Vaganova’s Technique and Influence on Dance

Vaganova’s Technique and Influence on Dance Music Today

Agrippina Vaganova’s typical manner has had a immense sum of impact on the proficient facets of concert dance learning since the publication and English interlingual rendition of her book in 1935. Her influence is marked by the sheer figure of star concert dance performing artists who have taken a class at the Vaganova school. In add-on, her learning school is a characteristic portion of 20Thursdaycentury concert dance learning in Russia because of its influence at the clip on other concert dance schools in the country. As such, Vaganova has been effectual both in practise and in influence, peculiarly in the manner she has helped to determine the development of Russian concert dance. A typical quality of Vaganova’s manner of concert dance is the mode in which it focuses on methods of learning to at least an equal grade with formalistic surveies of manner. This added flexibleness has doubtless assisted in continuing its bequest ; in add-on, the elusive incorporation of differing classical methods to integrate what Vaganova saw as the better elements of each school besides assisted in keeping a distinguishable Russian school, characterised by a figure of stylistic picks, hyperboles and strengths. This essay will look at both the bequest of the Vaganova school, its disciples and rules that continue to be used in practical and proficient instruction, at what these rules are, and at the stylistic discrepancies that have emerged as a consequence of the employment of this method.

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Vaganova contemporised the Kirov Ballet in Leningrad by integrating Gallic elements into her class, therefore making a loanblend between Russian, Gallic and Italian concert dance. At the clip this internationalist attack to ballet was comparatively new, and surely Vaganova would go on to exercise an influence on modern concert dance in future old ages. However, Vaganova managed to integrate these elements into the classical Russian concert dance without giving its many other properties. Vaganova has been extremely influential on the techniques of many more modern-day performing artists. Indeed, as Gresovic ( 2006 ) remarks, “her star students make up a Who’s-Who of twentieth-century star ballerinas” ( 94 ) . These “star pupils” include Olga Muganova, Marina Semyonova, Gelina Ulanova, Titiana Vechislova, Natalia Dudinskaya and Olga Lepeshinstaya, all of whom would go on to determine the way of Russian concert dance. In peculiar, Marina Semyonova’s learning at the Vaganova school would subsequently turn out extremely influential on the Bolshoi concert dance school. The concert dance system incorporated by Vaganova proved to be extremely influential on other Russian-based concert dance schools and ensured that the Vaganova method and discrepancies of would go on to be employed behind the Iron Curtain. Although inhibited by the Iron Curtain, the influence of Agrippina Vaganova besides proved influential on its Western opposite numbers, albeit in a more theoretical penetration into the workings of the Russian concert dance system instead than through its practical use. Recently, nevertheless, aces of the Vaganova school have influenced and created a assortment of concert dance schools across the universe. Pasevska remarks that this is because of “several moving ridges of Soviet trained emigres have introduced the Vaganova manner to American dancers” ( 20 )

Although Vaganova was non deemed to be a star concert dance terpsichorean, her idiosyncratic methods sing her alteration of classical concert dance in the Gallic, Italian and Russian schools of concert dance proved really influential on subsequent instructors and manners. Her synthesis of manners were incorporated in order to offer a peculiar physical preparation necessary to execute apas de deuxinstead than carry on a group concert dance. While the focal point on technique instead than manner was a “nuts and bolts” method that concentrated on proficient instead than stylistic achievement, Vaganova besides synthesised many elements of concert dance from historically distinguishable schools to make a major portion of what is now called the Russian school. In peculiar, she is characterised by jump-filled solos andpas de deuxdancing. In peculiar, the “Vaganova Variation” , as practised by the Kirov Ballet, is a solo piece that exemplifies many of the nucleus properties of the Vaganova manner: the hyperbolically arched back characteristic of the Russian school, the technically hard leaps, and the Italian bravura coupled with Gallic grace. As such, while many of Vaganova’s stylistic belongingss originate from a modernist reading of classical manners, they are chiefly besides as a consequence of the techniques she employed which focussed on developing her students physically every bit good as mentally.

