1924 illust newspaper w cover photo ANNA PAVLOVA Ballet

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Please visit our EBAY STORE at the link directly below for HUNDREDS of HISTORICAL NEWSPAPERS on sale or at auction: /Steve-Goldman-HISTORICAL-NEWSPAPERS_W0QQsspagenameZL2222QQtZkm SEE PHOTO----- COMPLETE ORIGINAL ILLUSTRATED NEWSPAPER, the Illustrated London News (England) dated Sept 13, 1924. Large B & W cover photo of famous Russian ballerina ANNA PAVLOVA in ballet costume !! Anna Pavlovna (Matveïevna) Pavlova (12 February 1881 –23 January 1931) was a Russian ballerina of the late 19th and the early 20th century. She is widely regarded as one of the finest classical ballet dancers in history and was most noted as a Principal artist of the Imperial Russian Ballet and the Ballets Russes of Serge Diaghilev . Pavlova is most recognised for the creation of the rôle The Dying Swan and, with her own company, would become the first ballerina to tour ballet around the world. The young Pavlova's years at the Imperial Ballet School were difficult, as classical ballet did not come easily to her. Her arched feet, thin ankles, and long limbs clashed with the small yet strong and compact body in favor for the ballerina at the time. Her fellow students made fun of her with nicknames like The Broom and La petite sauvage . Undeterred, Pavlova trained anyway to improve her style. She took extra lessons from the teachers of the day — Christian Johansson , Pavel Gerdt and Nikolai Legat . In 1898 she entered the classe de perfection of Ekaterina Vazem, former Prima ballerina of the Saint Petersburg Imperial Theatres During her final year at the Imperial Ballet School, she performed many rôles alone with the principal company. She graduated in 1899 at age 18, being allowed to enter the Imperial Ballet a rank ahead of corps de ballet as a coryphée . She made her first show with the Imperial Ballet performing a different style in Pavel Gerdt's Les Dryades prétendues ( The False Dryads ), set to music from Cesare Pugni 's score for Jules Perrot 's romantic dance Éoline, ou La Dryade . Her performance garnered praise from the critics, particularly the great critic and historian Nikolai Bezobrazov, who praised the young dancer. At the height of Petipa's academicism, the public was at first somewhat taken aback in their reaction to Pavlova's different style, which was a different and bizarre combination of an amazing dance gift that paid little heed to academic rules. She frequently performed with bent knees, bad turnout, misplaced port de bras and incorrectly placed tours . Such a style in many ways harkened back to the time of the romantic ballet and the great ballerinas of old. Pavlova performed in various classical variations , pas de deux and pas de trois in such ballets as La Camargo , Le Roi Candaule , Marcobomba and The Sleeping Beauty . Her excitement usually led her amiss once during a performance as the river Thames in Petipa's The Pharaoh's Daughter her energetic double pique turns led her to lose her stasis, and she ended up falling in the prompter's box . Her poor ankles caused her trouble while in a show of the styles as the fairy Candide in Petipa's The Sleeping Beauty , leading the ballerina to revise the fairy's jumps en pointe , much to the shock of the Ballet Master. She anyway tried to act like the great ace of the day, distinctly Pierina Legnani , Prima ballerina assoluta of the Imperial Theaters. Once while in class she attempted Legnani's fouettés , causing her teacher Pavel Gerdt to get into a bluster. He yelled "Leave acrobatics to others, it is positively more than I can bear to see the pressure such steps put on your delicate muscles and the severe arch of your foot. I beg you to never again try to imitate those who are physically stronger than you. You must realize that your daintiness and fragility are your greatest assets. You should always do the kind of dancing which brings out your own rare qualities instead of trying to win praise by mere acrobatic tricks." When the prima ballerina assoluta of the... read more

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