Seven Steps, Seven Veils: Salomé in Russia

In: Experiment

Abstract

The article concentrates on experimental dance movements of the outside of the Ballets Russes, especially the danse plastique, in St. Petersburg, Munich, and Moscow. Particular attention is paid to the innovative interpretations of Salomé and analogous subjects by Ida Rubinstein, Alexander Sacharoff, Lev Lukin, and Kasian Goleizovsky. Reference is made to the persistence of the Symbolist esthetic in dance of the 1910s and to pictorial renderings of the various performances by artists such as Léon Bakst, Marianne Werefkin, and Boris Erdman.

  • 3)

    Sidorov, “Problemy tantsa”, p. 10.

  • 4)

    Toni Bentley, Sisters of Salomé (New Haven: Yale University Press, 2002).

  • 5)

    Sidorov, “Problemy tantsa,” p. 8.

  • 6)

    See. Lynn Garafola, “Soloists Abroad: The Pre-war Careers of Natalia Trouhanova and Ida Rubinstein,” in Moto-Bio, special issue edited by Natalia Chernova, Experiment, no. 2 (1996), pp. 9-32.

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  • 7)

    Bentley, Sisters of Salomé, p. 133.

  • 9)

    Misler, Pavel Florensky, p. 156. The quotation is from Adolf Furtwängler, Die antiken Gemmen: Geschichte der Steinschneidekunst im klassischen Altertum (Leipzig-Berlin: Giesecke und Devrient, 1900), vol. 3, p. 13.

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  • 10)

    Misler, Pavel Florensky, p. 152. The image is from M.-J. Lagrange, La Crète ancienne (Paris: Lecoffre, 1908), p. 93, fig. 74.

  • 11)

    See Garafola, “Soloists Abroad,” p. 29, note 78.

  • 14)

    Sidorov, “Problemy tantsa,” pp. 8, 19.

  • 17)

    Ibid., p. 10.

  • 21)

    Aleksei Sidorov, Sovremennyi tanets (Moscow: Pervina, 1922), p. 55. “1923” is printed on the cover.

  • 23)

    Sidorov, “Problemy tantsa,” p. 10.

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