By Catherine E. Pawlick

"An vast and thorough compilation of diverse assets with distinctive insights on Vaganova and her technique. the writer has had entry to a number of very important figures in Russian ballet who knew Vaganova and/or her scholars. Confronting the dilemmas dealing with the paintings of classical ballet, Vaganova Today is a thought-provoking read."--John White, writer of Advanced rules in educating Classical Ballet

Agrippina Vaganova (1879-1951) is respected because the visionary who first codified the Russian procedure of classical ballet education. The Vaganova Academy of Russian Ballet, based on impeccable strategy and centuries of culture, has a name for elite criteria, and its graduates contain Mikhail Baryshnikov, Rudolf Nureyev, Natalia Makarova, and Diana Vishneva. but the "Vaganova procedure" has come less than feedback in contemporary years.
           
during this soaking up quantity, Catherine Pawlick lines Vaganova's tale from her early years as a ballet pupil in tsarist Russia to her occupation as a dancer with the Mariinsky (Kirov) Ballet to her paintings as a pedagogue and choreographer. Pawlick then is going past biography to deal with Vaganova's legacy this day, supplying the first-ever English translations of basic resource fabrics and fascinating interviews with pedagogues and dancers from the Academy and the Mariinsky Ballet, together with a few who studied with Vaganova herself.   Catherine E. Pawlick danced with ballet businesses within the usa ahead of relocating to St. Petersburg, Russia, the place she lived for 6 years, staring at sessions on the Vaganova Academy and rehearsals and performances on the Mariinsky Theatre. Fluent in French and Russian, she has written on dance for the San Francisco ChronicleBallet Review, and Dance Europe.  

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Extra resources for Vaganova Today: The Preservation of Pedagogical Tradition

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Her observations formed the base of her pedagogical method: Still, in her early youth Vaganova began to struggle with routine. Not coincidentally, the arms, the torso, the head attracted her attention. For these were the weakest places in the dance of the former generation of artists, and for Vaganova became the guide to expressive dance. Vaganova the Teacher • 31 Agrippina Vaganova teaching class at the Leningrad Choreographic Institute. Photo: Mariinsky Theatre Archives. She considered simplicity to be .

It seemed that she returned the ballet theatre to the nineteenth century. In that, the restoration of the archaic page, they blamed her heatedly. But it wasn’t the case.

From what I have seen, it seems to me there is nothing new in her art. It is the revival of the old, on which all ballet is based, and only that. The secret of her success lies in the originality of the costume and the lighting and in other purely external effects. If you subtract all of the abovementioned points, and bring Duncan to a typical stage, clothe her in a leotard and deprive her of these accessories, the interest in the dancer will fade and boredom will threaten. ”27 In her memoir, La Jeune Fille en Bleu, Nina Tikanova recorded the experience of taking classes with Preobrajenska, mentioning another connection between the older teacher and Vaganova.

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