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The Early Life and Works of George Balanchine (1913-1928)

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The Early Life and Works of George Balanchine (1913-1928) The Early Life and Works of George Balanchine (1913-1928) Dissertation zur Erlangung des Grades eines Doktors der Philosophie im Fachbereich Philosophie und Geisteswissenschaften: Theaterwissenschaft Freie Universität Berlin Vorgelegt von: Elizabeth Kattner-Ulrich Sommer 2008 Erste Gutachterin: Prof. Dr. Gabriele Brandstetter Zweite Gutachterin: Prof. Dr. Dr. h.c. Erika Fischer-Lichte Disputation 15. Juli 2008 Table of Content List of Illustrations…………………………………………………….. 4 Acknowledgements……………………………………………………. 5 Chapter 1 Introduction………………………………………………… 6 1.1 Sources…………………………………………… 10 1.2 Research Methods………………………… ...…... 15 1.3 Questions of Authenticity……………………....... 17 1.4 Changing Bodies and Styles……………………..... 20 Chapter 2 First Encounters at Theater School (1913-1920)……..... 26 2.1 The Cream of the Young Maryinsky……………… 31 2.2 The Russian Tradition……………………………. 35 2.3 Marius Petipa: Father of the Classics……………… 37 2.4 Mikhail Fokine: The Reformer…………………..... 45 2.5 Choreographic Beginnings: La Nuit……………… 48 2.6 Summary and Analysis of Chapter 2…..…………. 52 Chapter 3 From Classical to Avant-garde: Early Soviet Influences……………………………………………….. 54 3.1 Kasian Goleizovsky: Preacher of Pure Dance……. 57 3.2 Fyodor Lopukhov: Creator of the Dance Symphony…………………………………………... 63 3.3 Isadora Duncan: Plastic Expressionism…………... 66 3.4 The Young Ballet…………………….…………… 70 3.5 Summary and Analysis of Chapter 3…………..…. 72 Chapter 4 The Repertory of the Young Ballet (1921-1924)……….. 74 4.1 The Twelve…………………………………………. 75 4.2 Funeral March……………………………………… 81 4.3 Orientalia………………………………………….. 87 4.4 Poème and Waltzes……………………….………... 88 4.5 Valse Triste and the One Left Behind……… ……... 89 4.6 Summary and Analysis of Chapter 4……………….97 Chapter 5 The Bridge from East to West: The Tour of the Soviet Dancers (1924)………………………………………..… 99 5.1 St. Petersburg: The Beginning of an Adventure…... 100 5.2 Stettin: The First Stop ………………………….… 103 5.3 Berlin: The First Performance..………………….... 106 5.4 Rhineland: The Variety Circuit…...………………. 111 5.5 London and Paris: The Empire Theater and Diaghilev‘s Discovery ……………………………. 115 5.6 Enigma and Étude………………………….………. 118 5.7 Choreographer……………………………………. 123 5.8 Summary and Analysis of Chapter 5………..….… 123 Chapter 6 Choreographer for the Ballets Russes (1925-1927)…… 126 6.1 Serge Diaghilev and the Ballets Russes………….... 127 6.2 The Young Choreographer………………………. 133 6.3 Le Chant du Rossignol……………………………..... 137 2 6.4 Barabau…………………………………………… 144 6.5 La Pastorale……………………………………….. 146 6.6 Jack in the Box…………………………………….. 150 6.7 The Triumph of Neptune…………………………….. 150 6.8 Grotesque Espanol and Sarcasm …………………..… 154 6.9 La Chatte……………………………………….…. 157 6.10 Summary and Analysis of Chapter 6…………..…. 165 Chapter 7 Apollo: The Final Transformation (1928)……….….….. 167 7.1 Stravinsky‘s Apollo…………………………….….. 170 7.2 The Constructivist Influence: The Creation of Levels and the Formations of Bodies…………..… 173 7.3 Extending the Classical Vocabulary: The Use of the Parallel ; Lines Extended and Broken…………. 182 7.4 Mixing the Classical Vocabulary with the Modern… 185 7.5 Conclusion: The Final Transformation…….……... 189 Appendix I Summary of Early Works by George Balanchine (1920-1928)……………………………………………..... 193 Appendix II Correspondence from George Balanchine to Serge Diaghilev (1925-1927)…………………….……..... 213 A. September 4, 1925……………………………….. 213 B. September 15, 1925………………………………. 214 C. September 5…………………………………….... 215 D. September 26, 1927……………………………..... 216 Appendix III The Challenges of Dance Reconstruction and Restaging…………………………….………………… 217 A. The Removal of a Work from Its Social, Political, and Historical Context…….……….……………… 217 B. Changing Body Types and Different Dancers…….. 219 C. The Intentions of the Reconstructor …………….. 223 Appendix IV Zusammenfassung in Deutscher Sprache…………….. 230 Notes ………………………………………………………………….. 239 Literature……………………………………………………………...... 249 Selbstständigkeitserklärung………………………………………… 257 Curriculum Vitae……………………………………………………… 258 3 List of Illustrations 1. Vera Kostrovitskaya in Funeral March (1923). (page 83) Vaganova Choreographic Institute. 2. Nina Stukolkina in Funeral March (1923). (page 83) Vaganova Choreographic Institute. 3. Lydia Ivanova in Valse Triste (1922). (page 95) St. Petersburg State Museum of Theater and Music. 4. Tamara Geva and George Balanchine in Étude or Enigma (1923). (page 120) BALANCHINE is a Trademark of The George Balanchine Foundation. 5. Felia Doubrovska in La Pastorale (1926). (page 149) Harvard Theater Collection. Houghton Library. Stravinsky-Diaghilev Foundation (MS Thr 495 159). 