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  1. Lam

    The Bolshoi under Vaziev

    Yes to this.
  2. I will definitely have to check Mariah Hannah Winter. Thank you
  3. Indeed Ivor Guest's works are mentioned both in Caddy's and Karthas' work
  4. For my bachelor thesis I chose Ballets Russes as a topic for my paper and I found things that I thought it would be nice to share. To get a whole picture and better understanding of cultural historical development at the turn of the century and early 20th century I acquired a fair amount of literature with the focus on Fin de siècle - and Belle Époque period. Although my main subject was Ballets Russes, I also got to know more about cultural history of France. While searching materials for my thesis, I noticed that the materials I needed, were scattered and different disciplines offering their contribution to the subject. It makes sense because I have always considered ballet as an interdisciplinary subject. On the side I found a few interesting titles covering also ballet in France late 19th and early 20th c. Caddy, Davinia. The Ballets Russes and Beyond: Music and Dance in Belle-époque Paris. Cambridge ; New York: Cambridge University Press, 2012 - Somewhat critical rethinking of Ballets Russes. Also a chapter on the state of French ballet before the war - "Ballet at the Opera and La fête chez thérèse" - Italian ballerinas showed virtuosic and technical skills, but critics noted the lack of art-dimension Karthas, Ilyana. When Ballet Became French: Modern Ballet and the Cultural Politics of France, 1909-1939. Montreal: McGill-Queen's University Press, 2015. -The reasearch's focus was on cultural history, cultural politics and dance history in early 20th c. I thought the book was an excellent work and methodologically consistent Karthas' work focused on the cultural exchange between Russia and France in early 20th century and the influence of Ballets Russes and their eventual effects on POB estabelishment, and finally with the effort of Lifar, how it was turned back as a state funded institution. Basically, in order to get state funding, ballet dance had to be proven as a viable expressive art form for republican France. Parisian music-hall ballet, 1871-1913 By Gutsche-Miller, Sarah -Interesting book that covers ballets performed in music halls. -Tries to argue that before Ballets Russes, ballet was already popular in France, that's why Ballets Russes had such a receptive audiences already in France. I have several problems with the hypothesis of book, but the book is informative. -My impression I got from music-halls ballets is that they are considered low-class, popular among the masses and definitely not high art. -I remember how Homans mentioned the subject shortly in her Apollo's Angels but essentially ignored it. In addition I read an extensive amount of secondary literature that did not cover ballet, but instead covered cultural and political setting of Fin de siècle and Belle Époque period that I found very informative. Books that covered theatre culture, city history, cultural politics were helpful and added social and cultural context to the subject.
  5. I thought it would best to start a new topic on history writing and ballet. Since there was a somewhat heated discussion on Ivor Guest thread, I thought it would be best to move it here. I am interested if this topic can generate interesting discussions. Quick search didn't reveal an existing topic. If there is one then please someone inform me
  6. Well me, no Technically they are available for me to read, but it would be entirely different question if i can actually understand any of it. 😅 This! Well put. Better than i could have articulated, thank you! This is the general view held In my university. Knowledge for knowledge sake.
  7. To clarify some points, I didn't question Guest's methology or his works!? When I wrote "I don't consider all who write history to be historian", - I did not refer to Ivor Guest. I was suggesting that instead of blaming solely on Italian dancers, one should also consider broader historical context. We are taught in seminars to be highly critical and cautious about everything, the sources, the literature etc and in addition to also consider the ethical questions. Everything has to be evaluated and the usage of sources has to be justified and It's impossible to be objective but one should still aim to be as objective as possible. My post wasn't meant to be an offense to Ivor Guest. His works are still quoted and used and I think he did a massive and valuable ballet history research that other historians have also used. That's how I came across his works. This is a general big problem in humanities department. How to make research and research results more known and more accessible to wider audience, like for example the publications in natural sciences. But then again unfortunaly there is also the kind of attitude within the academic circles (at leasti in my university) that research shouldn't be done or made more accessible to wider public. This does not necessarily concern dance research specifically, which is new field to me too, So can't say much about it. And also funding issues
