Natasha's Dance (98 page)
Portrait of Diaghilev with His Nanny,
COLOUR PLATE SECTION 2
COLOUR PLATE SECTION 2
COLOUR PLATE SECTION 2
COLOUR PLATE SECTION 2
14. Original score by Igor Stravinsky for The Rite of Spring, 1913. Private Collection (ph
14. Original score by Igor Stravinsky for The Rite of Spring, 1913. Private Collection (ph
14. Original score by Igor Stravinsky for The Rite of Spring, 1913. Private Collection (ph
The Rite of Spring,
15. Viktor Vasnetsov: set design for Mamontov’s production of Rimsky-Korsakov’s opera Th
15. Viktor Vasnetsov: set design for Mamontov’s production of Rimsky-Korsakov’s opera Th
15. Viktor Vasnetsov: set design for Mamontov’s production of Rimsky-Korsakov’s opera Th
The Snow Maiden
16. Nikolai Roerich’s set and costumes for The Rite of Spring, reproduced by the Joffrey B
16. Nikolai Roerich’s set and costumes for The Rite of Spring, reproduced by the Joffrey B
16. Nikolai Roerich’s set and costumes for The Rite of Spring, reproduced by the Joffrey B
The Rite of Spring,
17. Nikolai Roerich: The Idols, 1901. Copyright © 2002, State Russian Museum, St Petersbu
17. Nikolai Roerich: The Idols, 1901. Copyright © 2002, State Russian Museum, St Petersbu
17. Nikolai Roerich: The Idols, 1901. Copyright © 2002, State Russian Museum, St Petersbu
The Idols,
18. Nikolai Roerich: costume designs for The Snow Maiden, 1921, lor the Chicago Opera Com
18. Nikolai Roerich: costume designs for The Snow Maiden, 1921, lor the Chicago Opera Com
18. Nikolai Roerich: costume designs for The Snow Maiden, 1921, lor the Chicago Opera Com
The Snow Maiden,
19. Vasily Kandinsky: Motley Life, 1907. Copyright © Stadtische Galerie im Lenbachhaus,
19. Vasily Kandinsky: Motley Life, 1907. Copyright © Stadtische Galerie im Lenbachhaus,
19. Vasily Kandinsky: Motley Life, 1907. Copyright © Stadtische Galerie im Lenbachhaus,
Motley Life,
10. Vasily Kandinsky: All Saints II, 1911. Copyright © Stadtische
10. Vasily Kandinsky: All Saints II, 1911. Copyright © Stadtische
10. Vasily Kandinsky: All Saints II, 1911. Copyright © Stadtische
All Saints II,
Galerie im Lenbachhaus, Munich © ADAGP, Paris and DACS, London 2002
Galerie im Lenbachhaus, Munich © ADAGP, Paris and DACS, London 2002
Galerie im Lenbachhaus, Munich © ADAGP, Paris and DACS, London 2002
21. Vasily Kandinsky: Oval No. 2, 1925. Centre Pompidou, Musee National d’Art Moderne, CCI
21. Vasily Kandinsky: Oval No. 2, 1925. Centre Pompidou, Musee National d’Art Moderne, CCI
21. Vasily Kandinsky: Oval No. 2, 1925. Centre Pompidou, Musee National d’Art Moderne, CCI
Oval No.
