Editing Anna Pavlova (section)

==Career==
===St. Petersburg===
====Marius Petipa====
At the height of [[Marius Petipa|Petipa]]'s strict academicism, the public was taken aback by Pavlova's style, a combination of a gift that paid little heed to academic rules: she frequently performed with bent knees, bad turnout, misplaced ''port de bras'' and incorrectly placed ''tours''. Such a style, in many ways, harkened back to the time of the [[romantic ballet]] and the great ballerinas of old.

[[File:PavlovaasNikiya.jpg|thumb|200px|Caricature of Pavlova as Nikiya in ''La Bayadère'' by the brothers [[Nikolai Legat]] and [[Sergei Legat]] for their book ''The Russian Ballet In Caricatures''. 1903]]

Pavlova performed in various [[variation (ballet)|classical variations]], ''[[pas de deux]]'' and ''[[pas de trois]]'' in such ballets as ''[[Camargo (ballet)|La Camargo]]'', ''[[Tsar Kandavl or Le Roi Candaule|Le Roi Candaule]]'', ''Marcobomba'' and ''[[The Sleeping Beauty (ballet)|The Sleeping Beauty]]''. Her enthusiasm often led her astray: once during a performance as the River Thames in Petipa's ''[[The Pharaoh's Daughter]]'' her energetic double ''pique turns'' led her to lose her balance and fall into the [[Prompt corner|prompter's box]]. Her weak ankles led to difficulty while performing as the fairy Candide in Petipa's ''The Sleeping Beauty'', leading the ballerina to revise the fairy's jumps ''en pointe'', much to the surprise of the Ballet Master. She tried desperately to imitate the renowned [[Pierina Legnani]], ''Prima ballerina assoluta'' of the Imperial Theatres. Once, during class, she attempted Legnani's famous [[fouetté]]s, causing her teacher, Pavel Gerdt, to fly into a rage. He told her,
{{blockquote|... leave acrobatics to others. It is positively more than I can bear to see the pressure such steps put on your delicate muscles and the severe arch of your foot. I beg you to never again try to imitate those who are physically stronger than you. You must realize that your daintiness and fragility are your greatest assets. You should always do the kind of dancing which brings out your own rare qualities instead of trying to win praise by mere acrobatic tricks.}}

Pavlova rose through the ranks quickly, becoming a favourite of the old maestro Petipa. From him she learned the title role in ''[[Paquita]]'', Princess Aspicia in ''The Pharaoh's Daughter'', Queen Nisia in ''Le Roi Candaule'' and ''Giselle''. She was named ''danseuse'' in 1902, ''première danseuse'' in 1905 and ''prima ballerina'' in 1906 after a resounding performance in ''[[Giselle]]''. Petipa revised many ''[[grand pas]]'' for her, as well as many supplemental variations. She was much celebrated by the fanatical balletomanes of Tsarist Saint Petersburg, her legions of fans calling themselves the ''Pavlovatzi''.

When the ballerina [[Mathilde Kschessinska]] was pregnant in 1901, she coached Pavlova in the role of Nikiya in ''[[La Bayadère]]''. Kschessinska, not wanting to be upstaged, was certain Pavlova would fail in the role, as she was considered technically inferior because of her small ankles and lithe legs. Instead, audiences became enchanted with Pavlova and her frail, ethereal look, which fit the role perfectly, particularly in the scene ''The Kingdom of the Shades''.

====Michel Fokine====
[[File:Anna pavlova -c. 1905.jpg|thumb|Anna Pavlova in 1905]]
Pavlova is perhaps most renowned for creating the role of ''[[The Dying Swan]]'', a solo choreographed for her by [[Michel Fokine]]. The ballet, created in 1905, is danced to ''[[Le cygne]]'' from ''[[The Carnival of the Animals]]'' by [[Camille Saint-Saëns]]. She also choreographed several solos herself, one of which is ''The Dragonfly'', a short ballet set to music by Fritz Kreisler. While performing it, she wore a gossamer gown with large dragonfly wings fixed to the back.

