leonid17

Alexandra Baldina was never a ballerina only a soloist. She was engaged with her husband Theodore Kosloff and Vera Karalli all from the Bolshoi to appear with the Saison Russe at the ChateletTheatre Paris where on the 2 June1 1909, she appreared in the re-worked Les Sylphides/Chopiniana premier with Pavlova, Karsavina and Nijinski. Baldina and Kosloff left the Bolshoi to come west in 1910 and rg quite rightly states Leningrad that alone Lenin had no status in 1910.

I am not sure when she graduated probably c 1903 but she was a member of the company from 1905-1910. Which is odd, as dancers would generally join the company the year of their graduation.

I am inclined to agree with Jane that the photo is by Maurice Seymour as Baron rarely used such strong contrast. The production dates from 12 June 1946 and choreography is credited to Perrot, Coralli and Marius Petipa. The designs were by James Bailey. Miss Shearer danced Moyna on the first night. The costume, wings and all are virtually identical to the Sadlers Wells "Les Sylphides " a photograph of which appears in Baron at the Ballet and I would put the date of the card around 1948-1950. From Dame Margot Fonteyn to Dame Beryl Grey and Miss Shearer wings were worn in this production.

Following Christian’s response to the video link I posted on the ENB thread, I thought he and everyone might like to see more of Venus Villa who arrived at her present company after a short period with another English ballet company. Miss Villa was given the role of Alice in Derek Deane's "Alice in Wonderland" which I witnessed and I felt that here was a developing dancer to watch. In the following video you can see her in a rehearsal of "Muñecos" by Alberto Mendez her partner is the Chinese Cuban Yat-Seng Chan Principal Dancer with ENB.

Today Wayne Eagling Artistic Director of English National Ballet announced the nominations for EMERGING DANCER AWARD at: http://www.ballet.org.uk/emergingdancer Esteban Berlanga Soloist Anais Chalendard First Soloist Crystal Costa First Soloist Ksenia Ovsyanick Artist of the Company Junor de Oliveira Souza Artist of the Company Venus Villa First Artist You can see Venus Villa in rehearsal at: Esteban Berlanga at: Anais Chalendard at: Crystal Costa at : Ksenia Ovsyanick at: I could find no film for Junior de Oliveira Souza. I would not take the above films as being representative of the dancers current performances, but I thought they would add interest as I am sure many readers will not be familiar with them.

Last year there were performances of “Steve Reich Evening (Ballet)” at both the Edinburgh Festival and Sadlers Wells with the Ictus Ensemble, Steve Reich, Rosas and Anne Teresa de Keersmaeker The works performed were: Drumming-Part One, Eight Lines, Piano Phase, Four Organs, Violin Phase, Music for Pieces of Wood, Pendulum Music Choreographed by Anne Teresa de Keersmaeker I did not see the performances but you can get an idea from:

You can see three examples of his work at: http://www.rccusa.org/index.php?option=com...&Itemid=198

Observing protocol, all I will say is thanks for saying thanks, and it took me little more than half an hour to find the quotes. It is difficult to define the legacy of Ruth St. Denis, but it exists, it is real, because we are not alone in discussing her and trying to bring her work and influence into some kind of truthful focus. As no one contributing to this thread has either seen her works or her dancing, we cannot make a valuable assessment of her performing ability. I have posted what others have said about St. Denis in an earlier post. Ruth St. Denis status will survive and probably inspire in the future as she did in the past. She is most definitely an interesting woman not just a perfumed poseur who liked to dress up. Her fidelity to the inspiration of authentic Japanese dance is a reality as are the costumes and settings of her dance works. It seems it was never her original intention to create totally authentic works. For a start where would she have found the musicians? A regards being forgotten, the American Embassy to Japan's website acknowledges her status which I assume means so do the USA government. See http://aboutusa.japan.usembassy.gov/e/jusa...rait-usa10.html She did not just pose and move gently and gracefully as is widely suggested and she must have had some outstanding qualities to find approbation from significantly talented and famous Europeans. A description of her in Radha and Krishna by Jane Desmond as seen in a 1906 film says, “Frequently through her dance, St. Denis arches her spine and tilts her head back, headpiece still in place, as she whirls across the stage. The music she whirls to sounds like a western classical piece, melodramatic orchestration replacing the vocals so common in Indian dance music. She often gathers up her skirt as she turns, increasing speed to match the music's tempo.” There is an an excellent photograph showing her deep backend and seemingly powerfully physical movement. It seems to me there is quite a healthy interest in Ruth St. Denis out there at the present time. Reconstructions of her dances are taking place and she is studied in universities. So she will not be forgotten. Ruth St.Denis has entered my life in a small way, as I have found her to be not quite what I thought I knew her to be and instead, is much more interesting as a creator than she apparently has been given credit for.

