Anna Pavlovna (Matveyevna) Pavlova (Russian: ???? ???????? (?????????) ??? February 12A [January 31, 31] Ã, 1881 - January 23, 1931) was a prime Russian ballerina of the late 19th and early 20th centuries. He was a major artist of the Imperial Russian Ballet and Ballet Russes of Sergei Diaghilev. Pavlova is most recognized for the creation of The Dying Swan's role and, with his own company, being the first ballerina ballet tour around the world. He toured South America and India.
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Anna Pavlovna (Matveyevna) Pavlova was born on February 12, 1881 in Ligovo, Saint Petersburg, Russia to unmarried parents. His mother, Lyubov Feodorovna, was a washerwoman. His father's identity is unknown. When she was about three years old, her mother married Matvey Pavlov, who adopted and gave her her last name.
Pavlova's interest in ballet arts was lit when her mother took her to Marius Petipa's original production show from The Sleeping Beauty at the Imperial Maryinsky Theater. The luxurious spectacle gives the impression to Pavlova. When she was nine years old, her mother took her to an audition for the famous Imperial Ballet School. Because of his youth, and what he perceived as a "sickly" appearance, he was rejected, but at the age of 10, 1891 he was accepted. She appeared for the first time on stage at Marius Petipa Un conte de fÃÆ' Â © es ( A Fairy Tale ), whose ballet master was staged for school students.
Maps Anna Pavlova
Imperial Ballet School
Training of Pavlova's young years is difficult. Classical ballet is not easy to come to him. His arched legs, thin ankles, and long limbs clashed with a compact little body that was favored for the ballerina at the time. His fellow students taunt him with such nicknames as Sweep and La petite sauvage (Little Bear). Unaffected, Pavlova was trained to improve her technique. He will practice and practice after learning one step. He said, "Nothing can come from talent alone: ​​God gives talent, the work of turning talents into genius." He took additional lessons from the famous teachers of the day - Christian Johansson, Pavel Gerdt, Nikolai Legat - and from Enrico Cecetti, regarded as the best balletologist of the time and founder of the Cecchi method, a very influential ballet technique used for Today. In 1898, he entered Ekaterina Vazem, former Prima ballerina of Saint Petersburg Imperial Theaters.
During his final year at the Imperial Ballet School, he performed many roles with major companies. He graduated in 1899 at the age of 18, was selected to enter the Imperial Ballet ranked above the corps de ballet as the coryphà © e . He made his official official but at the Mariinsky Theater in Pavel Gerdt's Les Dryades prà ©  © tend to ( The Fake Dryad ). His appearance drew praise from critics, especially the great critic and historian Nikolai Bezobrazov.
Careers
St. Petersburg
Marius Petipa
At Petipa's ultimate academic peak, the public was appalled by Pavlova's style, a combination of gifts that paid little attention to academic rules: he often appeared with bent knees, poor voter numbers, misplaced port de bras and misplaced tour . Such a style is in many ways reminiscent of the romantic ballet and the old ballerina.
Pavlova performs in a variety of classics, pas de deux and pas de trois in ballets like La Camargo , Le Roi Candaule i>, Marcobomba and The Sleeping Beauty . His enthusiasm often led him to pervert: once during the show as the Thames River in Petipa Daughter of Pharaoh , his energy frenzy irritation made him lose balance, and he finally fell into the prompter box. Her weak ankle causes the difficulty of appearing as a Candide elf in Petipa
... give acrobatic to someone else. It is positively more than I can bear to see the pressure like the steps on your smooth muscles and the arches of your feet are severe. I beg you never to try to imitate those who are physically stronger than you. You have to realize that your kekhuniuan and fragility are your greatest assets. You should always do a kind of dance that brings your own rare qualities rather than trying to win praise with just an acrobatic trick.
Pavlova rose rapidly, becoming the favorite of Petipa's old maestro. It was from Petipa himself that Pavlova learned the title role in Paquita , Princess Aspicia in Daughter of Pharaoh , Queen Nisia in Le Roi Candaule , and Giselle . He was named danseuse in 1902, premiÃÆ'¨re danseuse in 1905, and finally prima ballerina in 1906 after a brilliant performance at Giselle Petipa revised many grand fits for her, as well as many additional variations. He is greatly admired by the fanatical female ballet Tsarist Saint Petersburg, his fanatical army that calls themselves as Pavlovatzi .