  8. My intention was not to tear anyone's reputation to threads in this discussion. I do consider Ivor Guest as s scholar of merit, even though I haven't had oppurtunities or time to read his works though. I came across to his works through other scholars references to his works. And what cultural differences? I am aware that it is not polite to speak ill about the deceased. Where did I tear anyone's reputation to shreds though? By this --- "I can agree to that to some extent. But then there are trained academic historians and amateur historians. I don't consider all, wro writes history as historians though. - This was not a reference to Ivor Guest. I was merely responding to this though. I was merely responding to the authoritive claim to what history is and what history research should be. My views were offered from the historian point of view,
  9. I won't divert the topic further from Ivor Guest passing by discussing what history and specifically ballet history is. I am more than happy to discuss this elsewhere or through PM.
  10. History of ballet involves events, dates, names, who said what and when, and so on, like any other history. Broad analyses are possible only when the factual and material base is well established. - Yes, I know. But it isn't just that though. I disagree. Broad analysis can already be made. As a future historian myself I can't agree to that kind of simplified view of what history research is. Perhaps if you view history simply as a study of the past from which we can learn from then, I guess, but that view is severely outdated within the circles of academic historians. I can agree to that to some extent. But then there are trained academic historians and amateur historians. I don't consider all, wro writes history as historians though. That is a separate issue itself. I myself can name well done dissertations, but since I can't name them here in the forum, I won't.
  11. Could you perhaps give examples? I think I know what you mean. Ballet is a specific research subject that generally falls under cultural history cateogory (if one has to classify it, but it doesn't mean that ballet history shouldn't be dealt from another historical method such as political or social history). I consider ballet to be an interdisciplinary subject that can't be dealt alone from the historical perspective. Dissertations are scattered among multiple humanities disciplines in the Art department. For me this means that the researches were done by dancers, musiologist, historians, art historians, literary critic, art critics, theater and theatrelogists. There are sources but interpretations of the sources can be diffrent depending on formulation of the research question. The first lesson I learned when I entered university is that history can never be re-enact of fully recovered. You can only recontruct the past. That is one way to look at it. Various factors contributed to the erosion of the France's ballet institution and refined danse d'école and thus should be considered in broader political, social and cultural context though.
  12. Strictly speaking, any scholar that claims to be a historian are always expected to work with sources! Primary sources combined with secondary and research literature. I have come across some of his works, but I haven't had oppurtunities to read them yet. Based on the quick overview of his works, I could use them as references but with extreme caution, depending on the formulation of the research question and context of the research.
  13. Lam

    Fouettes - Discussion, Examples

    That's interesting. Perhaps it depends. I remember from some youtube video (Washington Ballet) where a female dancer stated that double turna are harder because it requires more speed, more force to do the doubles.
  14. Lam

    Nureyev's Falling Out at POB - Why ??

    Not meaning to divert the topic, but the claim in the beginning with Diagilev and the rediscovery of Ballet is somewhat outdated and has gone under some revision over the years. Classical ballet was never dead in France. Giselle was performed By Diagilev's Ballets Russes in 1910, to warm reception but it was rather mild compared to other "exotic" works in the press reviews. The classics such as Giselle did raise some nostalgic feelings among french audience but the general view was that the romantic ballet was old and out of fashion. This I found when I analysed reviews from several prominent french newspaper from 1909-1914 for my bachelor thesis. There was a reason why unclassical repertoire were created. Those unclassical works were solely created for western audiences. I mean books about Diagilev and Ballets Russes usually highlight their successes but their success did not come without problems especially during 1909-1914 period.
  15. Thanks for the info. No wonder I was so confused. Good thing I checked the ticket otherwise I would have simply missed the performance.