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Taneczne Obrazy Szaleństwa Na Przykładzie Wybranych Inscenizacji Baletu Giselle Adolphe’A Adama
ZESZYTY NAUKOWE TOWARZYSTWA DOKTORANTÓW UJ NAUKI HUMANISTYCZNE, NUMER SPECJALNY 8 (1/2017), S. 127–139 E-ISSN 2082-3916 | P-ISSN 2082-419X WWW.DOKTORANCI.UJ.EDU.PL/HUMANISTYKA-MONOGRAFIE AGNIESZKA NAREWSKA UNIWERSYTET JAGIELLOŃSKI WYDZIAŁ POLONISTYKI KATEDRA KOMPARATYSTYKI LITERACKIEJ E-MAIL: [email protected] ______________________________________________________________________________________ Taneczne obrazy szaleństwa na przykładzie wybranych inscenizacji baletu Giselle Adolphe’a Adama STRESZCZENIE Giselle to jeden z najsłynniejszych baletów romantycznych, którego premiera odbyła się w 1841 roku w Paryżu. Jego popularność nie słabnie do dnia dzisiejszego, choć obec- nie funkcjonuje on zarówno w wersji klasycznej (choreografia Jeana Corallego i Ju- les’a Perraulta), jak i w wariantach współczesnych (choreografie między innymi Matsa Eka, Borysa Ejfmana), przedstawiając różnorodne taneczne obrazy szaleństwa. Balet ten inspiruje jednak nie tylko samych choreografów – postać Giselle równie silnie od- działuje także na same tancerki-wykonawczynie, dla których do dziś rola ta jest wiel- kim marzeniem i ogromnym wyzwaniem. Jedną z najsłynniejszych odtwórczyń tej par- tii była rosyjska balerina Olga Spiesiwcewa, która tak bardzo wniknęła w psycholo- gię swojej bohaterki, że sama ostatnie lata swego życia spędziła w zakładzie dla psy- chicznie chorych. Jej losy zainspirowały rosyjskiego choreografa Borysa Ejfmana do stworzenia baletu Czerwona Giselle, w którym wyraża on swoje fascynacje nie tylko biografią Spiesiwcewej, -
Russian Art & History
RUSSIAN ART & HISTORY LE MÉRIDIEN BEACH PLAZA MONACO 21 NOVEMBER 2019 SPECIALISTS AND AUCTION ENQUIRIES Alessandro Conelli Elena Efremova Maria Lorena President Director Franchi Deputy Director Ivan Terny Anna Chouamier Victoria Matyunina Yolanda Lopez Sergey Cherkashin Julia Karpova Auctioneer Client Manager PR & Event Administrator Invited Advisor Art Director Manager Translator and Editor (Moscow) In-house experts Special partnership Evgenia Lapshina Sergey Podstanitsky Georgy Latariya Yana Ustinova Alexandra Gamaliy Arthur Gamaliy Nicolas Tchernetsky Expert Specially Invited Expert Invited Expert Head of business Specially Invited Expert Manuscripts & Expert and Advisor Icons Russian Decorative Development and Expert Russian Art Rare Books Paintings Arts Client Management Russian Art (Moscow) Hermitage Fine Art expresses its gratitude to Anna Burove for help with descriptions of the decorative objects of art TRANSPORTATION Catalogue Design: Camille Maréchaux Contact : Tel: +377 97773980 Photography: François Fernandez Fax: +377 97971205 Luigi Gattinara [email protected] Maxim Melnikov Translation : Sergey Cherkashin Julia Karpova PAR LE MINISTERE DE MAITRE CLAIRE NOTARI HUISSIER DE JUSTICE A MONACO RUSSIAN ART & HISTORY NUMISMATICS SUNDAY NOVEMBER 17, 2019 - 12:00 FINE ART SUNDAY NOVEMBER 17, 2019 - 15:30 OBJECTS OF VERTU SUNDAY NOVEMBER 17, 2019 - 17:30 ROSSICA 2 SUNDAY NOVEMBER 17, 2019 - 18:30 RUSSIAN ART & HISTORY THURSDAY NOVEMBER 21, 2019 - 11:00 ANTIQUARIUM ROADSHOW THURSDAY NOVEMBER 21, 2019 - 17:30 Le Méridien Beach Plaza - 22 Av. Princesse Grace - 98000 MONACO Exhibition Opening : SUNDAY NOVEMBER 17, 2019 - 10:00 PREVIEW DETAILS: information on website www.hermitagefneart.com Inquiries - tel: +377 97773980 - Email: [email protected] 25, Avenue de la Costa - 98000 Monaco Tel: +377 97773980 www.hermitagefneart.com In 1895, N.N.Dubovsky travels to Western Europe. -
1 Giselle the Australian Ballet