22. Shaman bird head dress, cedar wood, first half of nineteenth century. From the collect
22. Shaman bird head dress, cedar wood, first half of nineteenth century. From the collect
22. Shaman bird head dress, cedar wood, first half of nineteenth century. From the collect
23. Isaak Levitan: Vladimirka, 1 892. State Tretyakov Gallery, Moscow (photo: Scala, Fl
23. Isaak Levitan: Vladimirka, 1 892. State Tretyakov Gallery, Moscow (photo: Scala, Fl
23. Isaak Levitan: Vladimirka, 1 892. State Tretyakov Gallery, Moscow (photo: Scala, Fl
Vladimirka,
24. Vasily Vereshchagin: Surprise Attack, 1871 (photo: Christie’s Images, London)
24. Vasily Vereshchagin: Surprise Attack, 1871 (photo: Christie’s Images, London)
24. Vasily Vereshchagin: Surprise Attack, 1871 (photo: Christie’s Images, London)
Surprise Attack,
25. Kuzma Petrov-Vodkin: Bathing the Red Horse, 1912. State Tretyakov Gallery, Moscow (pho
25. Kuzma Petrov-Vodkin: Bathing the Red Horse, 1912. State Tretyakov Gallery, Moscow (pho
25. Kuzma Petrov-Vodkin: Bathing the Red Horse, 1912. State Tretyakov Gallery, Moscow (pho
Bathing the Red Horse,
26. Kazimir Malevich: Red Cavalry, 1930. State Russian Museum, St Petersburg (photo: Sc
26. Kazimir Malevich: Red Cavalry, 1930. State Russian Museum, St Petersburg (photo: Sc
26. Kazimir Malevich: Red Cavalry, 1930. State Russian Museum, St Petersburg (photo: Sc
Red Cavalry,
27. Natan Altman: Portrait of Anna Akhmatova, 1914. Copyright © 2002, State Russian Mu
27. Natan Altman: Portrait of Anna Akhmatova, 1914. Copyright © 2002, State Russian Mu
27. Natan Altman: Portrait of Anna Akhmatova, 1914. Copyright © 2002, State Russian Mu
Portrait of Anna Akhmatova,
Notes on the Maps and Text
Notes on the Maps and Text
Notes on the Maps and Text
MAPS
MAPS
MAPS
MAPS
MAPS
Place names indicated in the maps are those used in Russia before 1917. Soviet names are
Place names indicated in the maps are those used in Russia before 1917. Soviet names are
Place names indicated in the maps are those used in Russia before 1917. Soviet names are
RUSSIAN NAMES
RUSSIAN NAMES
RUSSIAN NAMES
RUSSIAN NAMES
Russian names are spelled in this book according to the standard (Library of Congress) syste
Russian names are spelled in this book according to the standard (Library of Congress) syste
Russian names are spelled in this book according to the standard (Library of Congress) syste
DATES
DATES
DATES
DATES
From 1700 until 1918 Russia adhered to the Julian calendar, which ran thirteen days behind
From 1700 until 1918 Russia adhered to the Julian calendar, which ran thirteen days behind
From 1700 until 1918 Russia adhered to the Julian calendar, which ran thirteen days behind
USE OF METRIC
USE OF METRIC
USE OF METRIC
USE OF METRIC
All measurements of distance, weight and area are given in the metric system.
All measurements of distance, weight and area are given in the metric system.
All measurements of distance, weight and area are given in the metric system.
NOTES
NOTES
NOTES
NOTES
Literary works cited in this hook are, wherever possible, from an English-language transla
Literary works cited in this hook are, wherever possible, from an English-language transla
Literary works cited in this hook are, wherever possible, from an English-language transla
Maps
Maps
Maps
Maps
INTRODUCTION
INTRODUCTION
INTRODUCTION
In Tolstoy’s War and Peace there is a famous and rather lovely scene where Natasha Rosto
In Tolstoy’s War and Peace there is a famous and rather lovely scene where Natasha Rosto
In Tolstoy’s War and Peace there is a famous and rather lovely scene where Natasha Rosto
War and Peace
balalaika
’Now then, niece!’ he exclaimed, waving to Natasha the hand that had just struck a chord. Nat
’Now then, niece!’ he exclaimed, waving to Natasha the hand that had just struck a chord. Nat
’Now then, niece!’ he exclaimed, waving to Natasha the hand that had just struck a chord. Nat
’Uncle’, and setting her arms akimbo, also made a motion with her shoulders and struck an at
’Uncle’, and setting her arms akimbo, also made a motion with her shoulders and struck an at
’Uncle’, and setting her arms akimbo, also made a motion with her shoulders and struck an at
Where, how, and when had this young countess, educated by an emigree French governess, imbi
Where, how, and when had this young countess, educated by an emigree French governess, imbi
Where, how, and when had this young countess, educated by an emigree French governess, imbi
emigree
pas de chale
She did the right thing with such precision, such complete precision, that Anisya Fyodoro
She did the right thing with such precision, such complete precision, that Anisya Fyodoro
She did the right thing with such precision, such complete precision, that Anisya Fyodoro
1
What enabled Natasha to pick up so instinctively the rhythms of the dance? How could she ste
What enabled Natasha to pick up so instinctively the rhythms of the dance? How could she ste
What enabled Natasha to pick up so instinctively the rhythms of the dance? How could she ste
War and Peace
2
a broad community with the Russian peasantry which Tolstoy shared with the ‘men of 1812’, th
a broad community with the Russian peasantry which Tolstoy shared with the ‘men of 1812’, th
a broad community with the Russian peasantry which Tolstoy shared with the ‘men of 1812’, th
War and Peace.
