Anna Pavlova on Screen at BFI Southbank in August with a Preview of Madam and the Dying Swan + Q&A
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A Possible Filiation Between A. Khomiakov and Lev Karsavin Françoise Lesourd
A possible filiation between A. Khomiakov and Lev Karsavin Françoise Lesourd To cite this version: Françoise Lesourd. A possible filiation between A. Khomiakov and Lev Karsavin. Alexei Khomiakov : We are sobornost’ integral life in slavophile thought as an answer to modern fragmentation. The church, empire and the modern state, In press. hal-01792373 HAL Id: hal-01792373 https://hal-univ-lyon3.archives-ouvertes.fr/hal-01792373 Submitted on 15 May 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 1 A Possible Filiation Between Alexei Khomiakov and Lev Karsavin Françoise Lesourd Université Jean Moulin Lyon 3 Khomiakov exerted a certain influence on Lev Karsavin, one of the leading Russian philosophers of religion of the twentieth century. Lev Karsavin was born in Saint Petersburg in 1882. His family belonged not to the intelligentsia, but to the artistic milieu: his father was principal dancer at the Mariinsky Theatre, the Saint Petersburg opera house, and his sister Tamara Karsavina became a famous ballerina and went on to dance with Nijinsky 1 . Karsavin himself studied at the Faculty of History and Philology under the distinguished professor Ivan Mikhailovitch Grevs, and was to become one of the most outstanding historians of the Saint Petersburg school, and a specialist on medieval Western spirituality. -
Securing Our Dance Heritage: Issues in the Documentation and Preservation of Dance by Catherine J
Securing Our Dance Heritage: Issues in the Documentation and Preservation of Dance by Catherine J. Johnson and Allegra Fuller Snyder July 1999 Council on Library and Information Resources Washington, D.C. ii About the Contributors Catherine Johnson served as director for the Dance Heritage Coalition’s Access to Resources for the History of Dance in Seven Repositories Project. She holds an M.S. in library science from Columbia University with a specialization in rare books and manuscripts and a B.A. from Bethany College with a major in English literature and theater. Ms. Johnson served as the founding director of the Dance Heritage Coalition from 1992 to 1997. Before that, she was assistant curator at the Harvard Theatre Collection, where she was responsible for access, processing, and exhibitions, among other duties. She has held positions at The New York Public Library and the Folger Shakespeare Library. Allegra Fuller Snyder, the American Dance Guild’s 1992 Honoree of the Year, is professor emeritus of dance and former director of the Graduate Program in Dance Ethnology at the University of California, Los Angeles. She has also served as chair of the faculty, School of the Arts, and chair of the Department of Dance at UCLA. She was visiting professor of performance studies at New York University and honorary visiting professor at the University of Surrey, Guildford, England. She has written extensively and directed several films about dance and has received grants from NEA and NEH in addition to numerous honors. Since 1993, she has served as executive director, president, and chairwoman of the board of directors of the Buckminster Fuller Institute. -
Romantic Ballet
ROMANTIC BALLET FANNY ELLSLER, 1810 - 1884 SHE ARRIVED ON SCENE IN 1834, VIENNESE BY BIRTH, AND WAS A PASSIONATE DANCER. A RIVALRY BETWEEN TAGLIONI AND HER ENSUED. THE DIRECTOR OF THE PARIS OPERA DELIBERATELY INTRODUCED AND PROMOTED ELLSLER TO COMPETE WITH TAGLIONI. IT WAS GOOD BUSINESS TO PROMOTE RIVALRY. CLAQUES, OR PAID GROUPS WHO APPLAUDED FOR A PARTICULAR PERFORMER, CAME INTO VOGUE. ELLSLER’S MOST FAMOUS DANCE - LA CACHUCHA - A SPANISH CHARACTER NUMBER. IT BECAME AN OVERNIGHT CRAZE. FANNY ELLSLER TAGLIONI VS ELLSLER THE DIFFERENCE BETWEEN TALGIONI AND ELLSLER: A. TAGLIONI REPRESENTED SPIRITUALITY 1. NOT MUCH ACTING ABILITY B. ELLSLER EXPRESSED PHYSICAL PASSION 1. CONSIDERABLE ACTING ABILITY THE RIVALRY BETWEEN THE TWO DID NOT CONFINE ITSELF TO WORDS. THERE WAS ACTUAL PHYSICAL VIOLENCE IN THE AUDIENCE! GISELLE THE BALLET, GISELLE, PREMIERED AT THE PARIS OPERA IN JUNE 1841 WITH CARLOTTA GRISI AND LUCIEN PETIPA. GISELLE IS A ROMANTIC CLASSIC. GISELLE WAS DEVELOPED THROUGH THE PROCESS OF COLLABORATION. GISELLE HAS REMAINED IN