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NYC. Eartha Kitt & James Dean, early 1950s. Dean studied dance with Kitt in New York City. Eartha said:
“[James Dean] said to me, ‘I want to move like you, can you teach me how to move my body like you do on stage?’ And I told him where to meet me, here in New York and that’s where we met for dance classes. And that’s where Jamie and I always met downstairs from that studio to have coffee, to have our little tete-a-tete conversations.”
… Shot in 1925, the film registers the physical distance between Pavlova and contemporary ballerinas – she doesn’t stretch her feet or turn out her legs to the degree that is expected today. If you compare her with Uliana Lopatkina dancing the same solo now, it’s fascinating to see how much more dramatic, even melodramatic, Pavlova’s phrasing looks; how broken and crumpled the lines of her body as the Swan falters; how frantic the fluttering speed of her arms. Alongside the immaculately composed Lopatkina she looks almost like a silent screen heroine.
Yet Pavlova also looks peculiarly modern. She was mocked at school for the extreme slenderness of her limbs, and for her pale face and dark eyes – the antithesis of the tough, plumply pretty ballerinas who ruled the Mariinsky in the early 20th century. Yet by the 1930s, Pavlova’s rarified physique had set the template for ballerina beauty. …
(via MoveTube: Anna Pavlova, forever the Dying Swan | Stage | guardian.co.uk)
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