GREAT BALLET DANCER ANNA PAVLOVA 1920 PROGRAM

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Along with Marie Taglioni, Nijinski and Isadora Duncan, she's one of the most legendary names in the history of dance.� A rare original program circa 1920 for the great Anna Pavlova at the Colisum, Philadelphia. Four pages. Dimensions nine by five and a half inches. Light wear otherwise good. With a Steinway piano ad to the last page. Shipping discounts for buyers of multiple items. Credit cards accepted with Paypal. Inquiries always welcome, and you can visit the OldTheatreShop site by Please visit my other eBay items for more early theatre and historical autographs, broadsides, photographs and programs and great actor and actress cabinet photos and CDV's. From Wikipedia: Anna Pavlova� (Russian:� А́нна Па́влова; February 12� [O.S.� January 31]� 1881 – January 23, 1931) was a Russian� ballerina� of the late 19th and the early 20th centuries. She was a principal artist of the� Imperial Russian Ballet� and the� Ballets Russes� of� Sergei Diaghilev. Pavlova is most recognized for the creation of the role� The Dying Swan� and, with her own company, became the first ballerina to tour ballet around the world. Early life[edit] Her mother was a laundress named Lyubov Feodorovna. The identity of her father is open to debate. Pavlova stated her father died when she was two years old. Some sources, including� The Saint Petersburg Gazette, state that her biological father was the� Jewish� Russian banker� Lazar Polyakov.[1]� Her mother's second husband, Matvey Pavlov, is believed to have adopted her at the age of three, by which she acquired his last name. Pavlova's passion for the art of� ballet� was ignited when her mother took her to a performance of� Marius Petipa's original production of� The Sleeping Beauty� at theImperial Maryinsky Theater. The lavish spectacle made an impression on Pavlova. At the age of nine, her mother took her to audition for the renowned� Imperial Ballet School. Because of her youth, and what was considered her "sickly" appearance, she was not chosen. In 1891, she was finally accepted at the age of 10. She appeared for the first time on stage in� Marius Petipa's� Un conte de fées� (A Fairy Tale), which the ballet master staged for the students of the school. Young Pavlova's years of training were difficult.� Classical ballet� did not come easily to her. Her severely arched feet, thin ankles, and long limbs clashed with the small and compact body in favour for the ballerina at the time. Her fellow students taunted her with such nicknames as� The broomand� La petite sauvage� (The little savage). Undeterred, Pavlova trained to improve her technique. She took extra lessons from the noted teachers of the day —� Christian Johansson,� Pavel Gerdt,� Nikolai Legat� — and from� Enrico Cecchetti, considered the greatest ballet virtuoso of the time and founder of the� Cecchetti method, a very influential ballet technique used to this day. 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 roles with the principal company. She graduated in 1899 at age 18, chosen to enter the Imperial Ballet a rank ahead ofcorps de ballet� as a� coryphée. She made her official début at the Mariinsky Theatre in Pavel Gerdt'sLes Dryades prétendues� (The False Dryads). Her performance drew praise from the critics, particularly the great critic and historian Nikolai Bezobrazov. Career [edit] At the height of Petipa's strict academicism, the public was taken aback by Pavlova's style, a combination of a 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 harked 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 Slee... read more

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