Two Lilac Fairy Questions
Posted 26 July 2003 - 01:12 PM
I have read somewhere that the variation the L Fairy now executes in the Prologue pas de six is by Lopokov. If this is true, how did this come about? Does it have anything to do with a suppression of the original variation because MP had a limited technique? Petipa, it seems, never felt compelled to give variations to ALL who had participated in his intradas, as witness the 3-variation pas de quatre in the Moscow DQ, and his devariationed version of the Gemstone pas de quatre that Doug has set out for us in the Desire/Florimund thread.
Posted 26 July 2003 - 03:08 PM
And yes, it's been known for years that the present Lilac variation dates from about 1912, and is the product of Lopokov.
Posted 26 July 2003 - 03:14 PM
Posted 27 July 2003 - 03:53 AM
Grace, I am writing a book (my eleventh!), but, like all its predecessors, it's on Eng lit. However, I have published musicological articles with a strong ballet content however (in Dance Chronicle and Nineteenth-Century Music and Brolga). And in the days when the SA magazine Arabesque was still extant (it was edited by the man who subsequently became the PR officer for Dawn Weller's ballet co--PACT--in Jo'burg), I wrote articles and reviews for that.
Gwendolen and Cecily, who are very skittish as a result of the cold front passing over Cape Town, and tearing in and out of the study like Valkyries on Benzedrine, breathlessly send you their love!
Posted 27 July 2003 - 04:28 AM
We'll be proud to be co-conspirators in background for articles on ballet.
Gwendolen and Cecily? You mean your cats are named for the two coo-coo Pigeon sisters?
Here, try this; it's a general article on Beauty that we keep here:
Posted 27 July 2003 - 10:28 AM
I'm afraid I don't know the Pigeon sisters. My cats are named after the women in The Importance of Being Earnest. Thanks for the kitty icons, Grace, which, I take it, are greetings from your own. I haven't told you that Cecily (who is a third of Gwendolen's size, even though they get exactly the same rations--a quite different metabolism) is a wonderful Bournonville dancer. When she plays with her catnip mouse, she does a soubresaut first to the left, then to the centre, then to the right of her iconic prey, all four feet clamped in perfect firsts (if indeed a soubresaut can be launched from first!). It's as though she were dancing the Time Warp from Rocky Horror, and it's a delight to heart and eye.
Posted 27 July 2003 - 10:38 AM
Posted 27 July 2003 - 10:44 AM
Posted 27 July 2003 - 12:10 PM
Posted 27 July 2003 - 12:44 PM
A "trip to the woodshed" is a reworking or reforming of previous behavior. It takes its name from the archetypal trip made by naughty little boys with their fathers for a sound thrashing, which, it was hoped, would bring about a certain metanoia.
And the grand battement moment to which you refer in the Dryad Queen variation is actually part of a grand fouetté en tournant, sometimes referred to as an "Italian fouetté".
And the Pigeon sisters are Oscar and Felix's upstairs neighbors in Neil Simon's The Odd Couple. Their idea of air conditioning is to stand naked in front of an open refrigerator.
Posted 27 July 2003 - 08:48 PM
Inspired by Doug's recent posting about the Act III pas de quatre, and by Mel's interesting and suggestive account of the ballet (see hotlink above), I have been reading Wiley on SB. W makes the point that, even while the ballet appears to celebrate the myth of regal divine right etc, the allegory might also contain some unflattering implications (eg the supplantation of moral fairies by materialistic ones in Act III). I haven't been able to find out anything about Vsevolozhsky's politics, but I wonder if one could add the name of Florestan to the encrypted but critical aspects of the allegory (if they're there). After all, it is the name of Beethoven's hero in Fidelio--imprisoned, like so many under the rule of autocrats, even enlightened ones, without due process. In his preface to Little Dorrit, Lionel Trilling observes that "the trumpet call of the Leonore overture sounds through the century, the signal for the opening of the gates, for a general deliverance." Coupling the name Florestan with the numerical rank of XIV might, therefore almost read as a gesture of subversion. By the way, Estelle, Wiley seems to think that V, not Petipa, was prob responsible for the naming of the ballet's characters.
Posted 28 July 2003 - 02:50 AM
Posted 28 July 2003 - 04:08 AM
Posted 28 July 2003 - 04:48 AM
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