I've no doubt they were authentic, she liked dressing up. However, traditional theatre forms native to Japan are in no way as hammy and campy as these photos suggest St Denis's rather self-indulgent extravaganzas must have been. But lovely photos none the less. The subjects in the photographs may well have had to hold their positions and facial expressions for a some time and as is typical of a lot of theatrical photographs of the era they appear somewhat stilted. But on the other hand, I have been watching various forms of Japanese traditional theatre for many years and such highly stylised almost ritualistic poses are always present. As mentiontioned earlier Ruth St, Dennis was much admired in Europe and the Far East. "During the first engagement at the Komische Oper, a special matinee was arranged at Charlottenberg ; preceding this was a luncheon at which Hauptman,Wedekind, Hofmansthal, Graf Kessler, Richter, Hofman,and others paid tribute to this dancer who revealed to them such unparalled beauty." Not a bad bunch of critics I think. She had witness Japanese Noh and had six weeks daily training with a professional Japanese dancer. But as regards the authenticity of this production, of "The Japanese dance-play O-mika was founded upon one of Lafcadio Hearn's writings entitled A Legend ofFugen-Bosatsu. It is found in the volume Shadowings. For Miss St. Denis's purposes the story was put into condensed form, as indicated in the program which follows: O-mika, A Japanese Legend of the Buddha, in three scenes. The " story of a celebrated courtesan who became an incarnation of Fugen- Bosatsu. In this Japanese legend Miss St. Denis will introduce The Dance " of the Flower-Arrangement, The Chrysanthemum Dance, The Dance of " the Thirteenth Century Poetess,The Samurai Dance,The Dance of Fugen- Bosatsu. As you can see from the following cast list, the majority of the cast were, yes, you guessed it, Japanese. Cast list: Shoku Shonin, BunlakuTokunaga; Kimura Hayato, Roi " Kojima; NakamuraYosake, MomotaroToyama; O-Yone,HanaYa- " mada; Samisen Pkyer, S. O. Hashi; Kamura,Theodora De Combe " and Regina Cipriano; Sake Girls, Elena Perry and Ruth Averill; O. Hashi and A.Oki; Samurai Sword Dancer, B. St. Denis; " O-mika, Ruth St. Denis. The Japan Society of New York, soon after Miss St. Denis's en gagement at the Fulton Theatre, requested a special performance to be given exclusively to the members of their society. This took pkce in the Astor Hotel and the Japan Society officially proclaimed it the most artistic presentation of Japanese themes America had ever been privileged to see, and expressed a wish that Miss St. Denis might go to Japan to inspire the Japanese girls to return to the classic dance of their own country instead of taking up the tango. The Japanese Times in its review of the performance said: We have nothing but praise and admiration for the part this famous actress played. The grace of her movement, the delicacy of her touch, the consummate skill she showed in mimicking different types of Japanese womankind, and the refined taste she displayed through out the performance all enforced by the inborn beauty of the actress leave no room for her critic to venture any unfavorable comment. The costuming, scenic effects, and properties of this production were extravagantly but correctly splendid. The appointments of all three scenes were absolutely authentic, and in many cases the articles used were not merely stage properties but genuinely Japanese. Because Miss St. Denis is "uncommon tall," it was necessary to have a Japanese dressmaker make her kimonos to order of imported materials. Once when The Dance of the Flower-Arrangement was being given at Ravinia, a Japanese man-servant who was brought by his mistress to the performance, insisted that it could not be other than a Japanese woman who was dancing. Truly, her make-up was marvelous. The wig of the courtesan, with its ray of fourteen gorgeous hairpins, the dead-white face of mask-likequality,the lips so red, and glistening with powdered gold; last and especially, the exquisitely facile hands made her more truly the epitome of Japanese beauty than any real Japanese woman I have ever seen. She was Japanese, not in the grand opera manner of Madam Butterfly, but of the quality in an Utamaro print. "The Maharajah of Kuch-Behar,the Maharajah of Kapurthala,and the Gaekwar of Baroda, men who in India have given many a nautch of their own, saw Miss St. Denis, and have expressed their intense admiration of her nautch dancing." In a letter from a law student in Calcutta a certain J. Basu, wrote, "We appreciate your refined taste, thoughtfulness, and the amount " of kbor which you have given to studying the spirit and meaning of " Indian dancing in its highest and noblest form. The unparalleled " success which you have rightly gained by your wonderful dances, " which are poetry, music, and religion combined, has given me great " satisfaction and pleasure. You have caught the true spirit of the East, " its mysticism, its ceaseless longing for the infinite, its passionate ad" miration for the .energy or 'Shakti' side of Nature, a feat which " I thought was impossible for any Western artist you have not only caught, you have also interpreted it. You are doing a great service Ruth St. Denis not only to India but to the world at large."

