CONTEXT. DIANA VISHNEVA AND AKSENOV FAMILY FOUNDATIONIN COOPERATION WITH THE PUSHKIN STATE MUSEUM OF FINE ARTS

DIANA VISHNEVAFIVE CHOREOGRAPHERS

FIVE COMPOSERSFIVE EPOCHS

12+

IMPRINT IN MOTION

DIRECTOR

ANDREY SILVESTROV

CAMERA DIRECTOR

DANIIL FOMICHEV

STARRING

DIANA VISHNEVA

CHOREOGRAPHED BY

LILIA BURDINSKAYA. ALEXANDER FROLOV, ANDREY KOROLENKO, KONSTANTIN SEMENOV, ANNA SHCHEKLEINA

MUSIC

МARK BULOSHNIKOV, ALEXANDER KHUBEEV, VASILY PESHKOV, ALEXEY RETINSKY, DARIA ZVEZDINA

DANCERS

LILIA BURDINSKAYA, ELENA CHURILOVA, ALEXANDER FROLOV, DIANA GARSHINA, ARTEM KHROMYKH, SVETLANA MAKARENKO, VIKTORIA MAKSAKOVA, VASKO NASONOV, ANDREY OSTAPENKO,

ANASTASIA PESHKOVA, IRINA POSKORKOVA, IVAN SACHKOV, KON-STANTIN SEMENOV, ANNA SHCHEKLEINA, ANTON SHISHKIN, ALENA

TARASOVA, KRESTINA YELKINA, MARIA ZAPLECHNAYA

Photo by Petr Silvestrov, 2021

IMPRINT IN MOTION

INTRODUCTION. DAVID

Digital copies of David. Choreography, postures and gestures of 16 evocations of the statue in this part of the film remind of Butoh.

They symbolize replication, popularity and universality of masterpieces of the world culture, which exist in eternity and come out to reality

as casts of their own concepts.

EXHIBITS

Museum is a place where different epochs coexist. Past, future and present endlessly imitate each other.

The main character of the film (Diana Vishneva) is a metaphor. She is the storyline and the narrative, she is the text that rhymes to each epoch and a mirror of the events of the past ages – crucial yet transient.

She is a guide, a thread connecting the past and the present. At the same time she is an onlooker that passes through history and mirrors times and events.

She looks to the future without fear, leaving the past in the form of hardened casts behind.

She has been living anywhere and at all times. She has no beginning and no end. She is a symbol of humanity, a cast that keeps historical

memory of generations.Her dance being an echo of the past ages and a vivid image of the present

time becomes a foretype of the dance of the remote future.

ANCIENT GREECE

A cry of Gorgon Medusa that turns all around into white casts is a starting point of plot development and transformations. Bits and pieces of myths, destroyed and reconstructed worlds of ancient gods

create impressions rich in contrast. Conventional ‘Judgement of Paris’ depicts goddesses playing with an apple which is the award to the most beautiful one. Dionysоs’ reel – an intoxicating dance, the Bacchanalia

accompanied by expressly accentuated rhythm of music – finishes the story about this epoch.

ROME

Romulus and Remus, nursed by the lupa, raise from the kneels to conquer the world. Their bodies are torn

by passion for freedom and destiny to become an emblem, a cast of victory. Statics vs movement: the spirit of war of that epoch is always there like phantom flashes of battles.

TWILIGHT OF THE ANCIENT WORLD

Wars lead to catastrophe. Barbarians destroy beautiful ancient statues cutting off their heads and limbs, as if destroying the integrity

of the body of all humanity.

This short dance is still filled with zest for health and physicality, but inner crisis, self-destruction and demolition become the motif of the next

disharmonizing piece. In spite of symbolic absence of limbs and injuries, movement still goes on, but slows down and concretes in casts, beautiful

in their ugliness and ravages of time.

MIDDLE AGES

A procession of women moves through the streets and squares of a Medieval town. It’s hardly possible to guess whether these

are nuns or witches, a scary carnival cavalcade or a sacred procession. Variety of female faces and emotions they express give birth to a new

world and new mysteries. Dance becomes a ritual, a spell, a way of movement leading to purification.

RENAISSANCE

Images of a man and a woman in the hub of the universe are emblematic for the Renaissance. They are guided by beauty and love. Relaxed

physicality of the dancers’ bodies allows to shape individual emotions and impressions and yet preserve their alliance. Interior design of a museum room sets dance tempo and pattern and becomes

a life blood of movement.

EPILOGUE

The leading character and her replicas repeat movements from different epochs as if they live them through again and create an eternal ‘media cast’, the imprint in motion, exhibited in the museum forever.

Information and tickets — film-slepok.ru

2021