Aurora and Emploi
Posted 22 March 2001 - 11:56 PM
Posted 23 March 2001 - 07:23 AM
Sizova was 25 when they made the film.
Posted 23 March 2001 - 07:25 AM
[This message has been edited by pmeja (edited March 23, 2001).]
Posted 23 March 2001 - 10:56 AM
Alexandra, your last sentence really helps, especially putting a dancer with each type, even if it is the 20th century American version. It may be another reason Ferri dances mostly romantic ballets--maybe she just has an amazingly strong sense of employ .
pmeja, I've never heard of a film of Sizova other than the 60's "Beauty," but I might be able to ask her and find out about it. I thought Zaklinsky was rather younger than Sizova, but maybe not.
Posted 23 March 2001 - 12:04 PM
pmeja obviously means the Sleeping Beauty performance with Asylmuratova and Zaklinsky, filmed in Moscow in the late eighties/early nineties, and commercially available.
The famous Beauty film with Sizova and Soloviev dates from 1964.
Sizova was born in 1939; Zaklinsky in 1955.
Posted 23 March 2001 - 02:01 PM
Posted 23 March 2001 - 09:54 PM
Posted 23 March 2001 - 11:12 PM
Alexandra, I'm absolutely agre with you on XX century definition of female employ - classical, romantic, neoclassical. Only I would not put Lilac Fairy as neoclassical, I don't see any "neo" in the choreography for this part. Thinking of what part can fit the neoclassical term, I came up with may be subversive things - White Swan. Lev Ivanov created the image of the bird using classical ballet vocabulary, just slightly changing arms position, but I think we can see there the birth of a new ballet style - neoclassicism. Am I wrong?
Posted 23 March 2001 - 11:13 PM
Unfortunately, I don't think any of our posters got to see this one.....
Posted 24 March 2001 - 01:06 AM
Posted 26 March 2001 - 01:36 PM
Posted 26 March 2001 - 03:54 PM
I'm glad you made the distinction between your view and what may be a contrary general view -- I've been trying to do the same, of saying what I think is generally accepted here, and where I disagree with it, but it seems to change with every generation, and my "teachers" in this area are people in their 60s and 70s.
I've always been troubled by "neoclassical" too. I think it's another term that's misused. It originally meant a sort of classicism-by-the-rules and referred to Noverre's era, the Enlightenment, as we call it, when artists and philosophers were rediscovering classicism and, instead of "reinventing it," as we like to think we're doing, they were very concerned that they try to copy it as exactly as possible. In the 20th century, at least in America, "neoclassism" came into being, I think, because writers had to deal with Balanchine and didn't see his works as "classical" in the way they saw "Swan Lake" as classical. Hence, it means New Classicism. (I think writing about Balanchine came first here, but I may be wrong. It's later you hear the little voices saying, "And Ashton's own version of 20th century neoclassicism." I'll bet they both thought they were just doing ballet.)
Doug, thank you for your information on port de bras -- I hope you'll continue to have the time to read these threads and comment, because you have a perspective none of the rest of us have. As late as the 1940s, Bournonville port de bras was very rounded, the arm at brow-level, shading the brow (like the big picture hats women wore at the turn of the last century). The tiny pieces of film evidence I've seen of older Russian classical dancers -- like Spessitseva's Giselle -- are rather wild, certainly not controlled and neat.
A friend of mine who's watched "The Dying Swan" molt over the decades thinks that Odette got more "swanny" after "Dying Swan." To further confuse "employ," the way the terms "classical" and "romantic" are popularly used now, a "classical" Swan Queen (as Gregory and Fonteyn were) were less overtly swanny than a "romantic" Odette (Makarova).
Posted 26 March 2001 - 10:58 PM
Posted 27 March 2001 - 12:06 AM
Posted 25 April 2001 - 10:23 PM
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