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It has become formulaic in volumes that include transliteration of Russian names to stress that the author has followed a more or less scientific system, except in cases where names familiar to Western readers would be less recognizable. I bend to the will of editors who prefer the familiar spellings “Tchaikovsky” and “Diaghilev” to correct transliterations of those names (Chaikovsky, Diagilev). I use transliterated names of Russian newspapers in the text: Novoe Vremya rather than “new times,” Pravda rather than “truth.” The majority of dance writers in late nineteenth-century Russia wrote anonymously or used pseudonyms. Where authorship is known, the author's name is given.
In 1890, the early reviewers of Sleeping Beauty bemoaned the inconsistencies in the names of characters and dances in the ballet (some French, others Russian). The first-act set piece called the Garland Dance in the West is known as the “peasant waltz” in Russian and sometimes referred to as the “valse villageoise” in 1890 sources. I use standard Anglo-American terms for the ballet's set pieces (Garland Dance, Rose Adagio, etc.) to avoid further confusion. The names of the ballet's third-act characters derive mostly from Perrault, and I use standard English-language translations of those names (Cinderella instead of Cendrillon) whenever possible. The names that yield least to translation—the fairies in the ballet's Prologue—derive not from Perrault but from Vsevolozhsky, and apart from the Lilac Fairy, I leave the names of the remaining fairies in Vsevolozhsky's French: Canari, Violente, Miettes qui tombent, Candide, Fleur de Farine (also Coulante), and Carabosse.
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