A Life Well Danced Maria Zybina S Russian Heritage Her Legacy Of Classical Ballet And Character Dance Across Europe
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A Life Well Danced: Maria Zybina’s Russian Heritage Her Legacy of Classical Ballet and Character Dance Across Europe by Jane Gall Spooner Pdf
This book explores the relationships between dancers and their teachers, and classical ballet pedagogy through the life of Maria Zybina. It was inspired by the author’s direct connection through Zybina and her teachers.
Nina Anisimova was born in 1909 in imperial St Petersburg. One of the most renowned character dancers of the Stalinist period, she won her way into the hearts of her audience over many decades. Yet few knew that her exemplary career was a fragile construct built atop a dark secret. In 1938, at the height of the Great Terror, Nina vanished. Only a handful of people knew that this famous dancer had not only been arrested by Secret Police, accused of being a Nazi Spy, but sentenced to forced labour in a camp in Kazakhstan. There, her art would become a salvation, giving her a reason to fight for her life when she found herself without winter clothes in temperatures of minus 40 degrees. Over the coming weeks, Nina's husband, Kostia Derzhavin, began to piece together what had happened to his wife. What he decided to do next was almost without precedent - to take on the ruthless Soviet state to prove her innocence. He would put himself in danger to save the woman he loved. Dancing for Stalin is a remarkable true story of suffering and injustice, of courage, resilience and love.
Dancing in Petersburg by Matilʹda Feliksovna Kshesinskai︠a︡ Pdf
There have been wonderful books about dancing, and superbly evocative ones about old Russia: but here the two themes are fascinatingly wedded. For these are the memoirs of the prima ballerina assoluta of the imperial Russian ballet, Mathilde Kschessinska (the Princess Romanovsky-Krassinsky), with whom, at her first appearance, the Tsarevitch Nicholas fell in love. As a dancer she had few rivals: apart from her marvellous technique she had a star personality, and was adored by the public. At the height of her fame she appeared in London with Diaghilev's company and danced with Nijinsky: she preferred, however, to dance in Russia, and for twenty years she was the adored darling of the great world of Petersburg. After the Revolution, when she was living as an emigre in the South of France, Diaghilev begged her to dance for him in his new Paris season, but to no avail. Kschessinska's memoirs fall roughly into three parts: the glittering fairy-story of her life as prima ballerina in Russia; her flight during the Revolution; and the era in which she established herself as a teacher of the highest rank. It is an extraordinary self-revelation of a great dancer and an utterly human person.
Alla Osipenko is the gripping story of one of history's greatest ballerinas, a courageous rebel who paid the price for speaking truth to the Soviet State. She studied with Agrippina Vaganova, the most revered and influential of all Russian ballet instructors, and in 1950, she joined the Mariinsky (then-Kirov) Ballet, where her lines, shapes, and movements both exemplified the venerable traditions of Russian ballet and propelled those traditions forward into uncharted and experimental realms. She was the first of her generation of Kirov stars to enchant the West when she danced in Paris in 1956. But dancing for the establishment had its downsides, and Osipenko's sharp tongue and marked independence, as well as her almost-reckless flouting of Soviet rules for personal and political conduct, soon found her all but quarantined in Russia. An internationally acclaimed ballerina at the height of her career, she found that she would now have to prevail in the face of every attempt by the Soviet state and the Kirov administration to humble her. In Alla Osipenko, acclaimed dance writer Joel Lobenthal tells Osipenko's story for the first time in English, drawing on 40 interviews with the prima ballerina, and tracing her life from Classical darling to avant-garde rebel. Throughout the book, Osipenko talks frankly and freely in a way that few Russians of her generation have allowed themselves to. Her voice rises above the incidents as unhesitating and graceful as her legendary adagios. Candid, irreverent, and, above all, independent -- Osipenko and her story open a window into a fascinating and little-discussed world.
"A century of classical ballet danced by 33 stellar exponents of Russian style, from the days of Petipa and Pavlova to the era of Baryshnikov, Makarova, and Nureyev"--Jacket.
Dancing in Petersburg by Mathilde Kschessinska Pdf
Mathilde Kschessinska, Prima ballerina of the St. Petersburg Imperial Theatre, tells her life story in these moving and dramatic memoirs. Born in Imperial Russia in 1872, Kschessinska came from a family of dancers and was trained in ballet. Noted as a great talent from youth, Kschessinska's destiny was shaped by her debut performance: she won the praise of visiting Russian royalty and met the young man who was to become the future Tsar Nicholas II. The two became romantically involved for three years, until the young Grand Duke was betrothed to the future Empress Alexandra. Perhaps the most dramatic and harrowing passages of this memoir date to the Russian Revolution: the sudden plunge of the nation into chaos and anarchy, and the danger the author was in as a known associate of Russia's royal family, is told. By sheer fortune, Kschessinska and her husband were able to escape to France, but not after a series of close calls amid the melee of Russia's devastating civil war.
