DarkDancer06 發表于 5 月 26, 2015
這裡是從第三幕的色調場景王國三種獨奏色調比較查看 “La Bayadère” – the traditional variations performed by Elizaveta Cheprasova, 亞娜周梁淑怡和 Daria Vasnetsova 和 notated 的變化由 Leta Biasucci, 當歸 Generosa 和 Carli 薩繆爾森.

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. 這是因為維哈列夫沒有不階段 100% 重建 “La Bayadère” 要么 “睡美人” – he retained many of the Soviet changes in both productions, 特別是在 “La Bayadère”. 他用蘇聯版本王國的色調場面, not Petipa’s version.

顯然, 主要原因維哈列夫保留很多的蘇聯這兩個重建的變化是因為馬林斯基舞者和教練都非常不願意與蘇聯舞蹈部分, 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; 色調場景的王國是一個素數的不恢復 notated 的編排了示例. 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.

不管怎麼說, the performances of the notated variations for the Three Shades is from one of Doug Fullington’s brilliant lectures held in New York, 他重建場景和舞蹈的段落 “海盜船”, “Le Roi Candaule” 和 “La Bayadère”.

*三種色調
The notated variations for the Three Shades are not the ones that would’ve been danced in the original 1877 版本, 而是芭蕾舞演員跳舞他們在 1900 復興和那些芭蕾舞演員在瓦爾瓦拉 Rykhliakova, 阿格裡皮娜瓦加諾娃和安娜 · 帕夫洛娃. 它當然是有趣如何變化已經發生了變化或多年來保持非常相似.

1. 瓦爾瓦拉 Rykhliakova – 她的變化更多或更少已更改 50% 多年來; 它是第二個最改變的三個變化.

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; 每次他在他的日記中提到她的表演, he always calls them “awful” or “dreadful”. 顯然, 瓦加諾娃不是與生俱來的天賦，她很自責, 但即便如此, the St Petersburg balletomanes and critics called her the “Queen of Variations”. 道格在這次講座中指出, 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, 最明顯的區別就她變化最初是與比它快得多的是今天. Pavlova was one of Petipa’s favourite ballerinas and interestingly, 這是因她而一舉成名的角色. 提帕給她的角色 1902, 對此非常惱火的瑪蒂爾德 Kschessinskaya, who was not the type who liked to be upstaged in what she considered to be “her” roles. 然而, 她同意教練帕夫洛娃中的作用, 主要是因為她是不會跳舞因為她懷孕了的時候. Kschessinskaya 認為帕夫洛娃是技術上較為薄弱，因為她虛弱的圖像和小腳踝和被某些年輕的舞者會失敗作為因, 但她被證明非常錯誤. 帕夫洛娃給了提帕他曾因和她虛弱的身體想要的一切看起來證明工作的作用, 尤其是在色調場景的王國. 觀眾們愛上了飄渺的帕夫洛娃和因而, 星誕生. 因是最後的角色，帕夫洛娃和皇家芭蕾舞團在一起跳舞 1914.

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