6. Tamara Geva in Grotesque Espanol (1927). (page 156) Dance Division, New York Public Library for the Performing Arts. 7. Serge Lifar and corps de ballets in La Chatte (1927). (page 159) BBC Hulton Picture Library. 8. Serge Lifar and three Muses Apollon Musagète (1928). (page 180)Dance Division, New York Public Library for the Performing Arts. 9. Peter Martins, Karin von Aroldingen, Kyra Nichols, and Heather Watts in Apollo (1982). (page 180) Martha Swope. 4 Acknowledgements First and foremost I would like to thank my advisor, Prof. Dr. Gabriele Brandstetter at the Free University Berlin for her consistent support during the course of this project. Without her carefully thought through input, this project would not have been possible. I would also like to especially thank Vera Vielhaber from the Eastern European Division of the National Library in Berlin for the many weekends she spent working on much of the hand written Russian documentation that has been used as a vital source in this study as well as working with me on the translation of the letters in Appendix II. Susan Kraft and the other staff at the Dance Division of the New York Public Library for the Performing Arts deserve thanks for their helpfulness in allowing access to their archives. I am especially grateful for their kind permission to quote from the Oral History Archives. Millicent Hodson is owed special thanks for granting an interview and allowing me to quote her. Her work in reconstructing Balanchine‘s early ballets inspired this project. I would also like to extend thanks to Kim Kokich for granting permission to quote from recorded interviews of Alexandra Danilova and to John Gruen for allowing me to quote from many of the interviews he conducted in the 1970‘s which are now part of the Oral History Archives at the Dance Division of New York Public Library for the Performing Arts. I am grateful to Ellen Sorrin at the George Balanchine Foundation for her permission to translate the correspondence from George Balanchine to Serge Diaghilev. 5 Chapter 1 Introduction In 1924 a small unknown group of young ballet dancers left St. Petersburg for what was to be a four month educational tour of Germany. The dancers were to get the chance to see the world outside of Russia, and the tour was to include a few recitals to show what artists in the new Soviet Union were doing. As the time came for them to return home, the Soviet Dancers, whose members included George Balanchine, Alexandra Danilova, Tamara Geva, and Nicholas Efimov, decided to stay in Western Europe despite having no jobs, money, or visas. The decision not to return had major influence on ballet, not only in Western Europe and the United States, but on future Russian ballet as well. Three of the dancers became international stars. After dancing with Diaghilev‘s Ballets Russes, Geva went to America, eventually becoming a Broadway star particularly known for her role in the Broadway musical On Your Toes. Danilova toured Europe with the Ballets Russes, and also toured Europe, South America and the United States with the Ballet Russe de Monte Carlo. Later she performed with her own company in Japan. She danced in hundreds of small towns and cities in front of audiences who had never before seen ballet, building a following of balletomanes and future dancers. Later, when Balanchine hired her to instruct the classical technique and repertory as they had learned it in Russia, she taught several of Balanchine‘s American ballerinas while they were still young students at the School of American Ballet in New York. Balanchine‘s contribution to the art cannot be underestimated. The ―Balanchine dancer‖-tall, slender girls, with high, flexible extension, and clean lines has become the standard physique. Although the developments of these qualities in ballet dancers partially paralleled changing fashions and sport trends, even as a young dancer and choreographer in the 1920‘s Balanchine began creating dances on women who exemplified this ideal. The basic physique of the dancers, however, is only one small element in the transformation Balanchine made to ballet in the first decades of the 20th century. Combining elements of the St. Petersburg Imperial Ballet, the Soviet avant-garde movement in theater and dance together with Diaghilev‘s innovations in Western Europe, Balanchine transformed the face of ballet, both in terms of basic technique and choreography. No longer the art form that 6 had all but died out in Western Europe and had stagnated in czarist Russia, he created an entirely new direction in the art of dance, one whose ramifications extended far beyond his own company of dancers. Balanchine began his experimental work during a time of great creativity in the Soviet Union. However, this burst of creative energy was not to last there. Although he left before Stalin came to power, the direction of the Academic Theaters at both the Maryinsky in St. Petersburg
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