Tatyana Bruni’s heritage from the museum fund of Vaganova Ballet Academy in the context of Soviet theatrical and decorative art

Abstract

The article analyzes theatrical sketches of Tatyana Georgievna Bruni from the museum fund of the Vaganova Ballet Academy in the context of the development of theatrical and decorative art of the 1920s – 1970s. The author reveals the stylistic evolution of the artist, the methods of her work with visual material, clarifies the attribution of a number of works, the history of their existence. Previously unknown visual materials connected to Bruni’s design of the performances of the Leningrad Choreographic School are introduced into scientific circulation. The author comes to the conclusion that Bruni’s style developed from the sharp geometrism of the avant-garde of the 1920s. 1930s to the soft femininity and irony of the mature period of creativity (1930–1950s). The stylistics of the late period of creativity (1960–1970s), aimed at identifying the musical image of the performance, was differed by greater generalization and laconicism. If in the 1960s Bruni solved this problem by graphic tools, then in the 1970s with picturesque ones, joining in the formation of a new poetics of the Soviet theatrical and decorative art.