Loading presentation...

Present Remotely

Send the link below via email or IM

Copy

Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.

DeleteCancel

Make your likes visible on Facebook?

Connect your Facebook account to Prezi and let your likes appear on your timeline.
You can change this under Settings & Account at any time.

No, thanks

Orientalism in the Nutcracker

An in-depth look at the Arabian "coffee" dance in Tchaikovsky's ballet
by

Marie Gustafson

on 27 November 2012

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of Orientalism in the Nutcracker

Orientalism in the
Nutcracker An in-depth look at the Arabian
"coffee" dance in Tchaikovsky's
final ballet Tchaikovsky Arabian "Coffee Dance Tchaikovsky's Inspiration Ivanov's Georgian Lullaby The Nutcracker performed by the Royal Ballet The Nutcracker Fascination with
Western Europe Hesitation and Frustration Russia and the Ottoman
Empire Ptyor I'lich Tchaikovsky "Long-time and Foreign
Enemy" Russian Orientalism First impressions of the Orient

17th - 19th centuries

Observations

Russia as a Western Power Constantly moved around Russia as a young boy

Studied at the conservatory in St. Petersburg

Traveled to Europe after graduation

Spring of 1878 - Lived the nomadic life and
traveled within and outside the borders of Russia

Was never shy to talk about his love of Western Europe

Extensively traveled around the region

Adored French theatre, ballets, and Italian operas

Firmly assimilated musical traditions of Europe

Never mentioned a remote interest in the Other, or exotic culture in general. Writtten by E.T.A. Hoffman, popular Russian author In the original libretto, Petipa request Tchaikovsky to write "24-32" bars of bewitching and cloying music"

Was actually taken from a Georgian lullaby composed by colleague Ippolitov Ivanov




Lived in Georgia area for most of his life

Caucasian Sketches Suite No. 2, Mvt. II (Berceuse) The finals years of his life, Tchaikovsky was receiving more requests for new pieces than ever

"The greatest collaboration of his career."
Vsevolozhsky and Petipa

Sleeping Beauty and Swan Lake were immensely successful

During the process Tchaikovsky wanted to be released from the project
Georgian Folk Songs Georgia Two distinct styles: East and West

East:
dedicated performers/masters called "anugh"
melody
unique and improvisational structure
monodic
ornamentations and embellishments
raised seconds
accompanied by oriental instruments
Song themes
reoccuring theme: the love for a woman - until death
extreme passion and heightened expression of emotion

West:
United with Russia in 1801; culture experienced great changes
European ideas of music began to work its way in the folk songs
European instruments
piano, guitar, and mandoline
Anyone could compose/perform
Similarities Simple melody, with mainly stepwise motion
dance-like rhythms
Tchaikovsky adds more ornamentation at the end of the phrase
exact transposition (well almost) ** Music Excerpts ** Differences Use of unique instrumentals not featured in the rest of the ballet
Tambourine and Oboe


Ostinato bass line
Steady, insistent rhythm


Tonal pattern
E flat major, to g minor, back to E flat major


Costumes and
Choreography
Full transcript