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Tatiana G. Bruni (1902-2001)

TG Bruni - the famous theater artist, a representative of the longest artistic dynasty, the great-granddaughter of Fyodor Antonovich Bruni - the author of "brazen serpent," painting of St. Isaac's Cathedral and rector of Saint-Petersburg, the Academy of Fine Arts.

She studied TG Bruni at the St. Petersburg School of the Art Promotion in AR Eberling, then entered the VHUTEIN (now the Academy of Fine Arts), where she studied from 1920 to 1926. The course led VI Belyaev, AL later Vakhrameev KS Petrov-Vodkin .

Tatiana G. graduated as a landscape painter, but her life has become a matter of half a century teatr.Bolee surname Bruni did not leave the theater posters in the first place, Leningrad.

Her work with all the personality of handwriting remarkably responsive to innovations in the theater. She was always "in time," the example of the artist's work can be traced back the development of Russian theater and decorative art of the twentieth veka.Glavnaya creative love - ballet. Her place in the ballet stage design, perhaps, unique: a dynamic and mobile creative artist - as if a large series of illustrations to the entire search process, difficulties and finds the ballet stage design at its Leningrad version.

In the twenties, Bruni was one of the artists, "Young Ballet" created by George Balanchine, George Balanchine future. In 1932, together with the GN Korshikova draws ballet "The Bolt" directed by F. Lopuchova. Grotesque, ironic music of Shostakovich is in full compliance clearance, especially suits, which were the perfect example of the Russian avant-garde. Not accidental success of these sketches in many shows, including "Paris-Moscow" and "From Malevich to Bruni" in Italy.

In 1937, the artist draws a performance in Malegot (now St. Petersburg State Academic Opera and Ballet Theatre. Mussorgsky), the ballet "La Fille Mal Gardee" and appears ironic and subtle stylist, always faithful to the traditions of ballet Majeure perception of scenography. Since that time a long-term cooperation with the Maly Opera House, which lasted about forty lay down and led to the creation of nearly thirty performances. Among them were the ballets "The Imaginary groom", "Youth", "The Blue Danube", the opera "Madame Favard" put BA Fenster, "Francesca da Rimini", choreographer, KF Boyarsky, "Gavroche", choreographer, VA Varkovitskaya, "Arlequin", staging, PA Gusev, "Wedding Krechinekogo", directed by NV Smolich, "The Robbers," directed by NV Smolich. Last performance - ballet "Esmeralda" in 1981, directed by P.A.Guseva, T.M.Vecheslovoy and NN Boyarchikov. These performances included in the golden fund of Soviet history baleta.Odnovremenno Bruni made out performances at the Opera and Ballet Theatre. Kirov (now Mariinsky Theatre), where one of the most interesting decision was the ballet "Cinderella", directed by KM Sergeyev.

Since the late thirties by the eighties, TG Bruni collaborated closely with the Leningrad Choreographic School (now the Academy of Russian Ballet. Vaganova) was the author of the design of individual rooms and ballets staged B.A.Fenetera, K.F.Boyarskogo, KL Goleizovsky, KM Sergeeva, BJ Eifman, LV Jacobson, from the same artist choreographers worked in professional theaters. Particularly interesting was a collaboration with Goleizovsky and Yakobsonom.Plodotvorno TG Bruni collaborated with the Moscow Ballet under the direction of Kasatkina and Vladimir Vasiliev, put the "Rite of Spring" and "Tiny Tsakesa" with a surprisingly bright clever solution.

In addition to ballet Tatyana G. worked in opera and drama. During his creative life of the artist has created a design more than two hundred productions for theaters in Leningrad and Moscow, Kiev and Sverdlovsk and Yaroslavl, Perm, Saratov. For academic and amateur theater, for the circus, music hall, ballet on ice, for the puppet theater. Continuous work in the theater complemented by teaching at the Leningrad Institute of Theatre, Music and Cinematography. Pupils TG Bruni's work in many theaters in the country and abroad, including such famous names as A. Kozhenkova, E. Kochergin, G. Sotnikov.Kak few Russian artists of the theater, Bruni felt particularly "handwriting" of the composer or playwright, seeking to create plastic , picturesque their implementation, but with all the variety of techniques means of expression always felt "style Bruni."

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