Tudor and, Chapter 12.1, 12.2
Semyonova, Marina, Chapter 9.1, 9.2
Serenade, Chapter 9.1, 9.2, 11.1, 12.1, 12.2, 12.3
serfs, Chapter 7.1, 7.2, 7.3
emancipation of, Chapter 7.1
serf theaters, Chapter 7.1
Sergeyev, Konstantin, Chapter 9.1, 9.2, epl.1
Distant Planet, Chapter 9.1
Petipa ballet revisions, Chapter 9.1
Sergeyev, Nikolai, Chapter 8.1, 10.1, 10.2
Sert, José Maria, Chapter 8.1
Sert, Misia, Chapter 8.1, 8.2
Servandoni, Giovanni Niccolô, Chapter 2.1
Seymour, Lynn, Chapter 10.1, 10.2, 10.3, 10.4, 10.5, 10.6
Sgai, Francesco, Chapter 6.1
Shaftesbury, third earl of, Chapter 2.1
Shakespeare, William, Chapter 2.1, 2.2, 9.1, 10.1, epl.1
Romeo and Juliet, Chapter 9.1, 9.2, 10.1, 12.1, 12.2
Shakhovskoi, Prince Alexander, Chapter 7.1
Shaw, George Bernard, Chapter 10.1
Shchukin, Sergei, Chapter 8.1
Shearer, Moira, Chapter 10.1, 10.2
Sheremetev, Nikolai P., Chapter 7.1, 7.2
Shiryaev, Alexander, Chapter 7.1
Shostakovich, Dmitri, Chapter 9.1, 9.2, 9.3, 9.4
Shrewsbury School, Chapter 2.1, 2.2
Sibley, Antoinette, Chapter 9.1, 10.1
Sieyès, Abbé, What Is the Third Estate?, Chapter 3.1
Singer, I. J., Chapter 12.1
Sitwell, Edith, “Façade,” Chapter 10.1
Sitwell, Osbert, Chapter 10.1
Sitwell, Sacheverell, Chapter 10.1
Slavophiles, Chapter 7.1, 7.2, 8.1, 9.1, 9.2
Sleeping Beauty, The, Chapter itr.1, 7.1, 7.2, 7.3, 8.1, 8.2, 9.1, 9.2, 10.1, 12.1
Brianza performance in, Chapter 6.1
contemporary productions of, Chapter epl.1
Diaghilev’s passion for, Chapter 8.1
as first truly Russian ballet, Chapter 7.1
key to enduring appeal of, Chapter 7.1
MacMillan version, Chapter 10.1
Maryinsky/Kirov reconstruction of, Chapter epl.1
as metaphor for classical ballet, Chapter epl.1
Perrault text for, Chapter 1.1
Petipa choreography for, Chapter itr.1, 7.1, 7.2, 7.3, 8.1, 12.1
premiere (1890) of, Chapter 7.1
public response to, Chapter 7.1, 7.2, 7.3
Sadler’s Wells staging of, Chapter 10.1, 10.2, 10.3
significance of, Chapter 7.1
as story ballet, Chapter 2.1
Sleeping Princess, The
de Valois 1939 production of, Chapter 10.1
Diaghilev 1921 production of, Chapter 8.1, 8.2, 10.1, 10.2
Slezkine, Yuri, Chapter 12.1
Smith, Oliver, Chapter 11.1, 12.1
Sobeshchanskaya, Anna, Chapter 7.1, 9.1
socialist realism, Chapter 9.1, 9.2, 9.3, 9.4, 9.5, 9.6, 9.7
revisions of Petipa and, Chapter 9.1
Romeo and Juliet and, Chapter 9.1
Stone Flower and, Chapter 9.1
“thaw” generation and, Chapter 9.1
Vaganova’s technique and, Chapter 9.1
Soloviev, Yuri, Chapter 9.1
Solzhenitsyn, Alexander, Chapter 9.1
Somes, Michael, Chapter 10.1, 10.2
“Song of the Volga Boatmen, The,” Chapter 8.1, 8.2
Sorel, Charles, Chapter 1.1
Sourches, marquis de, Chapter 1.1
Sousa, John Philip, Chapter 12.1
Soviet ballet, Chapter 9.1, epl.1, epl.2
assessment of, Chapter 9.1
Balanchine and, Chapter 8.1, 8.2, 9.1
ballerinas of, Chapter 9.1, 9.2
characteristic technique/style of, Chapter itr.1, itr.2, 8.1, 9.1
dancer defections and, Chapter 9.1, 9.2, 9.3, 9.4, 11.1