When the ballerina Mathilde Kschessinska became pregnant in 1901, she trained Pavlova in the Nikya role at La BayadÃÆ'¨re. Kschessinska, who does not want to be defeated, believes Pavlova will fail in her role, because she is considered technically superior because of her small ankles and flexible legs. Instead the audience becomes fascinated with Pavlova and her weak and delicate appearance, which fits in with the role, especially in the Royal Nuances scene.
Michel Fokine
Pavlova is perhaps the most famous for the role of The Dying Swan , a solo choreographer for her by Michel Fokine. The ballet, created in 1905, is routed to Le cygne from The Carnival of the Animals by Camille Saint-SaÃÆ'¡ns. Pavlova is also a solo choreographer of his own, one of which is The Dragonfly , a short ballet arranged for music by Fritz Kreisler. During that role, Pavlova wore a thin gown with a large dragonfly wings attached to the back.
Pavlova has a rivalry with Tamara Karsavina. According to the film A Portrait of Giselle, Karsavina remembers the damage to the wardrobe. During one appearance, his shoulder straps fell and he accidentally exposed himself, and Pavlova made Karsavina weep.
Ballet Russes
In the first years of Ballet Russes, Pavlova worked briefly for Sergei Diaghilev. Initially he danced in Mikhail Fokine's The Firebird, but refused the part, because he could not reach the avant-garde score of Igor Stravinsky, and the role was given to Tamara Karsavina. Throughout his life Pavlova prefers the melodies of old masters such as Cesare Pugni and Ludwig Minkus, and cares little for anything else that deviates from the 19th century saloon-style ballet.
Company ballet Pavlova
World tour
After Paris's first Paris Ballet Russes season, Pavlova left him to form his own company. It's done all over the world, with a treasure consisting mainly of pieces of Petipa's work, and choreographic pieces specific to himself. Being independent is
"It's a very vigorous and brave act, he has toured himself... for twenty years until his death, he travels everywhere in the world that the journey is possible, and introduces ballet to millions who have never seen the form of Western dance."
Pavlova also performed many 'ethnic' dances, some of which she learned from local teachers during her journey. In addition to dance in his country, Russia, he performed Mexican, Japanese, and East Indian dances. Backed by his interest, Uday Shankar, his partner at Krishna Radha (1923), went on to revive the long-neglected dance art in his native India. He also toured China.
In 1916 he produced the Sleeping Beauty adaptation for fifty minutes in New York City. The members of his company are mostly English girls with Russian names. One of her dancers, Kathleen Crofton, has been reviewed by ballet writer Cyril Johnson, she says that "her bourrà ©  ice is like a string of pearls". From 1918-1919 his company toured throughout South America, during which time Pavlova influenced the young American ballet Ruth Page.
In 1915, he appeared in a movie, The Dumb Girl of Portici, where he played a mute girl who was betrayed by an aristocrat.
English
After leaving Russia, Pavlova moved to London, England, settled, in 1912, at Ivy House on North End Road, Golders Green, north of Hampstead Heath, where he lived for the rest of his life. The house has an ornamental lake where he feeds his pet goose, and where now stands a statue of himself by the Scottish sculptor George Henry Paulin. The house is featured in the movie Anna Pavlova . It is now the Jewish Cultural Center of London, but a blue plaque marks it as a site with significant historical importance as a Pavlova home. While in London, Pavlova is very influential in the development of British ballet, especially inspiring the career of Alicia Markova. The Pub Gate, located on the border of Arkley and Totteridge (London Borough of Barnet), has a story, framed on its walls, describing a visit by Pavlova and his dance company.
There are at least five memorials to Pavlova in London, England: a contemporary sculpture by Tom Merrifield of Pavlova as a Dragonfly in the yard of Ivy House, a statue of Scot George Henry Paulin in the center of the Ivy House pool, a blue plaque. in front of Ivy House, a statue seated with a jar that holds his ashes in the Golders Gold Crematorium, and a golden statue over the Victoria Palace Theater.
When the Victoria Palace Theater in London, England, opened in 1911, the gilded Pavlova statue had been installed over the dome of the theater. It was downgraded due to its security during World War II and gone. In 2006, the original replica statue was restored in its place.
United States
Between 1912 and 1926, Pavlova traveled almost every year to America, traveling from coast to coast.
