olga is within the walls of a psychiatric hospital fee.

month later, Mr. Brown is dying, and left without means Spesivtseva converted into free psychiatric hospital, where she spent a long twenty-two years.From the clinic she took her former partner Anton Dolin, putting in a nursing home.Way to Russia has been ordered for her.

Maris Liepa, who visited Olga Spesivtseva in the United States, left the memory of the meeting: "The little room with an almost spartan furnishings: a couch, a table, wardrobe and washbasin were all her furniture.Finally we came to a very elegant, with a classic, that is smooth, ballet hair woman with excited wide-open eyes.She greeted, kissed us all in turn, said that the morning badly worried when I heard that a visit to it go Ulanova and Dales ...

She said she's not feeling well, because it is approaching Easter and Lentextremely weakened her, and when we presented her with roses, she was moved and cried inconsolably, and we could not help feel as if made faux pas ...

we left full of pity and compassion for the fate of the well-known at the time of the ballerina.It was not even in the disease, it was in despair and loneliness, which emanated from her shelter, and with all her little, preserved elegance figures. "The dramatic and beautiful image of a ballerina entered the history of Russian ballet as an example of helplessness and insecurity tragic talent in front of circumstances.

died Olga Spesivtseva September 16, 1991 near New York.