dancers’ elite status and, Chapter 9.1, 9.2, 9.3, 9.4
as geographic network, Chapter 9.1
golden age of, Chapter 9.1
“great dancers, terrible ballets” adage and, Chapter 9.1, 9.2
ideological constraints and, Chapter 9.1, 9.2, 9.3, 9.4, 9.5, 9.6, 9.7
Khrushchev thaw and, Chapter 9.1, 9.2
Meyerhold influence on, Chapter 8.1
teachers and, Chapter 9.1
as vital national asset, Chapter 9.1, 9.2
See also Bolshoi; Maryinsky/Kirov
Spain, Chapter 2.1, 4.1, 7.1
Spartacus (Grigorovich), Chapter 9.1, 9.2
Yakobson version, Chapter 9.1, 9.2, 9.3
Spectator, The (journal), Chapter 2.1
Spender, Stephen, Chapter 11.1
Spessivtseva, Olga, Chapter 8.1
Staël, Madame de, Corinne, Chapter 4.1
Stalin, Joseph, Chapter 8.1, 9.1, 9.2, 9.3, 9.4, 9.5
ballet and, Chapter 9.1, 9.2, 9.3, 9.4, 9.5, 9.6, 9.7
death of, Chapter 9.1, 9.2, 9.3
Great Terror and, Chapter 9.1, 9.2, 9.3, 9.4
ideological crackdown and, Chapter 9.1, 9.2
Khrushchev denunciation of, Chapter 9.1
Shostakovich and, Chapter 9.1, 9.2
Stanislavsky and, Chapter 9.1
wartime evacuations and, Chapter 9.1
Stalingrad, battle of, Chapter 9.1
Stanislavsky, Konstantin, Chapter 9.1, 9.2, 11.1, 12.1, 12.2
acting method of, Chapter 9.1, 9.2, 9.3, 9.4, 9.5, 12.1
Ulanova’s dancing and, Chapter 9.1
Starzer, Joseph, Chapter 2.1
Steele, Richard, Chapter 2.1, 2.2, 2.3
Stein, Gertrude, Chapter 8.1, 10.1
Stein, Joe, Chapter 12.1
Stendhal, Chapter 3.1, 4.1, 6.1, 6.2, 6.3
Stockhausen, Karlheinz, Chapter 10.1
Stockholm, Chapter 12.1, 12.2
Stolypin, Alexander, Chapter 7.1
story ballet, Chapter 2.1, 2.2, 4.1
Balanchine’s move from, Chapter 9.1
Noverre and, Chapter 2.1, 12.1, 12.2
serious subjects of, Chapter 2.1
Soviet dance and, Chapter 9.1
Tudor and, Chapter 12.1, 12.2
Strachey, Lytton, Chapter 10.1
Strauss, Johann, Jr., Chapter 12.1
Strauss, Richard, Chapter 12.1
Stravinsky, Igor, Chapter 8.1, 8.2, 9.1, 11.1, 12.1, 12.2, 12.3, 12.4, bm.1, epl.1
Bolshevik Revolution and, Chapter 8.1, 12.1
death of, Chapter 12.1, epl.1
on Fokine, Chapter 8.1
Russian background of, Chapter 12.1
Soviet ban of, Chapter 9.1
works: Agon, Chapter 9.1, 12.1, 12.2
Apollon Musagète, Chapter itr.1, 8.1
The Firebird, Chapter 8.1, 12.1
Les Noces, Chapter 8.1, 8.2, 12.1
Petrouchka, Chapter 8.1
Le Sacre du Printemps, Chapter 8.1, 8.2, 8.3, 8.4, epl.1
The Sleeping Princess, Chapter 8.1
Stravinsky, Vera, Chapter 12.1
Stravinsky Festival (1972), Chapter 12.1
Stride, John, Chapter 10.1
Stuart, Muriel, Chapter itr.1, 11.1
Stuttgart, Chapter 2.1, 6.1
Noverre career in, Chapter 2.1, 2.2, 2.3, 2.4
Stuttgart Ballet, Chapter 10.1
Suez Canal, Chapter 6.1, 7.1
supernatural, Chapter 4.1, 4.2, 4.3, 8.1
Giselle and, Chapter 4.1
Swan Lake, Chapter itr.1, itr.2, 1.1, 8.1, 9.1, 9.2, 9.3, 12.1, 12.2
American versions, Chapter 11.1
Ashton version, Chapter 10.1, epl.1
Bolshoi tours of West and, Chapter 9.1, 9.2
contemporary productions of, Chapter epl.1