A very early (1898) photograph of Ruth St. Dennis. There is a series of photographs associated with Japanese costumes. Although I collect Hiroshige prints I am no expert on the authenticity of the costumes, but they do not look far removed from other photographs I have seen of genuine historical costumes. http://digitalgallery.nypl.org/nypldigital...p;pos=6&e=w

I think that would depend on the focus. Dance doesn't have to be in a leotard to be a valid piece of art, and yes there is technique involved in fabric manipulation. One of the oddest surprises for me was to hear that when St. Denis toured the Far East with her dancers was that she was very successful there. I thought that with the real thing available, the public would have shied away from a Western take on it... but have been informed that at the time very few of the general population actually got to see the temple dancers and indian classical dancers, and they were delighted to be entertained by St. Denis. Have to run before finishing this thought... I am not surprised she was admired in the Far East. There was a similar response in India to Anna Pavlova. Her Radha and Krishna from her "Oriental Impressions" dances were seen as 'examples' which gained her wide credit for the reinvigorating the bharat-natyam style. Pavlova was called "The Divine Pavlova" in India".

Thank you CM for finding the Margot clip. I saw the film of her dancing the role in 1960's but I do not remember her characterisation being so intense. I have discovered a lot on Pathe but not that. Again thank you for magicking it up for us.

Not exactly new news, but Dominic P Papatola in Twin Cities reported yesterday on the Michael Kaiser initiative to advise how to save the arts. http://www.twincities.com/entertainment/ci...?nclick_check=1 Also Denver Post today report on Colorado Ballet. http://www.denverpost.com/entertainment/ci...1487?source=rss PS I read your economy was recovering. If this is the case, I wonder how long it will take for the givers to start giving.

Sorry about my ignorance, but I really didn't get that... The European Mute Swan, who it was claimed never made a noise whilst alive but tragically and incredibly, sings when dying. I hated it when I was told this was only a myth.

If the characterisations are good then fluffed moments have little effect on me. I have sat willing dancers through the Rose Adagio, gritted my teeth in the Black Swan and I can think of many dancers who have failed at such moments but I would never as a ballet lover say, "...the parts which, if they are done poorly, undercut the entire ballet ..."

I agree with Marc. The Sleeping Beauty is the apogee of academic classical ballet. As far as I can see, no other work in this genre before or after its production meets so completely, the appellation of a gesamtkunstwerk.

Thank you for such an evocative description and also I enjoyed reading Henry Helissen's review. It was also pleasing to hear that the company's dancers were short. So right for the Romantic ballets of the company.

I am saddened to hear this news. The Ballet Shop was the first port of call for London balletomanes when they visited New York.

I believe that St. Denis sported snowy white hair when she was older... perhaps you are misreading "white" as "blonde"? The costume moves beautifully, it seems she was always very careful with the way her costumes moved... (I'm not really on a costume kick, though it's beginning to sound like it...) In this clip I felt the costume was somehow as important as her dance. Second time of viewing I concentrated on the costume as it takes on a flowing sculptural form which I found very interesting as Miss Ruth manipulated it with her movements. From the complexity of designs for dresses that she employed, to my mind, it seems to appear she was not just dressing up to conjure a particular theme or style, she was also a sculptress in silks.

