' ' I am ara K arsavin a " j

by

ARN O LD L . H A SKELL

B R I T I S H - C O N T I N E N T A L P R E S S L O N D O N

1 9 3 1 THE ARTISTS OF DANCE .

H k Vera Trefilova by Arn old L. as ell

Stud in C ass c sm A y l i i ,

t For w rd b Pr n ce Wolk on sk wi h e o y i y .

Ann a Pavlova by Valerian Svetlofi

n d r i (Seco evised edi t on . )

3 n D l n b n o d L . Haskel Vol . . A ton o i y Ar l l

d r w th Forewor P . . S cha dson . i by J . Ri

ke l in a rn o L . Has 4 . mar arsav b d Vol . Ta K y A l l

l Haskel n e en cer an d the tu rn o d L . 5 . Pe e S S di es b Vol . lop p o r y A l

h r r wit Fo ewo d by Gustav Holst .

Haskel T e m rn old L . 6 . he Ma a bert B allet b Vol . ri R y A l

with Foreword by Tamara K arsavin a .

(Secon d en larged edition n ow ready . )

Haskel is a del i ed d keen s athetic critic Mr. l wi y cult vat an ly ymp

who wr tes w th wit cha m an d an admirable sen se of i i , r ,

perspective . T e Em M . P . , in h

In Preparation .

. 7 . L far Sokol a Woizikovski an d other stud es . Vol i , ov , , i

2 NOTE .

I must thank the Editor of the Dancing Times for permission to reprint the first chapter of this monograph , ” w A S tudy in Romanticism , hich originally appeared in D ” the C hristmas number of the ancing Times , 1929 .

A . L. H .

TABLE O F C ONTENTS .

Introduction

Chapter ONE A Study in Roman ticism

Chapter TWO Career

Chapter THREE Some Roles

Chapter FOUR Karsavin a as an Author

es in Ballet Appendix A . Rol

t ssem n s B . Diver i e t

C .

D Pa n s an d Drawin s . inti g g INTRODUC TION .

The writing of this monograph has given me immense ’ n pleasure . I have missed scarcely any of Kar s avi a s great performances in Western Europe , and my admiration has

increased with each creation . Karsavina taught me , as she has taught thousands , to love and to understand Russian art in its purest form . B ak st , S omov , B en oi s , D ob oujin sky ,

Larionov and G on tc har ova , all those countless dreams of glowing colour came to me through Karsavina . S he has been a veritable ambassador of artistic Russia , and her name will live not only in the history of dancing , but in the history of decorative art , and of music .

S he is one of the few amongst the great artists of the dance whose virtuosity is not discussed . It is tak en for — granted yet entirely apart from her immense artistry , her technique stands almost alone in its strength and purity . Where many other dancers have made a feature of thei r technique , hers is entirely subordinated to her genius for dramatic interpretation . I have seen her strike an attitud e or suggest a pose in everyday clothes without any of the charitable illusions of the stage . No words can describe the beauty of those movements . They suggest a veritable collection of tanagra figures . Knowing Karsavina it is not easy to keep the persona l note out of this study . I have tried to do so , but it is not necessary in this introduction .

" Karsavina off th e stage is the same as Karsavina on the stage . By this I do not mean to suggest that she is as cruel s - a Thamar , as mischievous as the C an C an Dancer , or as ” n u The S e tre o the Rose sentime tal as the yo ng girl in p c f , but that she retains that suppleness of mind that enables her to interpret these roles . Karsavina is not a purely instinctive artist . While instinct may suggest to her a particular interpretation , it is reason that suggests its final

form .

Karsavina understands her art and the allied arts . S he has in her the qualities that go to mak e the produ cer , as well as the purely interpretative artist . S he is a k e en judge of her own work and a k ind , but sin cere critic of the work of others . Thou gh not didactic by character it is these qualities that mak e her an ideal teacher . S he possesse s a rare under ’ s tandin g of other people s problems the same u n derstandin g that enables her to feel for the moment as Thamar would have felt .

It was interestin g during the recent M emorial Exhibition which Karsavina opened at the C laridge G alleries , to see how many of the most inspired designs owe their being to

Karsavina .

