Anna Pavlova - a woman for all times
Posted 19 December 1999 - 04:34 AM
I posted this here, because it seems to me, that most people stop at this forum.
Now, my question is, do you know of any good web-sites, that include Anna Pavlova's biograpy and stuff like that? If you know any books, that refer to this theme I'll be glad to see them here.
So, if you do, please post them.
P.S. If I don't stop by please all, accept my greeting: I wish you all best in the fast coming new Millenium and happy and merry Christmas.
Posted 19 December 1999 - 05:01 AM
Posted 19 December 1999 - 12:34 PM
One thing I learned from the book is a sense of what the repertory was like during Petipa's time from a dancer's point of view. He goes through Pavlova's career, solo by solo, as she was "coming up" and points out why Petipa would have given her this role at this time. How he knows this, I have no idea, but it sounds absolutely credible.
I don't know of any websites with material about her, Nadezhda, but you might try doing a search in one of the search engines -- www.yahoo.com, or www.excite.com -- and see what you turn up.
(I would say that if DeMille saw Pavlova at the end of her career, I'm not sure her view should be taken as gospel. Most dancers aren't quite at their best in their late 40s, and Pavlova had performed so much, it must have taken its toll. I'm sure people who only saw Nureyev in the last five years of his life have a very different impression from those who saw him as a boy.)
Posted 20 December 1999 - 03:45 AM
Posted 20 December 1999 - 07:38 AM
Posted 20 December 1999 - 11:17 AM
Re DeMille's not noticing Nijinsky, supposedly he often did not dance on the American tours, because of his illness, and they never announced the cast change. So let's hope she saw someone else.
On Pavlova's technique, I've often wondered if she wss not, in this respect, like Fonteyn. There are the dancers who shove their techniques in your face, and there are the (much, much rarer) ones who don't have to show you everything they can do in every role. Pavlova, in the few films we have, was definitely someone who "became" the character she was dancing (even if her character was a poppy) and the technique is so much a part of her dancing that it's simply not obvious.
When I started reading about ballet (mid-1970s) the two things I read most often about Pavlova set my teeth on edge even then, and they were, "Any girl in the corps de ballet today could dance rings around her" and "She had the most terrible taste. She left Diaghilev because his works were too modern. Can you imagine? She thought the finest choreography ever devised was the grand pas de deux from Sleeping Beauty."
Yes. Imagine that.
Posted 20 December 1999 - 04:02 PM
she also said that there was a ballet in which she played her slave (or something to that effect, i haven't seen the film in years) in which she had to follow her across the stage and it would be just the two of them and she spoke of how exciting it was for a young girl. later she went on a tour of south america and as she was so young her mother went with. as they left one port she was given a present, she says, because the 'pavlovitas' were very popular among the rich gentleman. in that box there was some sort of necklace made of precious stones and her mother made her return it. and that is what i remember!
just thought i'd throw that in...
Posted 20 December 1999 - 05:31 PM
Posted 20 December 1999 - 08:11 PM
Posted 21 December 1999 - 01:03 AM
Posted 21 December 1999 - 05:51 AM
According to Kavanaugh, "Pavolva, (Ashton) said years later was the greatest theatrical genius he had ever seen. By today's standards, her technique was poor; she rarely executed more than two pirouettes, but they were done with sure brio-'a sort of flurry' in Ashton's phrase-tht she gave the effect of at least half a dozen more. Pavlova's vibrant personality, the expressive play of every part of her body and the outpouring of ecstatic energy sent a charge through the auditorium, creating what one critic described as 'a kind of electrification of the air'.
'She was a spirit, a flame' said Ashton. 'She wasn't human.' ….Pavlova became Ashton's muse, imprinting a fateful kiss which lasted for the rest of his life. "Seeing her at that stage was the end of me. She injected me with her poison and from the end of that evening I wanted to dance.'
Margot Fonteyn, toward the end of her life, told Kavanaugh: "I always felt that Fred was seeing Pavlova and that I wasn't living up to her by any means."
Posted 21 December 1999 - 08:28 AM
For a bit more info, and a recipe:
Dang, I'm getting hungry already.....
Posted 21 December 1999 - 05:14 PM
Posted 21 December 1999 - 06:50 PM
just me rambling on again.
Posted 22 December 1999 - 01:55 PM
Thank you, thank you, thank you! Really, thanks for everything you posted!First of all: I know, there is a desert called Anna Pavlova and I have seen it (Manhattnik, thanks for puting that photo in, I really got hungry .) Then, I have searched Yahoo! (because I have my e-mail there so, naturally my first thought was to seach there, but the results were a little too big thing for me, because there were 729 matches and I thought I'll just stop by here if anyone knows for any good site.
Now, for the books, I really doubt, they are avaliable in Slovenia (where I live), but I hope you can explain me, how to shop online (at Amazon or Barnes&Nobles), if I don't have opened an account. But I'll try to reach those books anyway.
As for the films: I have seen one, which totally put me under spell. I unfortunately don't know, who is starring in it, as I missed the beginning, but i REALLY loved the way Anna Pavlova was presented and the way, that ballerina who was Anna danced with that in her movement, that natural ability to be whatever to dance like whichever thing on Earth! Her technique: I don't know anything about it; my interest in Anna began after seeing that film and re-playing it many times I realised, how she felt that Dying Swan and not even Maya Plisetskaya could do a better swan than she did. So, even if here technique was bad, she made that impresion on a man, which is cruical in the theatre : that she IS the person she was dancing. REally-if she made only a single pirouette and one felt like she did four of them - then she reached what she wanted to make a man believe, that this is not real, this is an illusion and everything in ballet and thatre has to do with illusion. So I guess, that Petipa, though he is mentioned as a cruel man, who wanted every dancer to be techincally polished considered her as enough good to dance in Swan Lake and ballets like that, she must of been at least good in pretending.
This is quite a long thing I wrote, I hope it is clear, because I believe, that there are quite some gramatical and other mistakes, but anyway, please reply if you belive, that you know anything further on this theme.
With much love, Nadezhda
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