THE REPERTORY OF COMPANIES ALL OVER THE WORLD SINCE ITS PREMIERE WHILE LA SYLPHIDE FADED AWAY AFTER A FEW YEARS. ONE OF THE MOST POPULAR BALLETS EVER CREATED, GISELLE STICKS CLOSE TO ITS PREMIER IN MUSIC AND CHOREOGRAPHIC OUTLINE. IT DEMANDS THE HIGHEST LEVEL OF TECHNICAL SKILL FROM THE BALLERINA. GISELLE COLLABORATORS THEOPHILE GAUTIER 1811-1872 A POET AND JOURNALIST HAD A DOUBLE INSPIRATION - A BOOK BY HEINRICH HEINE ABOUT GERMAN LITERATURE AND FOLK LEGENDS AND A POEM BY VICTOR HUGO-AND PLANNED A BALLET. VERNOY DE SAINTS-GEORGES, A THEATRICAL WRITER, WROTE THE SCENARIO. ADOLPH ADAM - COMPOSER. THE SCORE CONTAINS MELODIC THEMES OR LEITMOTIFS WHICH ADVANCE THE STORY AND ARE SUITABLE TO THE CHARACTERS. -
Svetlana Toma
„Destinul mi-a oferit o viaţă uimitoare...” Svetlana TOMA 70 de ani de la naştere (24 Mai 1947) Biografie Svetlana Toma (Fomiciova) se naşte la data de 24 mai 1947, în Chişinău; 1965 – absolveşte Școala medie nr. 16 din Bălţi; 1965 – 1966 activează ca actriţă la Studioul „Moldova-film”; 1966 – 1969 îşi face studiile la Institutul de Arte „G. Musicescu” din Chişinău; 1966 - debutează ca actriță (Ioana, fiica ciobanului Iluță) în filmul Poienele roșii, produs de studioul „Moldova-film” și regizat de Emil Loteanu, care ăi schimbă numele Svetlana Toma; 1969 - se căsătorește cu Oleg Lacin, colegul ei de curs, pleacă împreună la Tiraspol, unde se fondează un nou teatru de tineret; 1969 – 1972 – Teatrul Rus din Tiraspol; 1972 – 1977 – Teatrul dramatic Rus „A. P. Cehov”; 1977 – abandonează scena de teatru în favoarea rolurilor din filme, fiind angajată de studioul cinematografic „Moldova-film” și distribuită de Emil Loteanu în mai multe filme regizate de el. Distincții 1979 – Artistă Emerită din RSSM 1995 – Medalia „Meritul Civic” 2001 – Artist Emerit al Rusiei 2008 – Artist al Poporului din Republica Moldova Cea mai bună actriță a cinematografiei moldoveneşti din secolul XX. „...harul actoricesc al Svetlanei Toma va uimi încă nu o dată pe viitorii spectatori. Zâmbetul ei, ce poate străluci în mii de nuanţe, în ochii ei enormi universul poate să se reflecte în mod misterios şi multidimensional...Victoria ei a fost generată de aptitudinea sa de a iubi şi a dărui bunătate sufletească. De a dărui în modul neobişnuit, dacă doriţi, în ipostaza divină, în care lucrul acesta trebuie să-l facă un actor...” Emil Loteanu Ion Proca. -
Glen Tetley: Contributions to the Development of Modern
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. GLEN TETLEY: CONTRIBUTIONS TO THE DEVELOPMENT OF MODERN DANCE IN EUROPE 1962-1983 by Alyson R. Brokenshire submitted to the Faculty of the College of Arts and Sciences Of American University In Partial Fulfillment of The Requirements for the Degree Of Masters of Arts In Dance Dr. -
Anna Pavlova
READ and EXPLAIN Anna Pavlova Anna Pavlova was born in Russia in 1881. Her love of ballet began at a very early age and when she was 10 years old she entered the Imperial Ballet School in St Petersburg. She eventually became the main dancer for the company. In 1911, she set up her own company, becoming the first ballerina to tour ballet around the world. She was most recognised for creating the role ‘The Dying Swan’, which she performed over 4,000 times. It’s a four minute long ballet choreographed specifically for her in 1905 and is part of The Carnival of the Animals by Camille Saint-Saens. In 1912 Pavlova moved to London, which became her home until her death in 1931. It was in 1927 that she performed at the Hippodrome in one of her lightning tours of Britain – travelling 4,000 miles in ten weeks from Aberdeen to Plymouth1. Her itinerary for the second week in November was Monday: Newcastle, Tuesday: Middleborough, Wednesday: West Hartlepool, Thursday: Darlington, Friday: York and Scarborough, and Saturday: Hull. Her own death, like Pepi’s, is tinged with pathos. At the age of 49, after another arduous tour, she took a much-needed Christmas holiday abroad. Afterwards, she was to start another tour, beginning at The Hague in Holland. However, the train there was involved in an accident and she was left waiting for nearly 12 hours on a snowy evening, apparently wearing only thin clothes. When she eventually arrived at The Hague, Pavlova developed pneumonia, which quickly worsened. The story goes that doctors told her she needed an operation and that she wouldn’t be able to continue dancing afterwards. -