I c an only end this introduction by repeating what I said during the opening ceremony .

For many of us the Diaghileff B allet means Karsavina ’ without her there could have been no such exhibition .

A rn old L. Haskell.

Lon don ar h 1 3 0 , M c , 9 .

8 C HAPTER ONE .

D A S TU Y IN ROM ANTIC IS M .

In an earlier volume devoted to Vera T r efilova , I explained

the great merits of c lassical B allet , and also some of its

limitations . At its best , danced by a great exponent it was

a very high form of art , while at its worst it w as utterly

ridiculous , and nearer acrobacy than dancing . The Swan ” ” “ ’ Lake The Slee i n P ri n ess La Fille M al Gardee , p g c , and that

i elle n great dramatic poem G s , all belo g to the great classic

period of Russian C horegraphic art , but there are countless

other work s that have survived in name alone , and which if danced to - day might charm a few connoisseurs of dance

k . technique , but wou ld most certainly provo e laughter They would seem as great an achronisms as a bustle or crino

- n o t line in B ond S treet to day . Truly great art does date in

this manner , and the work of a C hardin is as modern as that k of C ez an n e . S ome of the objections that one could ma e about these obsolete ballets apply even to the very finest work s of that period in a lesser degree accordin g to the work

in question . There is a complete divorce between the

atmosphere of the music , the movements of the dancers ,

and the usually complicated story that is to be told . Dancing ,

9 n it is true , is a co vention , but there is n evertheless dance ” realism . It cannot or must not be true to life , but it must be true to the atmosphere suggested by the music . In h watching T amar for instance , I never feel that it did not all happen in this mann er . I am enchanted by the poem and completely forget the convention , and the very com plicated technique that has gone to produce this wholly beau tiful thing . S uch is not the case with the C lassical B allet , with perhaps the exception of Giselle which from many poin ts of view is entirely romantic and in fact belong s ’ to an earlier romantic period . I am an enthusiast of Petipa s ” Swan Lake. When it is well danced , I am completely ’ carried away by the prima ballerina s art , but I am never carried away by the whole w ork itself . I am always fully

n aware that I am at the B allet , watching every detail , analysi g

3 2 ouettés . every movement , and ready to count the f That s too has its charm , and as we see less and less of these ballet the more I admire them . Perhaps at that period dancing stood at its highest , but the art of ballet was in a formative period . How brief has been the whole history of modern

- b allet . There are many alive to day who have played parts in the whole movement from discipline through beauty t o chaos .

Karsavina made the popular spread of Romanticism possible , but one might equally say that Romanticism made a gre at an d unique Karsavina possible . They are so closely bound up together that the answer is of no importance .

It is usual for those who have heard M ario , to say that there the will never be a great tenor again , even in the middle of

10 of the an P e th e M . Fo kin e , C re ator Rom tic riod of

Russian B allet , by Isamo Nahuchi . r eign of a C aru so . They are annoying people , whom we all

k . h ave met , and they are obviously mista en I am not going t o repeat their mistak e when I say there w ill never again be

such a dancer as Karsavina . One has only to consider the c ircumstances of her rise to fame to realiz e how this remark i s justified . S he was trained in the hard technical school

n n u r d t S k B of Petipa , J ohan se , G e , o olova , eretta and C ecchetti , ” ” Corsai r Don uixote P a uita practised in ballets such as , Q , q ” e an Lake a n d Th Sw , where every little fault was noticeable a n d w ould most certainly be brought to her attention by my

- l ff n e agle eyed friend , Valerian S vet o , a d yet she w as at the most receptive age when Fok ine horrified the balletoman es

n with his revolutionary w ork s . I her were embodied the

n o bvious advantages of both schools , a d she had the physical k b eauty , the temperament and the brain to ta e every ad van t age of them . The Romantic movement was pick ed out of the air by K F ok ine , so to speak , interpreted by arsavina , Nijinsky , and a veritable galaxy of talented artists , and its gospel was s pread by the genius of S erge D i aghileff .

