La Bayadère – The Three Solo nuansa (Tradisional vs notasi)

DarkDancer06 Dimuat dina bulan Méi 26, 2015
Di dieu téh nempoan komparatif tina Tilu Solo nuansa ti Karajaan pamandangan nuansa kalakuan katilu “La Bayadère” – the traditional variations performed by Elizaveta Cheprasova, Yana Selina tur daria Vasnetsova jeung variasi notated dipigawé ku Leta Biasucci, Angelica Generosa na Carli Samuelson.

For those of who saw Sergei Vikharev’s 2001 rekonstruksi “La Bayadère”, you’ll probably notice that the notated variations were not the ones performed in that reconstruction. Ieu kusabab Vikharev teu tahap 100% reconstructions tina “La Bayadère” atawa “Nu Saré Beauty” – he retained many of the Soviet changes in both productions, utamana dina “La Bayadère”. Karajaan nuansa pamandangan anjeunna dipaké éta versi Soviét, not Petipa’s version.

katingalina, alesan utama Vikharev dipikagaduh seueur parobahanana Soviét dina duanana reconstructions éta sabab penari Mariinsky na gerbong kabéh pisan horéam bagian jeung koreografi Soviét, 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; Karajaan pamandangan nuansa mangrupakeun conto prima sahiji tempat nu koreografi notated teu disimpen. 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.

kumaha bae age, the performances of the notated variations for the Three Shades is from one of Doug Fullington’s brilliant lectures held in New York, di mana manéhna rekonstruksi pamandangan na passages tarian ti “Le Corsaire”, “raja Candaules” jeung “La Bayadère”.

*The Three nuansa
The notated variations for the Three Shades are not the ones that would’ve been danced in the original 1877 Vérsi, tapi rada pamadegan nu ballerinas anu menari aranjeunna dina 1900 revival jeung maranéhanana ballerinas éta Varvara Rykhliakova, Agrippina Vaganova na Anna Pavlova. Pasti geus metot kumaha variasi geus boh robah atawa tetep rada sarupa leuwih taun.

1. Varvara Rykhliakova – variasi nya geus leuwih atawa kirang dirobah ku 50% leuwih taun; eta anu kadua paling dirobah tina tilu 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, jadi kituna, she didn’t change it very much. Lucuna, Petipa didn’t like Vaganova as a dancer; unggal waktos anjeunna nyebutkeun pintonan nya di diaries na, he always calls them “awful” or “dreadful”. katingalina, Vaganova teu dilahirkeun sareng bakat alam jeung manéhna pisan timer kritis, tapi sanajan kitu, the St Petersburg balletomanes and critics called her the “Queen of Variations”. Salaku Doug adzab kaluar di Kuliah ieu, 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, jeung bédana paling atra mahluk nu variasi nya éta mimitina leuwih gancang ti éta kiwari. Pavlova was one of Petipa’s favourite ballerinas and interestingly, ieu peran Nikiya nu ditémbak nya Kinérja. Petipa masihan dirina peran dina 1902, jauh ka dismay of Mathilde Kschessinskaya, who was not the type who liked to be upstaged in what she considered to be “her” roles. Tapi, manehna sapuk mun palatih Pavlova dina peran dina, utamina sabab manéhna bisa tari saprak manéhna hamil wanoh. Kschessinskaya dianggap Pavlova janten téhnisna lemah sabab gambar na leutik ankles frail nya jeung éta tangtu yén penari ngora bakal gagal salaku Nikiya, Tapi manéhna kabuktian pisan salah. Pavlova masihan Petipa sagalana anjeunna ngalaman hayang di Nikiya tur katingal fisik frail nya kabukti dianggo pikeun peran nu, utamana dina Karajaan pamandangan nuansa. panongton murag asih jeung Pavlova ethereal sahingga, béntang hiji lahir. Nikiya éta peran panungtungan nu Pavlova menari jeung ballet Kaisar di 1914.