Ouch. Ouch. Ouch. I need an ice pack just thinking about this…
A ballet barre from the 1820s:
“48 pliésfollowed by 128 grand battement, 96 petit battementglissé, 128 ronds de jambes sur terre and 128 en l’air, and ending finally with 128 petit battement sur le cou-de-pied. One inevitable consequence of this extreme training was a sharp rise in injuries.”
Are you dreaming of a white Christmas? Well, that probably depends on where you live…
But, weather aside, who doesn’t love an indoor blizzard in the theater?
The Nutcracker‘s snow scene has been a hit since the ballet’s beginning.
That very first Nutcracker actually got off to a sticky start when it debuted during a St. Petersburg December in 1892. Critics had mixed feelings about many aspects of the production from its large cast of children to the overall structure of the ballet. But the frosty fantasy of the snow scene was warmly recieved.
Choreographer Marius Petipa wrote the following outline for the original Waltz of Snowflakes:
“28 Snow begins to fall. Suddenly a snow-
storm occurs. Light white snowflakes
blow about (60 dancers.) They circle everlastingly to a ¾ valse.
The form snowballs, a snowdrift, but at
a strong gust of wind, the drift breaks up
and becomes a circle of dancers.
The snowflakes fall, larger and larger and
are lit by electric light.
For No. 28 and encircling Valse: during
the ¾ valse a strong gust of wind breaks
the dancers into a circle.”
Petipa, however, was not able to bring the Waltz of the Snowflakes from page to stage. Illness forced him to withdraw from the creation of The Nutcracker soon after rehearsals began. His assistant Lev Ivanov was left with the task of creating the balletic snowstorm. He ended up taking a different approach to the scene. Jennifer Homans explains:
“[…] Ivanov’s extant sketches for this windblown dance open a small window onto his often forgotten talent. Dancers were flung together in complicated formations that then fractured and dissolved into new and equally intricate designs: stars and Russian round dances, zigzags, and a large rotating Orthodox cross with a smaller circle, like a bejeweled ornament, around its center and rotating in the opposite direction. This dance was not like Petipa at all: the symmetries were there, but the formations were more tenuous and airy, less formal and ceremonial. They had an impressionistic urgency and spontaneity that never would have flowed from the French ballet’s master.” (Apollo’s Angels, Jennifer Homans, p. 280)
Impressionism or ceremonial order, Ivanov and Petipa both imagined glorious winter wonderlands for The Nutcracker.
Here’s a clip from a Staatsballett Berlin production that used the original 1892 costume and set designs as inspiration as well as surviving choreographic records. However, this production isn’t a “reconstruction” since those historic choreographic records are patchy and incomplete. Nonetheless, this scene is a little wintry blast from the past that provides a glimpse of what the first Waltz of the Snowflakes might have resembled…
Check out those headdresses! (See the original costumes here.)