Interview of Tamara Karsavina
“Tell me about the place and time you lived.”
I was born in Saint Petersburg, Russia on March 10, 1885. I was born soon after the era of Alexander II. Russia's emperor when I was a child was Alexander III, he was the peacemaker. Saint Petersburg is very large it is the second largest city in Russia. A kind of public transportation for me was horse-driven trams that ran on tracks that were laid in the major streets. There was no serfdom because it was abolished in 1861.
As a child there were so many palaces and they were all so beautiful, Saint Petersburg was known as the city of palaces. When WWI broke out Saint Petersburg was renamed Petrograd. Towards the end of 1916 Saint Petersburg's food supply diminished significantly.
“What events in your or early life made you get interested in the arts?”
My papa was also a famous dancer and that influenced me a lot. I began my education at the Imperial Ballet School in St. Petersburg. I graduated from there and 1902. I was also educated at the Saint Petersburg School of Classical Dance by such amazing teachers.
“ What role did mentors play in helping you develop the interest and talents you have as an artist.”
The atmosphere in my family and friends gave me a thoughtful understanding of the art of dance. My papa was a very beautiful and famous dancer and mama wanted me to follow and Papa's footsteps. My papa being a famous dancer inflicted me a lot because he was my father and I looked up to him. Seeing him on stage gave me great joy and it sparked an interest in dance for me. Some of the great teachers I had were Christian Johnsson, Paul Gardt, Cecchetti, Pavel Gerdt, Nikolai Legat and Eugenia Sokolova.
“ What was the world of art like in your particular our field when you entered it?”
The girls danced on pointe. It wasn't until the early 1900’s when it was considered normal for girls to dance on pointe. Our dancing was based off of the structure and emotions of music. Some classical ballets like Giselle, La Sylphide, Nutcracker, Sleeping Beauty, and Swan Lake were created. The things us dancers focused on most were pointe work, high extensions, precision of movement and turn-out to the fullest.
The tutu called the romantic tutu which was calf-length and a full skirt of tulle was introduced around the time when I entered the field of dance. It wasn't till later in the 1900’s when the classical tutu which was much shorter and stiffer then the romantic tutu was introduced.
“ How did the major cultural, economic and political situations of your time impact your work?
During my dance career WWI began and ended. WWI didn't effect my dancing but it did effect where I lived. In 1914 I was the talk of EVEYONE, good things were what was said. This did impact my career but in a good way. It helped so that many people knew who I was and about my talent in dance. It was organized for me to return to Maryinsky Theater from Paris where I was honored with supreme recognition it reflected in my success both In life and on stage.
“ What what are your major accomplishments and the method you used in your art?”
I was a principal artist of the Imperial Russian ballet and the later a principal dancer of the Ballet Russes of Serge Diaghilev in Paris. In 1915 I was the first dancer to dance the Corsaire Pas de Deux. Two of my most famous roles were Medora in Le Corsaire and Lisa in La Fille Mal Gardee. I was the leading ballerina Sergey Diaghilev Ballets from its beginning in 1909 until 1922. I created leading roles in Pulcinella, Fokine’s Neoromatic repertoire including Les Sylphides, Le Spectre de la Rosa, Carnaval, Firebird, Thamar and Petrushka. I taught a great and famous student, Margot Fonteyn. I also was in the cast of a German silent film called Ways to Strength and Beauty.
“ What key opportunities you had that led to turning points in your life and art?”
With my papa being a great and famous dancer himself it really helped to teach and encourage me. I was introduced to dance qat a young age because of my papa. He taught me great dance and I knew it would be correct. Also I had great opportunities to go to learn at great dance schools and companies. I became principles of companies which are great opportunities. I also was able to dance in many shows and that gave me even more experience each time I danced on stage.
“ What hardships or roadblocks did you have to overcome in order to become an artist?”
I also had a hard coach, my papa. He was a dancer so he would correct me so my steps would be perfect. For me music wasted most difficult though. I never liked counting the bars. I always thought counting the bars deflected my attention. Also during my career WWI began. I retired but soon reconnected with my love of my dancing career.
“ How did your work impact the world of art?”
I helped found the Royal Academy of Dancing. I organized the teachers training course and the camargo society. The Royal Academy of Dancing is now one of the most amazing and famous dance academy's. I also taught many dancers who are now great, famous dancers. I wrote many articles and book on dance technique. I wrote Classical Ballet: The Flow of Movement and Ballet Technique: A series of Practical Essays and many others.
Bibliography
http://www.rad.org.uk/more/library/library-catalogue-1/tamara-karsavina-collection
http://michaelminn.net/andros/biographies/karsavina_tamara/
http://youtu.be/z1g8_iBYVkg
http://www.russianballethistory.com/diaghilevsdancers.htm
http://hcl.harvard.edu/libraries/houghton/exhibits/diaghilev/introduction.cfm
http://www.aha.ru/~vladmo/karsavina.html
http://www.pbt.org/community-engagement/brief-history-ballet
http://www.coreofculture.org/ballet.html
http://www.saint-petersburg.com/history/st-petersburg-in-the-era-of-alexander-ii/
I was born in Saint Petersburg, Russia on March 10, 1885. I was born soon after the era of Alexander II. Russia's emperor when I was a child was Alexander III, he was the peacemaker. Saint Petersburg is very large it is the second largest city in Russia. A kind of public transportation for me was horse-driven trams that ran on tracks that were laid in the major streets. There was no serfdom because it was abolished in 1861.
