Ballet

BALLET

The origins of the Russian ballet, like those of most other Western art forms, can be traced to eighteenth-century St. Petersburg, where Empress Anna Ivanovna established the first dancing school in Russia in 1738. This school, whose descendant is the present-day Academy of Russian Ballet, was headed by a series of European dancing masters, the first of whom was Jean-Baptiste Landé.

By the 1740s, Empress Elizabeth employed three balletmasters. The continued presence of ballet in Russia was assured by Catherine II, who established a Directorate of Imperial Theaters in 1766, saw to the construction of St. Petersburg's Bolshoi Theater in 1783, and incorporated Landé's school into the Imperial Theater School she founded in 1779.

The tenure of French balletmaster Charles-Louis Didelot (1767–1837) in St. Petersburg (1801–1831) marked the first flowering of the national ballet. The syllabus of the imperial school began to assume its present-day form under Didelot, and his use of stage machinery anticipated the exploitation of stage effects to create atmosphere and build audiences for the ballet across Europe in the first half of the nineteenth century. After Didelot's departure, Jules Perrot led the Petersburg ballet from 1848 to 1859. Arthur Saint-Léon succeeded Perrot and choreographed in St. Petersburg until 1869.

Russian ballet began to assume its familiar form during the decades of Marius Petipa's (1818–1910) work in the Imperial Theaters. Petipa came to Petersburg as a dancer in 1847, and became balletmaster in 1862. The ballets Petipa choreographed in Russia functioned as a choreographic response to nineteenth-century grand opera; they featured as many as five acts with numerous scene changes. If Perrot is identified primarily with the development of narrative in Russian ballet, and Saint-Léon could be accused of overemphasizing the ballet's divertissement at the expense of the story line, Petipa combined the two trends to make a dance spectacle with plots as complex as their choreography. The ballets Petipa staged in St. Petersburg still serve as cornerstones of the classical ballet repertory: Sleeping Beauty (1890), Swan Lake (1895) (with Lev Ivanov), Raymonda (1898), Le Corsaire (1869), Don Quixote (1869), and La Bayadère (1877).

The distinctive features of nineteenth-century dance represent developments of the Russian school of dancing under Petipa's leadership. The new focus on the female dancer was the result of recent developments in point technique, which allowed the ballerina not only to rise up on the tips of her toes, but to remain posed there, and eventually to dance on them. Petipa's choreography emphasizes two nearly opposite facets of the new technique that these technical advances afforded: first, the long supported adagio, in which the woman is supported and turned on point by her partner; second, the brilliant allegro variations (solos) Petipa created for his ballerinas, to exploit the steel toes of this new breed of female dancer.

The work of two ballet reformers characterize the late- and post-Petipa era. Alexander Gorsky became the chief choreographer of Moscow's Bolshoi Theater in 1899 and attempted to imbue the ballet with greater realism along the lines of the dramas of Konstantin Stanislavsky's Moscow Art Theater. Gorsky's ballets featured greater cohesion of design elements (sets and costumes) and an unprecedented attention to detail. In Petersburg, Michel Fokine fell under the spell of dancer Isadora Duncan and theater director Vsevolod Meyerhold. Influenced by the free dance of the former, and by the latter's experiments in stylized symbolist theater, Fokine pioneered a new type of ballet: typically a one-act work without the perceived expressive confines of nineteenth-century mime and standard ballet steps.

Fokine and his famed collaborators, Vaslav Nijinsky and Anna Pavlova, achieved their greatest fame in Europe as charter members of Sergei Diagilev's Ballets Russes, which debuted in Paris in 1909. Fokine's ballets (Les Sylphides, Petrushka, Spectre de la Rose ) were the sensations of the early Diagilev season. The Diagilev ballet not only announced the Russian ballet's arrival to the European avant-garde, but also the beginning of a rift that would widen during the Soviet period: the rise of a Russian émigré ballet community that included many important choreographers, dancers, composers, and visual artists, working outside Russia.

The 1917 revolution posed serious problems for the former Imperial Theaters, and not least to the ballet, which was widely perceived as the bauble of the nation's theater bureaucracy and former rulers. Nonetheless, the foment that surrounded attempts to revolutionize Russian theater in the years following the October Revolution had limited impact on the ballet. With most important Russian choreographers, dancers, and pedagogues already working outside of Russia in the 1920s (Fokine, George Balanchine, Vaslav Nijinsky, Bronislava Nijinska, Anna Pavlova, and Tamara Karsavina, to name a few), experimentation in the young Soviet ballet was borne of necessity.

The October Revolution and the subsequent shift of power, both political and cultural, to Moscow, led to the emergence of Moscow's Bolshoi Ballet. The company that had long occupied a distinct second place to the Petersburg troupe now took center stage—a position it would hold until the breakup of the Soviet Union. The creative leadership of the company had traditionally been imported from Petersburg, but in the Soviet period, so would many of its star dancers (Marina Semyonova, Galina Ulanova).

A new genre of realistic ballets was born in the Soviet Union in the 1930s, and dominated Soviet dance theater well into the 1950s. The drambalet, shorthand for dramatic ballet, reconciled the ballet's tendency to abstraction (and resulting lack of ideological content) to the new need for easily understandable narrative. The creative impotence of Soviet ballet in the post-Stalin era reflected the general malaise of the so-called period of stagnation of the Brezhnev years. When Russian companies dramatically increased the pace of moneymaking Western tours in the 1980s, it became clear that the treasure-chest of Russian classic ballets had long ago been plundered, with little new choreography of interest to refill it. As the history of the two companies would suggest, the loss of Soviet power resulted in the speedy demotion of the Moscow troupe and the rise of a post-Soviet Petersburg ballet.

See also: bolshoi theater; diagilev, sergei pavlovich; nijinsky, vaslav fomich; pavlova, anna matveyevna

bibliography

Roslavleva, Natalia. (1956). Era of the Russian Ballet. London: Gollancz.

Scholl, Tim. (1994). From Petipa to Balanchine: Classical Revival and the Modernization of Ballet. London: Routledge.

Slonimsky, Yuri. (1960). The Bolshoi Ballet: Notes. Moscow: Foreign Languages Publishing House.

Souritz, Elizabeth. (1990). Soviet Choreographers in the 1920s, tr. Lynn Visson. Durham, NC: Duke University Press.

Swift, Mary Grace. (1968). The Art of the Dance in the USSR. Notre Dame, IN: University of Notre Dame Press.

Wiley, Roland John, ed. and tr. (1990). A Century of Russian Ballet: Documents and Eyewitness Accounts, 1810-1910. Oxford: Oxford University Press.

Tim Scholl