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Lady Violette

The Romantic Lifestyle

Posts Tagged ‘Ballet’

Igor Schwezoff’s Ballet La Lutte Eternelle

Sunday, April 28th, 2013

I was fortunate to studied ballet with the late great Russian ballet master Igor Schwezoff in Washington DC and New York City.

La Lutte Eternelle Choreographed by Igor Schwezoff to music by Schumann in the Version Premiered and Performed by the de Basil Ballets Russes at the Theatre Royal in Sydney, Australia on July 29, 1940

Today I found this photograph of one of his early choreographies and the accompanying description quite by chance while looking for a photo of the ballerina Tamara Toumanova. Very few photos of Mr. Schwezoff’s work are known to exist so I was very happy to locate this wonderful picture! This photo was posted on the blog  Kurt of Gerolstein as La Lutte Eternelle: a ballet by Schwezoff. The author apparently found it in a box or old news clippings and dance photos and says that, knowing nothing about ballet and caring nothing about it he thinks it may be of interest to somebody else! Thank you Kurt of Gerolstien! It certainly is of interest to me and will be to other people who worked with Igor Schwezoff! And I want to know what else was in that box!

Mr. Schwezoff was born in 1904 in St. Petersberg and trained in the Marinsky Theater School. In 1931 he defected from Siberia through Manchuria to Harbin, China. He then made his way to to Western Europe where he danced with Bronislava Najinska in Amsterdam and ran his own ballet schools in Amsterdam and London. While in Amsterdam he choreographed his initial version of La Lutte Eternelle to Schumann’s Etudes Symphoniques. While in London he wrote his biography titled Borzoi describing his early life in Russia and his harrowing escape to the west.

Mr. Schwezoff traveled widely and eventually joined the de Basil Ballets Russes in 1939 as a soloist and choreographer. He restaged his work La Lutte Eternelle for this company during their Australian tour. The Australian cast featured Georges Skibine  ( also known as Yura Skibine) in the role of Man, Nina Verchinina as Woman, Tamara Toumanova as Illusion, Sono Osato as Beauty, Marina Svetlova as Truth and Boris Runanine as Will. Other members of the cast were Slava Toumine , Paul Petroff and Oleg Tupine. The cast pictured in the above photo includes Nina Verchinina, Georges ( Yura) Skibine, Slava Toumine , Paul Petroff and Oleg Tupine.

The costumes and scenery were designed by the sisters Kathleen and Florence Martin of Melbourne. The costumes were made by Olga Larose, the company wardrobe mistress and the sets were executed by G. Upward. The press found the production work to be a first rate success which carried through the symbolism of Schwezoff’s choreography. One critic in Melboursne called La Lutte Eternelle  a ballet of wholly perfect dancing in which splendid movement is guided by great music. The Schumann score was orchestrated by Anton Dulati, the Hungarian conductor.

The ballet’s theme dealt with man’s progress towards an ideal beyond worldly things explored through allegory. The key roles included Truth, Illusion, Beauty and Will.

La Lutte Eternaelle was well received by both the public and the press in both the initial Amsterdam ballet school production and the professional revised world premiere staged for the de Basil Ballets Russes and premiered in Sydney at the Theatre Royal on the 29th of July in 1940.

Mr. Schwezoff notably performed the role of the Old General in the popular David Lichine ballet Graduation Ball during this 1937 – 1940 Australian tour of the de Basil Ballets Russes. Fortunately some photos of him and other notorious cast members in these performances exist in the records of the Australian Public Library.

If anyone reading this has further information about Igor Schwezoff or photographs of him and his works I would love to be notified as I am trying to complie all the biographical information I can about him. Please post a comment if you know more!

Mr. Schwezoff ultimately worked in major ballet companies all over the world and became one of the most important and influential teachers in New York City. His classes were frequented by many well known professional ballet dancers. He passed away in 1982 at the age of 78.

 

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Ballerina Tamara Toumanova Wearing a Vintage Fur Coat in a Dress Rehearsal

Sunday, April 28th, 2013

Tamara Toumanova trying to keep warm on the freezing cold stage during a dress rehearsal of Aurora's Wedding from The Sleeping Beauty

While researching a ballet in the 1937 Ballets Russes Repretoire I came across this charming photo of ballerina Tamara Toumanova wearing a vintage fur jacket while trying to keep warm on a freezing stage during a dress rehearsal for Aurora’s Wedding scene in The Sleeping Beauty. The cavernous old theaters were often very cold which is one reason ballerinas and opera singers needed to have a cozy fur coat on hand at all times! I love this photo because it illustrates such a practical and personal use for a fur coat!

