EARLY RUSSIAN MODERN DANCE: LEV LUKIN AND THE MOTOBIO-SKUL'PTURA*

In: Experiment

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  • * The author wishes to express his thanks to John E. Bowlt and Nicoletta Misler for their comments on an earlier draft of this article. 1. There have been some very notable achievements in this area, however. Elizaveta Surits' ground-breaking book, Khoreograficheskoe iskusstvo dvndtsatykh godov (Moscow: Iskusstvo, 1979), was a watershed in bringing to light the contributions of Russian experimental choreogra- phers previously misnamed "dilettantes" or "formalists." In 1999, Nicoletta Misler achieved the monumental task of assembling and presenting rare photographs of such previously unknown Russian artists as Alexander Rumnev, Inna Chemetskaia and Vera Maiia, for her exhibition enti- tled, In principe era il corpo ... (In the beginning there was the body). These photographs have been preserved in the catalogue of the exhibition by the same name, and remain a foundational resource for scholars seeking to understand the stylistic nuances of early Russian modern dance practitioners. See Nicoletta Misler, In principio era il corpo ..., (Milano: Electa,1999).

  • 2. Lev Lukin, Blaknod s zapisiami, middle of the twentiethth century, p. 10. Fond No. 718 (no catalogue number available), From the Lukin archive in the Bakhrushin State Central Theat- rical Museum, Moscow.

  • 3.Ibid., p. 36. 4. Alexei Sidorov, Sovremennyi tanets (Moscow: Pervina, 1922), p. 54.

  • 5. Natalia Sheremet'evskaia, Tanets na estrade (Moscow: Iskusstvo, 1985), p. 88. 6. Ibid., p. 87. 7. Alexander Shor, "Moskovskii kaniemyi balet," Zrelishcha No. 3 (1922), p. 13. 8. Anonymous author, "Gliadia kak tantsuiut," ibid., No. 20 (1923), p. 16. 9. Ibid.

  • 10. Charles M. Joseph, Stravinsky and Balanchine a Journey of Invention (New Haven, CT and London: Yale Univ. Press, 2002), p. 8. 11. Ibict., p. 37. 12. Natalia Voskresenskaia, "Lev Lukin and the Moscow Free Ballet," Experiment (Los An- geles), 2 (1996), 201. 1. 13. Ibid.

  • 14.Ibid.15. Ibid. 16. Truvit, "Kompozitsiia Lukina," Zrelishcha, No. 36 (1923), p. 7. 17. Alexander Rumnev, "Iz vospominanii," quoted in Voskresenskaia, "Lev Lukin and the Moscow Free Ballet," p. 202. I8. Sheremet'evskaia, Tanets na estrade, p. 6.

  • 19. Ibid., pp. 6-7. 20. l8id 21./bid., p. 87. 22. Fedor L,opukhov, Shestdesiat' let v balete (Moscow: Iskusstvo, 1966), p. 236. 23. Voskresenskaia, Tanets na estrade, p. 210.

  • 24.Ibid., p. 212. 25. Ibid., p. 213. 26. Ibid. 27. Lev Lukin, "Skhematicheskii plan postanovki moskovskogo drambaleta," Bakhrushin State Central Theatrical Museum, Moscow, No. 65, first half of the twentieth century. 28. Sheremet'evskaia, Tanets na estrade, p. 46.

  • 29. Lev Lukin, "0 zapisi tanisa, " Bakhrushin State Central Theatrical Museum, Moscow, No. 73, 1940. 30. Sheremet'evskaia Tanets na estrade, p. 53. 31. Irina Gamula, "Sud'ba khoreografa - v documentakh," Balet (Moscow) (2001) p. 58. 32. Letter from Leonid Obolensky to Natalia Voskresenskaia, quoted in Voskresenskaia, Ta- nets na estrade, p. 203.