Romanticism was in the air and it on ly needed the coming together of these four remark able people to mak e it a con crete development of B allet . D oubtless the dancin g of D w I sadora uncan , who appeared ith great success i n S t . P etersburg at that time had much to do with the actual form of the developmen t . He r dan cing itself could teach nothing to these highly trained Russians , but her conceptions , the themes she chose for her interpretation and especially the music she danced to , must have come as a revelation .

l l Apart from the essentially Russian Tschaikowsky , with his often genuinely romantic sentiment , the favoured composers of that time were such total non entities as M inkus and

- Pugno , entirely forgotten to day , and out of place anywhere save in the circus ring or the fair ground . It was indeed a bold and unheard - of thing to dance to the music of such C masters as B ach , B eethoven , hopin , S chumann , Wagner Isadora had done so and had been applauded an d written about , and painted by every popular artist of the day . Here then lay the suggestion that Fok ine was to mak e into the highest and most perfect development of C horegraphic art . B allet was to be no more the vehicle for the success of one scintillating technician and a perfectly trained hierarchy of

n d soloists , c ho r yphée s a corps de ballet at the expense of

n . decor , music , sentime t and sense If the music of the

Immortals w as to be used , great poets must choose the

n theme , great painters prepare the sce e , and dancers who are actors as well must fill the roles . The five act ballet with its plot and counterplot becomes a thing of the past , and a perfectly balanced C horegraphic poem , that is the true meeting place of all the arts , tak es its place . Once ’ t t more the great N over r e s many obi er dic a are laws . — Nothing is destroyed this is evolution , not revolution . The n ew and the old can exist together in the repertoire , an d the old will give dancers to the new . At the present time we have had a real revolution , and the work s of a Fokine P or a etipa are damaged beyond recognition , together with the limbs of the performers . In Karsavina , as I have said , lay the perfect medium for the interpretation of ’ Fo in e s k ideals . They were her ideals too , and she must

12

A n Un publi shed Ru s s ian Photo graph . a nything but Russian , and the park of the sylphs p ark of a Ru ssian palace . Nor must one forget ’ D ou in k Di l ob j s y , and the other followers of aghi eff s ” o f Art .

In an other chapter I will analyse in detail ’ ballets , and in particular Kar s avin a s contribution perfect artistic success .

14 C HA PT ER TWO .

(i . ) C AREER .

Tamara Karsavina has given a strik ing picture of her ” career in her memoirs , Theatre S treet , so that anything but a brief sk etch would be out of place here . S he w as educated at the famous ballet school at S t . Petersburg and almost from the first showed signs of unusual talent , though weak health made it seem possible that she w ould have to aban don her career . H e r father , P laton Kar s avin , was a dancer of fame , though he had retired from the stage before her entry into the school and was not over eager for her to u h tak e p such an arduous career . S e must , however , have ’ owed a great deal to his example and to her mothe r s strong will and courage . It is not possible to give the n ame of any o n e teacher who formed her . Under the excellent system

n n in vogue she came under the i fluence of ma y , and the u er d names of G t , the old Johannsen , S ok olova , and later , B eretta and C ecchetti , are all associated with her rapid progress .

From her mother she inherited the priceless gift of self criticism . While the critics were satisfie d and the

15 public applauded she felt her technical shortcomings 3 during a visit to Italy for reasons of health she placed hers

t under the Italian ballerina B eretta . There she t api mastered her technique under the strengthening i n flu el of the Italian school and w ith perfected technique came 1

- self confidence that had been lack ing . S he was now r e a

to tak e her place as a great Russian ballerina , and to ca"

on the glorious tradition . S he added , however , one extrem — important item to her equipment dramatic ability . With

that she would still have been a great dancer , but s c ar c the most important figure that the art of ballet has produc

Her dramatic ability , which to a certain extent was in b t (her grandfather had been an actor) must have been grea fostered by her intense love for literature and by the f that as a child she would act what had impressed her n most in her reading . Acting was by no mea s n e gle c

at the Imperial S chool , particularly under Prince Wolk o n s but it was rather the graceful mime required in such a b a as La Fille mal Gardée than anything more subtle t

powerful .

