This classic book, first published in 1952, is the definitive work on one of ballet's greatest and most popular works, Swan Lake. The book is in two parts. The first describes the evolution of Swan Lake from its initial conception to its first realisation by the Austrian choreographer Julius Wenzel Reisinger, which was a comparative failure, followed by the story of the ballet's resuscitation and eventual triumph by Marius Petipa and Lev Ivanov. Included are the original synopses of both the original Reisinger production and the Petipa-Ivanov version. There is an account of Tchaikovsky and his score, together with details of the original settings and costumes, and many of those designed for later productions. The second part of the book is concerned with the actual presentation of the ballet. The choreography of all four acts of the Petipa-Ivanov version is set out in full, with explanations of not only the stage action, but also of how the dancers move, the kind of steps they do, the gestures they make and what they are intended to express. The various roles are also analysed from the dancers' points of view, and some of the problems that may confront both dancer and producer are considered and resolved. Finally, there is a survey of some of the great dancers who over the years have achieved distinction in the roles of Odette-Odile and Prince Siegfried.
Matthew Bourne and His Adventures in Dance is an intimate and in-depth conversation between the prize-winning pioneer of ballet and contemporary dance Matthew Bourne and the New York Times dance critic Alastair Macaulay. In 1987, a small, aspirant dance group with a striking name made its debut on the London fringe. In 1996, Adventures in Motion Pictures made history as the first modern dance company to open a production in London's West End. From this achievement, AMP sailed triumphantly to Broadway - winning three Tony Awards - guided by Artistic Director Matthew Bourne. Even before the inception of AMP, Bourne was fascinated by theatre, by characterization, and by the history of dance. In his early works - Spitfire, Town & Country and Deadly Serious - Bourne brought a novel approach to dance. And in his reworkings of the classics of the ballet canon - Nutcracker, Swan Lake, Cinderella - Bourne created witty, vivid, poignant productions that received great acclaim. In the first decade of the new millennium, the company name was changed to New Adventures, and Bourne's 'classics', as well as Bourne's new works - The Car Man, Play Without Words, Edward Scissorhands and Dorian Gray - achieved levels of box-office popularity that have seldom, if ever, been matched in dance. In addition, his choreography for various musicals - My Fair Lady, Mary Poppins and Oliver! - have run for years in the West End and on Broadway. The detail in which Bourne discusses his work with Alastair Macaulay is unprecedented. The two explore Bourne's upbringing, his training and influences, and his distinctive creative methods. Bourne's notebooks, his sources and his collaboration with dancers all form part of the discussion in this book.
This book is the first full-length examination of a Soviet cultural diplomatic effort. In her work, McDaniel focuses on the key role that the Soviets assigned to the arts in transforming societies and demonstrates that the Soviets conceived of the arts as a kind of "artful warfare"; a valuable weapon in winning the Cold War.
With flash, the lake was based in a shimmering light, and before him stood the most beautiful woman he had ever seen. “I am the Swan Queen,” she said. “I am the swan that you tried to kill.” A prince's love for a swan queen breaks an evil spell in this fairy tale adaptation of the beloved ballet written by Tchaikovsky Swan Lake is perhaps the best-loved ballet of all time. Hans Christian Andersen Medal-winner Lisbeth Zwerger brings her singular vision to a glorious picture-book adaptation of the haunting story of an enchanted swan princess. She has based her version on Tchaikovsky’s original 1877 ballet, which had a happy ending, unlike the later, better-known, 1893 version. Her illustrations, luminous, lyrical, filled with grace and beauty, evoke the brilliance of the ballet and the universal appeal of this beloved fairy tale.