Biography of Anna Pavlova

The country of Russia contemporaries said that, looking at it, they saw not dancing, but the embodiment of their dreams of dancing. And for her, the dance herself was everyone - and reality, and dream, and life, and what awaits outside life. Her last words were: “Prepare my swan costume ...” Anna Pavlova was born on January 31 on February 12 in St. Petersburg, in the family of a soldier and laundresses.

At the age of five, Pavlova saw in the Mariinsky Theater the ballet “Sleeping Beauty”, who decided her fate. In the year, she entered the ballet department of the St. Petersburg Theater School, where she was engaged in E. Wazem, P., as she recalls her school years, Tamara Karsavin in the book “Theater Street”: “Without sufficient insight, we admired only virtuosity of the dance, our ideal was a strong fundamental figure of lazy.

And Pavlova herself was unlikely to realize that in her fragility and some limited technical capabilities, the enormous power of her unique and enchanting individuality lurked. Romanticism at that time went out of fashion. Even the very figure of dancers, in comparison with the silhouettes of those who danced half a century ago, clearly demonstrated a change in the taste of the public, which had cooled to air visions and now admired by more earthly charms.

Bottom was considered an enemy of beauty, and everyone converged on the opinion that Anna Pavlova needed enhanced diet. She obviously adhered to the same opinion, as the fish oil, which our doctor considered a panacea from all evils, was conscientiously, we hated it all. Like all of us, she tried to imitate our ideal of virtuosity, laziness. Fortunately for Pavlova, Gerdt managed to recognize the essence of her talent.

He was painful to see how his fragile student was trying to fulfill what was easily given to the muscular Italian dancer. He advised her not to chase the effects that endanger her fragile organism. During the debut, Pavlov was very worried about her “shortcomings”. But she was destined to return to our scene the forgotten charm of the romantic ballet ballets. ” In the year, at the end of the school, Anna Pavlova was admitted to the troupe of the corder of the Imperial Ballet of the Mariinsky Theater.

Tall, slender, with an elongated hand and legs with a high rise, in her youth she did not own a virtuoso technique, did not possess a “steel toe”. Subsequently, in order to fulfill the parties created by M. On September 19, Pavlova debuted in a small role in “futile precaution”, then the roles in “Magic Flute” and in “Bayadere” followed. In the year, she was entrusted with the Giselle party, and the young ballerina struck everyone with the depth of the psychological interpretation of the image and the beauty of the dance.

At the same time, the airy, similar to Pavlov’s Sylphide, thanks to the natural temperament, with great success, the Spanish and demiharak-terrestrial parties of the classic repertoire Street Dancer in Don Quixote, Panaderos in Raymonda, danced. In the year, Anna Pavlova became the ballerina of the imperial scene. Work with Mikhail Fokin opened a new repertoire for her. The individuality of the ballerina, the style of her dance, a soaring jump in the year brought Fokin to the idea of ​​the revival of a romantic ballet.

So “Chopeniana” appeared - a subtle stylization in the spirit of the elegant revitalized engraving of the Taloni era. Her flying Arabesk went down in history - the artist Valentin Serov immortalized him at the poster to the “Russian Seasons” in Paris in the year. In the year, Pavlova danced with the troupe of Fokin in Moscow, and this brought her all -Russian glory.

It was after these tour, Fokin put for the money debt to Pavlova “dying swan”, which became its undoubted artistic success. The Commonwealth of Fokin and Pavlova turned out to be fruitful - she danced in his "Armida pavilion", in Egyptian nights. Without thinking about the innovation and overthrow of the aesthetics of the past, with one appearance, manner of dance, she reformed the ballet, changed the attitude towards him all over the world.

This year should be considered the beginning of its international recognition. In May, on tour with Mariinka artists in Berlin, she danced Giselle along with Nikolai Legat. It was natural for Pavlova to try to put it myself. She made such an attempt in the year at the performance at the Suvorinsky Theater in honor of the owner’s summer anniversary - A. For her debut, Pavlova chose Rubinstein's “Night”.

She appeared in a white long chiton with flowers in her hands and hair. Patetics was justified by the naive sincerity of the feeling. The free movements of the case and hands gave the impression of improvisation, recalling the influence of Duncan. But the classic dance, including the finger technique, was present, complementing expressive gestures. The independent work of Pavlova was met with approval.

