Transcription of Maruis Petipa’s Choreographic Images in Sergei Prokofiev’s Ballet “Cinderella”
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Abstract
The article examines Sergei Prokofiev’s last ballet “Cinderella,” where the composer turns to the style of the academic ballet of Marius Petipa. For the first time in his ballet output Prokofiev builds the composition according to the type of classical performances: with division into acts with incumbent inclusion of classical, historical and characteristic suites. However, in correspondence with his own style, the composer expresses irony over the model of the academic ballet, mocking not as much the “old” ballet as the dramballet (dramatic ballet) – the official genre of Soviet musical theater, where there was a routine principle of use of conventional rhythmic patterns. At the same time, the traditional rhythmic formulas frequently contradicted the images of the protagonists of the ballet drama.
The canons of the ballets of Petipa are employed in the dramaturgy of “Cinderella” for demonstration of images of the royal court. Unlike the world of profound feelings of the main heroine, her surroundings are marked by primness and coldness – qualities which determined the style of Petipa’s performances in ballet theater. The classical dances in Prokofiev’s ballet obtain a comical tint as the result of deformation of their genre-related rhythmic formulas. The object of the composer’s irony is demonstrated by many well-known choreographic numbers of Petipa’s performances.
Keywords: the ballets of Sergei Prokofiev, Marius Petipa, academic ballet, the ballet “Cinderella,” the comical in
music.
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