Ballet in Russia 1

Subject is not scheduled Not scheduled

Code Completion Credits Range Language Instruction Semester
107BVR1 Z 2 2T Czech winter

Subject guarantor

Name of lecturer(s)

Learning outcomes of the course unit

This course is arranged among hisotry designed lecture whose aim is a detailed knoweldge of particular developmental phases of European dance arts. The course supplements knowledge acquired in historical survey lectures.

Mode of study


Prerequisites and co-requisites

Completion of an overview of history lectures in Survey of the History of Dance and Ballet and Survey of the History of Ballet in the Czech Republic.

Course contents

In the first semester the presentation covers the formation of theatre dance in the Russian environment. Its particular features, main representatives and period from the beginning to the middle of the 19th century. in the first phase, this covers the response of the Western-European form of aristocratic dnace and special ballet de cour around 1600 (Orpheus, 1673) in the ranks of the Russian aristocracy particularly the Czar's court. The following period traces the rise of the influence of Italian opera and Commedie dell' arte and notes the connection of dance theatre culture through the nomadic Italian society in the course of the 18th century. An important milestone is the founding of the Czar Ballet School and its development in the course of the 18th and 19th centuries as the most developed dance education institution in Europe. Attention is given to individual performers and choreographers, both domestic and foreign. The activity of important European artists in Russia, such as Franz Hilferding, Gasparo Angiolini, Charles Le Picq is covered in particular. At the beginning of the 19th century Russian ballet is represented by Ivana Valberg, Avdotji Istominova, Adam Glushkovsky and Charles Louise Didelot. A particularly important era is represented by Russian Ballet Romantism influenced by the the guest and long-term activity of the most important European representatives of these currents such as Filippo Taglioni and his daughter Maria, Jules Perrot, Fanny Elssler, Carlotta Grisi and Arthur Saint-Leon. In this period the local dance community also significantly developed.

Recommended or required reading

Eljaš, Nikolaj: Puškin i baletnyj těatr, Moskva 1970.

Gluškovskij, Adam: Vospominanija baletmejstěra, Leningrad 1940.

Krasovskaja, Věra: Russkij baletnyj těatr: ot vozniknověnija do serediny XIX. věka, Leningrad 1958.

Roslavleva, Natalija: Era of the Russian Ballet, 1770-1965, New York 1979.

Slonimskij, Jurij: Mastěra russkogo baleta, Leningrad 1937.

Valberg, Ivan: Iz archiva baletmejstěra, Moskva 1948.

Brodská, Božena: Balet v Rusku, Praha 1984.

Assessment methods and criteria

Credit is awarded based on:

Lecture participation



Further information

No schedule has been prepared for this course

The subject is a part of the following study plans