The next numbers were the “dragonfly” by F. Kreisler, the “butterfly” by R. Drigo, the “California Mac”. For Diaghilev, the participation of Anna Pavlova in his entreprise meant a guarantee of success. Despite the fact that her stay with Diaghilev was very short -term, in the entire civilized world, the Diaghilev ballet is still associated with the names of Pavlova and Nizhinsky.But she did not like much in the Diaghilev Entreprise.

Pavlova often said that the beauty of the dance meant everything for her, and ugliness - nothing, and categorically rejected what seemed ugly to her. This list included the plastic elements of the new choreography, and Stravinsky’s music in the “Firebird”, which seemed to her was not melodic enough. Pavlova, the great ballerina of the classical style, did not accept the aesthetics of those choreographers-innovatives who, following Fokin, came to the “Russian ballets” of Diaghilev and made a revolution in the dance world.

In the year in London, she organized her own ballet troupe to put the classics, and with her went on a round -the -world ballet tour. The debut in New York took place on February 16. It was followed by concerts in Boston, Philadelphia, Baltimore. Anna Pavlova’s satellite during this tour was Mikhail Mordkin, the famous soloist of the Bolshoi Theater, Hercules of the ballet scene, and later - the founder of the American Ballet.

He danced with Pavlova in years, after the ballerina left Diaghilev. Their stage union gradually grew into a love novel. However, he turned out to be unsuccessful in both personal and creatively. The story ended with a scandalous gap. In August, Pavlova returned to her homeland briefly. Now it was her “Russian tour” for her. Having stared at the Bayaderek and Giselle Theater, she left for London, where Diaghilev was with her entreprise.

Pavlova replaced Karsavina in Giseli and danced with Nizhinsky: with him, she first performed a slave party in Cleopatra. And in November, she went on a tour of the cities of England, Scotland and Ireland. In the year, Baron Viktor Dandre, who left Russia, joined Pavlova, who left Russia due to financial troubles. The troupe needed a reliable administrator, and Dandra turned out to be just such a person.

Some time later, Pavlova married him. The First World War found Pavlov in Berlin, where she was shortly detained as a “Russian spy”. The ballerina returned to Russia, but the war and ballet are incompatible - and she, along with her troupe, went through the ocean and for a long time toured in North and South America. For 22 years, Pavlova traveled more than half a million kilometers, according to approximate estimates, she gave about 9 thousand performances.

It was really work on wear. There was a period when the Italian master Ninolini made an average of two thousand pairs of ballet shoes for Anna Pavlova per year, and she was barely enough. But, for all her devotion to the art of ballet, Anna Pavlova loved the world of fashion, willingly took pictures and even posed in the fur of famous fashion houses of Berlin and Paris of the X and 10s.

In England, she advertised the shoes of the shoe company “H. Rayne ”, which she wore, according to her, on stage and in life. The style of clothing “A la Pavlova” has become so popular that it presented the world of the Pavlov satin, released in the year. It was Pavlova who introduced fashion to the embroidered manele shawls draped in the Spanish manner, which she knew how to wear so elegantly.

In January, the train, in which Pavlova returned to Paris from the azure bank of France, had an accident near Dijon. The prima itself was not injured, although the fallen Cofr hit her greatly on the ribs. But she had a cold winter morning in a pajamas and a light coat on foot to the nearest station and there for twelve hours to wait for the next train.

Pavlova picked up a cold, which then moved to the most severe pleurisy. In this state, she went on tour to Holland. Shortly before her departure, already completely sick, she came to study in the Parisian studio of Vera Trefilova. There she felt a strong heat and still decided not to cancel the tour. In honor of the “Russian swan”, the Dutch brought out a special variety of snow -white tulips and called them “Anna Pavlova”.

In the program of performances by ballet Pavlova, printed in Holland two days before her death, the name of the ballerina was not listed as part of the performers. She no longer left her lilac apartments in the hotel. Meanwhile, the troupe continued to prepare for the tour in Brussels. But the tour did not take place. The unexpected death of the great ballerina, which came at the hour of the morning from Thursday to Friday January 23 in the Hague Hotel des Indes, shocked the whole world.

The dust of Pavlova, enclosed in a white marble urn, rests in the Golders-Grin cemetery, not far from her beloved Ivi-House.