I try so hard to imagine what it would have been like to have been in the audience in a small city in North or South America, to have had no previous experience of ballet, and to have witnessed such ethereal grace and beauty. It must have been like seeing a curtain drawn back on another, magical world. I can't help but think that I would have been overwhelmed, and left in a daze.
yes, you read of this primal impact of Pavlova on people never exposed to ballet - raw expressive power and projection that do not require expert knowledge to understand.
Extraordianry! It's not just the dancing, it's the emotions expressed by her dancing! Her whole being is immersed in what she is trying to express to the audience. No wonder she is considered the standard for ballet dancers. Just beautiful!!
The endless flow of movement, exquisite port de bras, flexible back and feather light jumps bring me back to these videos again and again. Her arabesque is sculptural and flawless. Even the slightly turned in leg which troubled me when I was a student seems right because of the composition. For years I thought of Pavlova in relation to isolated poses though they seemed to suggest movement. Now, I see movement, such beautiful movement that appears so natural and uncomplicated. A genius!
+Stephen Mir very interesting you say "endless flow of movement" because someone pulled me up for using the word 'cantilean' to describe this - i realized after some googling that i must have made this word up! yes, i agree, the technique is in a sense not noticed - all you take in is the expression of character, mood, situation and so on. it's hard to judge her musicality as these filmed had no sound. have you read anything about Pavlova on this aspect of performance? i may have but cannot remember!
Now I understand why people were so overwhelmed with her art. From this clip, so am I. Thank you so much, John Hall. A revelation and a great gift to us all.
AL45757 hi! and particularly when you consider what other non-Ballets Russes ballerinas were doing at the time - Pavlova must have been a relevation. you don't see the technique - the expressing of the meaning of the ballet is what impacts.
MOLTO.coinvolgente questo balletto e la resa fantasmatica della ballerina a rappresentare l'aspetto più segreto ed inconscio della notte per poi finire con lo svelamento del volto in una coscientizzazione praesens.Bravissima.Bighin Giulio Renzo
Just fantastique and wonderfull to see magnifique thank you Edward Arckless ex Royal Oper Ballet Covent Garden London and conservatoire de Ville de Paris France
My childhood hero. Words are insufficient to describe her art. Ethereal, almost otherworldly, yet, she was said to be such a perfectionist that she danced until her feet bled.
Hypnotizing. I could watch this over and over again till I die... Why have we lost so much life in the performing arts nowadays, with all the technique we've acquired? This is so much more than ballet, this is true and unfettered Dance, free and unbounded, movement as Art which expresses all the secret feelings of the heart's depths, never fathomed, Art as the ultimate expression of Life. Thank you for posting, truly exceptional. I wonder who the choreographer is? Did Fokine choreograph this for her or was it someone else? Thank you!
@@sephyradance4648 still looking - i'm surprised the chore isn't identified in the site i usually check. i'm asking an expert friend and will get back to you :)
Andrew Foster, a Pavlova expert tells me "It was choreographed by Nikolai Legat, originally as a pas de deux. Pavlova changed it to a solo piece." mystery solved
Incredible to see how she practically han no turnout, today she would be called a bad dancer and sent back to a school where they show her how to use her legs and feet. But she was so graceful, intense and beautiful to look at.
@@janahcoaching in her time there was a flourishing moment of unique performers and artists in any field who touched the soul, regardless of schooling. Think jazz.
Really. All she does is bouree', tour jete', low developpe', port de bras in every solo. Different costumes and props. Perhaps the Maryinsky was not impressed so she left Russia. She does imitate Duncan.
wonderful! they say she was the first who founded the Russian psychological dance. who first pointed out to the possibilities of wonderful expressions of the human body.
passionballet.topf.ru i hadn't heard that ('she was the first who founded the Russian psychological dance') - yes, it explains the kind of interpretive impact Pavlova had.
The Duncanesque draperies, body attitudes, and flexibility of the entire spine are all too evident. This is Isadora -- whom Pavlova greatly admired -- raised to the hundredth power through exquisite (and exquisitely sublimated) technique. Extraordinary.
@@jessicahblanchard9879 it is 100% true, ballet has been completely corrupted with vulgar gymnastics and erasure of technique and placement. If you believe otherwise, you are misinformed, ignorant, or something else. It's easy to be tricked into thinking someone like Zackharova is a real ballerina, but "dancers" like her have never danced real ballet a single day in their life.
@@timothyk9086 I've spent my entire life studying ballet. I've spent my entire life dancing ballet and performing and teaching. I certainly am not ignorant. Your comment is what is ignorant here.
So, i thought todays ballerinas are the best cause they jump higher,,,,then i come here and i see this.Oh God, she had nothing to envy to any modern ballerina today, right>? am i wrong.Probably a lot of todays ballerinas should envy her/?
Ballet has evolved a lot...Maybe too much. While you can see more technical refinement in today's ballerinas, this strive for athleticism often leads to poor sense for drama. I don't mean modern ballerinas should envy her, for ballet is a different thing today, certainly it would be wise for many of them to watch Pavlova (and many other old dancers) and reconsider their approach to this art form, in terms of face expressions, quality of the movement, stylistic choices, elegance, mannerism.