Pavlova had a rivalry with [[Tamara Karsavina]]. According to the film ''[[A Portrait of Giselle]]'', Karsavina recalls a [[wardrobe malfunction]] during a performance; her shoulder straps fell, exposing her breasts and Pavlova helped embarrass her to tears.

===Ballets Russes===
In the first years of the [[Ballets Russes]], Pavlova worked briefly for [[Sergei Diaghilev]]. Originally, she was to dance the lead in [[Michel Fokine|Mikhail Fokine]]'s ''[[The Firebird]]'', but refused the part, as she could not come to terms with [[Igor Stravinsky]]'s avant-garde score, and the role was given to [[Tamara Karsavina]]. All her life, she preferred the melodious ''"musique dansante"'' of the old maestros such as [[Cesare Pugni]] and [[Ludwig Minkus]], caring little for anything else which strayed from the salon-style ballet music of the 19th century.

[[File:Pharoah's Daughter -Anna Pavlova -1910.jpg|thumb|left|upright|Photographic postcard of Anna Pavlova as the Princess Aspicia in Alexander Gorsky's version of the Petipa/Pugni ''[[The Pharaoh's Daughter]]'' for the Bolshoi Theatre. Moscow, 1908]]

===Pavlova's ballet company===
====Touring the world====

After the first Paris season of Ballets Russes, Pavlova left it to form her own company. It performed throughout the world, with a repertory primarily of abridgements of Petipa's works and pieces choreographed specially for her. Going independent was
[[File:Signed drawing of Anna Pavlova by Manuel Rosenberg 1924.jpg|thumb|Signed drawing by [[Manuel Rosenberg]] 1924]]
<blockquote>"a very enterprising and daring act. She toured on her own... for twenty years until her death. She traveled everywhere in the world that travel was possible, and introduced the ballet to millions who had never seen any form of Western dancing."<ref>Agnes de Mille, ''The Book of the Dance'' (1963), p.149 (quote).</ref></blockquote>

Pavlova also performed many 'ethnic' dances, some of which she learned from local teachers during her travels. In addition to the dances of her native Russia, she performed Mexican, Japanese and East Indian dances. Supported by her interest, [[Uday Shankar]], her dance partner in "Krishna Radha" (1923), went on to revive the long-neglected art of the dance in his native India.<ref name=":0"/> She also toured China. 
 
In 1916, she produced a 50-minute adaptation of ''The Sleeping Beauty'' in New York City.<ref name=":0">{{Cite book|title=Ballet and Modern Dance|last=Au|first=Susan|publisher=Thames & Hudson world of art|year=2012|isbn=978-0-500-20411-5|location=London, England|pages=116}}</ref> Members of her company were largely English girls with Russianized names.<ref name=":0"/> <!-- When one of her dancers, [[Kathleen Crofton]], was reviewed by the ballet writer [[Cyril Beaumont]], he wrote that "her [[bourrée]]s were like a string of pearls". --> In 1918–1919, her company toured throughout South America, during which time Pavlova exerted an influence on the young American ballerina [[Ruth Page (ballerina)|Ruth Page]].<ref>{{cite web|url=http://www.danceheritage.org/OLDSITE/treasures/page_essay_meglin.pdf|title=''Ruth Page - Early Architect of the American Ballet'' a biographical essay by Joellen A. Meglin on danceheritage.org|access-date=21 October 2019}}</ref><ref>Ruth Page's Obituary in The New York Times 9 April 1991. p. D19.</ref><ref>{{Cite web|url=https://archives.nypl.org/dan/19658|title=archives.nypl.org -- Ruth Page collection|website=Archives.nypl.org|access-date=14 December 2021}}</ref>

In 1915, she appeared in the film ''[[The Dumb Girl of Portici]]'', in which she played a mute girl betrayed by an aristocrat.<ref name=":0"/>