Tfw H O W a N D W H Y U/Orvcfoiboo&O£ • ^Jwhy Wonder W*
Tfw HOW AND • WHY U/orvcfoiBoo&o£ ^JWhy Wonder W* THE HOW AND WHY WONDER BOOK OF B> r Written by LEE WYNDHAM Illustrated by RAFAELLO BUSONI Editorial Production: DONALD D. WOLF Edited under the supervision of Dr. Paul E. Blackwood Washington, D. C. \ Text and illustrations approved by Oakes A. White Brooklyn Children's Museum Brooklyn, New York WONDER BOOKS • NEW YORK Introduction The world had known many forms of the dance when ballet was introduced. But this was a new kind of dance that told a story in movement and pantomime, and over the years, it has become a very highly developed and exciting art form. The more you know about ballet, the more you can enjoy it. It helps to know how finished ballet productions depend on the cooperative efforts of many people — producers, musicians, choreographers, ballet masters, scene designers — in addition to the dancers. It helps to know that ballet is based on a few basic steps and movements with many possible variations. And it helps to know that great individual effort is required to become a successful dancer. Yet one sees that in ballet, too, success has its deep and personal satisfactions. In ballet, the teacher is very important. New ideas and improvements have been introduced by many great ballet teachers. And as you will read here, "A great teacher is like a candle from which many other candles can be lit — so many, in fact, that the whole world can be made brighter." The How and Why Wonder Book of Ballet is itself a teacher, and it will make the world brighter because it throws light on an exciting art form which, year by year, is becoming a more intimate and accepted part of the American scene. -
'We Are Not Exiles, We Are Messengers': George Riabov and His Collection of Russian Theatre Design (USA)
Questions of Expertise in Culture, Arts and Design Questions of Expertise in Culture, Arts and Design Volume 2020 Conference Paper ‘We are not Exiles, we are Messengers’: George Riabov and his Collection of Russian Theatre Design (USA) Alla Rosendfeld Ph. D, art historian, curator and art expert, Research Consultant at the Merrill C. Berman Collection of Early 20th Century Avant-Garde and Graphic Design Abstract This article is devoted to the history of George Riabov’s collection of Russian art. Among art collections outside of Russia, the George Riabov Collection of Russian Art is unique due to its scope. It includes icons from the fifteenth to the nineteenth centuries, graphic arts and sculpture from the eighteenth to the twentieth century, as well as ‘lubki’, posters and illustrated books from the early 1900s to the 1930s, nonconformist art of the former Soviet Union from the 1960s–1970s, and the works of Russian émigré artists. Consisting of important works of Russian art across the centuries, the Riabov Collection also features some major examples of stage and costume designs for Corresponding Author: Alla Rosendfeld theater, ballet, and opera created by the early twentieth-century artists. In 1990, Riabov [email protected] donated his vast collection to The Jane Voorhees Zimmerli Art Museum at Rutgers, The State University of New Jersey (USA). The article traces the history of the Riabov Published: 25 August 2020 collection and also places a number of important costume and stage designs in the Publishing services provided by collection in the context of the development of Russian theatrical design in pre- and Knowledge E post-revolutionary era. -
1 Evolving Authorship, Developing Contexts: 'Life Lessons'
Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009). -
Table of Contents
QContents Illustrations follow page 86 Acknowledgments xi A Note on the Text xv Introduction: Akim Volynsky and His Writings on Dance xvii Part 1. Reviews and Articles Dance as a Solemn Ritual (1911) 3 Coppélia (1911) 9 Tamara Karsavina: The Trial of Damis; The Nutcracker (1911) 12 Mathilda Kshesinskaya: Swan Lake (1911) 16 Schumann, Ballet, and Fokine (1912) 20 Eunice and Chopiniana (1912) 24 Errors of Creation: On Papillons and Islamey (1912) 26 The Little Dove: Harlequinade (1912) 29 The Russian Dance: Die Puppenfee (1912) 32 Raymonda (1912) 33 Coppélia (1912) 35 Vaganova’s Variation (1912) 37 viii Contents The Tsar Maiden: A New Production of The Little Humpbacked Horse (1912) 39 A Circle of Immovable Stars: Alexander