Battling Beauties; Russia's Elgin Marbles in USA?
Posted 10 December 2004 - 06:27 AM
Posted 10 December 2004 - 06:29 AM
Mel Johnson, on Dec 9 2004, 08:22 PM, said:
I see what you mean, Mel...but that's not my point. The point is that the knowledge contained in the notebooks -- which apparently isn't duplicated elsewhere in Russia in any other known notebooks -- is part of Russia's cultural patrimony. The great Soviet-era ballet historians, such as Vera Krassovskaya (since departed this world), were deeply offended that the knowledge fell into the hands of non-Russian ballet specialists. [Scholl, of course, has little good to say about Krassovskaya...the doyenne of Soviet ballet historians!] This is a simple version of the events; it's much more complicated, of course.
On the other hand...
The Mariinsky owns the flip-side of the equation: the complete, arranged orchestral scores to which the notated ballets are danced. Russia also 'owns' much of the designs. So no non-Russian troupe can perform the complete ballets without some sort of copyright infringement...even if they try to set ballets via the notebooks.
p.s. When Doug Fullington used the notebooks to stage the "Jardin Anime" section of Corsaire on the Pacific NW Ballet's school last year, it was not an attempt to reproduce the designs or full orchestral arrangement (if memory serves). All he could do was present the steps.
Posted 10 December 2004 - 05:38 PM
If we allow this sort of patrimonic argument, we might as well send the notebooks to France, as Petipa was, after all, a Frenchman. He just happened to work in Russia.
Posted 11 December 2004 - 05:46 AM
Posted 11 December 2004 - 09:36 AM
Posted 11 December 2004 - 09:37 AM
Posted 13 December 2004 - 07:33 AM
Ari, on Dec 11 2004, 09:46 AM, said:
They don't! That's the crazy thing here. The resentment about the 'notes' being in US hands only comes from the scholars & writers who wish THEY'D have the sole right to review and inspect the precious documents. A few good Ph.D. dissertations could come from this, after all.
Dancers & public could not give a hoot about the notes and would be delighted to never again have to set eyes on the 'new/old' Beauty or Bayadere!
Posted 14 December 2004 - 04:30 AM
Natalia, on Dec 13 2004, 10:33 AM, said:
Thank heaven that these folk aren't archivists and librarians. That's why it's a good thing that the books are where they are, where the information is freely available to all who ask.
Posted 14 December 2004 - 04:44 AM
Posted 15 December 2004 - 08:08 AM
Have any of you tried to obtain anything from a Soviet...er, Russian...library? Have you tried even to photocopy a page or two, when in a Russian library? My suggestion is to take lotsa ca$h with you...and I don't mean kopecks to feed into the Xerox machine.
In all of my years of research in Russia I can say that one -- and only one -- library-museum was truly user-friendly: the Vaganova Academy Museum. That was due to the graciousness and intelligence of the then-head of it, a lovely lady named Marina Vivien (who moved to Paris a few years ago). Other than that, every experience was like drawing blood from a turnip. They simply do not want to see non-Russian scholars succeed.
Perhaps the subject for another thread.
Posted 31 October 2005 - 09:26 AM
pmeja, on Dec 10 2004, 05:11 AM, said:
Sergeyev compiled those notes (more than twenty ballets) as an employee of the Mariinsky; that's why they would be regarded as Mariinsky property. (If you are fired from a job, somebody will "escort" you to the door, just to make sure you don't take any company files, including the rolodex with addresses.)
The Mariinsky was in principle a lifetime employer. And as I recall Sergeyev got a grant from the MT to study in Paris to become the Stepanov guy, so without the support of the MT he couldn't even have made those notes.
As for the other point of view: valuable things tend to leave the country when you do a Revolution, kill the Tzar's family and let failed artists commissar it over the ones with talent for a couple of generations...
BTW I think the Scholl book is great, and sufficiently well-written. The only thing that bothers me is this dissertation habit of summing up the content at the end of a chapter - as if the reader is braindead. And I think he tries to get more mileage from the Wagner - Brunnhilde parallel than is warranted.
Posted 01 November 2005 - 12:46 PM
Herman Stevens, on Oct 31 2005, 05:26 PM, said:
Herman I agree with you about the Ring cycle comparison; that was a stretch for me too. I also wish that the 1999 photos were in color. Trust me: Unless you've seen the 1890 production live, black & white photos do not do it justice.
Posted 01 November 2005 - 04:56 PM
Natalia, on Dec 15 2004, 04:08 PM, said:
Natalia, would a nice bottle of vodka work?
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