earlier Moscow version, Chapter 7.1, 7.2, 7.3, 7.4
English performances of, Chapter 10.1
Firebird ties to, Chapter 8.1
Grigorovich version, Chapter 9.1
Legnani as swan queen, Chapter 6.1
libretto of, Chapter 7.1
MacM
illan version, Chapter 10.1
Petipa-Ivanov choreography, Chapter itr.1, 7.1, 7.2, 10.1, 12.1, 12.2
Plisetskaya’s “revenge” Moscow performance of, Chapter 9.1
significance of, Chapter 7.1
Soviet version, Chapter 9.1, 9.2
as story ballet, Chapter 2.1
story of, Chapter 7.1
Vaganova version of, Chapter 9.1
Vic-Wells staging of, Chapter 10.1, 10.2
Sweden, Chapter 2.1, 2.2, 4.1
ballet in, Chapter 4.1, 5.1, 12.1, 12.2
sylphide, image of, Chapter 4.1, 4.2, 4.3, 4.4, 5.1, 5.2, 8.1
Sylphide, La, Chapter 4.1, 4.2, 11.1
balletic significance of, Chapter 4.1, 4.2
Bournonville version, Chapter itr.1, 4.1, 5.1, 5.2, 5.3, 5.4
French premiere of, Chapter itr.1, 4.1
French version of, Chapter 4.1, 4.2, 5.1
Gautier and, Chapter 4.1
Giselle and, Chapter 4.1, 4.2
Italian ballet and, Chapter 6.1
Nourrit origination of, Chapter 4.1
public response to, Chapter 4.1
Romantic imagery and, Chapter 3.1, 3.2, 4.1, 4.2, 4.3
Russian staging of, Chapter 4.1, 7.1
Vic-Wells staging of, Chapter 10.1
Sylphides, Les, Chapter itr.1, 8.1, 9.1
Symonds, Henry, Chapter 2.1
Taglioni, Carlo, Chapter 4.1
Taglioni, Filippo (father), Chapter 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 5.1, 6.1, 7.1
Taglioni, Marie, Chapter 3.1, 4.1, 4.2, 4.3, 5.1, 5.2, 5.3, 7.1
artistic significance of, Chapter 4.1, 4.2, 4.3
background and training of, Chapter 4.1
“ballet of the nuns” and, Chapter 4.1, 4.2, 4.3, 4.4
Bournonville’s admiration for, Chapter 5.1, 5.2
dance style of, Chapter 4.1, 4.2
Degas’s paintings of, Chapter 4.1, 4.2
feminine refinement of, Chapter 4.1, 4.2, 4.3, 4.4, 4.5, 5.1
illusion of lightness by, Chapter 4.1
image and influence of, Chapter 4.1, 5.1
international tours of, Chapter 4.1, 4.2, 4.3, 6.1, 7.1, 7.2
Italian tepid response to, Chapter 6.1
notebooks of, Chapter 4.1
personal life of, Chapter 4.1
physical limitations/power of, Chapter 4.1, 4.2, 4.3, 4.4, 5.1
public response to, Chapter 4.1, 4.2
retirement of, Chapter 4.1, 4.2
as Romantic image of, Chapter 4.1, 4.2, 5.1
Sylphide role of, Chapter 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.8, 8.1, 9.1
Ulanova compared with, Chapter 9.1
women admirers of, Chapter 4.1, 4.2, 4.3
Taglioni, Paul, Chapter 4.1, 5.1, 11.1
Fantasca, Chapter 5.1
Flick et Flock, Chapter 5.1, 6.1
Taglioni, Salvatore, Chapter 5.1, 6.1
Tairov, Alexander, Chapter 8.1
Talashkino, Chapter 8.1, 8.2, 8.3
Tallchief, Maria, Chapter 12.1, 12.2
Talleyrand, Charles-Maurice de, Chapter 1.1, 3.1
Tallien, Jean-Lambert, Chapter 3.1
Tallien, Madame, Chapter 3.1
Tauride Palace exhibit (1905), Chapter 8.1
Taylor, A. J. P., Chapter 6.1
Taylor, Paul, Chapter itr.1, 11.1
Tchaikovsky, Modest, Chapter 7.1, 7.2, 7.3
Tchaikovsky, Piotr, Chapter 7.1, 7.2, 7.3, 7.4, 8.1, 8.2, 8.3, 9.1, 10.1
