
Contents
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What is to be Done (with the Ballet)? What is to be Done (with the Ballet)?
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External Pressures: The Ballet and the State External Pressures: The Ballet and the State
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The Left and the Cultural Revolution The Left and the Cultural Revolution
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Diaghilev and the West Diaghilev and the West
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The Ballet Debates The Ballet Debates
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Summing Up Summing Up
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Rehabilitating the Ballet: Imperial to Academic (and Back Again) Rehabilitating the Ballet: Imperial to Academic (and Back Again)
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Symphonism and its Implications Symphonism and its Implications
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Soviet Parlance Soviet Parlance
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Elevating Taste Elevating Taste
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The Problematic Symphonist The Problematic Symphonist
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Canonizing Beautya Canonizing Beautya
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The 1920s: Asafiev and Lopukhov The 1920s: Asafiev and Lopukhov
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The Problem with Petipa The Problem with Petipa
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Petipa's Quest for Symphonism Petipa's Quest for Symphonism
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3 Achieving Symphonism (The Soviet Ballet in Theory)
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Published:April 2004
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Abstract
This chapter explores how Sleeping Beauty marked the creative apogee of nineteenth-century Russian ballet, particularly how it started the movement toward more progressive forms of ballet. Dance-goers began to refer to the Petipa ballet as the “old” ballet just as newer forms began to take shape. A few notable productions includecd the Duncan-influenced works of Michel Fokine and the Stanislavsky-influenced works of Alexander Gorsky. The Vsevolozhsky and Petipa eras had retired and died out by 1909 and 1910, respectively, and questions of what would succeed the future of Russian ballet began to circulate. Thus, this chapter analyzes and studies the history through which Russian ballet evolved with the arrival of Sleeping Beauty, and what factors would turn it into the Soviet Ballet.
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