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Subject: "Le Corsaire - Pas de deux" Archived thread - Read only
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12-01-01, 10:33 PM (GMT)
Click to EMail Catherine Click to send private message to Catherine Click to view user profileClick to add this user to your buddy list  
"Le Corsaire - Pas de deux"
   LAST EDITED ON 12-01-01 AT 10:35 PM (GMT)

When we see Corsaire pdd, three or four variations are currently alternating, could someone tell me what the right one, it's the one we see in the complete ballet, in the pas de trois.
Is it the Queen of Dryads variation (same as Don Quixote)and is it as in Paquita grand pas where Petipa made alternative variations.
Is it the POB variation called "Corsaire, fast variation or variation rapide".
Sometimes I saw also Gamzatti variation.
Could someone tell to me what's the origin of each variation and if someone wants to dance the "True" Corsaire pdd, must he dance complete ballet variation as Assymouratova on the Kirov video or other one.

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  Subject     Author     Message Date     ID  
  RE: Le Corsaire - Pas de deux Terry 13-01-01 1
     RE: Le Corsaire - Pas de deux Guido 13-01-01 2

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13-01-01, 06:59 AM (GMT)
Click to EMail Terry Click to send private message to Terry Click to add this user to your buddy list  
1. "RE: Le Corsaire - Pas de deux"
In response to message #0
   Although I'm not quite sure about the actual history of this pdd, because Le Corsaire is becoming such a, perhaps, a conventional pdd, in the sense that it's been danced by so many ballerinas, students, I think the authenticity of the pdd is being lost...I don't mean this in a bad way. So, many ballerins choose their variation according to their taste and what suits their technical ability rather than the original performed by the Kirov. But I think the original is the one performed by Assylmuratova.

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13-01-01, 04:36 PM (GMT)
Click to EMail Guido Click to send private message to Guido Click to add this user to your buddy list  
2. "RE: Le Corsaire - Pas de deux"
In response to message #1
   I agree with Terry, but it must be remembered that the question relates to the Petipa version for Marynski, and not to the original POB Mazilier version.

(Moreover last century every ballerina attempting a role usually asked the choreographer for a new variation, which became onwards 'her' variation. In other words it existed a 'dancer' right on the variation, instead of a choreographer or music author right. This being one of the causes of the Paquita Grand Pas female variations).

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