Vladimir Script adalah font sikat-gaya, mirip dengan jenis huruf yang ditemukan pada tanda-tanda tua

department store yang dilukis dengan tangan selama tahun 1950. Surat-surat memiliki kemiringan yang
curam, dan huruf besar dan jumlahnya lebih informal. Banyak stroke huruf 'berakhir di terminal
melingkar, beberapa dengan jumlah dinamis kontras.
Vladimir Script paling baik digunakan dalam ukuran titik yang lebih besar, di mana rincian halus yang
bisa menari di halaman. Tipografi tampak luar biasa pada tanda-tanda dan kartu.

Link video
Anna Pavlova - The Dying Swan
Anna Pavlova performs ballet solos, 1920's - Film 7224
Anna Pavlova - 'Invitation to the Dance' aka 'Invitation to the Valse'

Anna Pavlovna (Matveyevna) Pavlova was born on January 31, 1881 in Ligovo to unwed parents. Her mother,
Lyubov Feodorovna was a laundress. Some sources, including The Saint Petersburg Gazette, state that her
biological father was the Jewish Russian banker Lazar Polyakov.
[1]
Her mother's second husband, Matvey
Pavlov, is believed to have adopted her at the age of three, by which she acquired his last name.
Pavlova's passion for the art of ballet was ignited when her mother took her to a performance of Marius
Petipa's original production of The Sleeping Beauty at the Imperial Maryinsky Theater. The lavish spectacle
made an impression on Pavlova. At the age of nine, her mother took her to audition for the renowned Imperial
Ballet School. Because of her youth, and what was considered her "sickly" appearance, she was not chosen. In
1891, she was finally accepted at the age of 10. She appeared for the first time on stage in Marius Petipa's Un
conte de fes (A Fairy Tale), which the ballet master staged for the students of the school.
Young Pavlova's years of training were difficult. Classical ballet did not come easily to her. Her severely arched
feet, thin ankles, and long limbs clashed with the small and compact body in favour for the ballerina at the time.
Her fellow students taunted her with such nicknames as The broom and La petite sauvage (The little savage).
Undeterred, Pavlova trained to improve her technique. She would practise and practise after learning a step.
She took extra lessons from the noted teachers of the day Christian Johansson, Pavel Gerdt, Nikolai
Legat and from Enrico Cecchetti, considered the greatest ballet virtuoso of the time and founder of
the Cecchetti method, a very influential ballet technique used to this day. In 1898, she entered the classe de
perfection of Ekaterina Vazem, former Prima ballerina of the Saint Petersburg Imperial Theatres.
During her final year at the Imperial Ballet School, she performed many roles with the principal company. She
graduated in 1899 at age 18, chosen to enter the Imperial Ballet a rank ahead ofcorps de ballet as a coryphe.
She made her official dbut at the Mariinsky Theatre in Pavel Gerdt's Les Dryades prtendues (The False
Dryads). Her performance drew praise from the critics, particularly the great critic and historian Nikolai
Bezobrazov.


Students of the Imperial Ballet School in Marius Petipa's Un conte de fes. A ten year-old Anna Pavlova participated in this
work in her first ever ballet performance. She is photographed here on the left holding the birdcage. St. Petersburg, 1891.


Photographic postcard of Anna Pavlova as the Princess Aspicia in the Petipa/Pugni The Pharaoh's Daughter, Saint
Petersburg, c. 1910


Anna Pavlova in the Fokine/Saint-Sans The Dying Swan, Saint Petersburg, 1905
Career[edit]
At the height of 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 harked back to the time of
the romantic ballet and the great ballerinas of old.
Pavlova performed in various classical variations, pas de deux and pas de trois in such ballets as La
Camargo, Le Roi Candaule,Marcobomba and 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 she ended up falling into the 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 jumpsen pointe, much to the surprise of the Ballet Master. She tried desperately to imitate the
renowned Pierina Legnani, Prima ballerina assolutaof the Imperial Theaters. Once during class she attempted
Legnani's famous fouetts, causing her teacher Pavel Gerdt to fly into a rage. He told her,
"... 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 favorite of the old maestro Petipa. It was from Petipa
himself that Pavlova 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, premire danseuse in 1905, and
finally 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 Nikya
in La Bayadre. 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 fitted the role perfectly, particularly in the scene The
Kingdom of the Shades.
Her feet were extremely rigid, so she strengthened her pointe shoe by adding a piece of hard wood on the
soles for support and curving the box of the shoe. At the time, many considered this "cheating", for a ballerina
of the era was taught that she, not her shoes, must hold her weight en pointe. In Pavlova's case this was
extremely difficult, as the shape of her feet required her to balance her weight on her little toes. Her solution
became, over time, the precursor of the modern pointe shoe, as pointe work became less painful and easier for
curved feet. According to Margot Fonteyn's biography, Pavlova did not like the way her invention looked in
photographs, so she would remove it or have the photographs altered so that it appeared she was using a
normal pointe shoe.
[2]

