Théophile Gautier’s “Orientalist” ballet librettos and novels as Marius Petipa’s silenced sources of inspiration by Tiziana Leucci

“…By working on the genesis of the two ballets having an Indian plot, both composed by Marius Petipa in St. Petersburg, La Bayadère, and The Talisman, I realised how deeply the French maître de ballet drew on some novels and librettos written by Théophile Gautier, though he never mentioned him in his writings. …”
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“Le Réveil de Flore” di Marius Petipa: il debutto e la fortuna by Marco Argentina

“…This article traces the life of Le Réveil de Flore, a ballet by Marius Petipa with music by Riccardo Drigo. Starting with a historical-critical analysis of the first performance – which took place in 1894 in Peterhof, near St. …”
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Un primo esempio di edizione critica coreica: la prima scena del “Réveil de Flore” di Marius Petipa (1894) by Marco Argentina

“…The article presents a first example of a critical choreic edition, precisely of the opening scene of Marius Petipa’s ballet Le Réveil de Flore (1894). Starting from the history of the different performances in which, since the premiere, Riccardo Drigo’s original music has been choreographed over the course of a century, and continuing with the analysis of crucial methodological issues, the essay constitutes a pioneering study of the philology of dance, in which the author proposes a model for the writing of a critical edition of a choreic work from the past, a model that “translates” the choreography of Petipa’s ballet into verbal language, correlating with Drigo’s music. …”
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La forma sonata coreografica ne “Il Regno delle Ombre” de “La Bayadère” di Marius Petipa rivelata negli scritti di Fëdor Lopuchov by Marta Mele

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L’eredità di Marius Petipa, la russificazione e la riforma dello spettacolo teatrale ad opera di Aleksandr Gorskij, Savva Mamontov e Aleksandr Širjaev by Donatella Gavrilovich

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Per un’edizione critica della danza: riflessioni metodologiche e applicative by Elena Randi

“…The article aims at describing how a dance critical edition can be produced and how that of Marius Petipa-Riccardo Drigo’s Harlequinade (St. Petersburg, Mariinskij, 1900) is concretely being devised. …”
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Korespondencja Krzesińskich 1856–1899 by Maria Wosiek

“…The correspondence mentions various figures from the world of dance, such as Jan Popiel, Barbara Jaworska, Julia, Józef, and Matylda Krzesiński, Marius Petipa, and Marianna Majewska. However, it documents not only ballet life, but also the social life of Polish emigres. …”
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A pas de deux for a cathedral and a hunchback: Roland Petit’s ballet Notre-Dame De Paris by Buhrle, IJ

“…The result departed radically from earlier attempts to transpose the work into movement by choreographers who included Jules Perrot and Marius Petipa. Although the love plot (which revolves around a dancer), the wide range of emotions depicted, the stark contrasts, and alternation between crowd scenes and more intimate scenes favour its transposition into a ballet, the novel also presents numerous difficulties, such as the importance of politics, philosophy and architecture. …”

Sukcesy warszawskich tancerzy w Petersburgu w lutym 1851 roku by Janina Pudełek

“…The researchers reconstruct the details of their guest repertoire (including performances with Carlotta Grisi, Jules Perrot, and Marius Petipa) and its reception, as well as its impact on the St. …”
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