"The generation of dancers turned to the arts because of him.He built America because nobody has ever done it since Elssler... Americans became conscious of Pavlova and therefore ballet. Dance and passion, dance and drama were combined."
- Boston
Pavlova was introduced to audiences in the United States by Max Rabinoff during his tenure as managing director of the Boston Grand Opera Company from 1914 to 1917 and displayed there with his Russian Ballet Company during that period.
- St. Louis
In 1914 Pavlova performed at St. Louis Missouri, after a last-minute engagement by Hattie B. Gooding, was responsible for a series of musical attractions worthy of public presentation. Louis during the 1913-14 season. Gooding goes to New York to set up with the music manager for the attractions on offer. From a long list he chose those who represented the highest in their particular field, and which he felt would have been enjoyed by St. Louis. The list begins with Madame Louise Homer's prima donna contralto from Metropolitan Grand Opera Co., followed by Josef Hoffman, pianist, and Anna Pavlova and Russian ballet. For the latter the cost is $ 5,500.00 ($ 136,185 in 2017 dollars) for two nights, and receipts of $ 7,500.00 ($ 185,707 in 2017 dollars), net bed profits obviously $ 2,000.00 ($ 49,522 in 2017 dollars); the other nights are financially successful. Advance sales are greater than any other city in the United States. At Pavlowa's concert, when Gooding was engaged, at the last hour, Russian dancers for two nights, the New York managers became hesitant and anxiously rushed four special faces to help him. When looking at reservations for the second night, they quietly sneak back to New York fully confident of his ability to attract audiences at St. Louis, who has always been, until now, called the "worst performing city" in the country.
Personal life
Victor Dandrà ©  ©, his manager and companion, confirmed that he was her husband in a dancer biography in 1932: Anna Pavlova: In Art & amp; Life (Dandre 1932, introduction to the author). On death (February 5, 1944) he was cremated at the Golders Gold Crematorium and his ashes were placed under the people of Anna.
Victor DandrÃÆ'Â © writes about many charity shows and charity efforts of Pavlova to support the Russian orphans after World War I Paris
... who are in danger of finding themselves literally on the street. They have experienced terrible suffering and there seems to be no way to continue their education.
Fifteen girls were adopted into Pavlova's homes purchased near Paris in Saint-Cloud, overseen by Comtesse de Guerne and supported by the performances and funds requested by Pavlova, including many small donations from Camp Fire Girls of America members who made her a member of honor.
During his lifetime he has many pets including Siamese cats, various dogs and various species of birds, including geese. DandrÃÆ' Â © says he is a lifelong animal lover and this is evidenced by the photographic portraits he occupies that often include the animals he loves. An official studio portrait was made of him with Jack, his favorite swan.
Death
While on tour in The Hague, Pavlova was told she was suffering from pneumonia and needed surgery. She was also told that she would never be able to dance again if she continued. He refused to undergo surgery, saying "If I can not dance then I'd rather die." She died of pleurisy, in the bedroom next to the Japanese Salon from Hotel Des Indes in The Hague, three weeks before her 50th birthday.
Victor Dandrà ©  © writes that Anna Pavlova died half an hour past midnight on Friday, January 23, 1931, with her aide Marguerite Letienne, Dr. Zalevsky and himself at his bedside. His last words were, "Prepare my Swan costume."
In keeping with the old ballet tradition, on the day of his next performance, the show proceeds on schedule, with a single spotlight around the empty stage where he will be. Warning service was held at the Russian Orthodox Church in London. Anna Pavlova was cremated, and her ashes were placed in a columbarium in the Golders Gold Crematorium, where the jewel was decorated with her ballet shoes (which have since been stolen).
Abu Pavlova has been the source of much controversy, following the efforts of Valentina Zhilenkova and Moscow mayor Yury Luzhkov to fly them to Moscow for a funeral at Novodevichy Cemetery. These efforts are based on the claim that Pavlova's dying wish that his ashes will be returned to Russia after the fall of the Soviet Union. This claim is later found to be false, as there is no evidence to suggest that this is his wish at all. The only documentary evidence suggests that such a move would be possible in the will of Pavlova's husband, which stipulates that if the Russian authorities approve such action and treat him with the proper respect, then the crematorium keeper must approve it. Regardless of this clause, the wills do not contain formal requests or plans for posthumous trips to Russia.
