Stravinsky: Petrushka, Scene I - The Shrovetide Fair

Continuing the study of Petrouchka (Petrushka)

Tutu of the Week (uhmm-sorta) Petrouchka

Here is one of our favorite builds- Petrouchka



Based on the original sketch by Alexander Benois, and a Ballet Russe costume located the National Museum of Australia, our sad little clown  wears the classic costume made of patchwork satin pants in red and green (pink and yellow version also available), ruffled neck shirt with ribbon trim and pink scalloped cuffs, striped belt and necktie, and tasseled hat.  Longing for his beautiful Ballerina Doll, (who is seduced by the exoticism of the Moor), and abused by the Charlatan, this classic tale of a love triangle and revenge unfolds  at a Russian Fair.Available exclusively for sale or rent at xvmonarose.com.

Tutu of the Week: Ballerina Doll from Petrouchka

This is one of our most popular pieces to build or rent out to ballet companies. Based upon the original sketch by Alexander Benois, it consists of an orange velvet bodice and hat trimmed with gold, a rose satin skirt with blue ribbon, and striped pantelettes with ribbon trim. Available exclusively at xvmonarose.com.

   PETROUCHKA

Story by Igor Stravinsky and Alexandre Benois
Choreography by Michel Fokine
Staged by Gary Chryst
Music by Igor Stravinsky
Scenery and costumes by Alexandre Benois
Lighting by Natasha Katz
Timing: 38:00





Scene One: Admiralty Square, St. Petersburg, in 1830, during the mid-winter Butter Week Fair – the Russian equivalent of Mardi Gras –an excess of celebration in anticipation of the stringent fasting of the Orthodox Lent. Suddenly, two drummers appear from the mysterious curtained booth at the back and clear an area in front of the booth. An old Charlatan then emerges from the booth. He bows to the crowd and, magically producing a little lute from his sleeve, plays a strange melody, then strides to the curtained booth. As he raises his hand, the curtains fly back to reveal the dolls: the Moor, the Ballerina and Petrouchka. At a sign from the Charlatan, the dolls commence a quick, jerky dance and soon dance out of their compartments into the snowy Square. The crowd is delighted and applauds enthusiastically. Then, as suddenly as they began their dance, the three dolls collapse to the ground.

Scene Two: The compartment where the Charlatan keeps Petrouchka – a black box dominated by a portrait of the Charlatan. Humiliated by the Charlatan’s cruel treatment and yearning to express the love he feels for the Ballerina, Petrouchka tries in vain to find some escape from his black cell. He forlornly plucks at the tatters of his motley costume. The Ballerina then enters, but Petrouchka’s declarations of love repel and frighten her and she leaves abruptly. Overwhelmed by despair and enraged by the portrait of the Charlatan from whose presence and power he has no escape, Petrouchka tears savagely at the walls of his cell. He breaks through the wall and collapses in despair.

Scene Three: The Moor’s cell, brightly decorated and comfortably furnished. The Moor is lying lazily on a divan, playing with a coconut. He becomes convinced he hears something inside the coconut, and when he is unable to break it open with the scimitar, he prostrates himself in front of this now sacred object. He is interrupted in his devotions by the entrance of the Ballerina who dances with a tiny trumpet to attract his attention. Soon he abandons his fetish to dance with her and finally pulls her into his lap. At this moment Petrouchka bursts into the room. The lovers spring apart and the Ballerina retreats into a corner, the Moor pursues the horrified Petrouchka, seizes him, and ejects him with a brutal kick. Triumphant, the Moor returns again to embrace the Ballerina.

Scene Four: Meanwhile, in the Square, the crowd pursues its restless quest for pleasure. It is dusk now, the sky is heavy with snow, and constant movement is the best way to ward off the cold. First the Nursemaids dance; later, as snow begins to fall, the Coachmen begin a vigorous dance. Everyone eventually joins in, and then a group of masked revelers burst upon the scene. The sky grows darker, the frenzied revels increase, snow thickens. Suddenly, a great commotion is heard from the Charlatan’s booth. Out bursts Petrouchka, pursued by the Moor and the horrified Ballerina. The Moor strikes Petrouchka with his scimitar, then flees with the Ballerina as the crowd presses close. Trembling, Petrouchka tries to rise, then falls back limp and inert. A policeman rushes off and returns with the Charlatan who calmly shows the crowd that the “corpse” is merely a doll, just sawdust and rags. The crowd, relieved, departs and the Charlatan walks slowly towards his booth, dragging the broken doll behind him. Suddenly, above the booth, Petrouchka appears. As the Charlatan looks up, Petrouchka gestures in defiance. The Charlatan drops the doll and flees in terror.


Petrouchka was given its World Premiere by Diaghilev’s Ballets Russes at the Théâtre du Chatelet on June 13, 1911, danced by Tamara Karsavina (Ballerina), Vaslav Nijinsky (Petrouchka), Alexandre Orlov (Moor) and Enrico Cecchetti (Charlatan). Petrouchka received its United States premiere by the same company at the Century Theatre, New York on January 25, 1916, danced by Leonid Massine (Petrouchka), Lydia Lopoukhova (Ballerina) and Adolph Bolm (Moor).