By Barbara Allman
Born in St. Petersburg, Russia, in 1881, Anna Pavlova grew up dreaming of turning into a prima ballerina. all through her lifetime, Anna encouraged and inspired humans all over the world together with her particularly swish and expressive dance. Believing that expressing attractiveness is key to the human spirit, Anna strove to assist audiences become aware of the hovering good looks which can uplift their spirits.
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Additional info for Dance of the Swan: A Story About Anna Pavlova
Knopf, 1982. 61 Pavlova, Anna. ” In Anna Pavlova, edited by V. Svetloff. New York: Dover Publications, 1974. ——. ” In Flight of the Swan: A Memory of Anna Pavlova, edited by André Olivéroff, as told to John Gill. New York: E. P. Dutton, 1932. Roslavleva, Natalia. Era of the Russian Ballet. New York: E. P. Dutton, 1966. Smakov, Gennady. The Great Russian Dancers. New York: Alfred A. Knopf, 1984. Société Radio-Canada. Pavlova. Directed by Pierre Morin. 81 min. Sony Video, 1983. Videocassette. html> 62 Index Amarilla, 46, 60 Autumn Leaves, 53, 60 Awakening of Flora, The, 25, 60 ballerina, 21, 32, 58 Ballet Russe, 38, 39 ballet shoes, 15, 26, 38–39 Bayadère, La, 25, 60 Belinskaya, Stanislava, 14, 20 Giselle, 25–28, 60 Imaginary Dryads, The, 21, 60 Imperial Ballet.
Agnes de Mille treasured her f lowers for years. She credited Anna with changing her life. Anna Pavlova was more than a gifted technician and a genius of expression. Never was her sole purpose to gather fame and for tune for herself. She had 58 a self less devotion to the ar t of dance. Her driving ambition was to lead audiences to discover the soaring beauty that could carry their spirits upward. Anna believed that in expressing beauty, humankind advances a step forward. She was the world’s ambassador of the beauty that is dance.
Anna, Michel, and many of their friends eagerly went to see Isadora dance. Though Isadora’s style was quite unlike the well-ordered Russian ballet, Anna liked Isadora’s moder n dancing. She invited Isadora to dinner at her apar tment, along with Victor Dandré and several of her friends from the ballet. They enjoyed an evening of lively conversation about ar t and dance. Change was in the air. It was a time of great interest in political reform in Russia. Political organizers wanted to help poor, working-class people.