Russia invites the cultural historian to probe below the surface of artistic appearan
Russia invites the cultural historian to probe below the surface of artistic appearan
Russia invites the cultural historian to probe below the surface of artistic appearan
War and Peace’
3
Natasha’s dance is one such opening. At its heart is an encounter
Natasha’s dance is one such opening. At its heart is an encounter
Natasha’s dance is one such opening. At its heart is an encounter
between two entirely different worlds: the European culture of the
between two entirely different worlds: the European culture of the
between two entirely different worlds: the European culture of the
upper classes and the Russian culture of the peasantry. The war of
upper classes and the Russian culture of the peasantry. The war of
upper classes and the Russian culture of the peasantry. The war of
1812 was the first moment when the two moved together in a national
1812 was the first moment when the two moved together in a national
1812 was the first moment when the two moved together in a national
formation. Stirred by the patriotic spirit of the serfs, the aristocracy of Natasha’s gene
formation. Stirred by the patriotic spirit of the serfs, the aristocracy of Natasha’s gene
formation. Stirred by the patriotic spirit of the serfs, the aristocracy of Natasha’s gene
War and Peace),
The complex interaction between these two worlds had a crucial influence on the natio
The complex interaction between these two worlds had a crucial influence on the natio
The complex interaction between these two worlds had a crucial influence on the natio
To view a culture in this refracted way is to challenge the idea of a pure, organic or es
To view a culture in this refracted way is to challenge the idea of a pure, organic or es
To view a culture in this refracted way is to challenge the idea of a pure, organic or es
from the towns.4 Other elements of the village culture Tolstoy pictured
from the towns.4 Other elements of the village culture Tolstoy pictured
from the towns.4 Other elements of the village culture Tolstoy pictured
4
may have come to Russia from the Asiatic steppe - elements that had been imported by the Mo
may have come to Russia from the Asiatic steppe - elements that had been imported by the Mo
may have come to Russia from the Asiatic steppe - elements that had been imported by the Mo
balalaika
dombra,
5
quintessential
It is not my aim to ‘deconstruct’ these myths; nor do I wish to claim, in the jargon used by ac
It is not my aim to ‘deconstruct’ these myths; nor do I wish to claim, in the jargon used by ac
It is not my aim to ‘deconstruct’ these myths; nor do I wish to claim, in the jargon used by ac
60
Russia which reverberates in Natasha’s dancing scene. And it was surely not so fanciful f
Russia which reverberates in Natasha’s dancing scene. And it was surely not so fanciful f
Russia which reverberates in Natasha’s dancing scene. And it was surely not so fanciful f
The major cultural movements of the nineteenth century were all organized around the
The major cultural movements of the nineteenth century were all organized around the
The major cultural movements of the nineteenth century were all organized around the
Scythians, who saw Russia as an ‘elemental’ culture from the Asiatic
Scythians, who saw Russia as an ‘elemental’ culture from the Asiatic
Scythians, who saw Russia as an ‘elemental’ culture from the Asiatic
steppe which, in the revolution yet to come, would sweep away the dead weight of European
steppe which, in the revolution yet to come, would sweep away the dead weight of European
steppe which, in the revolution yet to come, would sweep away the dead weight of European
certain style of speech and dress, distinct codes of social interaction and behaviour,
certain style of speech and dress, distinct codes of social interaction and behaviour,
certain style of speech and dress, distinct codes of social interaction and behaviour,
coats and beards, cabbage soup and kvas, folk-like wooden houses and brightly coloured chur
coats and beards, cabbage soup and kvas, folk-like wooden houses and brightly coloured chur
coats and beards, cabbage soup and kvas, folk-like wooden houses and brightly coloured chur
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