THE AUSTRALIAN BALLET GISELLE 1 Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones 2 THE AUSTRALIAN BALLET 2019 SEASON Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. 1 – 18 MAY 2019 | SYDNEY OPERA HOUSE Government Lead Principal 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones Partners Partners Partner Cover: Dimity Azoury. Photography Justin Ridler Above: Ako Kondo. Photography Lynette Wills Richard House, Valerie Tereshchenko and Amber Scott. Photography Lynette Wills 4 THE AUSTRALIAN BALLET 2019 SEASON NOTE FROM THE ARTISTIC DIRECTOR Giselle has a special place in The Australian Ballet’s history, and has been a constant in our repertoire since the company’s earliest years. The superstars Margot Fonteyn and Rudolf Nureyev danced it with us in 1964, in a production based on the Borovansky Ballet’s. Our founding artistic director, Peggy van Praagh, created her production in 1965; it premiered in Birmingham on the company’s first international tour, and won a Grand Prix for the best production staged in Paris that year. It went on to become one of the most frequently performed ballets in our repertoire. Peggy’s production came to a tragic end when the scenery was consumed by fire on our 1985 regional tour. The artistic director at the time, Maina Gielgud, created her own production a year later. -
Ba Llets R U Sse S
THE Ballets Russes THE Ballets Russes THE Ballets Russes IN AUSTRALIA AND BEYOND IN AUSTRALIA AND BEYOND CONTRIBUTORS Tours to Australia and New Zealand during the 1930s by Colonel Wassily Jane Albert de Basil’s Ballets Russes mark a Alan Brissenden watershed in the cultural life of the two Mark Carroll nations. Local artists rejoiced in the Lee Christofis opportunity to learn about European Michael Christoforidis high art firsthand, while audiences and Joel Crotty the public at large were jolted from the Helen Ennis conservatism that shrouded the post- Gillian Forwood Depression Antipodes. The dancers Nicolette Fraillon ‘How lucky for us to have seen the were feted like pop stars, and they in Lynn Garafola amazing artists of the Ballets Russes in turn embraced the physical vitality of Stephanie Jordan performance, and to have some of them Australia and New Zealand. Valerie Lawson live amongst us here in Australia, sharing Andrew Montana their art, wisdom and life experiences . The Ballets Russes in Australia and Felicity St John Moore Their personalities and creative mastery AND IN Beyond draws together essays by Richard Stone live on in our memories, photographic leading international and national AUSTRALIA and film archives, and now also in this scholars, who explore the rich legacy BEYOND beautiful book.’ of the Ballets Russes; its impact on dance, music, visual art and Antipodean From the foreword by David McAllister AM, society in general. A dazzling array Artistic Director, The Australian Ballet. of pictures brings to life the sheer vitality of the companies in a way that Edited by Mark Carroll makes the volume indispensable to THE Ballets Russes balletomanes, scholars, and those fascinated by the synergies between IN AUSTRALIA AND BEYOND the creative arts in general. -
Arc De Triomphe
Arc de Triomphe From London the Diaghilev company went to Monte Carlo, dancing in opera~ballets and divertissements, and readying new works for the Paris spring season. In the years that fol lowed Balanchinewould choreograph dozens Lynn Garafola of opera-ballet numbers, in new works as well as old. The Monte Carlo repertory was inter France occupied a special place in the life national, butwith a definite French flavor. For and work of George Balanchine. It was where Balanchine this meantan intense engagement he spent nearly a decade after leaving Russia with French music. in 1924; where he created his oldest extant In the winter of 1925 alone he set dances ballet, Apollo, in 1928; where he founded his to Bizet (Carmen), Massenet (Thai's , Manon , first Western company, Les Ballets 1933; and and Herodiade), Gounod (Faust), and Berlioz where he choreographed one of his greatest (La Damnation de Faust). Later seasons added ballets, Le Palais de Cristal, in 1947. Delibes (Lakme) , Offenbach (The Tales ofHojJ Balanchine loved French perfume and mann), and Saint-Saens (Samson et Dalila) as French wine, French cuisine and French cou well as additional works by Gounod (Romeo et ture. Many of his closest collaborators, in Juliette,Jeanne dl1rc , and Mireille). cluding Stravinsky, the painter Pavel Tcheli Balanchine did not treat these jobs as mere tchew, and the costume designer Karinska, hack work. "He charged these dreary experi were Russian emigres who came to America ences with a new life and interest, and no de only after an extended sojourn in France. Af mands on him could curb his imaginative ter Russians, he liked French composers best facility," Ninette de Valois would later remi - Faure, Bizet, Delibes, and above all Ravel. -