Rather than concentrate on logical preciseness hence, Vaganova concentrated alternatively upon developing what she saw as the necessaryphysicalproperties that dominated Russian opera of all time since. Indeed, this focal point on proficient issues, along with the thoroughness of the class ( which would last eight-years ) has proven extremely influential on future concert dance schools and terpsichoreans. In add-on, a great trade of attempt was directed towards the instructor, whose focal point was non dominated by the cogency of a prescribed class, but on stating the right things and directing the development of the students in a more hands-on mode. Her book,Fundamentalss of the Authoritative Dance, expounds her theoretical positions that, while to a great extent based upon the basicss of the Russian school, peculiarly in the back country, besides took on board influences from other parts. Her back motion techniques were clearly Russian in spirit. This curving the lower dorsum and waist took on elements of the classical Russian school, with the overdone qualities and expressive manner of Russian concert dance in head. However, in add-on to this, Vaganova besides incorporated a figure of other manners and techniques: the Gallic manner was chiefly focussed on the romantic manners of the 19Thursdaycentury, and likewise, the strenuosity and bravura of the Italian manner was implemented into Vaganova’s eight-step program.

Because Vaganova’s manner was based to a great extent upon learning pattern every bit good as content, the Vaganova manner has changed over the old ages. While still retaining a focal point on classical technique, the practicalities enshrined in Vaganova’s work make the Vaganova school less prone to stultifying turns of inordinate bigotry. By contrast, the secretiveness and the geographical restraints of Vaganova’s bequest, along with her overtly practical attack has made a formalist attack to Vaganova’s subjects and methods more hard a undertaking to set about. Kostraviskaya ( 1978 ) remarks that Vaganova does non divide the instruction procedure from the pattern in the mode many taking advocates of concert dance did at the clip: Vaganova “never denied the dependance of learning on modern-day practise and had she lived today, would hold introduced countless alterations into her system of training” ( 16 ) . Indeed, her balance between explicating a precise schematic for concert dance instruction, every bit good as integrating looser elements of concert dance preparation may hold significantly contributed to the sustainability of the Vaganova concert dance schools. The instruction of technique instead than manner is a important facet that may lend to the lastingness of Vaganova schools and show their efficaciousness through the list of ulterior Russian concert dance terpsichoreans who would act upon the development of the school. The physical cogency of technique are seen as more influential: despite this, many stylistic elements of the Vaganova school continue to boom in classical concert dance. Notably, her versions and modern Russian versions ofSwan Lake,Sleeping BeautyandRaymondabear the unerasable grade of Vaganova’s concert dance school and manner.

Clement Crisp describes the Vaganova manner as “an inviolable technique” that incorporates many of the techniques inherent to other European classical concert dance schools. In add-on, he remarks on its “subtle voice” ( from Dunlop, 1995, 72 ) , which can be demonstrated by the mode in which these assorted constituents have been hybridised. The influence of the Vaganova manner can be seen across many of the concert dance schools that presently pattern: George Balanchine’s New York City Ballet, for illustration, utilises many proficient elements of the Vaganova manner, with her peerless attacks to technique and her concentration on a loanblend of classical manners.

Overall, Vaganova’s manner can be seen as a polish of the overdone and typical Russian manners that emerged from the bend of the century. Although retaining the manner of her Russian predecessors, Vaganova implemented many positive facets from other operatic schools in order to unite the appeals of each of these distinguishable motions with the Russian heritage of expressive, overdone dance. As such, the rigidness of the dorsum is combined with a malleability of the weaponries. Second, Vaganova has been extremely influential as a consequence of her specific methods of instruction and pattern, which form a constitutional portion of her pattern. In peculiar, Vaganova concentrates non on the mere course of study, but alternatively approaches the practicalities of instruction every bit good. In her book, she portions the importance between the strict actualities of concert dance technique as done in her manner, and the ways in which this method is taught. This has proven to be really influential in the West every bit good as Russia. Although inhibited by a figure of political factors, her bequest and influence in learning technique continues to boom.


Dunlop, V. P. ( 1995 ) .Dance Wordss. London: Routledge.

Krasovskaya, V. ( 2005 ) .Vaganova: A Dance Journey from Petersburg to Leningrad. Gainesville: University Press of Florida.

Greskovic, R. ( 2006 ) ,Ballet 101, New York: Hal Leonard Corporation.

Paskevska, A. ( 2004 ) ,Ballet Beyond Tradition: the function of motion constructs in concert dance technique.London: Routledge.

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