Gorsky and Mikhail Fokine (1913) 43 Isadora Duncan: The Last Word (1913) 45 Anna Pavlova (1913) 46 Pavlova’s Farewell Performance: La Bayadère (1913) 48 A Kaleidoscope of Attire: Still More on Konstantin Korovin (1914) 51 Elegy (1915) 53 Mikhail Fokine: Some Lines Toward a Polemic (1915) 58 La Jota Aragonese (1916) 60 My Miniatures: Swan Lake (1920) 62 Marius Petipa’s La Bayadère (1922) 64 The End of the Season: Lida Ivanova (1922) 69 Two Schools of Classical Dance: Sleeping Beauty (1922) 70 Stravinsky’s Ballets (1922) 74 The Birth of Apollo (1923) 77 What Will Ballet Live By? (1923) 84 A Wretched Housepainter: The Nutcracker (1923) 87 The Weeping Spirit (1923) 90 The Innovator: Mikhail Fokine (1923) 95 Don Quixote (1923) 98 Classical Attire (1923) 102 Naked, Barefoot, and Beltless (1923) 104 Swan Lake: The Swan in Music (1923) 107 Sleeping Beauty (1923) 110 Swan Lake: The Swan in Motion (1924) 115 Lida Ivanova (1924) 119 Adrienne Lecouvreur (1924) 121 Tamara Karsavina (1924) 124 Part 2. -
El Lorca El Lorca (De 1995 À 1999)
SOPHIE ELBAZ El Lorca EL LORCA (DE 1995 À 1999) The history of Havana’s Great Theater dates back to 1837 when General Tacon founded the New World’s’ first theater on this same site in the heart of Cuba’s capital. Today, despite the faded splendour of the decor and heavy dependence on donations as diverse as food, guitar strings, pens, fashion magazines, and magnetic tape, the theater in a hub of cultural life. Havanese call it the ‘Garcia Lorca’ in reference to its magnificent main room built at the turn of the century. Looking at the ancient lithographs of the theater, one can have an idea of it’s former luxury. Before the hard times Cuba experiences today which threaten the Garcia Lorca’s survival, some of the most famous artists appeared on its stage, such as Sarah Bernhardt, Enrico Caruso, Rachmaninov, Anna Pavlova and Pablo Casals. 80 years old Alicia Alonso, founder of the theater’s resident Ballet Nacional and it’s most famous ballerina, embodies the revolutionary utopia. At the beginning of the 1960, Alicia devoted herself to the ideological line which advocated ‘Arts for Everybody ‘. Through her impetus, the theater, which was formely associated with the Cuban bourgeoisie, has turned into arts centre whose rich diversity contrasts with the dirth of such activities and entertainments available outside its walls. Beside performances during the ballet and opera seasons, people come to the Grand Theater to study dance, small companies rehearse in the Carpentier and Artaud rooms, movie fans crowd into the Luis Bunuel video room and the public visit painting and sculpture exhibitions. -
Ballet and Modern Dance in the Construction of Modern México (1919-1940): an Overview 9
UNIVERSITY OF CALIFORNIA Los Angeles Choreographing Politics, Dancing Modernity: Ballet and Modern Dance in the Construction of Modern México (1919-1940) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Jose Luis Reynoso 2012 © Copyright by Jose Luis Reynoso 2012 ABSTRACT OF THE DISSERTATION Choreographing Politics, Dancing Modernity: Ballet and Modern Dance in the Construction of Modern México (1919-1940) by Jose Luis Reynoso Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2012 Professor Susan Leigh Foster, Chair In this dissertation, I analyze the pivotal role that ballet and modern dance played in the construction of modern México during the development of its post-revolutionary history and culture from 1919 to 1940. In this doctoral research, I approach dance as a means of knowledge production that contributes to shaping the cultural contexts in which individual and collective identities are produced while perpetuating systems of sociopolitical and economic domination and/or offering alternatives to restructure unequal power relations. As an organizing principle, this dissertation presupposes that dances always enact, explicitly and/or implicitly, sets of political assumptions that affect the bodies that participate by dancing or by watching dance. In other words, I examine how dance represents race, class, gender, and sexuality; how corporeal ii difference is arranged in space; what does the dance say about human relations; and how subjectivity is constructed through dance training and performing on stage. I also consider whose worldview, values and interests are enacted on stage and thereby normalized beyond the stage.