Cover image for The great history of Russian ballet : its art and choreography
The great history of Russian ballet : its art and choreography
Surit͡s, E. I͡A.
Publication Information:
[Richford, Vt.] : Parkstone Press ; [Moscow] : Great Encyclopedia of Russia Pub. House, [1998]

Physical Description:
207 pages : chiefly color illustrations, color portraits ; 33 cm
General Note:
Includes index.
Added Author:
Format :


Call Number
Material Type
Home Location
Item Holds
GV1664.R87 G69 1998 Adult Non-Fiction Non-Fiction Area-Oversize

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Although the techniques of classical ballet were invented by French and Italian masters two hundred years ago, the Russian Ballet refined these techniques, thus enhancing its already superb performances. In 1738, the first professional school of dance opened in St. Petersburg. During the 18th century, the Russian Ballet became known for its tragic and its comic ballets. The Russian Ballet reached its apogee during the 19th century. The second half of the century was marked by the collaboration of Petipa, the French choreographer, with the Russian composer Tchaikovsky.

In the early 20th centuy, Diaghilev delighted audiences in the West by presenting his Ballets Russes with supremely talented choreographers, dancers, compers and set designers. This book offers an encyclopedic overview of the entire history of the Russian Ballet, written by a team of scholars.

Reviews 1

Library Journal Review

The history of Russian ballet, from its beginnings as a segment of operatic productions to the present, is covered by a team of Russian ballet scholars and critics in this beautifully illustrated volume. The years are grouped into categoriesÄe.g., the Age of Marius Petipa, the Reforms of Fokine and GorskyÄand each chapter is introduced with an overview of the period followed by lengthy biographical entries on the luminaries of that time, including choreographers, teachers, and dancers. The illustrative materialÄlargely from Russian museum collections and in most cases not previously publishedÄconsists of portraits, stage sets, reproductions of paintings and sketches, costume designs, and performance photographs and is the strength of the publication. The text is accessible, but readers will be aware that it is in translation, and the book lacks certain Western conventions: contributors are cited only in the acknowledgments, paragraphs are few and far between, phrasing is sometimes awkward, and there are no picture credits. Recommended for public and university collections.ÄJoan Stahl, National Museum of American Art, Washington, DC (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.