I saw the video of her famous Dying Swan dance, then I saw this one and to tell you the truth, I prefer this one. I know she's more famous for the Dying Swan one, but I personally found it stiff and not as moving as this piece.
We can't comment on her technique since she never recorded any of the classical solos or pas des deux. I reserve any opinion since many 20th century ballerinas could perform these mimetic solos just as well as Pavlova.
@@JohnRaymondHall Appreciate your comment, though I must say that I disagree. If you make a study of 19th and early 20th century prima ballerinas you can begin to see that technique was already highly developed by the time of Pavlova. She was the most photographed ballerina of her time, and was one of the few to be filmed so it might seem that her style and technique were representative of the time. The truth is that Anna Pavlova had physical barriers to development of technique as it was taught in Russia. Pavlova is actually known for breaking away from technique, to perform with a style which appealed to audiences all over the world. But as you can see, she performs with a bent leg arabesque and without turn out. This style was in no way representative of classical ballet in her time. Take a look at photographs of Tamara Karasavina and Olga Preobrajenska, and read their biographies for a more accurate understanding of late 19th to early 20th century ballet technique. Olga Preobrajenska, in particular was known for beautiful turn-out and for extremely precise footwork. I believe it is incorrect to say that technique "has developed". Views of Anna Pavlova might encourage that idea, but she was known for a style which did not match classical ballet . According to biographies, she acknowledged that Isodora Duncan had been a very important influence. They knew each other and films of Pavlova reveal this influence. Isadora Duncan was not a classically trained dancer, and never pretended to be. Further study of mid to late 19th century prima ballerinas will show you that technique was highly developed by Pavlova's time. Comparisons can be made.
@@ceceliaclarke i read your comment with real interest and you make interesting points. but Frederick Ashton himself said Pavlova had limited technique but had what he called 'highlights'. dancer themselves - such and Maximova and Vassiliev - said technique had developed and that dancers had focused in this aspect rather than expressing character and meanings in ballet. having said all this, i sense to technical inadequacy in many earlier dancers such as Olga Spessivtseva. yes, these things should be considered.
che meraviglia! ce solo da dolersi che i tempi fossero pionieristici per riprese di balletto la cinepresa fissa e il piccolo teatro di posa non poteva dare ad un ballerino o ballerina la possibilità di esprimere e di poter cogliere tutte le sue possibilità! da quello che si può vedere qui la Pavlova era più espressiva che tecnica ma appunto da questo tipo di filmato è impossibile poter dare un giudizio completo! in alcuni movimenti e pose sembra però talmente perfetta da somigliare ad una vera dea della danza e ben degna di essere ricordata e riconosciuta come tale!
S^ le sue allieve dicono che chi guarda questi filamti non ha nessun idea di come appariva sul palcoscenico. Io metto insieme le foto e questi brani; a volte rallento la velocità così che posso vedere ogni sottilezza dei suoi movimenti e poi vedo meglio la danza alla velocità normale
Не хотел ничего писать, но прочел комменты и обалдел, для своего времени она вероятно была хорошей балериной, но сейчас на это без слез не взглянешь, да ее с любого конкурса начинающих артистов балета выгнали бы, не пойму чем хоть вы восхищаитесь
I read somewhere that the stages used to be on a slant towards the audience, so all the public could see the dance. Caused a lot of injuries, I would imagine, amongst the dancers. Luckily someone decided that the audience area should be tiered instead...
Как много в ее движениях несовершенства с точки зрения современного танца. У нее даже подъема хорошего не было. Но удивительно то, что при всем том нельзя сказать, что теперешний балет ушел дальше, чем столетие назад это сделала Анна Павлова.
I can’t help to wonder what it’d be like for her to be reincarnated or transported into this time period when in her prime. I bet they would tell her she sucked. Ballet to me is like the art world a bunch of snobs that have no fucking idea what they are talking about. It’s a cruel and vicious art form and I can’t help but to wonder if she’d ultimately succeed or succumb in our harsh world today. I love watching it, but I can’t get over some of these comments and think if they were watching the exact same moves but a modern video they would criticize her.
She's Russian...it's in their souls...they are all remembered and honoured...one can only imagine those who have danced before throughout world history...we have been blessed in the 20th century to have been able to capture them on film... 💞
Анастасия, что Вы такое говорите? Какое ПЛЮХАЕТСЯ, МЕШОК КАРТОШКИ и тд? В ней весу-то было всего ничего с детства, такая худышка не может ПЛЮХАТЬСЯ, тем более как МЕШОК КАРТОШКИ. Она - тщедушная и невесомая, непонятно, в чём душа держится. Ваши сравнения весьма и весьма некорректны. Мешок картошки уж если плюхнется, то уже и не встанет, а тут- пёрышко порхает, оседает- и снова взлетает...дай Бог всем балерина уметь ТАК ПОРХАТЬ.