Blue Bird- Russian vs Royal Ballet version
Posted 02 December 2005 - 06:34 AM
While the Russians show Florine as a perfect princess, without fluttering arms, but only listening to her Bluebird, the Royal Ballet versions on video at least (Sibley, Benjamin) portray her as a kind of little bird, with lots of "fluttering arms" and wrists.
I just wonder why has this difference arisen in the first place, and who was responsible for the change. Also, of course, I would like to know which version is the closest to the originally staged by Petipa at the premiere.
I would value any feedback on the above, as I am dancing the role right now.
Posted 02 December 2005 - 09:37 AM
Posted 02 December 2005 - 10:20 AM
So, I wonder who was responsible for starting to confuse Florine with a bird? As RB dances it today....
The first time I was taught the role (by an ex dancer at the Marquis de Cuevas company, who was my teacher in Uruguay, and who was prima ballerina at our national ballet), I was taught to do lots of fluttering - I even remember that I was encourage to practice the "tremor like" movements with my hands, and that I was supposed to do it througout the variation (at a later stage, once I had mastered it).
Then I saw the videos by the Russians and was totally confused.......
Posted 02 December 2005 - 12:15 PM
Hans, on Dec 2 2005, 12:37 PM, said:
So there's no "do as I do" business going on there? She isn't attempting to fly?
Posted 04 December 2005 - 10:01 PM
Posted 05 December 2005 - 07:09 AM
Posted 15 December 2005 - 08:22 AM
She also says there is a difference between the bluebird who flies (here she makes large fluttering movements) and Florine who wishes to copy him so that she can fly away (she makes less distinct fluttering movements) The syncopation of the music is supposed to reflect Florine's attempts to fly ("It's all in the music", she says)
There is no analysis on fluttering, but her hands flutter while marking some passages... Then Markova comments that this is the style of the variation & that it is becoming lost.
There is also a small story about the feathers (mentioned on the other thread). When Diaghilev saw the young Markova in costume he deemed the feathers too vulgar for her and send her out to buy new ones. Bird of Paradise feathers were, apparently, at that time, availlable even in Manchester so she managed to procure some and dance that night.
I have a question for Mel:
If magic was such a no-no for the Soviets how did Swan Lake survive (apart from the end, of course)? I mean there's a magician and enchanted maidens in it. And what about Sleeping beauty? There is an evil fairy and a spell at the center of the story. Why would they be so particular as to change details in a specific variation and not mind, for example, the swan-arms in swan lake or a girl who sleeps 100 years because of a spell? I don't understand this...
Posted 28 January 2006 - 04:48 PM
Posted 28 January 2006 - 06:27 PM
I know what you mean about the tremor like movements with the hands. I could only get my right hand to do them, so I just had to leave them out. (It's actually very difficult. I think it might be like rolling your tongue, something that some people are just genetically predisposed to.) I'm actually going to be restaging a version similar to the Royal version soon. It's the Sadler Welles pre-Royal version, actually. The only thing I'm changing is I'm taking out the ending leap off stage at the end of the Coda.
Posted 28 January 2006 - 06:55 PM
Posted 29 January 2006 - 11:15 AM
Crispy, on Jan 28 2006, 09:27 PM, said:
And welcome to BalletTalk! We'd love it if you'd tell us a bit about yourself in our Welcome Forum.
Posted 29 January 2006 - 01:07 PM
Crispy, on Jan 29 2006, 02:27 AM, said:
Cris, so would this be closer to Sergeyev staging for De Valois in the 30s? Or am I going back too far or on the wrong track altogether?
In any case I'd love to see it and wish you all the best of luck.
Posted 29 January 2006 - 01:37 PM
The girls have a separate variations coach, so I will not be setting Florine's variation, so I don't know if they will retain any of the fluttering there. However, this particular variations coach danced under the direction of previously mentioned ex-Royal dancer.
Why no leap off stage at the end? Because the artistic director doesn't like to finish with the dancers off stage. We are also not using an orchestra and our recording doesn't have the appropiate ritardando at the end.
Now I noticed in Nureyev's version, they finish with a "do-se-do" type move with Florine finishing in arabesque, supporting herself on the bluebird's shoulder. I'm thinking that will work for the requested ending.
In any case, I need to get my butt in shape if I'm going to be a blue Mexican jumping bean in a few months.
Edited by Crispy, 29 January 2006 - 01:49 PM.
Posted 29 January 2006 - 06:57 PM
Posted 29 January 2006 - 07:06 PM
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