====England====
After leaving Russia, Pavlova moved to [[London]], England, settling, in 1912, at the Ivy House on [[North End Road, Golders Green|North End Road]], [[Golders Green]], north of [[Hampstead Heath]], where she lived for the rest of her life.<ref>{{cite web
 |language      = ru
 |url         =https://ria.ru/20160212/1372581176.html
 |title       = Биография балерины Анны Павловой
|trans-title=Anna Pavlova: Biography
 |publisher   =RIA Novosti
 |date        = 12 February 2016
|access-date  = 7 December 2020
}}</ref> The house had an ornamental lake where she fed her pet swans, and where now stands a statue of her by the Scots sculptor [[George Henry Paulin]]. The house was featured in the film ''[[Anna Pavlova (film)|Anna Pavlova]]''. It used to be the [[London Jewish Cultural Centre]], but a [[blue plaque]] marks it as a site of significant historical interest being Pavlova's home.<ref>{{Cite web|url=http://farm4.static.flickr.com/3448/3861001065_d9417660b3.jpg|title=Blue plaque, Hendon Corporation|website=Farm4.static.flickr.com|access-date=14 December 2021}}</ref><ref>{{cite web|url=http://www.ljcc.org.uk/|archive-url=https://web.archive.org/web/20001206215500/http://www.ljcc.org.uk/|url-status=dead|archive-date=6 December 2000|title=London Jewish Cultural Centre – Now Booking|publisher=[[London Jewish Cultural Centre]]|access-date=5 May 2012}}</ref> While in London, Pavlova was influential in the development of British ballet, most notably inspiring the career of [[Alicia Markova]]. The Gate public house (https://thegatearkley.co.uk) located on the border of [[Arkley]] and [[Totteridge]] (London Borough of Barnet), has a story, framed on its walls, describing a visit by Pavlova and her dance company.

There are at least five memorials to Pavlova in London, England: a contemporary sculpture by Tom Merrifield of Pavlova as the Dragonfly in the grounds of Ivy House, a sculpture by Scot [[George Henry Paulin]] in the middle of the Ivy House pond, a blue plaque on the front of Ivy House, a statuette sitting with the urn that holds her ashes in Golders Green Crematorium and the gilded statue atop the Victoria Palace Theatre.<ref>[https://londonist.com/2012/06/ballerinas-meringues-pavlova-2012-ivy-house "Ballerinas & Meringues: Pavlova 2012 @ Ivy House"], [[Londonist.com]], 15 June 2012. Retrieved 21 October 2019.</ref><ref>{{cite web|url=https://londonist.com/2012/08/ten-dancer-statues-of-london|title=Ten Dancer Statues Of London|website=Londonist.com|date=20 August 2012|access-date=12 November 2019}}</ref> When the [[Victoria Palace Theatre]] in London, England, opened in 1911, a gilded statue of Pavlova had been installed above the cupola of the theatre. This was taken down for its safety during [[World War II]] and was lost. In 2006, a replica of the original statue was restored in its place.<ref>[http://city-of-london.com/london-theatres-victoria-palace.html City-of-London.com] {{webarchive|url=https://web.archive.org/web/20110813154838/http://city-of-london.com/london-theatres-victoria-palace.html|date=13 August 2011}} Retrieved 27 March 2011.</ref>

