299:. Instead of being a moving background as the corps often is, they became an important part of the drama. They bustled around the stage breaking the symmetry and lines typical of Petipa. Their movement was often culturally relevant, playful, and realistic of a group of people. (Souritz 31) Some fans of ballet thought the new version was a masterpiece and rushed to Moscow to see it. Others such as Alexander Benois thought it was a mess "typical of amateur performances". However "the dynamic, stormy rhythm, and easy lighthearted gaiety of
80:. When he turned eight his parents hoped to send him to the School of Commerce and his sister to the Imperial Ballet School both in St. Petersburg. After being accepted to the School of Commerce he went along with his sister to the Imperial School of Ballet. Officials of the school insisted he also be a student there as well as his sister. His parents accepted and Alexander became a student at the Imperial Ballet School.
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into a dream from which Clara awakens at the end. In the original ballet and the story on which it is based, they really occur. Gorsky also changed the story so that the roles of Clara and the
Nutcracker/Prince would be danced by adults, rather than children, thereby making the relationship between
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technique (a showy display of skills such as many turns or high jumps). His interpretations of ballets were often controversial and he often used artists outside the dance world to create sets and costumes. The victim of deteriorating mental health in his later life, he died in a mental hospital.
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had been changed many times and was considerably different from Petipa's and Ivanov's St. Petersburg Ballet's version. He redid the peasants’ waltz from the first act, added character dancing, lost the straight geometric lines of Petipa, and ended the first act with the dancers carrying torches.
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Alexander Gorsky choreographed, restaged, and revived many ballets. He created many of his own ballets but it was his restaging of Marius Petipa's ballets that have become more well known. Some say he paved the way for
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of the
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for the first time in 1903 (Gorsky's version would become the basis for nearly every production staged in Russia and the west for decades), the Petipa/Ivanov revival of
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who was creating a system of dance notation. Upon
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139:. Stepanov's system was utilized by the Imperial Ballet to document much of the company's repertory. Today this cache of notation is included in the
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who was famous for rejecting ballet and believed dance should be a natural expression of the soul. He was also inspired by
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Souritz, Elizabeth. Soviet
Choreographers in the 1920s. N.p.: Duke University Press, 1990. 117
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Souritz, Elizabeth. Soviet
Choreographers in the 1920s. N.p.: Duke University Press, 1990. 116
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Choreographers in the 1920s. N.p.: Duke University Press, 1990. 31
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Souritz, Elizabeth. Soviet
Choreographers in the 1920s. N.p.: Duke University Press, 1990. 30
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Souritz, Elizabeth. Soviet
Choreographers in the 1920s. N.p.: Duke University Press, 1990. 87
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Beaumont, Cyril W. The Ballet Called Swan Lake. Brooklyn, New York: Dance
Horizons, 1982. 66
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Beaumont, Cyril W. The Ballet Called Swan Lake. Brooklyn, New York: Dance
Horizons, 1982. 65
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Beaumont, Cyril W. The Ballet Called Swan Lake. Brooklyn, New York: Dance Horizons, 1982. 64
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Of the Bolshoi Theatre's classical repertory Gorsky revived the Petipa/Ivanov version of
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Nutcracker Nation: How an Old World Ballet Became a Christmas Tradition in the New World
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receives all the credit for these changes, but it was Gorsky who first thought of them.
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The Russian ballet choreographer Alexander Gorsky was born August 6, 1871, outside of
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The largest change that Gorsky made to Petipa's choreography was the action of the
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Minden, Eliza Gaynor. The Ballet Companion. New York: Simon and Schuster, 2005.225
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Scholl, Tim. From Petipa to Balanchine. New York: Taylor & Francis, 1994. 56
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Scholl, Tim. From Petipa to Balanchine. New York: Taylor & Francis, 1994. 58
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the two characters a romance rather than just a friendship. Usually
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