By Akim Volynsky, Prof. Stanley J. Rabinowitz
Akim Volynsky was once a Russian literary critic, journalist, and artwork historian who grew to become Saint Petersburg’s liveliest and such a lot prolific ballet critic within the early a part of the 20 th century. This booklet, the 1st English version of his provocative and influential writings, offers a amazing examine existence contained in the global of Russian ballet at a very important period in its history.
Stanley J. Rabinowitz selects and interprets 40 of Volynsky’s articles—vivid, eyewitness money owed that flicker with information about the careers and personalities of such dance luminaries as Anna Pavlova, Mikhail Fokine, Tamara Karsavina, and George Balanchine, at the moment a tender dancer within the Maryinsky corporation whose prepared musical feel and inventive interpretive strength Volynsky was once one of many first to acknowledge. Rabinowitz additionally interprets Volynsky’s magnum opus, The e-book of Exaltations, an complex meditation on classical dance method that's instantaneously a primer and an ideological treatise. all through his writings, Rabinowitz argues in his severe advent, which units Volynsky’s existence and paintings opposed to the backdrop of the central highbrow currents of his time, Volynsky emphasizes the religious and airy characteristics of ballet.
Read or Download Ballet's Magic Kingdom: Selected Writings on Dance in Russia, 1911-1925 PDF
Similar dance books
Introduces the background, equipment of training, ceremonial kinds, uncomplicated steps, and recognized figures of conventional Irish, Polish, and Spanish dance.
The tango is definitely the main iconic dance of the final century, its photos as prevalent as an previous good friend. yet are they the total tale? Peeling again the poster propaganda that has regularly characterised the tango publicly, this intimate examine exhibits the invisible center of the dance and the tradition that raised it.
Ten foreign dramaturg-scholars strengthen proposals that reset notions of service provider in modern dance production. Dramaturgy turns into pushed by way of inventive inquiry, dispensed between taking part artists, embedded in improvisation initiatives, or weaved via viewers engagement, and the dramaturg turns into a facilitator of dramaturgical know-how.
- Butch Queens Up in Pumps: Gender, Performance, and Ballroom Culture in Detroit
- Dancing Communities: Performance, Difference, and Connection in the Global City
- The Cytoskeleton: Cellular architecture and choreography
- Dance Is a Moment: A Portrait of Jose Limon in Words and Pictures
- The Art and Science of Dance Movement Therapy: Life is Dance
- The Day the Dancers Stayed: Performing in the Filipino American Diaspora
Additional resources for Ballet's Magic Kingdom: Selected Writings on Dance in Russia, 1911-1925
Clear lines, clean edges, and precise rhythms; a severe and exact style that moves straight upward to the vertical—all of this assumed mystical dimensions for Volynsky and reﬂected a mind-set deeply inﬂuenced by the symbolist outlook. Such dance, which the Russian ballet needed constantly to achieve, reﬂected the striving of the heroic will toward heavenly beauty and moral perfection: it plumbed the mysteries of the ancient past to which modernity is still tied. All this in turn allowed for the possibility onstage of miracle—the miracle of transforming the merely mortal and human into the eternal and divine.
Volynsky,’’ suggests Gaevsky, ‘‘to a large extent created that literary as well as professional language in which ballet criticism began to expound. ’’∂≥ Again and again the encyclopedist Volynsky demonstrates an interest in the semantics and etymology of words, underscoring the profound (though unexpected) interconnectedness between the terminological and the philosophical, philology and aesthetics. Words like apperception and contraposto, not to mention the Romance roots of so many balletic terms or the Greek origins of numerous theatrical expressions (hyporchema, orchestra ), achieve an almost spellbinding e√ect, though none approaches the incantatory repetitiveness and associative breadth of the book’s title, the virtually untranslatable likovanie.
Much of my thinking about Volynsky as a ballet critic has been inspired by Gaevsky’s pioneering work, ﬁrst in ‘‘Akim Volynskii i peterburgskii balet,’’ his introduction to xl 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. Introduction the recent republication of The Book of Exaltations (Kniga Likovanii [Moscow: Artist. Rezhiser. Teatr, 1992]), 5–22, and later in his expanded version of this work in the chapter from Dom Petipa, ‘‘Kniga Likovanii Akima Volynskogo,’’ 151–172. Dobrovol’skaia, Volynskii: Stat’i, 21.