Ballet Archives

Photo Credit: Anna Pavlova wearing form fitting costume demonstrating that she was not "gaunt" 1910 From Anna Pavlova Her Life & Her Art By Keith Money  The press always questioned Anna Pavlova on her diet, her weight, and her size. Some reporters even used words such as she was gaunt or too skinny, which back then what was considered a dancer's body was short and solid. Pavlova was the opposite of that body type. Male reporters even asked her questions about her legs. "I have been asked why it is that I haven't muscular legs like other dancers, considering that my technique is as good as it is. The reason, I think is that those other dancers are always seeking to astonish by fears of force, strength, and dexterity. They are not supple and they are not plastic. They do not recognize often the differences between different kinds of dances. A dancer should be able to change his manner with every costume, and this what Mr. Mordkin and I try to do. We have enjoye

  Photo Credit: 18 year old Vaslav Nijinsky in Raymonda in 1907. This was the first photographic portrait of Vaslav as an Artist of the Imperial Theaters from Nijinsky's sister's book Bronislava Nijinska Early Memoirs Vaslav Nijinsky took classes with Anna Pavlova and her teacher Cecchetti. Nijinsky felt he was learning more from Pavlova’s teacher than his own, who was named Nikolai Legat. Legat held resentment toward Nijinsky because of Nijinsky's talent. Nijinsky and Pavlova were practicing together for Swan Lake with Nijinsky  playing the role of Prince Siegfried and Pavlova playing the role of the white swan, Odette.  On Christmas night 1907,  Nijinsky became ill and was unable to attend the Swan Lake performance with Anna Pavlova. Nijinsky tried to will himself to make the performance and appear on stage.   "I must dance tonight; Anna Pavlova is counting on me; we are dancing a  pas de deux  from  Swan Lake . I don't care if I am ill. I will dance tonight!&quo

  Photo Credit: Nijinsky and Pavlova in Chopiniana, 1908 from Anna Pavlova Her Life And Art by Keith Money Anna Pavlova and Vaslav Nijinsky were both  former students of The Imperial Ballet School in St. Petersburg, Russia and they both performed at the Mariinsky Theater and had danced together there. They both lived and breathed dance and were described as enchanted and ethereal when they danced. Both Nijinsky and Pavlova projected wildness and calmness when they danced. To both of them, dancing was as essential as breathing. That feeling of freedom from dancing was something they both shared into adulthood. It was like they were each other's mirrored image. I think this is what sets them apart the most as dancing as partners compared to Pavlova and Nijinsky's other partners. These two had a deeper understanding of dance that didn't need words, just movements. "The Chopin waltz in  Les Sylphides  demonstrated exactly why these two dancers, Nijinsky and Pavlova, have

  Photo Credit: Anna Pavlova in costume from La Fille Mal Gardee. c. 1912 from Anna Pavlova Her Life And Her Art By Keith Money Anna Pavlova on stage gave the appearance she was taller than she actually was when in reality she was 5 ft 3. She was thought to be tall because of her slight build and wearing pointe shoes on stage added to her height which probably gave the illusion she was tall to the audience. In 1910 she posed as her role the Dying Swan for a photo shoot in New York. Photography during  this time still required photographs to have a long exposure time. Pavlova was required  to be supported by a clothesline that was strung across the studio  giving the illusion she was floating or flying.   During the retouching phase of Pavlova's Dying Swan portraits the clothesline was removed, however you can still see movement with some of these portraits which make them all the more ethereal.  Photo Credit: Anna Pavlova in her role of Dying Swan Portraits, c. 1910 From Anna Pavlo

  Photo Credit: Anna Pavlova with her company in Bremen 1930 from Museum of London  Sometimes you will see text, even photos, spelling Anna Pavlova’s name with  w's instead of  v's. Now, how did this happen? It was because the American writers misunderstood how her name was pronounced and more importantly, the spelling, so this caused a lot of confusion.  It was in Cleveland, where patrons were heard talking about Anna Pavlova and Mordkin. These patrons made the comment, "You might as well learn early how to pronounce their names.” The patrons described how to pronounce Pavlova; the v is enunciated, there is no w, the a is spoken softly and the o is pronounced like the o and go.   Mordkin's name was a bit different. His surname was pronounced phonetically but his first name Mikail was sometimes spelled Michel, Mikhail or Michael.  All these spellings enraged Mordkin so much that he sent a telegram expressing his anger as referenced here. "INFORM EDITEURS VOUS AVEZ