By Akim Volynsky, Prof. Stanley J. Rabinowitz
Akim Volynsky used to be a Russian literary critic, journalist, and paintings historian who turned Saint Petersburg’s liveliest and such a lot prolific ballet critic within the early a part of the 20 th century. This publication, the 1st English version of his provocative and influential writings, offers a remarkable examine lifestyles contained in the international of Russian ballet at a very important period in its history.
Stanley J. Rabinowitz selects and interprets 40 of Volynsky’s articles—vivid, eyewitness debts that flicker with information about the careers and personalities of such dance luminaries as Anna Pavlova, Mikhail Fokine, Tamara Karsavina, and George Balanchine, at the moment a tender dancer within the Maryinsky corporation whose willing musical feel and inventive interpretive energy Volynsky used to be one of many first to acknowledge. Rabinowitz additionally interprets Volynsky’s magnum opus, The e-book of Exaltations, an complex meditation on classical dance method that's right now a primer and an ideological treatise. all through his writings, Rabinowitz argues in his severe creation, which units Volynsky’s lifestyles and paintings opposed to the backdrop of the central highbrow currents of his time, Volynsky emphasizes the religious and airy features of ballet.
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Extra resources for Ballet's Magic Kingdom: Selected Writings on Dance in Russia, 1911-1925
A. L. Volynskii, ‘‘Moi portret,’’ typescript dated 12 January 1926, in RGALI, fond. 95, op. 1, ed. khr. 95, 6. The piece has been published in Minuvshee 17 (1994): 280–292. 50. A. L. Volynskii, undated letter (from the mid-1890s) to N. M. Minskii, Arkhiv Z. A. Vengerovoi i N. M. Minskogo, Institut Russkoi Literatury, (Pushkinskii Dom), fond 39, op. 1, ed. khr. 361. 51. Edwin Denby, ‘‘Dance Criticism,’’ in Dance Writings, ed. Robert Cornﬁeld and William MacKay (New York: Knopf, 1986), 534. This page intentionally left blank 1 Reviews and Articles This page intentionally left blank Dance as a Solemn Ritual Q T he ballet season has begun with Swan Lake, in which the young ballerina Tamara Karsavina performed twice.
A. L. Volynskii, ‘‘Gore mne,’’ Zhizn’ iskusstva 3 (1924): 13–14. Gaevskii, Dom Petipa, 154. A. L. Volynskii, Bor’ba za idealizm (Saint Petersburg: M. G. Molostvov, 1900), v. Along these lines, it is useful to ruminate on the description of Volynsky as ballet critic in Sholem Asch’s 1929 novel Petersburg. ), who closely parallels Volynsky’s aesthetic stance vis-à-vis ballet. After distinguishing church mice, theater mice, and cabaret mice, the narrator of Petersburg introduces Levinstein: ‘‘In spite of its consequence the cabaret mouse lives a solitary life, wanders as if in a dream through the world of reality, and is distinguished from all other species of the mouse world by its unquenchable thirst for the aesthetic.
Gurevich, RGALI, fond 131, op. 1, ed. khr. 104. Volynsky quoted in P. V. Kupriianovskii, ‘‘A Volynskii—Kritik,’’ in Tvorchestvo pisatelia i literaturnyi protsess (Ivanovo: Ivanovskii Gosudarstvennyi Universitet, 1978), 61. M. S. Korolitskii, A. L. Volynskii: Stranichki vospominanii (Leningrad: Academia, 1928), 22. A. L. Volynskii, letter to N. S. Leskov, 16 July 1892, quoted in P. V. Kupriianovskii, ‘‘Iz literaturno-zhurnal’noi polemiki 90-kh godov,’’ in Russkaia literatura XX veka: Dorevoliutsionnyi period (Sbornik statei) (Kaluga: Tul’skii Gosudarstvennyi Pedagogicheskii Institut, 1971), 12; Volynskii, letter to A.
Ballet's Magic Kingdom: Selected Writings on Dance in Russia, 1911-1925 by Akim Volynsky, Prof. Stanley J. Rabinowitz