RUSSIAN DANCE STUDIOS IN THE 1910-1920s 1

In: Experiment

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  • 1. Most important sources: Experiment (Los Angeles), 2 (1996); catalogue of the exhibition "Theatre in Revolution: Russian Avant-garde Stage Design. 1913-1935," The Fine Arts Museum of San Francisco, 1992; an article by Nicoletta Misler on GAKhN - State Institute of Artistic Sciences; catalogue of the exhibition "In Principio era il Corpo" (Roma: Electra, 1999), several articles); catalogue of the exhibition "Chelovek Plasticheskii," an article by Nicoletta Misler); Isskustvo dvizheniia ". lstoriia i sovremennost' Collection of articles published by the Moscow State Theatrical Museum named after A. A. Bakhrushin 2001. 2. A. Sidorov, "Novyi tanetz," Krasnaia niva, no. 52 (1923), p. 19. 3. See, for instance, V. V. Abashev, "Tanetz kak universaliya kultury serebriannogo veka," in uremia Diaghilev. Universlii Serebrianogo Veka. Permskii universitet, ed. V. V. Abashov (Perm': Izdatel'stvo "Arabesk," 1993), pp. 7-19. ,

  • 4. 0, '!TO MH6 3aKaTHMJt pyMHHeI�, LIT6 3JIbIe TpesorH pa3rryx? Bce B MHpe icpyacaawricq TaHcu l3 BMPELIH Tpenetuyiuuxc3i pyx. A. A. Blok, Sobranie sochinenii v 8 tomakh (Moscow: Gos. izdatel'stvo khudozhestvennoi literatury, 1963), 2: 278. 5. "... qTo me Taxoe - )IŒTb? 5I Aymaio, hto 3TO 3aHJITHe HpHxTHOe,'spoAe TaHUa - HeyroMHMoro H 6cmeHoro TaHua. HYJKHO TaK TaHlleBaTb, mto6h BCC KpyroM 6wjio Beceno, .. " A. M. Gor'kii, Sobranie sochinenii v 30 tomakh (Moscow: Gos. izdatel'stvo khudozhestvennoi literatury, 1954), 28: 111. 6.... 6elIleHoH nJlJlCKoÎÍ 3eMnro OBlfI'b, CKyqHyto, Kax 6aHxa KOHcepBoB. B. B. MaaxoscxHil. COOpaHHe cO'lHHeHI1A B 8 TOMax. (Moscow: Pravda, 1968), 1: 79.

  • 7. GTsTM (Gosudarstvennyi Tsentral'nyi Teatral'nyi Musei im. A. A. Bakhrushina, fond , 517, edinitza khraneniya 136. 8. Vladimir Leonardovich Kniepper, brother of Olga Leonardovna Kniepper, famous actress of the Moscow Art Theatre and wife of Anton Tchekhov. 9. "Tels" was the second half of her maiden name - Bartels. 10. See Inessa Kulagina, "Kto ona, Ella Rabenek?," Balet (Moscow), No. 108 (Aug.-Sept. 2000), pp. 53-54; L. L. Pravoverova, Pis'ma E. I. Rabenek 0. L. Knipper-Tchekhovoy. Pamiat- niki kul'tury. 2001 (Moscow. "Nauka," 2002), pp. 158-82.. 1 I. Valentina and Victor Teider, "Geptachor," Experiment, 2 (1996), 277-92; Aida Almazian. 0 sud'be "musikal'nogo dvizheniia," Balel, No. 91 (July-Aug. 1997), pp. 20-23.

