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Russia and petipa
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St. Petersburg
Maryinsky
director: Ivan Vsevolojsky
Imperial Court watched ballet
Imported talent (francomania)
conservative - almost stiffling
Balletomanes - obsessed with ballet, called the shots behind the scenes - basically policing petipa (part of reason its so conservative)
dancers treated like pampered pets lowkey, objectified and prized (treated well for the time I suppose)
Moscow
Bolshoi
director: Alexander Gorsky
regular people watch ballet
Russian Nationalism
Actors and writers: Anton Tchekov, Stanislavsky - not appreciated in St. Petersburg because of francomania
Liberal - more willing to experiment
dancers pretty much treated like regular people - had other jobs,
Ivan Vsevolojsky
director of Maryinsky (imperial therater)
pushed hard for reform and improving state of ballet company
fostered tchaikovsky collab
imported talent from france
Virginia Zucchi - dramtics
Pierina Legnani - tricks and 32 fuettes og. in Cinderella
Carlotta Brianza - technician and drama - og aurora
Ballet masters in St. Petersburg Lineage (francomania)
Charles Didelot - reps transition to romanticism, post boroque reform, Noverre Ballet d’Action
Jules Perrot - reps romantic era
Arthur Saint-Leon - also romantic, russian nationalism
Marius Petipa - Classical Era
Michel Fokine - shows russian ballet off the west
Arthur Saint-Leon
romantic era
produced ballets trying to promote russian nationalism
*humpback horse 1864
jumping back and forth to choreograph in the west - did Coppelia in france - petipa does daughter of Pharaoh while he’s gone and arthur gets jealous
Marius Petipa
Classical Era
from a dance family - brother to lucien petipa → sent to russia to be a dancer out of luciens shadow
works as #2 to perrot and saint leon - learns a whole lot during his awful long apprenticeship, also learned what not to do
Daughter of Pharoh 1862 (before he’s ballet master
had a ballet formula
forced to resign after last ballet “Magic Mirror” is booed off the stage cuz new director told everyone it would be bad
Petipa Formula - Hallmarks for classical ballet
processionals and divertissments
grand pas de duex - entrée, adagio, male variation, female variation coda
classical, demi-character, character dances
mime
classical tutu
****no dramatic cohesiveness - breaks in story for bows and solos to shoe off technique
Romanticism in decline
en travestie - women wearing men’s clothes and doing their roles
green room
ideas of ballet d’action are all gone, no more drama, only pretty girls
new interests - opera/singing - Jenny Lind (swedish nightingale)
Exodus to Russia - Perrot and Saint Leon - no one wanted to see them dance anymore, and the arts were stagnating
tragedies of romantic ballerinas
arrival of Can-Can (gentlemen’s entertainment)
Franco-Prussian War
Russia As next “leader” in ballet world"
doesn’t go through industrial revolution at same time as western Europe
French revolution mean’t no more elite in france → funding for arts is inconsistent
***Czar and elite still in Russia (St. Petersburg) → consistent funding for the arts
strong agricultural heritage - men and women equally respected and responsible for making a living
**Francomania - they were obsessed with what was going on in western europe (france especially)
Balletomanes
people obsessed with ballet to a point that it’s lowkey weird
rich guys usually - had the money so called the shots behind the scenes
more conservative
Christian Johansson
dancer: trained by Vestris and Bournonville, Danish ballet trad.
teacher - taught Bournonville tech., “class of perfection”
petipa lowk stole some of his class combos and put them into his men’s variations
Pavel Gerdt
first prince Desiré in Sleeping Beauty
teacher - considered guardian of the classical tradition
daughter Yelisaveta inspires balanchine
Colonel Telyakovsky
replaces Ivan Vsevolojsky as director of the imperial theater (Maryinsky) in 1901
wanted new and exciting → petipa out - told everyone petipa’s new ballet was bad
petipa forced to resign - replaced by fokine
court composers who worked with petipa
Ludwig Minkus
Don Quixote
La Bayadère
Paquita
Cesare Pugni
Erico Cecchetti
og bluebird sleeping beauty
Italian - ideals of Carlo Blasis
part of exporting russian ballet ot the west
Tchaikovsky
Russian composer - went through the imperial system for training musicians
ballets in order of fame
sleeping beauty
the nutcracker
swan lake*
The nutcracker
petipa was sick so he gave his notes to Lev Ivanov to choreograph it
og a flop but stuck around long enough to find audience because of incredible music
Swan lake
actually first ballet Tchaikovsky wrote but didn’t succeed until after his death
act 2 choreographed by Ivanov as a memorial tribute to Tchaikovsky
success→ they do the whole ballet
Acts 1 &3 Petipa- castle scenes, divertissments
acts 2 &4 Ivanov- romantic lake scenes
“ultimate” classical ballet
huge emotional narrative
razzle dazzle and pas de deux
classical tutu
short or pancake tutu - to show off legs and technique
divertissements
pause in the story for dances to show off kinda
dancing for the sake of dancing
cue second act of nutcracker
types of dances in petipa ballet
Classical
technique
pointe work
think dancer noble type
demi-character
still pointe but extra movements - usually animals
character dances
like folk dances - usually directly inspired and integrated
in heels or boots
classicism
Apollonian - technique
formality, control,
rigidity - specific rules
pancake tutus
Petipa’s formula, symmetrical formations, all kinda looked the same - it’s also what the balletomanes wanted
Processional
dance to kick off divertissement or an act
basically where everyone comes out
ex angels in nutcracker