Leonid, did you know Helpmann? What do you think of the Salter biography? I am sorry to say I was never introduced to monstre sacre but saw him on stage on a number of occasions from 1962 to 1979 and at first nights of several productions that he had directed. I have the Elizabeth Salter and I confess I never completed reading the book as I did not find this most interesting of men so interesting on the page. I had after all been regaled with the stories about him as a person,dancer actor and director for nearly two decades prior to its publication. I have to say I hold the performances I saw of him in great affectionas he was by the time I saw him a great historical theatre character of the London stage. I would like to say that now that I am retired I have the time to read it, but I am busier more hours of the day now than when I was either working for myself or otherwise employed.

Actually Leonid, That's not Lady Kay's original question at all. Her question was "why isn't St Denis's Oriental technique/style not reflected in the American modern dance. By which she means Graham, Holm, Humphrey and then further generations. The thing you seem to fail to grasp is that St Denis was NOT Oriental dance, it was her idea of what orientalia should be. Those postcards while charming only confirm in my eye what a charlatan she was in terms of legitimately appropriating and assimilating Asian and Eastern dance styles - she was no more than playing dress up. My assault on St Denis was not at her position as a great dancer everyone attests to this, what they also say however, is that her artistry was completely superficial. You cannot assess St Denis as an originator of technique, she had none beyond that which she needed for her pretty dances; nor can you claim that her influence on her two great students Graham and Humphrey was a direct case of inspiration. They succeeded by reacting against everything St Denis and Denishawn stood for. Louis Horst was not employed by Denishawn to the full of his capabilities, he was their accompanist, then when they sacked their conductor he stepped in - it wasn't until leaving Denishawn his studies in Germany and his artistic marriage to Graham that he came into his own as a teacher of music composition and the composition of beats and meter in dance forms. However, Horst had a deep aversion to modern music, especially Stravinsky, and he held the belief that dance and music were inextricably linked - he was highly censorious of the moderns who sprang up in the 50s of modernism in general. To claim rather breezily and whistfully that his influence is seen througout the current dance world is stretching it a bit - because one thing that modern dance had to do to grow up is get beyond the belief that a step of dance equals a beat of music. If Lady Kay wants to study St Denis that's great, but to send her off on a wild goose chase down the pathways of Oriental dance and philosophy claiming that St Denis was a great innovator in these forms is a total waste of time. Which is also what my unlearned first post was trying to do, to introduce St Denis for what she was, an artist yes, a curiosity, an artistic charlatan and a product of a specific time and place in the history of dance and public performance, who was ultimately outdistanced by her "pupils". Simon I was writing in shorthand in response to Amy. They were not statements. They were lines of information directing Lady Kay to websites. Please try to contribute and not simply contradict. When you contribute you are really very good at it. I send you calm, peace and blessings.

Re: Costumes http://www.google.com/search?hl=en&rls...MES&spell=1 http://www.oac.cdlib.org/search?developer=...mp;x=17&y=7 http://www.coursehero.com/file/115645/DanceFinalStudyGuide/ Lady Kay’s original question. The Rise of Asians and Asian Americans in Vaudeville, 1880s–1930s Krystyn R. Moon, Ph.D. @ http://www.sscnet.ucla.edu/history/faculty...search/moon.htm Background to oriental dance in USA http://www.amaradances.com/amara_articles/1999_contemp.html

http://www.thisislondon.co.uk/theatre/arti...land/article.do Mr Wheeldon to stage Alice in Wonderland.

My memory may be serving me ill here, but I think the quote is not quite exact. I also think it arose at a performance of Dutch National Ballet because the bon mot was being repeated as we were leaving the theatre where male nudity had just been exhibited.

Thank you Amy for pulling us back to the centre of the post with your more learned approach. I have known about Ruth St. Denis since the mid 60's but have only ever read magazine articles and obituaries. I hope that she is looking down with interest on our assault on her work. I have found (I have not counted) approximately 100 photographs on the net and they have given me a much wider idea of Ruth St. Denis may have been like, than than I had before. The eighth picture on the first line shows an image of Ted Shawn I had not seen before with him striking a balletic pose. Turgenev wrote in 1862, "A picture shows me at a glance what it takes dozens of pages of a book to tell." http://www.flickr.com/search/?q=Ruth+ST.+Denis You might also like to check out http://www.flickr.com/search/groups/?q=Dan...0N00&m=pool for early dancers.