  • 12. E. Ia. Souritz, "Nikolai Stepanovich Posniakov. Rabota v GAKhN i na ritmoplas- ticheskom otdelenii "Ostrova Tantza," Iskusstvo dvizheniia. Istoriia i savremennost', pp. 47-56. 13. Who was, by the way, the mother of Tatiana Gzovska, a well-known choreographer in Germany in the 1930-1960s. 14� V. P. Rossíkhina, "N. G. Alexandrova i ritmika Dalkroza v nashey strane," Iz proshlogo savetskoi muzykal °noi kul'tury, vypusk 3 (Moscow: Sovetskii kompozitor, 1982), pp. 238-70. 15. G. G. Lakhuti, "Aisedora i Rossiia," Iskusstvo dvizheniia... pp. 28-46.

  • 16. See Dvigat'sa i dumat'. L. Alekseeva. Sbornik materialov, ed. Olga Kulagina (Moscow: Press, 2000). See also articles in Experiment, 2 (1996) and the catalogue "In principio era it corpo." 17. See I. L. Maiak, "Vera Maia. Vospominaniia docheri," Iskusstvo dvizheniia... pp. 131 -47. See also articles in E'xperiment, 2 (1996) and the catalogue "In principio era il corpo." 18. A. A. Sidorov, Sovremmenyl tanetz (Moscow: "Pervina," 1923), p. 41. 1.

  • 19. For details, see Elizabeth Souritz, "Isadora Duncan and the Russian Prewar Dancemak- ers," in The Ballets Russes and Its World, eds. Lynn Garafola and Nancy van Norman Baer (New Haven, CT: Yale Univ. Press, 1999), pp. 102-03. 20. For details, see E. la. Souritz, "Emil' Zhak-Dalkroz v Rossii," in Teatr i khudozhestven- naia kul'tura na rubezhe XIX-XX vekov, ed. P. V. Doroshenko (Moscow: Gos. Tsentral'nyi tea- tral'nyi muzei im A. A. Bakhrushina, 1998), pp. 48-60. 21. See the article by Elizabeth Souritz on Inna Chemetskaia in F.�periment, 2 (1996) and the catalogue " In Principio era il Corpo." 22. Chemetskaia (untitled brochure). Moscow (undated). p. 9 This brochure contains excerpts from critics' citations, unfortunately not giving the origin of the text.

  • 23. N. S. Lisitzian, "S. S. Lisitzian-Azarapetian i ee metodika prepodavaniia svobodnogo tantza," lskussnvo dvizheniio... pp. l 1'7-30 24. See articles by Natalia Voskresenskaia on L. Lukin in Experiment, 2 (1996) and the cata- logue "In Principio era il Corpo."

  • 25. K. Goleisovsky, "0 groteske, chistom tantze i balete. 2," Zrelishcha (Moscow), no. 25, Febr. 20-26, 1923, p. 8. 26. K. Goleisovsky, "Nekotorie razmyshleniia," ibid., no. 42, June 27-July 2 1923, p. 8. 27. Goleisovsky, "0 groteske, chistom tantze i balate. 2," p. 8. 28. For Goleisovsky, see a book of documents (with an Introduction by Natalia Chernova). Kasian Goleisovsky, Zhizn' i tvortchestvo. Statyi, dokumenty, vospominaniia, ed. Natalia Cher- nova (Moscow: Vserossiiskoe teatral'noe obshchestvo, 1984).

  • 29. Iulia Iakovleva, "Dvadtsatye," manuscript, p. 4. 1 thank Iulia lakovleva for letting me use her unpublished article. 30. About Nikolai Posniakov, see Elizabeth Souritz, "Moscow's Island of Dance," Dance Chronicle, 17, no. 1 (1994), 1-97. 31. N. Foregger, "Koe-chto po povodu mody," Zrelishcha, no. 23 Sept. 23-30, 1923, p. 6. 32. See an article m Experiment, 2 (t996) by Alexander Chepalov and also his book: A. Chepalov, Sud'ba peresmeshnika ili novye stranstviia Frakassa (Khar'kov: Avek,. 2001).

  • 33. See articles on "Drambalet" by Ekaterina Belova in Experiment, 2 (1996) and the cata- logue "In principio era il Corpo."

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