’ (ii The B allet S tage at the Time of Kar s avin a s Debu1

Karsavina emerged at a critical time . The Russ

dancer was by now firmly established , but the Italian tr a

tion was long in dying . Kshe s sin sk aya was at the hei

of her fame , spark ling and brilliant , outmastering

Italians in technique , while T r efilova , most elegant

16 aristocratic of dancers and the witty an d intelligent Preob r a jen sk aya had hosts of admirers . Pavlova was beginning to bring a new quality into the dance , poetic frailty rather than ’ i n muscular strength , and Kyasht , Kar sav a s friend and

es ie leri e . contemporary , was charming audiences with her p g

G reat dramatic actress there was none , and indeed had there been , there was no role in the repertoire in which she might shine . I have recently seen a dramatic interpretation of

The Swa n Lake and it created an entirely false note . The delicious artificiality of such ballets must be respected , or they degenerate into burlesque . It was only when Diaghileff , Fok ine and Karsavina met that the new ballet was ready to be born out of the old . The story of how the Russians ” P L P ri n e I or completely conquered aris and later ondon in c g , ’ L P a lio A r e e vi n d mid and Festi n is now ballet history . The role played by Karsavina in that conquest can be best understood when one realises that for many years the B allet could only secure its contract so long as La Karsavina was a member of the troupe .

17 C HAPTER THREE .

S O M E ROLES .

(a . ) The S pectre of the Rose .

In many particulars this apparently simple role is of the most diffi cu lt ever attempted by a ballerina . actual dancin g is simple enough to the well - trained dan The diffi culties consist in giving it the right dram in tensity .

The male role of the Rose is one of singular b r illia

n a virtuoso role , culmi atin g in the mighty leap from win dow . The ballerin a must forget that she is a brill

n n da cer , she must be co tent to leave all the brilliance to partn er . S he is a youn g girl just home from her first da lettin g her fan cy wan der an d dreamin g of the rose dou btless of its giver . This is a role requiring c on su m — actin g The wron g perspective an d the whole delicate b a r is upset . Virtuosity must be forgotten , dramatic inte r there is none . It is a question of taste and p r op or tio n d natu ral grace , a thin g e n tirely removed from the da grace , a quality so often missing .

18

K s n i n Le S e e d e ar avi a p ctr la Rose .

’ Lerm on tov s heroine that the whole convention of ballet momentarily forgotten and her wonderful dancing tak es s econdary place . We are assisting at a tragedy . Never d a poem translated into action retain its original spirit mo ’ i ntensely . Here was Le r m on tov s Thamar , realised in pai K by S erov , in human form by arsavina .

P (c . ) etrouchk a . Again we have an entirely different role where mor th s tress is placed on the actual dance . Passion again , but passion of a puppet this time , the human heart beat

- n beneath doll like movements . A C oppelia of deeper s ig ifi c ance , where dancing aids drama , and is not the sole justifica tion of the ballet , a D octor C aligari anticipated by ten year an d devoid of the tawdry thrills of cinema . B ak st , S a n d Karsavina recreate for us the Russian fair , and the booth with its Hoffm an e sq u e atmosphere , which is fan nearer Hoffman than the ballet adaptation of his own s tor j of Olympia and C opp eliu s . P etrouchka is the simple pattern o f all tragedy , the tragedy of dolls W ithout the sick ly senti mentality of the old - fashioned doll ballet such as The Fai r" ” D oll.

(d . ) The Firebird .

This is another complicated role that Karsavina alou t can interpret : A bird , requiring all the lightness an t virtuosity of the prima ballerina , but much more than this a legendary bird of Russian folk tale that needs a certain

20 dramatic intensity , and an atmosphere that it is difi cult to define . The lightness of the bird is not enough , one must feel the passion of the woman too , and all the glamour of legend . To be all bird or all woman is to fail utterly and to ’ F k n mak e o i e s dream into a C hristmas pantomime , as it has appeared during all the recent revivals , where it was in ’ differently danced and entirely misunderstood . Fokin e s work is exceedingly easy to mar by faulty interpretation .

The S e tre o the Rose p c f becomes mere flashy virtuosity ,

e eraza et o ka en e Sh h de a scene out of a revue , and P r uch a sc mimée of the C hauve S ouris . As I have said in another chapter Karsavina made these great work s of art a concrete possibility , and danced by her , they stand as the highest artistic achievements of ballet . The Fi rebi rd is the most strik ing example of this fact .