Serge Grigoriev/Ballets Russes Archive Consists Primarily of Photographs, Photo Albums, and Notes and Manuscript Drafts for Grigoriev’S S.P
Guides to Special Collections in the Music Division of the Library of Congress SERGE GRIGORIEV / BALLETS RUSSES ARCHIVE Finding aid URL: http://hdl.loc.gov/loc.music/eadmus.mu2007.wp.0010 LIBRARY OF CONGRESS WASHINGTON 2007 Table of Contents Introduction ........................................................................iii Biographical Sketch ..................................................................iv Scope and Content Note ..............................................................ix Description of Series ................................................................. x Container List ...................................................................... 1 WRITINGS B Y SERGE GRIGORIEV ............................................ 1 PHOTOGRAPHS ............................................................. 2 PHOTO ALBUMS ............................................................ 6 PROGRAMS ................................................................. 7 WRITINGS ABOUT THE BALLET RUSSES ...................................... 8 BALLETS RUSSES: COMPANY MEMBERS, CLIPPINGS, TOUR INFORMATION, AND DRAWINGS .......................................................... 9 APPENDIX A: RELATED NAMES .................................................... 10 APPENDIX B: RELATED CHOREOGRAPHIC WORKS .................................. 12 ii Introduction The Serge Grigoriev/Ballets Russes Archive consists primarily of photographs, photo albums, and notes and manuscript drafts for Grigoriev’s S.P. Diaghilev i ego ‘Russkii Balet’ 1909-1929, -
Sydney Dance Company - a Study of a Connecting Thread with the Ballets Russes’
‘Sydney Dance Company - A study of a connecting thread with the Ballets Russes’ Peter Stell B.A. (Hons). The Australian Centre, School of Historical Studies, The University of Melbourne. A thesis submitted in fulfilment of the requirements for the degree of Master of Arts by Research May, 2009. i Declaration I declare that the work presented in this thesis is, to the best of my knowledge and belief, original, except as acknowledged in the text, and that the material has not been submitted, either in whole or in part, for a degree at this or any other university. …………………………………………. Peter Stell ii Abstract This thesis addresses unexplored territory within a relatively new body of scholarship concerning the history of the Ballets Russes in Australia. Specifically, it explores the connection between the original Diaghilev Ballets Russes (1909- 1929) and the trajectories of influence of Russian ballets that visited Australia. The study’s hypothesis is that the Sydney Dance Company, under the artistic direction of Graeme Murphy between 1976 and 2007, and the creation in 1978 of Murphy’s first full-length work Poppy, best exemplifies in contemporary terms the influence in Australia of the Ballets Russes. Murphy was inspired to create Poppy from his reading of the prominent artistic collaborator of the Ballets Russes, Jean Cocteau. This thesis asserts that Poppy, and its demonstrable essential connection with the original Diaghilev epoch, was the principal driver of Murphy’s artistic leadership over fifty dance creations by himself and collaborative artists. This study sketches the origins of the Ballets Russes, the impact its launch made on dance in the West, and how it progressed through three distinguishable phases of influence. -
From Bedroom to Kitchen and Beyond: Women of the Ballet