Balanchine’s identification with, Chapter 12.1, 12.2, 12.3, 12.4
classical ballet and, Chapter epl.1
death of, Chapter 7.1, 7.2
Diaghilev and, Chapter 8.1
See also Nutcracker; Sleeping Beauty; Swan Lake
Tchaikovsky Festival (1981), Chapter 12.1
Tchelitchew, Pavel, Chapter 11.1, 12.1
Teleshova, Ekaterina, Chapter 7.1
television, Chapter 9.1, 9.2, 11.1, 11.2
Teliakovsky, V. A., Chapter 7.1
Tenisheva, Princess Maria, Chapter 8.1, 8.2, 8.3, 8.4
Terpsichore, Chapter itr.1, 8.1
Tharp, Twyla, Chapter 11.1, 12.1
Push Comes to Shove, Chapter 11.1
Thatcher, Margaret, Chapter 10.1
Théâtre de la Monnaie, Chapter 10.1
Théâtre des Champs-Élysees, Chapter 8.1
Thiele, Just Mathias, Chapter 5.1, 5.2, 5.3
Tikhomirov, Vasily, Chapter 9.1
The Red Poppy, Chapter 9.1, 9.2
Tivoli Gardens, Chapter 5.1
Tocqueville, Alexis de, Chapter 3.1, 11.1
Toller, Ernst, Chapter 10.1
Tolstoy, Lev, Chapter 7.1, 8.1, 8.2, 8.3, 8.4, 12.1
War and Peace, Chapter 7.1
Tonson, Jacob, Chapter 2.1, 2.2, 2.3
Torelli, Giacomo, Chapter 1.1
Toscanini, Arturo, Chapter 10.1, 10.2
Toscanini, Walter, Chapter 10.1
“tractor ballets,” Chapter 9.1
tragédie-ballet, Chapter 1.1
tragédie en musique, Chapter 1.1, 1.2, 1.3
tragédies lyriques, Chapter 2.1, 2.2
tramagnini, Chapter 6.1
Truman, Harry, Chapter 10.1
Tsvetaeva, Marina, Chapter 12.1
Tuch, Hans, Chapter 9.1
Tudor, Antony, Chapter 11.1, 12.1, 12.2, 12.3, epl.1
assessment of, Chapter 12.1, 12.2, 12.3
background and training of, Chapter 12.1
dark psychological themes of, Chapter 12.1, 12.2, 12.3, 12.4, 12.5
false heirs to, Chapter 12.1
influence on American ballet of, Chapter 11.1, 11.2
preservation of works of, Chapter epl.1
Zen Buddhism and, Chapter 12.1, 12.2
works: Dark Elegies, Chapter 12.1, 12.2
Echoes of Trumpets, Chapter 12.1, 12.2
La Gloire, Chapter 12.1
Leaves Are Fading, Chapter 12.1
Lilac Garden, Chapter 12.1, 12.2, 12.3, 12.4, 12.5
Pillar of Fire, Chapter 12.1, 12.2, 12.3, 12.4
Undertow, Chapter 12.1, 12.2
Tumkovsky, Antonina, Chapter itr.1
Turgenev, Ivan, Chapter 7.1, 7.2, 10.1
Turning Point, The (film), Chapter 11.1
turnout machines, Chapter 3.1
Tyard, Pontus de, Chapter 1.1
Tynan, Kenneth, Chapter 10.1
Ulanova, Galina, Chapter 9.1, 9.2, 9.3, 9.4, 9.5, 9.6, 9.7, 9.8
celebrity of, Chapter 4.1, 9.1
Juliet role of, Chapter 9.1, 9.2, 9.3, 9.4, 9.5
Plisetskaya contrasted with, Chapter 9.1
reception in West of, Chapter 9.1, 9.2
retirement of, Chapter 9.1
Umberto, king of Italy, Chapter 6.1
Vaganova, Agrippina, Chapter 7.1, 9.1, 9.2, 9.3, 9.4, 9.5, 10.1, epl.1
Fundamentals of the Classic Dance, Chapter 9.1
training system of, Chapter 9.1, 9.2, 9.3, 9.4, 9.5, 9.6
Valberg, Ivan, Chapter 7.1
Vallière, Louise de la, Chapter 1.1
Varet, Alexandre, Chapter 1.1
Vasiliev, Vladimir, Chapter 9.1, 9.2, 9.3
vaudeville, Chapter 2.1, 5.1
American ballet and, Chapter 11.1, 11.2, 12.1
Russian court and, Chapter 7.1
vaudeville-ballet, Chapter 5.1