As a child there were so many palaces and they were all so beautiful, Saint Petersburg was known as the city of palaces. When WWI broke out Saint Petersburg was renamed Petrograd. Towards the end of 1916 Saint Petersburg's food supply diminished significantly.
“What events in your or early life made you get interested in the arts?”
My papa was also a famous dancer and that influenced me a lot. I began my education at the Imperial Ballet School in St. Petersburg. I graduated from there and 1902. I was also educated at the Saint Petersburg School of Classical Dance by such amazing teachers.
“ What role did mentors play in helping you develop the interest and talents you have as an artist.”
The atmosphere in my family and friends gave me a thoughtful understanding of the art of dance. My papa was a very beautiful and famous dancer and mama wanted me to follow and Papa's footsteps. My papa being a famous dancer inflicted me a lot because he was my father and I looked up to him. Seeing him on stage gave me great joy and it sparked an interest in dance for me. Some of the great teachers I had were Christian Johnsson, Paul Gardt, Cecchetti, Pavel Gerdt, Nikolai Legat and Eugenia Sokolova.
“ What was the world of art like in your particular our field when you entered it?”
The girls danced on pointe. It wasn't until the early 1900’s when it was considered normal for girls to dance on pointe. Our dancing was based off of the structure and emotions of music. Some classical ballets like Giselle, La Sylphide, Nutcracker, Sleeping Beauty, and Swan Lake were created. The things us dancers focused on most were pointe work, high extensions, precision of movement and turn-out to the fullest.
The tutu called the romantic tutu which was calf-length and a full skirt of tulle was introduced around the time when I entered the field of dance. It wasn't till later in the 1900’s when the classical tutu which was much shorter and stiffer then the romantic tutu was introduced.
“ How did the major cultural, economic and political situations of your time impact your work?
During my dance career WWI began and ended. WWI didn't effect my dancing but it did effect where I lived. In 1914 I was the talk of EVEYONE, good things were what was said. This did impact my career but in a good way. It helped so that many people knew who I was and about my talent in dance. It was organized for me to return to Maryinsky Theater from Paris where I was honored with supreme recognition it reflected in my success both In life and on stage.
“ What what are your major accomplishments and the method you used in your art?”
I was a principal artist of the Imperial Russian ballet and the later a principal dancer of the Ballet Russes of Serge Diaghilev in Paris. In 1915 I was the first dancer to dance the Corsaire Pas de Deux. Two of my most famous roles were Medora in Le Corsaire and Lisa in La Fille Mal Gardee. I was the leading ballerina Sergey Diaghilev Ballets from its beginning in 1909 until 1922. I created leading roles in Pulcinella, Fokine’s Neoromatic repertoire including Les Sylphides, Le Spectre de la Rosa, Carnaval, Firebird, Thamar and Petrushka. I taught a great and famous student, Margot Fonteyn. I also was in the cast of a German silent film called Ways to Strength and Beauty.
“ What key opportunities you had that led to turning points in your life and art?”
With my papa being a great and famous dancer himself it really helped to teach and encourage me. I was introduced to dance qat a young age because of my papa. He taught me great dance and I knew it would be correct. Also I had great opportunities to go to learn at great dance schools and companies. I became principles of companies which are great opportunities. I also was able to dance in many shows and that gave me even more experience each time I danced on stage.
“ What hardships or roadblocks did you have to overcome in order to become an artist?”
I also had a hard coach, my papa. He was a dancer so he would correct me so my steps would be perfect. For me music wasted most difficult though. I never liked counting the bars. I always thought counting the bars deflected my attention. Also during my career WWI began. I retired but soon reconnected with my love of my dancing career.
“ How did your work impact the world of art?”
I helped found the Royal Academy of Dancing. I organized the teachers training course and the camargo society. The Royal Academy of Dancing is now one of the most amazing and famous dance academy's. I also taught many dancers who are now great, famous dancers. I wrote many articles and book on dance technique. I wrote Classical Ballet: The Flow of Movement and Ballet Technique: A series of Practical Essays and many others.
Bibliography
http://www.rad.org.uk/more/library/library-catalogue-1/tamara-karsavina-collection
http://michaelminn.net/andros/biographies/karsavina_tamara/
http://youtu.be/z1g8_iBYVkg
http://www.russianballethistory.com/diaghilevsdancers.htm
http://hcl.harvard.edu/libraries/houghton/exhibits/diaghilev/introduction.cfm
http://www.aha.ru/~vladmo/karsavina.html
http://www.pbt.org/community-engagement/brief-history-ballet
http://www.coreofculture.org/ballet.html
http://www.saint-petersburg.com/history/st-petersburg-in-the-era-of-alexander-ii/
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