Presidential Library marks World Ballet Day

World Ballet Day is celebrated on February 7. On the Presidential Library's portal, readers can find electronic copies of unique archival documents, photographs, rare publications, and video lectures related to the formation of ballet schools in Russia.

The ballet historian Alexander Pleshcheyev, in his research, begins with the following epigraph from the Dance Dictionary published in 1790: Dancing, which is defined by philosophers as the science of body movements, is undoubtedly one of the oldest and most magnificent arts. In his book Our Ballet: From 1673 to 1899, he discusses the art of dance in Russia up to the beginning of the 19th century, as well as ballet in St. Petersburg up until 1899. The monograph includes over 180 illustrations and portraits of renowned dancers and choreographers.

Choreographic art first appeared on the Russian stage under Tsar Alexei Mikhailovich Romanov (1629-1676). Although there is evidence that some rope dancers taught dancing even under his father, Mikhail Fyodorovich. Until that time, only traditional dances were performed in Russia, including round dances and joyful songs. In 1673, the first ballet was performed, based on the story of Orpheus and Eurydice.

Before the performance, Tsar Alexei was greeted with welcome couplets in German. Under Catherine II, ballet became an integral part of opera. Each opera act was followed by a ballet, and dancers expressed the emotions of the singers through facial expressions and body movements. The audience often preferred a well-performed ballet over a weak opera.

The reign of Emperor Alexander I continued the happy flourishing of art that had begun under Catherine II. Many poets of his time were "inspired by Russian Terpsichore". The figure of Karl Didlo stands out particularly vividly, for whom Alexander Pushkin erected an eternal monument in the poem Eugene Onegin.

Carl-Louis Didelot arrived in St. Petersburg in September 1801 as a dancer, choreographer, and teacher at a theater school. His debut performance in front of the St. Petersburg audience was a success in all respects. Didelot's presence on the Russian stage transformed ballet to such an extent that the entire history of choreographic art in Russia can be divided into two eras: before Didelot's arrival and after. He staged more than 20 ballets on the Russian stage, and "contemporaries found it difficult to say which one was the best." Everything he created was excellent. Dancers Nastasia Novitskaya, Maria Igonina, Natalia Likhutina, and Ekaterina Teleshova performed brilliantly alongside him.

"Our indefatigable choreographer" was the name given to Marius Ivanovich Petipa by his contemporaries, another striking figure of the St. Petersburg ballet scene. Interesting facts about his life and work in Russia can be found in the archival documents of the Directorate of the Imperial Theaters.

The case concerning the service of Marius Petipa as a choreographer contains information not only about his creative life, but also his personal life. For instance, it includes information about his passport, which he used while living in Russia, and his application for marriage with a graduate of a theater school named Maria Surovshchikova. Since Petipa was a French national, he had to meet certain conditions for entering into a marriage alliance, such as baptizing his children in the Orthodox faith.. Petipa's future spouse agreed in writing to "marry in accordance with the rules established by law." The personal file of Petipa contains a marriage certificate that took place in St. Petersburg on June 28, 1854.

The library's collection includes personal files of some of the most famous ballerinas from the early 20th century, such as Matilda Kshesinskaya, Anna Pavlova, Agrippina Vaganova and Tamara Karsavina. It also contains information about other ballerinas and a wealth of material on ballet dancing.

Materials about the leading dancers, repertoire, and facilities of the St. Petersburg Mariinsky Theater can be found in archival documents from the Directorate of Imperial Theaters, which were managed by the Ministry of the Imperial Court until 1917.

There is also a collection of over 3,700 personal files dating from 1824 to 1917 that includes information about theater employees, such as janitors, watchmen, and corps de ballet members. It's worth noting that until 1917, theaters were financed from the funds of the Ministry of the Imperial Court, which was headed by the sovereign.

The virtual tour of the Russian Ballet, celebrating its 285th anniversary, has been prepared for the Vaganova Ballet Academy in 2023 and is now available on the Presidential Library's portal. The exhibition includes ballet shoes, theatrical costumes, rare books, authentic posters and photographs, paintings, sculptures, and personal items of famous graduates from the academy.

Among the exhibits are real relics, such as the corsage from Matilda Kschessinska's stage costume, Anna Pavlova's makeup case and stage boots, and the personal belongings of Agrippina Vaganova, whose name the Russian Ballet Academy has carried since 1957.

The Presidential Library's portal features a video of a lecture by Nikolai Tsiskaridze, a People's Artist of Russia and the head of the Vaganova Academy of Russian Ballet. In the video, he talks about his career and the traditions of the Russian ballet school. The portal also features a lecture on Dance and Fate, dedicated to the works of Vladimir Vasiliev, another People's Artist.