The last attempt to move Pavlova's remnants to Russia came in 2001. The Golders Green Crematorium had made arrangements for them to be flown to Russia for burial on March 14, 2001, in a ceremony to be attended by various Russian officials. The plan was later abandoned after the Russian authorities withdrew permission to move. He later revealed that both the Pavlova family and the Russian Government had approved of the action and that they had agreed that they should remain in London.
Legacy
Pavlova inspired choreographer Frederick Ashton when as a 13-year-old boy he saw his dance at the Municipal Theater in Lima, Peru.
The dessert of Pavlova is believed to have been created in honor of the dancers in Wellington during his tour to New Zealand and Australia in the 1920s. The nationality of its creators has been the source of arguments between the two countries over the years.
Jarabe TapatÃÆ'o, known in English as 'Mexican Hat Dance', gained popularity outside Mexico when Pavlova made a gradual version of pointe shoes, where she was bombarded with hats by her mocking Mexicans. After that, in 1924, Jarabe TapatÃÆ'o was proclaimed a Mexican national dance.
Anna Pavlova can complete 37 rounds while on a moving elephant while on tour in China.
In 1980, Igor Carl Faberge licensed a collection of 8-inch Lead Glass Crystals for the anniversary of Anna's birth. Glasses made in Japan under the supervision of The Franklin Mint. A blurry picture of Anna Pavlova appeared on the trunk of each glass. Initially each set contains 12 glasses.
The life of Pavlova is depicted in the movie 1983 Anna Pavlova.
Dance Pavlova inspires many works of Irish painter John Lavery. Critic The Observer wrote on April 16, 1911: 'Mr. Lavery's portrait of Russian dancer Anna Pavlova, caught up in a moment of graceful and weightless movements... The flight is magical, like feathers, which seem to defy the law of gravity '.
A McDonnell Douglas MD-11 from Dutch airline KLM, with registration PH-KCH carrying its name. It was delivered on August 31, 1995.
Anna Pavlova appears as a character in Rosario Ferre's Flight of the Swan .
Anna Pavlova appeared as a character in the fourth episode of the British series Mr Selfridge played by real life ballerina Natalia Kremen.
Pointe shoes
Her legs are so stiff, so she strengthens her pointe shoes by adding a piece of hardwood on the soles to support and arch the shoebox. At that time, many considered this "cheating," because the ballerina of the day was taught that he, not his shoes, had to hold his weight en pointe . In the case of Pavlova, this is very difficult, because the shape of her legs requires her to balance her weight with her small toes. The solution becomes, over time, the precursor of modern pointe shoes, as pointe work becomes less painful and easier for curved legs. According to the biography of Margot Fonteyn, Pavlova disliked the way her invention was made in the photographs, so she would remove it or change her picture so that it looked like she was using normal pointe shoes.
Choreography notation
At the turn of the 20th century, Imperial Ballet started a project that recorded much of his treasury in the Stepanov method of choreographic notation. Most of the recorded choreography is recorded when dancers are taken through practice. After the revolution of 1917, this collection of notations was brought out of Russia by former Imperial Ballet Nisolas Sergeyev, who used these documents to perform works such as The Nutcracker , The Sleeping Beauty and Swan Lake , as well as the definitive version of Marius Petipa Giselle and CoppÃÆ' Â © lia > for Paris OpÃÆ' Â © ra Ballet and Vic-Wells Ballet of London (the predecessor of the Royal Ballet). The production of these works forms the foundation from which all subsequent versions will be based on one level or another. Eventually this notation was acquired by Harvard University, and is now part of the cache of material related to the Imperial Ballet known as the Sergeyev Collection which includes not only a notated ballet but a score exercise used by the company at the turn of the twentieth-century.
The notation of Giselle and the full length Paquita was recorded around 1901-1902 while Marius Petipa himself took Anna Pavlova through practice. Pavlova also included in some other choreography when she participated in the show as a soloist. Some violin or piano reductions used as exercise scores reflect variations that Pavlova chooses to dance in certain performances, because at that time classic variations are often done ad libitum, ie on the choice of dancers. One variation was especially made by Pavlova in some ballet, composed by Riccardo Drigo for Pavlova's appearance in Petipa Lei ciulie ballet featuring solo lyre. This variation is still done in modern times in the Mariinsky Ballet staging of the Paquita grand pas classique.
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