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Russian Imperial School of Ballet
On May 4th, 1738 in St. Peterburg, Russia. the Russian School of Theatrical Dance was founded, it became known as the Imperial Theater. -
Marie Taglioni
Marie Taglioni was an Italian dancer trained by her father. She became the star at the Paris Opéra in the ballet "La Sylphide." "La Sylphide" became her signature role, which she premiered in Paris in 1832. She wore the romantic style tutu, a long white tutu with tight bodice that inspired female fashion of the period. -
Marius Petipa
Some consider Petipa to be the "father of classical ballet." Petipa arrived in St. Petersburg from France in 1847. He was first a dancer, he later became the ballet master of the Imperial Theater in 1870. -
Giselle
Giselle was choreographed by Jean Coralli, but Jules Perrot was responsible for the choreography of the role Giselle, danced by Carlotta Grisi. Although the original choreography has been lost, the version most often seen today is based on the one produced in 1860 by Marius Petipa. -
Diaghilev died
Diaghilev died in 1929, leaving his dancers without work, -
Baby Ballerinas
Balanchine has an idea to make very young dancers the stars of the ballet. At 12-13 years old, and each having a different style from one another, they became known as the "baby ballerinas,"
Tamara Toumanova- dramatic
Tania Riabouchinska- feather light, with lots of personality
Irina Boranova- Girlish, passionate, flirty -
Resurrection Began
In 1931 the Ballet Russe company began resurrection. Wasily de Basil and Rene Blum named their new company Ballet Russe de Monte-Carlo. George Balanchine (a former choreographer for Diaghilev's Ballet Russe) became the Dance Master and principle choreographer. -
The first performance
After their first performance in 1932 critics said "Ballet Russe de Monte-Carlo was the authentic air to Diaghilev's Ballet Russe."
Choreographers from Diaghilev's Ballet Russe returned to work with Basil and Blum. After the first season, Basil and Blum secretly pushed out Balanchine and replaced him with Leonide Massine. -
Massine Era of Ballet
1933 started the Massine Era of ballet at the Ballet Russe de Monte-Carlo (in London).
Massine introduced the symphonic orchestra to ballet and the public loved it. He started creating stronger lead roles for male dancers. -
Continuing 1934
- They began to hire American dancers, but made their names sound Russian. (i.e. Marc Plattoff)
- Blum and Basil did not see eye to eye and Blum resigned from the company.
-Massine won the rights to the company name, Ballet Russe de Monte-Carlo so Basil renamed his company The Original Ballet Russe. - They began to hire American dancers, but made their names sound Russian. (i.e. Marc Plattoff)
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Ballet Russe de Monte-Carlo
In 1934 Ballet Russe de Monte-Carlo set sails for America where Sol Hurok (an impresario) booked their first American Tour. Sol Hurok was the most powerful theatrical promoter in the States. (it had been 20 years since Diaghilev’s Ballet Russe sailed to America, and America still didn’t know much about ballet.) by 1935 they had performed for 3 million people. -
The two companies
-In 1938 (London) each company was ready to make their debut. But Massine has lost all the rights to his choreography and found himself having to create 3 new enormous ballets.
-Basil’s problem was replacing Massine as principle choreographer, so he hired David Lichine. Lichine and Massine became rivals, trying to steal dancers from the other.
-Both companies started their season in London, performing blocks from each other. The public love each company, go from one show to another. -
Introducing Ballet in Australia
Yet, Sol Hurok needed another American tour. Hurok chose Massine’s Ballet Russe de Monte-Carlo. At the same time Basil took his company to Australia. For 7 months the filled the theaters. Australia loved ballet. The set the stage for new training facilities to be opened in this part of the world. By 1939 both companies were back in London. -
World War ll
September 3, 1939 War was declared. Britain and France declare war on Germany in World War II. Panic struck and most Russians did not have the right papers to leave the country. They were able to get on a boat headed to American. Both companies traveled on this boat.
-Sol Hurok decided to take on the responsibly of providing work for both stranded companies. They spent 9 months touring by train to small towns that had never seen ballet before. -
Ballet Russe de Monte-Carlo World War ll
- Ballet Russe de Monte-Carlo has a very different experience during the war-time years. They were the toast of the town in Hollywood glamour. They crossed over into dance for film. However, Massine loving the money and attention seemed to lose his choreographic touch and started producing flops.
- Ballet Russes de Monte-Carlo took a chance and hired and American choreographer, Agnes de Mille. And so began the beginning of “true American ballet.”
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The results of World War ll
Tour after tour, for 2 years both companies continued to work, but Horok and Basil (The Original Ballet Russe) started having conflicts. In 1941 Hurok severed his ties with Basil, publically declaring him as one of the most difficult people to work with. Because Sol Hurok had such connections around America, Basil and The Original Ballet Russe found themselves without work. Not being able to return to London yet, Basil took his company on a Latin American tour. -
Rodeo
Rodeo is the touching story of a tomboy in search of love. The cowgirl, who de Mille admitted was based on herself as a young woman, is a misfit among the men and women in her community. Agnes has said, "She acts like a boy, not to be a boy, but to be liked by the boys." Hers is a bitter lesson, but she learns it at the ballet's denouement when she puts on a dress and goes to the hoe-down. She finds her man, and she finds him through dancing. -
Balanchine returns
In 1944 Ballet crossed over into Broadway, choreographed by George Balachine. (Yes, the return; 12 years ago he left the Ballet Russe de Monte-Carlo and has been bouncing around ballet, Broadway, and film. -
The company's last performance
Finally Hurok and Basil started talking again to arrange for the company to return to America. Yet, the company was exhausted and not ready for the demands of touring again. It was a disaster. Hurok once again abandoned the company and the dancers begin to leave for better opportunities. In return, Basil hired new dancers, not as qualified or technically proficient, leaving the company in worse shape. Nov 1948 was the company’s last performance.
