rg, on 19 July 2010 - 10:31 AM, said:
a colleague has emailed to note that I.N.C., a Moscow-based dancer, quit the stage there in '02.
i know that Gorsky's version of Petipa's 1900 ARLEKINADA wasn't given until '07.
so, if I.N.C. didn't guest at the Maryinsky in such a role between 1900 & 1902, the Leandre connection is most unlikely.
perhaps more likely is the tradition for such a foppish character in various ballets of the time, and that Petipa's character and costume came from an earlier work with a role similar to this one.
Thank you for posting this caricature it is one of a number that I do not possess.
Not all of the Legat brothers ballet caricatures are a direct reflection of actual roles, and are mostly their personal comment on the physicality and personality of their subjects.
Clustine was reputedly a foppish and effeminate character in real life and a pupil of Gustav I. Legat, Nikolai and Sergei's father. So perhaps he was a real life inspiration for the character created by the Legats.
Ivan Nikolaevich Clustine(1862-1941), created a production of The Fairy Doll at the Bolshoi 1900, the second to be staged in that theatre and of course almost three years before the Legat brothers St.Petersburg production.
I do not recollect having read any mention of Clustine guesting with the St.Petersburg Imperial Ballet in Russian sources. Clustine left Moscow in 1903 moving to France where he was to become balletmaster/choreographer at the Paris Opera and later Anna Pavlova's ballet master and choreographer for almost 20 years.
(quote Mel Johnson)
"Yes, it certainly resembles the Ter-Arutunian design for Léandre. The Elderly Fop model is very clear, as also seen in Camacho in Don Quixote. I like especially the red heels on the shoes, which in several monarchic European societies denoted that the wearer had been received at court. Léandre obviously wants to let everyone know that he's High Society."
Louis IX I believe, most frequently wore red heeled shoes.