In 1928, Anna Pavlova engaged St. Petersburg conductor Efrem Kurtz to accompany her dancing, which he did until her death in 1931. During the last five years of her life, one of her soloists, [[Cleo Nordi]], another St Petersburg ballerina, became her dedicated assistant, having left the [[Paris Opera Ballet]] in 1926 to join her company and accompanied her on her second Australian tour to [[Adelaide]], [[Brisbane]] and [[Sydney]] in 1929.<ref>{{cite web|title=Pavlova and her retinue emerging from Brisbane station, in ''Early Ballet in Queensland'', John Oxley Library|url=http://blogs.slq.qld.gov.au/jol/2016/09/26/early-ballet-in-queensland/|website=Blogs.slq.qld.gov.au |date=26 September 2016|access-date=2 February 2019}}</ref> On the way back on board ship, Nordi married Pavlova's British musical director, Walford Hyden.<ref>{{Cite web|url=http://www.forum-dansomanie.net/forum/viewtopic.php?t=465&sid=4ad6c0b403cf0784b19f7ae2673c9174|title=Dansomanie :: Voir le sujet - Timely recollections of Anna Pavlova, by her associates|website=Forum-dansomanie.net|access-date=14 December 2021}}</ref> Nordi kept Pavlova's flame burning in London, well into the 1970s, where she tutored hundreds of pupils including many ballet stars.
[[File:Anna_Pavlova_Dancing_Le_Cygne_1905_(full_color).webm|thumb|Anna Pavlova Dancing The Dying Swan]]
[[File:Anna Pavlova, 1915.jpg|thumb|upright|[[Arnold Genthe]], ''Anna Pavlova'', 1915, [[Library of Congress]]]]

====The United States====
Between 1912 and 1926, Pavlova made almost annual tours of the United States, traveling from coast to coast.

<blockquote>"A generation of dancers turned to the art because of her. She roused America as no one had done since [[Fanny Elssler|Elssler]]. ... America became Pavlova-conscious and therefore ballet-conscious. Dance and passion, dance and drama were fused."<ref>de Mille, ''The Book of the Dance'' (1963), p.151 (quote).</ref></blockquote>

;Boston
Pavlova was introduced to audiences in the [[United States]] by [[Max Rabinoff]] during his time as managing director of the Boston Grand Opera Company from 1914 to 1917 and was featured there with her Russian Ballet Company during that period.<ref>{{cite web|title=Max Rabinoff Papers|url=https://findingaids.library.columbia.edu/ead/nnc-rb/ldpd_4079244|access-date=21 October 2019|publisher=Columbia University}}</ref>

;St. Louis
In 1914, Pavlova performed in St. Louis, Missouri, after being engaged at the last minute by [[Hattie B. Gooding]], responsible for a series of worthy musical attractions presented to the St. Louis public during the season of 1913–14! Gooding went to New York to arrange with the musical managers for the attractions offered. Out of a long list, she selected those who represent the highest in their own special field and which she felt sure St. Louisans would enjoy. The list began with Madame [[Louise Homer]], prima donna contralto of the Metropolitan Grand Opera Co., followed by [[Josef Hofmann]], pianist, Pavlova with the Russian ballet. For the last, the expenses were $5,500.00 (${{formatnum:{{inflation|US|5500|1913}}}} in {{Inflation-year|US}} dollars) for two nights, and the receipts $7,500.00 (${{formatnum:{{inflation|US|7500|1913}}}} in {{Inflation-year|US}} dollars), netting a clear gain of $2,000.00 (${{formatnum:{{inflation|US|2000|1913}}}} in {{Inflation-year|US}} dollars); her other evenings were proportionately successful financially. The advance sales were greater than any other city in the United States. At the Pavlova concert, when Gooding engaged, at the last hour, the Russian dancer for two nights, the New York managers became dubious and anxiously rushed four special advance agents to assist her. On seeing the bookings for both nights, they quietly slipped back to New York fully convinced of her ability to attract audiences in St. Louis, which had always, heretofore, been called "the worst show town" in the country.<ref>{{cite book|author=Johnson, Anne|title=Notable women of St. Louis, 1914|date=1914|publisher=St. Louis, Woodward|page=[https://archive.org/details/notablewomenofst00john/page/82 82]|url=https://archive.org/details/notablewomenofst00john|access-date=17 August 2017}}{{PD-notice}}</ref>
[[File:Anna Pavlova signed sketches by Manuel Rosenberg, 1922.jpg|thumb|Anna Pavlova signed sketch by [[Manuel Rosenberg]] 1922]]