Bank, Lyubov Mikhailovna

Lyubov Mikhailovna came from an artistic family: her mother was a singer, the daughter of a famous theatrical figure: entrepreneur, actor of the Alexandrinsky Theater , one of the very first Honored Artists of the Imperial Theaters , who left major works on the situation with the culture in the Russian province of P. Medvedev , who came to be such image of the grandfather of Lyubov Mikhailovna herself. The stepmother P.M. Medvedev ( Medvedev, Akelina Dmitrievna (Akulina) (1796-1895) and the sister of P.M. Medvedev on Medvedev’s father , Nadezhda Mikhailovna ^{[2] [3]} ) were dramatic actresses of the imperial troupe.

In 1913, at the age of 10, she entered the Moscow Ballet School ^[4] , teacher A. A. Gorsky , took private lessons from N. G. Legat . Upon graduation, in 1920 she was enrolled in the troupe of the Bolshoi Theater , making her debut in the party of her friend Lisa in the ballet " Vain Precaution " by Gertel ^[4] .

The dancer’s repertoire included leading parts of the classical repertoire, including Raymond ( 1922 ) in the performance of the same name to the music of A. K. Glazunov , Nikia in the ballet La Bayadere by Minkus , Aurora in Sleeping Beauty , Odette Odile in Swan Lake , The Tsar Maiden in the " Humpbacked Horse " ( 1928 ) Gorsky , Zarema in the " Bakhchisarai Fountain ."

In the ballet Don Quixote by Minkus , directed by A. Gorsky, she performed the parts of Kitri , the Street dancer and the bolero dance in the third act.

Since 1925 , she participated in productions of Kasyan Goleizovsky of a neoclassical orientation, performed several parts in his ballets, including Tsarina Tayakh in the ballet Joseph the Beautiful to the music of Vasilenko and Lysette in the play Theolind to music to music by F. Schubert , instrumented by D. R. Rogal-Levitsky . She performed ole and bolero dances in the opera Carmen and the part of Chaga in Polovtsian Dances ( 1934 ).

The ballet encyclopedia noted the expressiveness of the performance of the role of Senora Capulletti in the play “ Romeo and Juliet ”, as well as Persida in the ballet act of the opera “ Khovanshchina ”.

In the ballets of other choreographers, the Bank performed the parts of Salambo in the ballet of the same name by I. A. Moiseyev to the music of A. F. Arends (second production of 1932) ^[5] , Tao Hoa in the ballet “ Red Poppy ”, Cherkeshenki ^[6] in “The Prisoner of the Caucasus ” "To the music of Asafiev , Miss Jackson (first performance) in the ballet of R. V. Zakharov " The Young Lady-Peasant "( 1946 )

Lyubov Mikhailovna Bank lingered on stage as a dancer for 27 years and left her in 1947 , receiving at the end of her ballerina's career the title of Honored Artist of the RSFSR

The 1981 Ballet Encyclopedia briefly describes the Bank's performing skills:

“The extraordinary technique, expressiveness, and plasticity of the dance were combined in the work of the Bank with vivid acting skills. The Bank was especially successful at the fast pace of dance, characters saturated with inner drama. As a classical dancer, the Bank had a high stage culture. Her performance was characterized by softness, plasticity and sculptural plasticity of poses. ”

- ^{[1] [4]}

She was awarded the Order of the Badge of Honor (02/02/1937).