H . (e . ) The Three C orned at

G ood Humoured Ladies .

B outique Fantasque .

’ This time we have a peasant theme from Alarcon s delightful story , and Karsavina gives us a S panish dance totally devoid of the usual noisy imitations of S panish ’ temperament . The Three C orn ered H at is perhaps M assine s masterpiece , a synthesis of all forms of S panish dancing , adapted to ballet conventions , and the immense success of this ballet in S pain is significant . The dancing is essentially

S panish , but it is S panish dancing stylisé , seen through the

21 eyes of a ballet master and it calls for the greatest techn ica ability , a combination of ballet and character work

Karsavina was by nature its ideal interpreter . A d r am ati actress unique in her power and versatility , and a dance equally at home in classical and character dancing w a needed , and Karsavina alone fulfilled these conditions which were essential in nearly all the early M assin ballets .

’ In The Good H umoured Ladi es w e have an other wor ” e T r o e e H at s omething in the spirit of Th h ee C rn r d , but wit t he lighter note of mischief suggested by its Venetian settin an d the more fragile mu sic of the Italian composer .

The role of the can - can dancer in La B outiqu Fa n tasque is one of pure mischief and high spirits combin e ” Les S l hides fi u n w ith the romanticism of y p , a dif c lt combi a

P e ro hka w e tion . In t uc we had the tragic puppet , here hav t he naughty and sentimental puppet , a t ransition of mood after the closing of the toyshop . Alt the path is chiefly associated with the charming ’ Lop ok ova it is also one of Kar s avi n a s most delightful role a n d shows her in an entirely n ew mood .

(f ) C olumbine in C arnaval .

’ In Fok in e s Carn aval there is another study in mischie ” T e ood umo re Ladi es in a far lighter k ey than in h G H u d . time it is the commedia delle arte , not the Venice of L B The recent revival with the M arie Rambert allet ,

22 out many interesting points in the C horegraphy of this ballet . It clearly showed that C arn aval requires more subtle

artistry , stage sense , and experience than almost any other work . The ballerina must shine both as an individual and as a member of a team . S he must continually feed and

be fed by her company as in any dramatic comedy . Karsavina showed to the full here her remark able ability to

see a work of art , in which she is the central figure , as a whole . The real test of a very great artist .

I have not attempted to do more than to sketch a few of ” i e l the most memorable roles created by Karsavina . G s l e, perhaps her greatest r 61e of all , I have never seen . From what I know of the ballet and from what I have heard from connoisseurs I realise the immense pleasure I have missed . ’ From the few roles I have quoted , Kar s avin a s extraordinary versatility can be realised : a young girl dreaming of her first ball , a cruel oriental queen , a legendary bird of fire , — a puppet tragic , sentimental , mischievous , a S panish ’ miller s wife . Each role entirely different each time a n ew and in spired Karsavina .

23 C HAPTER FOUR .

KARS AVINA A S AUTHOR .

Karsavina has lately made her début as an author , an in her reminiscences , Theatre S treet , has written veritable classic of the dance that every student shoul r ead . Theatre S tr eet is an admirable work of art to reasons in no way connected with the dance . It gives th most moving descriptions of a Russian childhood s in c Ak sak ov " it is full of memorable pieces of c har ac ter i s ati that would do credit to a novelist of experience . B ut it f or what it reveals to us of Karsavina , and for what it shouh mean both to the dance student and to the ordinary lover o the ballet that it interests us here .

It clearly shows that an artist of the front rank is on l:

- made by hard work , self criticism , and a wide horizon out sidd t - he immediate technique required . A hard work ing stu diou a

Karsavina might have become a great dancer , but it was tht

- hard working , studious Karsavina who read and u n d er stoo c the Russian poets , who became a great artist .

No system that neglects their general mental develop . ment can ever create dance artists of the front rank . The

24

’ Tham ar Kars avin a dan cin g to th e M u sic of B ach s P u hoeb s an d P an .