From bedroom to Kitchen and beyond: women of the ballet Michelle Potter: talk given at Fairhall, Melbourne, 25 June 2014 Welcome everyone. Thank you for coming and congratulations to David McAllister for his curatorship of this exhibition. William Johnston, whose collection is housed here at Fairhall, took delight in arranging and rearranging objects in his collection to create different interiors. It is a wonderful initiative that curators at Fairhall perpetuate the activity that gave Mr Johnston so much pleasure, by inviting guest curators to do the same. I want to begin my talk today with a word of explanation. I chose the subject for my talk some time ago, when the exhibition was still in the planning stages. In the end some of the items that David initially planned to use were in fact not used, for various, very sensible curatorial reasons. But, nevertheless, I had a topic announced in publicity material. So there was no going back even though some of the ideas I wanted to speak about were no longer represented by costumes in the exhibition. My opening image is a case in point. It shows Madeleine Eastoe as the Sylph in La Sylphide, but there are no costumes from La Sylphide in the show, although an item that was behind the original idea of using costumes from La Sylphide is on display in the study. So I have turned to those items in my discussion and I hope you will bear with me. So to the bedroom! 1 This next slide shows the costume for the Princess Aurora in Act I of Maina Gielgud’s production of The Sleeping Beauty for the Australian Ballet. -
ADJUDICATED MEMBER PRESENTATIONS CORPS De BALLET INTERNATIONAL CONFERENCE 2018 FLORENCE, ITALY
ADJUDICATED MEMBER PRESENTATIONS CORPS de BALLET INTERNATIONAL CONFERENCE 2018 FLORENCE, ITALY Wednesday, JULY 18TH 9:30-10 am TITLE: Enrico Cecchetti: The Ingenious Mime PRESENTER: Melonie Buchanan Murray BIOGRAPHY: Melonie B. Murray Melonie B. Murray is a scholar and an artist, both a professor and choreographer. Currently an Associate Professor within the School of Dance at the University of Utah, Melonie is also completing a PhD in Dance through Texas Woman’s University. Her research interests lie in exploring the continual evolution of ballet training methods and performances, and while honoring the past, investigating ballet through a critical theory lens. Topics of recent research have included analyzing the commoditization of dancers in the advertising campaigns of American ballet companies, exploring notions of ballet as a form of cultural identity, examining how gender is performed in early ballet training, and exploring ballet as a degree focus in American higher education. Holding a BFA in Ballet from Friends University and MFA in Dance from the University of California, Irvine, Melonie believes that there is a place for all dance forms within the academy, and her commitment to dance as a scholarly endeavor is paramount. She was instrumental in building the dance program at Colorado Mesa University and in now serving as the Ballet Program Coordinator and Director of Graduate Studies for Ballet at the University of Utah. Melonie’s academic writing has been published in peer-reviewed journals, and she continues to defend the arts, dance, and ballet as legitimate scholarly pursuits. As a choreographer, Melonie is particularly interested in pushing the boundaries of ballet and exploring ways in which to communicate complex concepts and social critique through movement. -
EIFMAN BALLET Artistic Director Boris Eifman
2016 // 17 SEASON Northrop Presents EIFMAN BALLET Artistic Director Boris Eifman Wed, May 17, 7:30 pm Carlson Family Stage Red Giselle Dear Friends of Northrop, Ardani Artists and Northrop at the University of Minnesota Present On Wednesday evening, April 8, 1998, Eifman Ballet St. Petersburg made its New York debut at City Center with Red Giselle. On Friday morning, The New York Times' Anna 40th Anniversary Kisselgoff proclaimed: A“ ballet world in search of a major choreographer need search no more. He is Boris Eifman…” She went on to praise the “blazing invention of his choreography…” and his “…stunning group of passionate dancers.” EIFMAN BALLET OF Sitting in the audience that evening, and likely in agreement with Kisselgoff, was former Northrop Director, Dale