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Petipa version v Sergeyev version?

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#46 Herman Stevens

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Posted 31 October 2005 - 08:51 AM

Another reason why a lot of MT dancers may prefer the Sergeyev version - apart from loyalty to what they perceive as their heritage (i.e. the version they watched as they fell in love with ballet and which they were taught - is that there is a lot more steps per minute in the Sergeyev.

In my view the little pdd Lilac and Desire are having before he gets to check out Aurora is 100% inappropiate, dramatically; every time I see it I think, too, Lilac's coming on to him. However, I suspect a lot of dancers just think, "hey, people come to watch us dance rather than pace about and mime".

I have not seen the Vikharev reconstruction yet (and if Natalia is acurate in saying it's rolled out only once or twice a year chances I'll get to see it are pretty slimbo), but the pictures do give one the sense there is an awful lot of heavy costumes - not just for the extras and corps members (as in Wright's RB version) but also for the protagonists, such as Lilac and Desire, who seems to be wearing a giant wig and a major hat. Dancers don't like that, obviously. (Scholl mentions a Desire who says he's going to lose the hat as soon as he's out of the wings - excellent indispenable book btw.)

Of course it's weird when Dudinskaya says her husband was faithful to the Petipa choreography and added more material for the male dancers. However I'm prepared to believe she's really sincere in that this was good and honest, rather than double talk. The expansion of male dancing, call it Nijinsky's revolution, is one of the biggest things in 20th century Russian ballet, and had Petipa lived he'd made more stuff for this new generation of men - I guess that's what the thinking is.

I believe it's the Grigorovitch (rather than the Sergeyev) version in which Desire enters the hunter parting with a whole string of huge jumps and tours, and only when he's received the first applause he remembers his heart is really empty? In both the Sergeyev and the Grigorovitch you really have to juggle mentally between what you know the story is, and the dancing that goes on. Sometimes this can be quite satisfying when the added steps are good, but in the case of Lilac's non-stop bourreeing you don't get a lot of interesting steps in return for the killed mime.

I do, however, love Lilac's variation in the Prologue pas de six - and I don't even know whose it is. Lopukhov, Sergeyev? Does anybody know?

#47 FauxPas


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Posted 31 October 2005 - 09:09 AM

I do, however, love Lilac's variation in the Prologue pas de six -  and I don't even know whose it is. Lopukhov, Sergeyev? Does anybody know?


This was supposedly choreographed by Lopukhov for Lyubov Egorova around 1903.


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