DarkDancer06 Published on May 26, 2015
Punika offline Comparative Tiga Solo Shades saka Krajaan pemandangan Shades saka tumindak katelu saka “La Bayadère” – the traditional variations performed by Elizaveta Cheprasova, Yana Selina lan Daria Vasnetsova lan variasi notated dileksanakake dening Leta Biasucci, Angelica Generosa lan Carli Samuelson.
For those of who saw Sergei Vikharev’s 2001 reconstruction “La Bayadère”, you’ll probably notice that the notated variations were not the ones performed in that reconstruction. Iki amarga Vikharev durung tahap 100% reconstructions saka “La Bayadère” utawa “Ing Sleeping Beauty” – he retained many of the Soviet changes in both productions, utamané ing “La Bayadère”. Kratoning Shades pemandangan kang digunakake yaiku versi Soviet, not Petipa’s version.
ketoke, Alasan utama Vikharev disimpen akeh owah-owahan Soviet ing loro reconstructions ana amarga penari Mariinsky lan pelatih padha kabeh banget wegah kanggo part karo choreography Soviet, so the ballerinas announced “all the same, we’re going to dance what we’re used to!” In the end, poor Vikharev retained many of the Soviet changes because he very likely would’ve got nothing, but grief if he hadn’t; Karajan pemandangan Shades iku umpamane prima endi choreography notated iki ora dibalèkaké. I feel so sorry for him – to do all that hard work and then have people just throw it back in your face like that; it’s so awful.
Oalah, the performances of the notated variations for the Three Shades is from one of Doug Fullington’s brilliant lectures held in New York, kang direkonstruksi pemandangan lan peranganing tari saka “Ing Corsair”, “King Candaules” lan “La Bayadère”.
*Tiga Shades
The notated variations for the Three Shades are not the ones that would’ve been danced in the original 1877 versi, nanging rodo sing saka ballerinas sing njogèd wong ing 1900 kawentar lan sing ballerinas padha Varvara Rykhliakova, Agrippina Vaganova lan Anna Pavlova. Iku mesthi menarik carane variasi wis salah siji diganti utawa tetep mèh padha liwat taun.
1. Varvara Rykhliakova – jenis dheweke wis luwih utawa kurang diganti dening 50% liwat taun; iku kaloro paling diganti saka telung variasi.
2. Agrippina Vaganova – her variation is the one that has changed far less over the years. This obviously must’ve been one of Vaganova’s favourite variations, mula, she didn’t change it very much. Apike, Petipa didn’t like Vaganova as a dancer; saben-saben wong nyebataken pagelaran ing buku catetan kang, he always calls them “awful” or “dreadful”. ketoke, Vaganova iki ora lair karo bakat alam lan dheweke banget poto-kritis, nanging malah dadi, the St Petersburg balletomanes and critics called her the “Queen of Variations”. Minangka Doug nuding metu ing kuliah iki, her variation indicates that she must’ve been quite a jumper.
3. Anna Pavlova – her variation is the one that has changed the most over time, karo prabédan paling ketok kang sing jenis iki Originally akeh luwih cepet saka iku dina. Pavlova was one of Petipa’s favourite ballerinas and interestingly, iku peran Nikiya sing dijupuk dheweke kanggo fame. Petipa marang dheweke peran ing 1902, akeh kanggo dismay Mathilde Kschessinskaya, who was not the type who liked to be upstaged in what she considered to be “her” roles. Nanging, dheweke sarujuk kanggo dadi pelatih Pavlova ing peran, utamané amarga dheweke Tukang nari wiwit aku iki ngandhut ing wektu. Kschessinskaya dianggep Pavlova kanggo teknis banget amarga saka gambar lan cilik ankles frail dheweke lan sumerep, bilih ing penari enom bakal gagal minangka Nikiya, nanging aku iki buktiaken banget salah. Pavlova marang Petipa kabeh wus wanted ing Nikiya lan dipikir fisik frail dheweke kabukti bisa kanggo peran, utamané ing Inggris pemandangan Shades. pirsawan ambruk ing katresnan karo Pavlova ethereal lan kanthi mangkono, star lair. Nikiya ana peran pungkasan sing Pavlova dansa karo Ballet Imperial ing 1914.
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