творчество – -Translation – Keybot Dictionary

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  Музей соврем...  
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Зал 4. Творчество Одесских нонконформистов в послеперестроечное время.
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Room No. 4: The Works of the Odessa Non-Conformists in the Post-Perestroika Era.
  Театр им. Ðœ. Н...  
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Влюбленность молодых людей в творчество великой русской актрисы Марии Николаевны Ермоловой подсказала решение связать свои скромные сценические опыты с ее именем. На это было дано ее личное благословение.
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It was the young people's love of the work of the great Russian actress Maria Yermolova that prompted them to link their modest stage experiments with her name. They received her personal blessing for that.
  Театр им. Ðœ. Н...  
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Сегодня в центре одного из нижних фойе театра находится портрет кисти Серова: на нем в багетовой раме — Мария Ермолова. Ее имя — легенда. Ее творчество — страницы великой истории русского актерского мастерства. Она — символ величия Актера.
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Now, a portrait by Aleksandr Serov can be seen in the centre of one of the Theatre's lower foyers; framed in baguette, the portrait depicts Yermolova. Her name is legendary. Her work has entered the history of Russian acting art. She is a symbol of the actor's greatness. Paying no attention to the winds of change that storm outside, today, as decades ago, she strictly and attentively scrutinises the faces of those who come to watch performances of the theatre that bears her name.
  Оперный теат...  
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После Второй мировой войны в историю театра вписаны имена тех, чьё творчество содействовало утверждению украинской музыкальной сценической культуры. Именно в послевоенные годы за дирижёрский пульт оперного театра встали композиторы — львовяне М. Колесса и А. Солтис, приехали с восточной Украины во Львов на постоянную работу в театр В. Манзий, В. Скляренко, М. Стефанович, З. Гончарова, П. Кармалюк, В. Кобржицкий и другие.
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After the Second World War, many people helped to assert Ukrainian music stage culture. It was during the post-war years that the positions of the Theatre's conductors were occupied by the Lviv composers Nikolay Kolessa and Adam Soltis and that many East Ukrainians such as Vladimir Manzy, Vladimir Sklyarenko, Mikhail Stefanovich, Z. Goncharova, Pavel Karmalyuk, V. Korbzhitsky and others moved to Lviv to take up permanent jobs at the Theatre. Some productions involved the singers and the USSR's People's Artists Boris Gmyrya, Zoya Gayday, Mariya Litvinenko-Wolgemut and I. Patorzhitsky.
  Дом-музей Ðœ. Ð...  
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Здесь он осмыслял удивительные топографические, исторические и культурные особенности древнего города. Роль Киева трудно переоценить в формировании индивидуальности писателя, тому подтверждение все его творчество.
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The genre of the Museum is defined as "a portrait of an author and his characters in an interior of a house". Visitors (referred to as "guests" in the Museum) find themselves in the writer's "holy of holies", the moment when the Idea is born. This creative process of Bulgakov was inextricably connected with Kiev, his hometown. It was not only the town where he had been born and raised, studied, married and obtained his first profession, but also the town where he had submerged into the world of Christian values. Here he was comprehending the amazing topographic, historic and cultural singularities of this ancient city. It is difficult to overestimate the role of Kiev in the development of the writer's individuality, because his entire work confirmed this statement. The Museum has good grounds to tell its visitors about it, because many people associate the entire life of Bulgakov with Moscow.
  Театр Остров...  
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А. Н. Островского продолжал меняться, развиваться и общаться с новыми поколениями зрителей. Эта жизнь и это творчество, отражая надежды и разочарования, заблуждения и прозрения современников, были осмысленны — хотя и не всегда прямолинейны и понятны самим участникам.
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Usually, the consciousness of people does not perceive changes in a country as an ordered, logical sequence, but rather as a series of episodes that chaotically follow each other. However, in relation to a fate of a single person and, moreover, in relation to a history of a theatre an old truth is valid: "We did not start it nor will we finish it." During Leonid Brezhnev's stagnation, during the chaos of the perestroika and during the post-perestroika years, the Ostrovsky Theatre continued changing, evolving and communicating with new generations of spectators. Reflecting hopes and disillusions, misbeliefs and insights of their contemporaries, this life and work were meaningful, though not always straightforward and clearly understood even by the participants themselves. By the time of its 70th anniversary, the Theatre had been updated in many ways: the repertoire, the stage-directorship, the management and the cast.