B ” ” IN RUS S IA : ayadere , S leeping Princess , C asse ” “ ” “ ” “ ” “ F Noisette , C orsaire , D on Quixote , Eunice , airy ” “ ’ ” “ ” D oll . Pharoah s Daughter , La Fille mal G ardée , B ” ” Le Petit C heval ossu , G raz iella , In the Kingdom ” “ ” “ ” “ ” of Ice , J avotte , S wan Lak e , Raymonda , Awaken ” ing of Flora , etc .

WITH DIAG HILEFF

C orali .

G G N i in sk i B en ais Adams 191 iselle in iselle (with j ) . ( )

Petipa . D ivertissements in Festin K orovi n (Tschaikowsky) 190

(Fi rst Di aghileff P rogramme . )

Fok ine . * TC olu m bin e in C arnaval B akst (Schuman n ) a" TS ylphid e in Le s S ylphides B en ois (Chopi n ) ’ Queen of S hem akh an in C oq d O r Go n tcharova (Ri msky -K orsakov) jC hloe in Daphnis and C hloe B akst (Ravel) TYou n g G irl in Le Dieu B leu B akst (Rey n aldo H ahn ) ’ ’ TPo tiphar s Wife in Joseph s Legend S ert B akst (Strauss) TEC ho in Narcissus B akst (Tcherep n i n e ) TT a H or in C leopatra B akst (A ren sky) TFir ebir d in The Firebird B akst Golovi n (Stravi n sky)

l' i ll i mm rsmi 1 3 0 R ev v d W i t h th e M arie R amb er t B a et at the L r c H a e th 9 . e y , , ( Young G irl in Papillons B akst (Schuman n ) ’ TAr m id a in Le Pavillion d Ar mid e B en ois (Tcherep n i n e)

' (Fi rst Di aghilefl Programme TB alle r in a in Petrouchk a B en oi s (Stravi nsky) TZob e id e in S heher az ad e B akst (Rimsky -K orsakov) J ' [T h am ar in Thamar B akst (B alaki refi ) * 1"M aiden in S pectre de la Rose B akst (Weber)

N ijin ski . ( M aiden in Jeux B akst (Debussy)

M assine .

’ jswan Queen in C hildren s Tales Go n tcharova Lari on ov (Lli adov) M ariuccia in G ood Humoured Ladies B akst (S carlatti) TPas de deux in C im ar o si an a S ert (Cima rosa) ( S now M aiden in M idnight S un Gon tcharova Lari on ov (Rimsky -K orsakov) TAm er i can G irl in Parade P icasso (S ati e) TPim p in ella in Pulcinella P icasso (Perg olesi S travi n sky) ’ TM iller s Wife in Three C ornered Hat Picasso (da Fo lio ) 19

N ijin sk a .

TJ uliet in Romeo and Juliet M iro a n d Ernst (Lambert)

si i es reati on T gn fi c .

Dates refer to Pa s r at ( ri c e ion . )

R evived at th e Art s Theat re C lu Th e L ric h b y , H ammer smit

with H ar old Turn er ( ) . APPENDI" B .

S ome Divertissements .

’ M . B J . arrie s Truth about the Russian Dancers é P L (d cor , aul Nash) ondon C oliseum S é L F Nursery Rhyme uite (d cor and costumes , ovat raser) London C oliseum ’ M Don n a s La C i L aurice y Revue ( antin ere , a Nymphe de

C M . M P . orot , dlle de aupin) orte S t M artin , Paris S P The Angel (costume by omov) to hoebus and Pan , M usic B by ach . (see Illustration , p . 25) C n haco ne from the elements , by Destouche S leighing (M ozart) Dances to Kleine Nacht music (M ozart) Happy D eception (décor by B e n ois) to the Water M usic of Handel

h on b r un n e r S traus S Valse (J . s) The S lave G irl (A rn old B ax) Jack in the G reen (Gustav Holst) M ademoiselle de M aupin (Li esberg) Arts Theatre C lub The Polka (Glazoun ov) The G alop (Strauss)

Note . (These are but a few of the more memorable divertissements and performances danced by M adame Karsavina away h r from the D iaghileff B allet . The majority of these are of e own creation and are interesting as showing an entirely new phase of her art . Her momentary appearance as

