In this study I examine representations of antisemitism, fantasy, and cultural imperialism in the 1864 ballet The Little Humpbacked Horse, composed by Cesare Pugni and choreographed by Arthur Saint-Léon. As the creative team adapted the story from verse to ballet, they literally morphed the titular character into new fantastical forms. They also added Jewish, Muslim, and other oriental characters and ended the ballet with a parade of the Russian nations. Drawing on the works of Richard S. Wortman, Julie Kalman, and Roger Bartra, I place these transformations in the context of a larger Russian ambivalence around the shift from a rural and woodland economy to an urban one, the inclusion of Eastern provinces in the rapidly expanding nation, and the emancipation-and inclusion of-internal minorities. I then explain how the music, choreography, and focus of the ballet change as the relevance of these mid-nineteenth century concerns fades.
|Advisor:||Kajikawa, Loren, Smith, Marian|
|Commitee:||Kajikawa, Loren, McLucas, Anne D., Smith, Marian|
|School:||University of Oregon|
|Department:||School of Music and Dance|
|School Location:||United States -- Oregon|
|Source:||MAI 50/01M, Masters Abstracts International|
|Subjects:||Dance, Music, Russian history|
|Keywords:||Alexander II, Emperor of Russia, Humpbacked horse, Konek Gorbunok, Pugni, Cesare, Russia, Saint-Leon, Arthur, Tsar, Tsar Maiden|
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