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Ballet Talk for Dancers
Ms. KLS

dance steps eliminated from lexicon

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Nova Ganova
Re: Giselle, I think many of us might find this enlightening--PNB is staging a "Giselle" based on the 1903 Stepanov notation: http://www.ustream.tv/recorded/11925622

 

There's a particularly lovely passage during the adagio that I'm really glad is being restored.

 

Great link! Thank you!

M.Smith book is also highly recomended (though it is a bit overpriced).

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Mel Johnson
And Vaganova worked with Petipa.

 

Does the tradition point out that Petipa didn't think much of Vaganova's dancing? (See Diaries..."horrid" "dreadful" etc.)

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Mel Johnson

MODERATOR TO ALL CONCERNED INCLUDING SELF:

 

Gentlemen, we're going afield here, and if we get into the area of historians' ethics the topic will wander off course for the rest of history!

 

It's bad enough when they come up at professional historians' conferences and worse at the archivists' (who tend to drink rather more.)

 

I apologize to the whole board for my loss of temper, and suggest we approach the original question quite apart from the matter of the preservation of choreography.

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Nova Ganova
And Vaganova worked with Petipa.

 

Does the tradition point out that Petipa didn't think much of Vaganova's dancing? (See Diaries..."horrid" "dreadful" etc.)

 

'Tradition sais', and it is also very clear in the books, that she was not a beautifull dancer. Big head and arms with lack of plastisity. Overdevelopped legs.

Technically she was great. There are lots of reviews from that time. When all the critics were written, she was not a "Great Teacher" yet. So we can trust it. Critics were calling her Tsarina of Variations. The most important that she was dancing all those variations in Petipa time.

There is description of her dancing Giselle in 1916 (last year of her dancing, 1 year before the Revolution). The soviet book sais it was a big flop. But she knew the tekst of the role. This is relevant. She was dancing it with Partner of Tamara Karsavina (Samuil Andreyanov). Coached by Legat...

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Nova Ganova
MODERATOR TO ALL CONCERNED INCLUDING SELF:

 

Gentlemen, we're going afield here, and if we get into the area of historians' ethics the topic will wander off course for the rest of history!

 

It's bad enough when they come up at professional historians' conferences and worse at the archivists' (who tend to drink rather more.)

 

I apologize to the whole board for my loss of temper, and suggest we approach the original question quite apart from the matter of the preservation of choreography.

 

Yes, John. You even manage to call me Charlie in one of your posts...

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Hans

As Mel has requested, we will return to the original topic of this thread.

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Mel Johnson
Yes, John. You even manage to call me Charlie in one of your posts...

 

Last :devil:, I promise.

 

That's actually a quote from another part of theatrical history, a radio program in the US of the 1930s through 50s. It was hosted by a man named Fred Allen, and was called "Allen's Alley". One of the many characters on the show was the legendary "Baron Munchausen", who would tell stories, and when someone would call them into question, would reply in a comedian's Plattdeutsch accent, "Vass you DERE, Sharlie?" The quote was not intended to call your information into question, and rather suggests that the speaker is a bit of a charlatan. I also now apologize directly to you for the uncited reference and for causing misunderstanding between us. :shrug:

 

But I am sure that Ms. KLS would love to hear of more disused steps - so on with the pas de gavotte, let joy be unconfined.

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Nova Ganova

C.-J. Dorat wrote in his

La declamation theatrale (1771):

"Give up the Gargouillade and other risky pas..."

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ToThePointe

I have one that in and of its self should not be eliminated, but should be banned from the following sequence:

 

tombe, pas de bourree, PAS COURU, saut de chat

 

That pas couru is like hitting a brick wall. :wink:

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