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As was the case with many of his works, the roles depended to a large degree upon the talents of the original performers, and if one looks at just the steps (except for the one
Harlequin solo) they are almost simplistic. It was the infusion of lightness, gaiety, coyness, and self-absorption, combined
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Recent attempts to reconstruct the work in
England, Sweden, and the United States have had varying degrees of success. This is because the roles must be created from within each individual performer, not from externally imposed steps or gestures. They require someone like Fokine himself to elicit
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His sketches for the costumes gave Fokine further inspiration for the finely etched characters he created. The simple set—the ante-room of a ballroom delineated by a curtain running all around the stage and up to the flies, with two chandeliers and two small striped sofas—as well as the costumes,
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are complemented by
Florestan, representing the impulsive side of Schumann's nature, Eusebius, the thoughtful solitary side, Estrella (Ernestine), Chiarina (Clara), Papillon, a fluttering lady, six light-hearted couples, and four Philistines.
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figures were altered slightly to fit this viewpoint. The set had evidently the effect of making the dancers appear smaller – thus making the audience feel even more strongly that they were watching a finely tuned miniature.
522:"because the world had changed and the woman was not the same". Fokine explained: "In the past, the woman was saying 'Don't touch me!' and now their whole appearance says, 'Touch me' or even 'I beg you'."
357:, his wife, and in the final section of the music, entitled "Marche des Davidsbündler contre les Philistines", to the composer's advocacy of the "new" art, as against the conservation of the old. The
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with an underlying sadness—all of which must be contributed by the dancers—that resulted in what most critics of the time regarded as a most effective adaptation of
Schumann's music and characters.
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and has no real plot; rather it is a series of light, humorous, and joyous incidents combined with some moments of poignancy and an undercurrent of satire.
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was created in three spontaneous rehearsals in 1910 for a charity performance in Pavlov Hall, Saint
Petersburg, to benefit the magazine
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was approached by two young men involved in the publication (Mikhail
Kornfeld, later to be its publisher, and the later-famous poet
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seems to have been the most delicate, most exquisite ballet Michel Fokine ever created, as well as the most difficult to pinpoint.
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There are also autobiographical references to
Ernestine von Fricken, with whom Schumann was in love when he was very young, to
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For the gallant males, coquettish females, and lovers who teasingly accept and reject each other, Fokine devised numerous
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They illustrate another instance where the role of the designer, in this case Bakst, was of utmost importance.
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that states a
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In the middle of the 1930s, Fokine complained that all the delicacy and charm disappeared from the
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was an artistic society invented by
Schumann as a foil to the conservative musical establishment.
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208:(Columbine), Leonid Leontiev (Harlequin), Vera Fokina (Chiarina),
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On 14 September 1933, the ballet was revived in London by the
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personal reflection, personal essay, or argumentative essay
350:, and stage directions written in after it was completed.
243:, 20 May 1910), with new sets and costumes by Bakst, with
545:. New York: Pitman Publishing Corporation. p. 101.
304:(appearing as Columbine). In 1937, it was staged by the
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The ballet became world-famous due to its production by
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576:[Carnaval did not get funnier in 100 years].
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Costume sketch by Léon Bakst, for the 1910 production
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563:These distinctions were made by Schumann himself.
542:Fonteyn, A Study of the Ballerina in her Setting
189:to his own libretto, with costumes designed by
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293:suite for piano, which he had long admired.
283:. The choreographer immediately thought of
220:(Pierrot), Vasily Kiselev (Florestan), and
197:on 5 March (old style, 20 February) 1910.
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492:Learn how and when to remove this message
633:Ballets to the music of Robert Schumann
531:
605:The International Dictionary of Ballet
381:was put together by Michel Fokine and
16:Ballet choreographed by Michel Fokine
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574:""Карнавал" за сто лет не повеселел"
320:The score has musical references to
607:, 2 vols. Detroit: St James Press.
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653:Collaborations in classical music
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204:were engaged in the production:
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312:playing the role of Columbine.
638:Ballets designed by Léon Bakst
426:were designed in the style of
86:Hall, Saint Petersburg, Russia
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328:, literary ones to the four
300:(staged by Woizikovsky) for
169:, Op. 9, as orchestrated by
388:The four characters of the
298:Ballet Russe de Monte-Carlo
200:The leading dancers of the
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648:Ballets Russes productions
185:. It was choreographed by
603:Bremster, M. ed. (1993).
155:(Russian: Карнавал) is a
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628:Ballets by Michel Fokine
582:(in Russian). 2009-03-03
539:Monahan, James (1957).
175:Nikolai Rimsky-Korsakov
93:Original ballet company
472:by rewriting it in an
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251:himself as Harlequin.
159:based on the music of
643:1910 ballet premieres
433:Even the traditional
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183:Alexander Tcherepnin
237:Theater des Westens
214:Bronislava Nijinska
193:, and premiered in
474:encyclopedic style
461:is written like a
435:commedia dell'arte
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331:commedia dell'arte
302:Alexandra Danilova
222:Alexander Shiryaev
218:Vsevolod Meyerhold
171:Alexander Glazunov
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418:Costumes and sets
247:as Columbine and
210:Ludmilla Schollar
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277:Grigory Potemkin
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206:Tamara Karsavina
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80:20 February 1910
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161:Robert Schumann
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179:Anatoly Lyadov
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584:. Retrieved
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224:(Eusebius).
216:(Papillon),
212:(Estrella),
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42:, circa 1910
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482:August 2022
428:Biedermeier
399:pas de deux
334:characters
622:Categories
586:2020-12-07
579:Kommersant
383:Léon Bakst
191:Léon Bakst
129:Léon Bakst
103:Characters
551:952072044
411:pas seuls
348:Pantalone
340:Columbina
336:Harlequin
265:Satirikon
118:Florestan
108:Harlequin
106:Columbine
520:Carnaval
505:Carnaval
442:Analysis
390:commedia
379:libretto
365:Libretto
290:Carnaval
285:Schumann
281:carnival
260:Carnaval
195:Pavlovsk
166:Carnaval
152:Carnaval
143:ballroom
139:anteroom
120:Eusebius
114:Papillon
112:Estrella
110:Chiarina
76:Premiere
68:Libretto
40:Carnaval
24:Carnaval
468:Please
344:Pierrot
255:History
135:Setting
116:Pierrot
611:
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249:Fokine
241:Berlin
157:ballet
125:Design
84:Pavlov
526:Notes
316:Score
308:with
271:When
141:of a
58:Music
609:ISBN
547:OCLC
408:and
377:The
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324:and
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