This image is from the Geoffrey Ingram collection of ballet photographs from the Ballets Russes Australian tour, 1936-1940 and features Tamara Toumanova, Michael Panaieff, Anton Vlassoff and Oleg Tupine, 1940.

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Anna Pavlova’s Lace Dress

Tuesday, August 21st, 2012

Anna Pavlove in Lace

While doing some research on the ballerina Anna Pavlova I found this formal portrait of her wearing an extraordinarily beautiful lace dress with a train and a lace shawl or cape. This is not a wedding dress. It is just one of the many glamorous gowns she collected and wore in her normal non dancing life. She loved fashion and dressed exquisitely. And made sure she was photographed in fashionable attire as well as her dance costumes. And she spent a fortune on jewels, furs and designer gowns. It was necessary part of building her image. This gown appears to be an empire waist creation with short sleeves that is belted with a soft cumberbund under the bust. The skirt is longer that floor length in front and extends into a flowing train behind her. The shawl or cape is a diaphanous lace creation. I cannot find any information on the designer of the dress or the occasion for which she wore it. Knowing Pavlova she may have acquired it solely for the purpose of wearing for a photo shoot. She carefully constructed her public image as a star ballerina and artistic beauty through publicity photos designed to present her as a great beauty. This was a common practice for stage performers at the time. ( As it is today!)  There are many photos of Helen Haze in equally exotic fashionable attire as well. These women were well aware of the powerful allure their images held for their adoring public. I love this style and era of fashion.

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The Dying Swan Lives Again

Sunday, August 19th, 2012

Pavlova in her Dying Swan costume in a studio portrait

The Dying Swan was a beautiful signature solo choreographed for the ballerina Anna Pavlova by the choreographer Michail Fokine  in Russia 1905.

An amazing young dancer named Lil’ Buck performs his new variation on her famous dance. I think she would have loved it, actually!

Lil’ Buck performing The Dying Swan. He is extraordinary in his own right! Please enjoy!

Here is the History of the ballet, The Dying Swan.

The incomparable Anna Pavlova performing her original Dying Swan at the Marinsky theater in 1907.

Pavlova toured the world giving over 4,000 performances of this ballet to audiences who were seeing the art of ballet for the very first time. She created many fans for ballet in her lifetime.

Lil’ Buck is doing a similar thing in his own way in our modern times. He is exposing many young people to dance through his performances and inspired teaching. In a way this is a perfect vehicle for him. I think Madame would have approved!

 

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Viktor Jessen’s Creative Editing of Gaite Parisienne – Amazing!

Friday, March 30th, 2012

Here is an Interview of Vida Brown by Mary Neal with footage of Vida Brown dancing in Gaite Parisieene. Vida was one of the dancer’s performing the part of the Flower Girl in the Gaite Paisienne film of Viktor Jessen. As Vida watches the film with Mary Neal who is conducting the interview she points out who is on stage in the part of the flower girl and how this is constantly changing! As she says at one point, “Have you ever seen anything like it?” Viktor just substituted one performer for another mid dance, even mid phrase if he had to to cobble the entire ballet together.

It must be remembered that he filmed the Ballet Russe for 10 years following them all over the country, attending performance after performance in order to do this! I find I do not mind the cast substitutions and rapid changes as the performances are so infectiously delightful the entire experience is just fun and joyous. Vida Brown didn’t mind it either, as she is smiling and laughing with delight throughout the film and as amazed as we are! She points out who is dancing when as they make their entrances and exits. It is amazing. The characterizations are very good. All the dancers are great! There is so much sheer joy and dancing with pleasure and abandon that dancers can only do if their technique is pure and perfect and they are performing a lot! The Ballet Russe performed constantly and traveled all over the country doing so. Those dancers got a lot of experience and owned the stage! So different than today. I just love seeing their great confidence and joy in performing. Of course some of the best ballet dancers in the world at that time were members of the Ballet Russe. The casting is perfection.

I recommend this film highly even though it is indeed a cobbled together version of the ballet with cast members changing (in mid phrase sometimes!) –  and the sound is not dead on, but it is a fascinating picture of what the ballet looked like on stage at the time. Gaite Paisienne was an incredibly influential ballet, it was the image of what ballet is for tens of thousands of people, and seeing it helps put that mid-20th century period of ballet in context.

Massine, the choreographer said, “It was popular in the United States because we gave the audience something they could relate to onstage: the working people, the waiters, the dancers, the cabaret, the charming shop girls, the dandies and the soldiers. It was rowdy and fun and full of an infectious energy. The Americans loved it. It was a great success in America, but it was not popular in Britain where the taste was more restrained and the audience wanted subdued ballets.”

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