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-Sans. Pavlova also choreographed several solos herself, one of which is The
Dragonfly, a short ballet set to music by Fritz Kreisler. While performing the role, Pavlova wore a gossamer
gown with large dragonfly wings fixed to the back.
In the first years of the Ballets Russes, Pavlova worked briefly for Sergei Diaghilev. Originally she was to dance
the lead in 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 Pavlova preferred the
melodious "musique dansante" of the old maestros such as Cesare Pugni and Ludwig Minkus, and cared little
for anything else which strayed from the salon-style ballet music of the 19th century.
By the early 20th century she had founded her own company and performed throughout the world, with a
repertory consisting primarily of abridgements of Petipa's works, and specially choreographed pieces for
herself. Members of her company included Kathleen Crofton. The ballet writer Cyril Johnson said
that"her bourres were like a string of pearls".
Pavlova had a rivalry with Tamara Karsavina. According to the film A Portrait of Giselle, Karsavina recalls a
'wardrobe malfunction'. During one performance her shoulder straps fell and she accidentally exposed herself,
and Pavlova reduced an embarrassed Karsavina to tears.
England[edit]
After leaving Russia, Pavlova moved to London, England, settling, in 1912, at the Ivy House on North End
Road, Golders Green, north of Hampstead Heath, where she lived for the rest of her life. 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. It is now the London Jewish
Cultural Centre, but a blue plaque marks it as a site of significant historical interest being Pavlova's
home.
[3][4]
While in London, Pavlova was influential in the development of British ballet, most notably inspiring
the career of Alicia Markova. The Gate pub, 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.
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.
[5]

Personal life[edit]
Victor Dandr, her manager and companion, asserted he was her husband in his biography of the dancer in
1932: Anna Pavlova: In Art & Life
[6]

Victor Dandr wrote of Pavlova's many charity dance performances and charitable efforts to support Russian
orphans in post-World War I Paris
...who were in danger of finding themselves literally in the street. They were already suffering terrible privations
and it seemed as though there would soon be no means whatever to carry on their education.

[7]

Fifteen girls were adopted into a home Pavlova purchased near Paris at Saint-Cloud, overseen by the
Comtesse de Guerne and supported by her performances and funds solicited by Pavlova, including many small
donations from members of the Camp Fire Girls of America who made her an honorary member.
[8]

During her life she had many pets including a Siamese cat, various dogs, Cadilan birds and swans.
[9]
Dandr
indicated she was a lifelong lover of animals and this is evidenced by photographic portraits she sat for which
often included an animal she loved. A formal studio portrait was made of her with Jack, her favorite swan.
[10]

Death[edit]


Anna Pavlova arriving in The Hague in 1927


Urn with Anna Pavlova's ashes
While touring in The Hague, Pavlova was told that she had pneumonia and required an operation. She was
also told that she would never be able to dance again if she went ahead with it. She refused to have the
surgery, saying "If I can't dance then I'd rather be dead." She died of pleurisy, in the bedroom next to the
Japanese Salon of the Hotel Des Indes in The Hague, three weeks short of her 50th birthday.
Victor Dandr wrote the Anna Pavlova died a half hour past midnight on Friday, January 23, 1931 with her
maid Marguerite Letienne, Dr. Zalevsky and himself at her bedside. Her last words were, "Get my 'Swan'
costume ready."
[11]

In accordance with old ballet tradition, on the day she was to have next performed, the show went on as
scheduled, with a single spotlight circling an empty stage where she would have been. Memorial services were
held in the Russian Orthodox Church in London. Anna Pavlova was cremated, and her ashes placed in
a columbarium at Golders Green Crematorium, where her urn was subsequently adorned with her ballet shoes
(which since then have been stolen).
Pavlova's ashes have been a source of much controversy, following attempts by Valentina Zhilenkova and
Moscow mayor Yury Luzhkov, to have them flown to Moscow for interment in theNovodevichy Cemetery.
These attempts were based on claims that it was Pavlova's dying wish that her ashes be returned to Russia
following the fall of Communism. These claims were later found to be false, as there is no evidence to suggest
that this was her wish at all. The only documentary evidence that suggests that such a move would be possible
is in the will of Pavlova's husband, who stipulated that if Russian authorities agreed to such a move and treated
her remains with proper reverence, then the crematorium caretakers should agree to it. Despite this clause, the
will does not contain a formal request or plans for a posthumous journey to Russia.
The most recent attempt to move Pavlova's remains to Russia came in 2001. Golders Green Crematorium had
made arrangements for them to be flown to Russia for interment on 14 March 2001, in a ceremony to be
attended by various Russian dignitaries. This plan was later abandoned after Russian authorities withdrew
permission for the move. It was later revealed that neither Pavlova's family nor the Russian Government had
sanctioned the move and that they had agreed the remains should stay in London.
[12][13]

Legacy[edit]


Commemorative coin, Central Bank of Russia
Pavlova inspired the choreographer Frederick Ashton when as a boy of 13 he saw her dance in the Municipal
Theater in Lima, Peru.
The Pavlova dessert is believed to have been created in honour of the dancer in Wellington during her tour of
New Zealand and Australia in the 1920s. The nationality of its creator has been a source of argument between
the two nations for many years, but formal research indicates New Zealand as the source.
[14]

