Unusually empty scene. No corps de ballet, scenery. There is no orchestra. There are no chords of the introductory variation. A ruthlessly sharp, concert light flares up. The dancer in a white tunic covered with swan’s down with a ruby brooch (a “drop of blood”) on her chest (this was created by L. Bakst suit for Anna Pavlova in “The Swan”) stood motionless, face to the audience, sadly bending her head and dropping her folded hands. After one bar of the accompanying harp, with the first sound of a cello, she rose on her fingers and only then began to be quiet and sad, as Fokin himself points out in the description of the issue left by him, to float on stage, slowly raising his hands above his head and opening them like wings, at the first attempt to get up in the air.
Fokine put in the issue of lyrical peace. The dance itself was music. It was a monologue. And at the end, Lebed still died, but his death was peaceful.
Exploring the history of ballet photography, photographer Daryan Volkova, decided to launch an experiment and reproduce in modern times the images of the famous ballerinas of the Imperial Theater.
The first heroine of the project is Ana Turazashvili, the soloist of the big theater, which Daryan presented in the image of “The Dying Swan of Anna Pavlova”