29 M dlle . de M aupin in the M aurice Donnay revue was a veri f table triumph o stagecraft , an unforgettable memory that r esulted in the creation of the M dlle . d e M aupin divertissement to the delightful and little k nown music of a C hopin disciple , L Di hil f iesberg . Once away from the ag e f B allet , Karsavina did not relax her high artistic standards , and amongst the L F artists who have created for her are ovat raser , probably

n the only decorative genius E gland has produced , a partner s hip that would have had far reaching effects , but for this ’ great artist s early death , and her ow n fellow countrymen ,

B en o i D u in k on t h ar o . s , S omov , ob o j s y and G c va )

APPEND I" C .

B ibliography .

” Theatre S treet , the reminiscences of Tamar Karsavina ,

w M . B . Hei n eman n 25 193 0 ith a foreword by J . arrie ( , / ) — K n S . B eaumon t 1922 Thamar arsavina Valeria vetlov ( , ) — Album George B arbier and Jean Louis Vau d oye r .

Paris 19 14 ( , ) ’ Karsavina . Volume published by the Writers C lub . ” t r r 1 14 n D o . S . Pete sbu 9 The Wa dering g ( g , )

A l L Haskell S ome S tudies in B allet ( rn o d . ) (Chapter on K a rsavi n a as Tragedi en n e ’ Thamar Karsavina (L heure dansante au jardin d u roi)

Rober B r sel Illustrati n s b Ci r t us . o y

3 0 APPENDI" D .

S ome Paintings and Drawings .

As Thamar by Gly n P hilpot the ss ss n Madam a sa a roduc d in a a (In po e io of e K r vin , rep e V leri n ’ — Svetloff s Tamara K arsavin a B eaumon t) In S panish C ostume by Oswald Birley

Three- uarter en t In the os f a am arsav a ( q l g h . p session o M d e K in )

’ D ancing on the S tage (In Russia) by S S ori n e S C S o S ar en t A eries of harcoal tudies by j hn 5 . g (reproduced in Theatre Street ’ D rawing (reproduced in Svetloff s Karsavin a by S erov

D Seated e duced in hea e tre rawing ( . R pro T tr S et H B race by . D rawing in S pectre de la Rose by j ean C octean

B P 1 12 . I he se on of the B a n ess Russian allet oster , 9 n t pos ssi ro ’ Erl r i Mem a hib t n ar d Ga e D an e . h ted C g Ex bi ori l Ex i io , l i ge ll ry , ’ e l a n m ora n 1930 . R produced in Svet off s B llet Co te p i

NOTE . There is perhaps no completely satisfactory portrait of

Karsavina , a thing not to be wondered at , when one examines a few hundred photographs of her with scarcely the same mood or expression in any two . Therefore , the most s uccessful efforts seem to me to be the more hasty pencil a n d charcoal sk etches . S argent has succeeded in many f ine work s , but there is much of Karsavina that he has missed . The dignity is there , but they are all lack ing in t h e spirit and the animation . Undoubtedly , the two work s

3 1 that give the most of Karsavina are the delightful pen" note of her by that great master S erov , and a seated p or tr a a charcoal sketch , by her husband , H . J . B ruce . Of ma) action studies by Dame Laura Knight and the G erm painter G runenberg , who has published a volume of h ” sk etches , The Firebird , a few only are successful . B ak in a stylisé portrait , in reality a maquette for the c o stun ’ design of the young girl s dress in Le Sp ectre de la Rose has caught to perfection the mood of Karsavina in what one of her greatest roles .

S tat ues of dancers are rarely interesting , particular of dancers in action , but the work of S oudbin in , which I a only judging by reproduction , seems well above the aver ag

l Of the hundreds of photographs , those that give t most pleasant memories are the fine studies with N ijin s H by D e M ayer , many studies by oppe, in particular tho ” ” emi n elli P ul i n ella i t i n A stuzzi F , and c , and a magn ficen

e e r B P k proud head in Th Fi r bi d, by ertram ar .

3 2

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AS P EC TS O F T HE DANC E .

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