The Jarabe Tapato, known in English as the 'Mexican Hat Dance', gained popularity outside of Mexico when
Pavlova created a staged version in pointe shoes, for which she was showered with hats by her adoring
Mexican audiences. Afterward, in 1924, the Jarabe Tapato was proclaimed Mexicos national dance.
She once said that the country that would produce the best ballerina in history would be the United States
because of all the different cultures that came together there.
[citation needed]

Anna Pavlova was able to complete 37 turns while on top of a moving elephant while on a tour in China.
In 1980, Igor Carl Faberge licensed a collection of 8-inch Full Lead Crystal Wine Glasses to commemorate the
centenary of Anna's birth. The glasses were crafted in Japan under the supervision of The Franklin Mint. A
frosted image of Anna Pavlova appears in the stem of each glass. Originally each set contained 12 glasses.
Pavlova's life was depicted in the 1983 film Anna Pavlova.
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.
[15][16]

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 duringWorld War II and was lost. In
2006, a replica of the original statue was restored in its place.
[17]

A McDonnell Douglas MD-11 of the Dutch airline KLM, with the registration PH-KCH carries her name. It was
delivered on August 31, 1995
Anna Pavlova appears as a character in the fourth episode of the British series Mr Selfridge, played by real-life
ballerina Natalia Kremen.
Gallery[edit]


Christmas pavlova


Stained glass window entitled "El Jarabe Tapatio"


The Butterfly (Costume Design by Lon Bakst for Anna Pavlova), Museum of Fine Arts, Boston


London, Victoria Palace Theatre, rooftop statue of Anna Pavlova
See also[edit]

Biography portal
List of Russian ballet dancers
Notes[edit]
1. Jump up^
, (.: Oleg Kerensky. Anna Pavlova. N-Y., Dutton Publ.,
1973. ISBN 0-525-17658-6)
2. Jump up^ Fonteyn, Margot, Pavlova, Portrait of a Dancer. Viking, 1984.
3. Jump up^ Blue plaque, Hendon Corporation.
4. Jump up^ "London Jewish Cultural Centre Now Booking". London Jewish Cultural Centre. Retrieved 5
May 2012.
5. Jump up^ "Max Rabinoff Papers". Columbia.edu. Retrieved 5 May 2012.
6. Jump up^ "Anna Pavlova: In Art & Life" (London 1932; reprinted in the USA Arno Pres NYC 1979) author's
forward
7. Jump up^ "Anna Pavlova: In Art & Life" (London 1932; reprinted in the USA Arno Pres NYC 1979) p 248
8. Jump up^ "Anna Pavlova: In Art & Life" (London 1932; reprinted in the USA Arno Pres NYC 1979) pp 251-
259
9. Jump up^ "Anna Pavlova: In Art & Life" (London 1932; reprinted in the USA Arno Pres NYC 1972, 1979)
10. Jump up^ "Anna Pavlova: In Art & Life" (London 1932; reprinted in the USA Arno Pres NYC 1979) p 53, pp
329-349
11. Jump up^ "Anna Pavlova: In Art & Life" (London 1932; reprinted in the USA Arno Pres NYC 1979) p 360
12. Jump up^ "BBC News, Pavlova's ashes stay in London". BBC News. 2001-03-08. Retrieved 2012-01-05.
13. Jump up^ Amelia Gentleman in Moscow (2001-03-07). "Anger as Pavlova's ashes leave London for
Moscow". The Guardian. Retrieved 2012-01-05.
14. Jump up^ Leach, Helen, The Pavlova Story: A Slice of New Zealand's Culinary History, University of Otago
Pr, 30 August 2008, ISBN 978-1-877372-57-5
15. Jump up^ "Ballerinas & Meringues: Pavlova 2012 @ Ivy House", Londonist.com, accessed January 14,
2013.
16. Jump up^ "Ten Dancer Statues Of London", Londonist.com, accessed January 14, 2013.
17. Jump up^ City-of-London.com accessed March 27, 2011
External links[edit]
Other[edit]
Anna Pavlova in Australia 1926, 1929 Tours - programs and ephemera held by the National Library of
Australia
Film of Anna Pavlova
Pictures of Anna Pavlova - digitised and held by the National Library of Australia
Creative Quotations from Anna Pavlova
Andros on Ballet
Heroine Worship: Anna Pavlova, The Swan
Anna Pavlova on Encyclopaedia Britannica
Guide to the Collection on Anna Pavlova. Special Collections and Archives, The UC Irvine Libraries, Irvine,
California.
Anna Pavlova at the Internet Movie Database
Anna Pavlova at Find a Grave

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Pavlova.
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WorldCat
VIAF: 42020434
LCCN: n79033028
ISNI: 0000 0000 8120 9762
GND: 118641557
SUDOC: 032315856
BNF: cb13749631q
NDL: 00550052

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