DarkDancer06 发表于 5 月 26, 2015
这里是从第三幕的色调场景王国三种独奏色调比较查看 “La Bayadère” – the traditional variations performed by Elizaveta Cheprasova, 亚娜周梁淑怡和 Daria Vasnetsova 和 notated 的变化由 Leta Biasucci, 当归 Generosa 和 Carli 萨缪尔森.

For those of who saw Sergei Vikharev’s 2001 重建 “La Bayadère”, you’ll probably notice that the notated variations were not the ones performed in that reconstruction. 这是因为维哈列夫没有不阶段 100% 重建 “La Bayadère” 要么 “睡美人” – he retained many of the Soviet changes in both productions, 特别是在 “La Bayadère”. 他用苏联版本王国的色调场面, not Petipa’s version.

显然, 主要原因维哈列夫保留很多的苏联这两个重建的变化是因为马林斯基舞者和教练都非常不愿意与苏联舞蹈部分, 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; 色调场景的王国是一个素数的不恢复 notated 的编排了示例. 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.

不管怎么说, the performances of the notated variations for the Three Shades is from one of Doug Fullington’s brilliant lectures held in New York, 他重建场景和舞蹈的段落 “海盗船”, “Le Roi Candaule” 和 “La Bayadère”.

*三种色调
The notated variations for the Three Shades are not the ones that would’ve been danced in the original 1877 版本, 而是芭蕾舞演员跳舞他们在 1900 复兴和那些芭蕾舞演员在瓦尔瓦拉 Rykhliakova, 阿格里皮娜瓦加诺娃和安娜 · 帕夫洛娃. 它当然是有趣如何变化已经发生了变化或多年来保持非常相似.

1. 瓦尔瓦拉 Rykhliakova – 她的变化更多或更少已更改 50% 多年来; 它是第二个最改变的三个变化.

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, 因此，因此, she didn’t change it very much. 有趣的是, Petipa didn’t like Vaganova as a dancer; 每次他在他的日记中提到她的表演, he always calls them “awful” or “dreadful”. 显然, 瓦加诺娃不是与生俱来的天赋，她很自责, 但即便如此, the St Petersburg balletomanes and critics called her the “Queen of Variations”. 道格在这次讲座中指出, 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, 最明显的区别就她变化最初是与比它快得多的是今天. Pavlova was one of Petipa’s favourite ballerinas and interestingly, 这是因她而一举成名的角色. 提帕给她的角色 1902, 对此非常恼火的玛蒂尔德 Kschessinskaya, who was not the type who liked to be upstaged in what she considered to be “her” roles. 然而, 她同意教练帕夫洛娃中的作用, 主要是因为她是不会跳舞因为她怀孕了的时候. Kschessinskaya 认为帕夫洛娃是技术上较为薄弱，因为她虚弱的图像和小脚踝和被某些年轻的舞者会失败作为因, 但她被证明非常错误. 帕夫洛娃给了提帕他曾因和她虚弱的身体想要的一切看起来证明工作的作用, 尤其是在色调场景的王国. 观众们爱上了飘渺的帕夫洛娃和因而, 星诞生. 因是最后的角色，帕夫洛娃和皇家芭蕾舞团在一起跳舞 1914.

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