vaudeville pantomimes, Chapter 3.1, 3.2
Vaudoyer, Jean-Louis, Chapter 8.1
Vaughan Williams, Ralph, Chapter 10.1
Vazem, Ekaterina, Chapter 7.1, 7.2
Venice, Chapter 1.1, 6.1, 6.2, 6.3, 6.4, 6.5. See also La Fenice
Verdi, Giuseppe, Chapter 6.1, 6.2, 8.1
Aida, Chapter 6.1, 6.2
artistic greatness of, Chapter 6.1, 6.2, 6.3
librettists for, Chapter 6.1
Verdy, Violette, Chapter 12.1
Verne, Jules, Chapter 7.1
Véron, Louis, Chapter 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7
Verri, Alessandro, Chapter 2.1, 2.2
&n
bsp; Versailles, Chapter 1.1, 1.2, 3.1, 7.1, 11.1, 11.2
Benoit’s admiration for, Chapter 8.1, 8.2
ceremonial requirements at, Chapter 1.1
as Peterhof Palace model, Chapter 7.1
Vestris, Auguste, Chapter 3.1, 3.2, 4.1, 4.2, 5.1, 7.1
as Blasis model, Chapter 6.1, 6.2
training program of, Chapter 3.1, 4.1, 4.2, 5.1, 5.2, 5.3, 5.4, 5.5, 6.1
virtuosic dancing and, Chapter 3.1, 3.2, 4.1, 5.1, 5.2, 6.1
Vestris, Gaetan (father), Chapter 2.1, 2.2, 2.3, 3.1, 3.2, 3.3, 3.4, 3.5, 3.6, 6.1
physical stature of, Chapter 1.1
Vic-Wells. See Sadler’s Wells Ballet
video, Chapter epl.1, epl.2
Vienna
Bournonville in, Chapter 5.1
cosmopolitan climate of, Chapter 2.1, 4.1, 4.2, 5.1
Excelsior run in, Chapter 6.1
Italian dancers in, Chapter 6.1, 6.2, 6.3, 6.4
Joseph II cultural reforms and, Chapter 2.1, 2.2
Noverre in, Chapter 2.1, 2.2, 2.3, 4.1, 5.1
waltz and, Chapter 5.1, 12.1, 12.2
Vienna Congress (1815), Chapter 3.1, 6.1, 12.1
Viganò, Onorato (father), Chapter 6.1
Viganò, Salvatore, Chapter 6.1, 6.2, 6.3, 6.4, 6.5, 6.6, epl.1
background and training of, Chapter 6.1
Blasis and, Chapter 6.1, 6.2, 6.3
dance style of, Chapter 6.1, 6.2, 6.3
Milloss rechoreography of, Chapter 10.1
originality of, Chapter 6.1
Prometheus, Chapter 6.1, 10.1
The Titans, Chapter 6.1, 6.2
Vigarani, Carlo, Chapter 1.1, 1.2
Villella, Edward, Chapter 11.1, 12.1, 12.2
Villemessant, Jean Hippolyte Cartier de, Chapter 4.1
Vinogradov, Oleg, Chapter 9.1
Virgil, Chapter 1.1, 2.1
Vishneva, Diana, Chapter epl.1
Vismes du Valgay, Anne-Pierre-Jacques de, Chapter 3.1
Vittorio Emanuele II, king of Italy, Chapter 6.1, 6.2
Vladimirov, Pierre, Chapter 12.1, 12.2
Voisins, Gilbert de, Chapter 4.1
Volkonsky, Prince, Chapter 7.1
Volkov, Nikolai, Chapter 9.1, 9.2
Volkova, Vera, Chapter 9.1, 10.1, 10.2
Voltaire, Chapter 1.1, 2.1, 2.2, 2.3, 2.4, 2.5, 2.6, 2.7, 2.8, 5.1, 6.1
Vsevolozhsky, Ivan, Chapter 7.1, 7.2, 7.3, 7.4, 7.5, 7.6, epl.1
Wagner, Richard, Chapter 6.1, 6.2, 7.1, 8.1, 10.1
Walpole, Horace, Chapter 1.1, 2.1, 6.1
Walpole, Hugh, Chapter 10.1
Walton, William, Façade, Chapter 10.1
waltz, Chapter 3.1, 3.2
Balanchine ballets, Chapter 12.1, 12.2
Nutcracker and, Chapter 7.1
as Romantic emblem, Chapter 4.1, 4.2, 4.3, 4.4
Vienna and, Chapter 5.1, 12.1, 12.2
Warburg, Edward, Chapter 12.1
Warren Commission Report, Chapter 12.1
Watteau, Antoine, Chapter 1.1
Waugh, Evelyn, Vile Bodies, Chapter 10.1
Apollo’s Angels Page 86