  • 33. Nikolai El'iash, Obrazy tantsa (Moscow: Znanie, 1970), p. 168.. 34. V. Iving, "Vecher Lukina," Teatr i muzyka, (1923), pp. 717-18, quoted in Shere- met'evskaia, Tanets na estrade, p. 88. 35. D. Zolotnitskii, Budni i prazdniki teatral'nogo Oktiabria (Leningrad: Iskusstvo, 1978), p. 177. 36. Ibid.

  • 37. V. lving, "Kontsert Lukina," Teatr i muzyka, No. 10 (1923), pp. 786-87, quoted in Vosk- resenskaia, "Lev Lukin and the Moscow Free Ballet," p. 210. ' 38. Elizabeth Ruggiero, "Alexander Rumnev and the New Dance," Experin:ent, 2 (1996), 232. , 39. Lev Luki�, Bloknod s zapisiami, middle of the twentieth century, p. 38. Fond 718 (no catalogue number available), From the Lukin archive in the Bakhrushin State Central Theatrical Museum, Moscow.

  • 40. A. M. Gol'tsman and S. V. Aksiuka, Soveiskie balety (Moscow: Sovetskii kompositcr, 1985), p. 232. 41. Lukin is referring to a 1961 performance of Goleizovsky's work at the Tchaikovsky Hall in Moscow, 42. Lev Lukin, Bloknod s zapisiami, middle of the twentieth century, p. 38. Fond '718 (no number available), From the Lukin archive in the Bakhrushin State Central Theatrical Museum, Moscow. 43. Truvit, "Kompozitsiia Lukina". 44. Ibid.

  • 45. Kas'ian Goleizovsky, "Neskol'ko slov o sebe," in Natalia Chernova, Kas'ian Gole- izovsky: zhisn' i tvorchestvo (Moscow: Vserossiiskoe teatral'noe obshchestvo, 1984) p. 79. 46. Truvit, "Kompozitsiia Lukina." 47. Kas'ian Goleizovsky, "0 groteske, chistom tantse i balete," Part I, Zrelishcha, No. 24 (1923), p. 12. 48. Kas'ian Goleizovsky, "0 groteske, chistom tantse i balete," Part II, ibid., No. 25 (1923), p. 2. 49. "Eksentrism i nagota," ibid., No. 37 (1923), p. 13.

  • 50. Decree of August 27, 1924 by the administrative department of the MSRK. I would like to thank Nicoletta Misler for providing me with this document. Sl. V. Mass, "Masterskaya L. Alekseevoi," Zrelishcha, No. 43 (1923).

  • 52. Alexander Abramov, "Erotika iii pornografia?," ibid., No. 41 (1923), p. 4. 53. Ibid, 54. Segei Iutkevich, "S Kas'ianom Goleizovskim v nezabyvaemom dvadtsat' pervom ...," in Chemova, Kas'ian Goleizovsky: zhisn' i tvorchestvo, p. 67. 55. Gamula, Sud'ba khoreografa, p. 56.

  • 56. Viktor Teider, Kas'ian Goleizovsky: "lasifprekrasnyi, " (Moscow: J:01inta, 2001 ), p. 112. 57. Alexei Sidorov, "Boris Erdman - khudozhnik kostiuma," Zrelishcha, No. 43 (1923), quoted in Teider, Kas'ian Goleizovsky: "losifprekrasnyi, ", p. 112. ' 58. Iving, "Konzert Lukina," Teatr i muzyka, No. 10 (1923), p. 787. From the Bakhrushin State Central Theatrical Museum, Fond 196. 59. Sheremtev'skaia, Tanets na estrade, p. 88. 60. V. Iving, "Raskaiavshiisia greshnik," Teatr i muzyka, No. 30 (1923), pp. 996-97, in Sheremet'evskaia, Tanets na estrade, p. 88.

  • 61. Lev Lukin, Teatral 'noe obozrenie, No. 4 (1922), p. 4, quoted in Voskresenskaia, "Lev Lukin and the Moscow Free Ballet," p. 207. 62. Ibid. 63. Ibid.

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