other albumshistorical post cards
Posted 27 July 2004 - 09:30 AM
not all are ballet per se, but most are. (the album of colored cards includes examples sometimes only indirectly related to ballet and sometimes not at all.)
as before, all comments concerning captioning, etc. are gratefully accepted.
Posted 28 July 2004 - 01:31 AM
Posted 28 July 2004 - 07:56 AM
to the best of my knowledge, btw, there don't seem to be any 'bow' dances for the male characters in DAUGHTER OF THE PHARAOH. (the only role given in the mordkin entry in the RUSSIAN BALLET ENCYCLOPEDIA for DAUGHTER OF THE PHARAOH is a charater called "Tsar Khitaris," which i suspect would show the dancer in a more elaborate and formal costume than this one.)
still, as noted, my new captioning will be given with a question mark suggesting it's a guess not a fact.
Posted 28 July 2004 - 09:31 PM
Posted 28 July 2004 - 09:53 PM
Posted 29 July 2004 - 03:20 PM
a footnote to the admiration for the card of Ulanova as Diana from the DIANA AND ACTEON PAS DE DEUX, arranged by Vaganova for Ulanova and Chabukiani in 1935 for her production of ESMERALDA. the duet, often seen in performance today as a concert or competition number, is, according to Russian/Soviet historians, a direct descendant of a dance originally part of LE ROI CANDAULE in the form of a PAS DE DIANE - which actually seemed to be a pas de deux a trois, featuring dancers as Diana, Acteon and a Satyr (the last role, btw, was in the repertory of georgi balanchivadze, before he left the soviet union). in any case the photo attached here offers two views of Vaganova's 'original' Diana, both taken, one assumes, around the time of the 1935 premiere.
Posted 29 July 2004 - 05:02 PM
Posted 29 July 2004 - 06:59 PM
soon after her 'creation' of the role, other dancers, such as alla shelest, took it over.
but who knows what might be found and made available in russia, especially now in the wake of ulanova's death.
maybe it's been found and being put into a documentary on g.s.u. as i write this.
we can hope...
Posted 30 July 2004 - 02:37 AM
Posted 31 July 2004 - 05:11 AM
i would never put my hunches up against your knowledge of things military.
the copy of the prog. i have from the premiere of LA FEE DES POUPEES - given in french and dated 7 fevrier 1903 - lists the cast of characters and it was only the 'marchand russe' who seemed to my untrained eye a possibility for this design of bakst's. however your points are well taken, and i suppose red cross card #12 might not be showing any prominent character but simply a subsidiary one. (i can find no russian - nor prussian - officers in the cast list, but that does not, as i say, mean such a personage was not part of the ballet.)
perhaps i'll just suggest that the design is one for an unidentified military character. i'll keep combing my reference sources and see if i can find a character who would be in line with your reading of this costume's detailing.
Posted 31 July 2004 - 08:05 AM
Posted 06 April 2006 - 03:28 AM
this is very interesting RG, so where did the whole credit to the pas being from Esmeralda come from....is the music even by Drigo? Le Roi Candaule was Pugni's last ballet I thought
Posted 06 April 2006 - 03:58 AM
according to the russian encyc. of russian ballet petipa interpolated some of drigo's music into his 1886 prod. of ESMERALDA, for his pas de six. (i can't now recall where a drigo credit is given for the diana pas. the full title of the TSAR K number that's said to be related to vaganova's DIANA AND ACTEON in ESMERALDA, is LES AMOURS DE DIANE.)
so i think all that can be stated with some certainty is that soviet sources relate DIANA AND ACTEON to an earlier number from TSAR K - i don't know that anyone has said that vaganova's dance and music are taken directly from some previous prod. of TSAR K. (the presence of the satyr and the absence of this in vaganova would seem to prove that the choreography is differently configured, etc.)
Posted 07 April 2006 - 08:12 AM
in any case as i scanned this photo of chabukiani - vaganova's first Akteon for her DIANA AND A pdd - i realized that the costume consists of a rather wild-looking fur tunic, much more fitting, perhaps, a satyr than a hapless hunter. or maybe the idea was to make vaganova's Aketon character a blend of both the shepherd endymion and a satyr (two characters familiar in the earlier pas called LES AMOURS DE DIANE).
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