Dancing in Petersburg by Mathilde Kschessinska Pdf
Mathilde Kschessinska, Prima ballerina of the St. Petersburg Imperial Theatre, tells her life story in these moving and dramatic memoirs. Born in Imperial Russia in 1872, Kschessinska came from a family of dancers and was trained in ballet. Noted as a great talent from youth, Kschessinska's destiny was shaped by her debut performance: she won the praise of visiting Russian royalty and met the young man who was to become the future Tsar Nicholas II. The two became romantically involved for three years, until the young Grand Duke was betrothed to the future Empress Alexandra. Perhaps the most dramatic and harrowing passages of this memoir date to the Russian Revolution: the sudden plunge of the nation into chaos and anarchy, and the danger the author was in as a known associate of Russia's royal family, is told. By sheer fortune, Kschessinska and her husband were able to escape to France, but not after a series of close calls amid the melee of Russia's devastating civil war.
The true story of Helene Rubinoff, a Russian refugee in Jazz Age New York who forsook her comfortable life with her impresario husband and his celebrity salons, and her beloved daughter, to follow her lover back to an uncertain fate in 1930s Russia.
Britain has a long and distinguished history as an Olympic nation. However, most Olympic histories have focused on men’s sport. This is the first book to tell the story of Britain’s Olympic women, how they changed Olympic spectacle and how, in turn, they have reinterpreted the Games. Exploring the key themes of gender and nationalism, and presenting a wealth of new empirical, archival evidence, the book explores the sporting culture produced by British women who aspired to become Olympians, from the early years of the modern Olympic movement. It shines new light on the frameworks imposed on female athletes, individually and as a group, by the International Olympic Committee (IOC), the British Olympic Association (BOA) and the various affiliated sporting international federations. Using oral history and family history sources, the book tells of the social processes through which British Olympic women have become both heroes and anti-heroes in the public consciousness. Exploring the hidden narratives around women such as Charlotte Cooper, Lottie Dod, Audrey Brown and Pat Smythe, and bringing the story into the modern era of London 2012, Dina Asher-Smith and Katarina Johnson-Thompson, the book helps us to better understand the complicated relationship between sport, gender, media and wider society. This is fascinating reading for anybody with an interest in sport history, Olympic history, women’s history, British history or gender studies.
Female Olympian and Paralympian Events by Linda K. Fuller Pdf
Female Olympian and Paralympian Events is a groundbreaking book that examines women’s sports in the Olympic and Paralympic Games, which have long been underappreciated and under-analyzed. The book begins with a brief background on women’s participation in the Olympic Games and their role relative to the International Olympic Committee, then introduces the underlying Gendered Critical Discourse Analysis theory used throughout the book’s analysis before delving into a literature review of female Olympians and Paralympians’ events. It includes a listing of noteworthy “firsts” in the field, followed by individual discussions of twenty-eight Summer and seven Winter events, analyzed according to their historical, rhetorical, and popular cultural representations. Women’s unique role(s) in the various events are discussed, particular athletes and Paralympic events are highlighted, and original tables are also included. At the end of each section, affiliated organizations and resources are included in this invaluable referential volume.
Tango And The Political Economy Of Passion by Marta Savigliano Pdf
What is tango? Dance, music, and lyrics of course, but also a philosophy, a strategy, a commodity, even a disease. This book explores the politics of tango, tracing tango's travels from the brothels of Buenos Aires to the cabarets of Paris and the shako dansu clubs of Tokyo. The author is an Argentinean political theorist and a dance professor at the University of California at Riverside. She uses her ?tango tongue? to tell interwoven tales of sexuality, gender, race, class, and national identity. Along the way she unravels relations between machismo and colonialism, postmodernism and patriarchy, exoticism and commodification. In the end she arrives at a discourse on decolonization as intellectual ?unlearning.?Marta Savigliano's voice is highly personal and political. Her account is at once about the exoticization of tango and about her own fate as a Third World woman intellectual. A few sentences from the preface are indicative: ?Tango is my womb and my tongue, a trench where I can shelter and resist the colonial invitations to '`'universalism,'? a stubborn fatalist mood when technocrats and theorists offer optimistic and seriously revised versions of '`'alternatives' for the Third World, an opportunistic metaphor to talk about myself and my stories as a success' of the civilization-development-colonization of Am ca Latina, and a strategy to figure out through the history of the tango a hooked-up story of people like myself. Tango is my changing, resourceful source of identity. And because I am where I am?outside?tango hurts and comforts me: '`'Tango is a sad thought that can be danced.'?Savigliano employs the tools of ethnography, history, body-movement analysis, and political economy. Well illustrated with drawings and photos dating back to the 1880s, this book is highly readable, entertaining, and provocative. It is sure to be recognized as an important contribution in the fields of cultural studies, performance studies, decolonization, and women-of-color feminism.
Winner of the Dance Perspectives Foundation de la Torre Bueno Prize Recent approaches to dance composition, seen in the works of Merce Cunningham and the Judson Church performances of the early 1960s, suggest the possibility for a new theory of choreographic meaning. Borrowing from contemporary semiotics and post-structuralist criticism, Reading Dancing outlines four distinct models for representation in dance which are illustrated, first, through an analysis of the works of contemporary choreographers Deborah Hay, George Balanchine, Martha Graham, and Merce Cunningham, and then through reference to historical examples beginning with court ballets of the Renaissance. The comparison of these four approaches to representation affirms the unparalleled diversity of choreographic methods in American dance, and also suggests a critical perspective from which to reflect on dance making and viewing.