Schatzlein. He was scouting work for the Northrop Dance Series, and was so taken with Eifman Ballet that he became the first U.S. ST. PETERSBURG presenter to sign on for their next North American tour. The company presented Red Giselle on the Northrop stage for Artistic Director the first time in April of 2000, seventeen years ago. Tonight marks their sixth visit to Minneapolis, and I know they have BORIS EIFMAN Christine Tschida. Photo by Tim Rummelhoff. become audience favorites. I am certain there are some in the audience tonight who have seen each and every one of those performances! Company Red Giselle is exciting because of the passion and energy that Mr. Eifman demands of his amazing dancers, MARIA ABASHOVA, LYUBOV ANDREYEVA, LILIA LISHCHUK, NATALIA POVOROZNYUK and for the unabashed theatricality that he brings to all of his productions. -
Giselle's Mad Scene
GISELLE’S MAD SCENE: A DEMONSTRATION AND COMPARISON OF 21st CENTURY DANISH AND 19th CENTURY PARIS OPÉRA STAGINGS by DAWN URISTA A THESIS Presented to the Department of Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Fine Arts June 2011 THESIS APPROVAL PAGE Student: Dawn Urista Title: Giselle’s Mad Scene: A Demonstration and Comparison of 21st Century Danish and 19th Century Paris Opéra Stagings This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Fine Arts degree in the Department of Dance by: Shannon Mockli Chairperson Marian Smith Member Jenifer Craig Member Walter Kennedy Member and Richard Linton Vice President for Research and Graduate Studies/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2011 ii © 2011 Dawn Urista iii THESIS ABSTRACT Dawn Urista Master of Fine Arts Department of Dance June 2011 Title: Giselle’s Mad Scene: A Demonstration and Comparison of 21st Century Danish and 19th Century Paris Opéra Stagings Approved: _______________________________________________ Shannon Mockli This project entailed restaging Act 1’s Mad Scene from the ballet Giselle to compare, contrast and analyze the character of Giselle within Henri Justamant’s 1860’s choreographic notation for the Paris Opéra Ballet and Sorella Englund’s version at the Royal Danish Ballet Summer 2010 workshop. Using my journal from the workshop with Ms. Englund, I coached the cast using similar prompts and exercises she had given. To restage the Justamant ballet, we utilized his newly discovered choreographic notebook in conjunction with Joan Lawson’s Mime. -
Download (696.0Kb) HC Thesis Final.Pdf
Vander Hoff 1 George Balanchine’s Funeral March: Rediscovering the Lost Work of a Master Submitted by Bridget Vander Hoff Dance To The Honors College Oakland University In partial fulfillment of the requirement to graduate from The Honors College Mentor: Elizabeth Kattner, Assistant Professor of Dance School of Music, Theatre, and Dance Oakland University 2/15/18 Vander Hoff 2 George Balanchine’s Funeral March was well-received when it was first performed, but unfortunately, the choreography has since been lost. For my Honors College thesis, I chose to research this ballet, to get an idea of what it would have looked like. To obtain much of my information, I visited the New York Public Library for the Performing Arts and listened to recorded interviews of Alexandra Danilova, a soloist in the piece, at the Oral History Archives. Upon completing my academic research, I traveled with my mentor, Elizabeth Kattner, to Grand Rapids to observe the reconstruction process. There, the ballet was pieced together and set on the Grand Rapids Ballet through movement research based on text and oral history describing the piece. This paper will describe both the academic research, the movement research process, and how both were used to bring the reconstruction of Funeral March to fruition. Balanchine is one of the most revered creatives in the world of ballet. He disregarded the rigid regulations of traditional, classical ballet vocabulary, and was a real pioneer in the world of dance. Credited for inventing Neoclassicism, his pieces are known for angular shapes and intricate partnering. However, his early work is quite different.