Migel, 83.
Moore, 56.
Moore, 55.
Toepfer, 116.
Migel, 88.
Migel, 88.
Chapter 2: Pimps, Poverty, and Prison
Edmund Fairfax, “The ‘Fair Sex’ and Its Style,” in The Styles of Eighteenth-Century Ballet (Lanham, MD: Scarecrow Press, 2003), 238.
Molly Engelhardt, “Marie Taglioni, Ballerina Extraordinaire,” Nineteenth-Century Gender Studies, 6.3 (Winter 2010). www.ncgsjournal.com/issue63/engelhardt.htm.
Laura Leivick, “Through Which She Is Seen: Bodies and Ballet,” in The Threepenny Review 2 (Summer 1980), 30.
Quoted in Huckenpahler, no. 2, 201.
Quoted in Huckenpahler, no. 2, 222.
Susan Griffin, The Book of the Courtesans (New York: Random House, 2001), 166.
David Jordan, Transforming Paris: The Life and Labors of Baron Haussmann (New York: The Free Press, 1995), 257.
Quoted in Jill DeVonyar and Richard Kendall, Degas and the Dance (New York: Harry Abrams, 2002), 66.
Quoted in Mari Kalman Meller, “Exercises in and Around Degas’s Classrooms: Part l,” The Burlington Magazine 130, no. 1020 (Special Issue on Degas, March 1988): 213.
DeVonyar and Kendall, 21–22.
DeVonyar and Kendall, 24.
DeVonyar and Kendall, 35.
Quoted in Huckenpahler, 200.
Huckenpahler, no. 2, 221.
Quoted in Huckenpahler, no. 2, 198–228.
Théophile Gautier, “Le Rat,” in Quand On Voyage (Paris: Michel Lévy Frères, Libraires Éditeurs, 1865), 329. Author’s translation.
Gautier, 331. Author’s translation.
Quoted in Richard Kendall with contributions by Douglas W. Druick and Arthur Beale, Degas and the Little Dancer (New Haven, CT: Yale University Press; Omaha, NB: Joslyn Art Museum): 16.
Quoted in DeVonyar and Kendall, Degas and the Dance, 120.
Quoted in Huckenpahler, no. 2, 211.
Quoted in Huckenpahler, no. 2, 218–19.
The work is called Ces demoiselles d’Opéra par un vieil abonné.
Quoted in Kendall, 19.
DeVonyar and Kendall, 120.
Kendall, 15.
Quoted in Martine Kahane, “Enquête sur la Petite Danseuse de quatorze ans de Degas—Le modèle,” in La Revue du Musée d’Orsay 7 (Autumn 1998), Paris: Reunion des Musées nationaux and Musée d’Orsay. Revision and translation published in Degas Sculptures: Catalogue Raisonné of the Bronzes, edited by Joseph S. Czestochowski and Anne Pingeot (Memphis: The Torch Press and International Arts, 2002): 106.
Quoted in Kendall, 65.
Quoted in Kendall, 17.
Alexandra Carter, “Blonde, Bewigged and Winged with Gold: Ballet Girls in the Music Halls of Late Victorian and Edwardian England,” Dance Research: The Journal of the Society of Dance Research 13, no. 2 (Autumn–Winter 1995), 35.
Huckenpahler, no. 2, 217.
Huckenpahler, no. 2, 211.
Quoted in Engelhardt.
At the time of the unveiling, she was fifteen; Degas had originally planned to show the sculpture a year earlier, at the Fifth Impressionist Exhibition, held in the spring of 1880, but had failed to complete it on time.
Kahane, 103.
Ibid.
Ibid.
Ibid.
Kendall, 15.
Quoted in Kendall, 21.
Quoted in Zoë Blackler and Ben Hoyle, “Little Dancer Points to Sensational Discovery of Degas Sculpture Hoard,” The Times, November 28, 2009, T1.
Quoted in Kendall, 21.
Kendall, 21.
Quoted in Jill DeVonyar and Richard Kendall, “The Class of 1881: Degas, Drawing, and the Little Dancer Aged Fourteen,” Master Drawings 41, no.2 (Summer 2003): 151.
Blackler and Hoyle, T1.
De Vonyar and Kendall, “The Class of 1881,” 160.
Kendall, 10.
Quoted in Paul Trachtman, “Degas and His Dancers,” Smithsonian (April 2003): 91.
DeVonyar and Kendall, Degas and the Dance, 119.
Kendall, 16.
Kahane, 105.
Ibid.
DeVonyar and Kendall, “The Class of 1881,” 154.
DeVonyar and Kendall, “The Class of 1881,” 159.
Lillian Browse, Degas Dancers (London: Faber and Faber, 1949), 62.
Quoted in Kendall, 15.
Quoted in Kahane, 106.
Kahane, 106.
Ibid.
Carol Pardo, “La Petite Danseuse de Degas,” DanceView 20, no. 4 (Autumn 2003): 34.
Chapter 3: Bonfire Ballerina
Maurice Quatrelles L’Épine, “Une Danseuse française au xixe siècle, Emma Livry,” Bulletin de la Societé de l’histoire du théâtre, revue trimestrielle (November–January 1908–1909): 10. All translations from the French in this chapter by Cameron Tolton.
Lillian Moore, “The Tragedy of Emma Livry,” Dance Magazine (June 1952), 38–39.
Quoted in Parmenia Migel, The Ballerinas (New York: Macmillan, 1972), 233.
Ivor Guest, The Ballet of the Second Empire: 1858–1870, (London: Adam and Charles Black, 1953), 2.
Nathalie Yokel, “Légendaire Emma Livry,” Danser 195 (January 2001): 22.
Quatrelles L’Épine, 14.
Chassiron also built a large collection of Japanese and Chinese artifacts which are displayed today at the Orbigny-Bernon Museum in La Rochelle.
Friedrich Engels, “Introduction,” in On the Twentieth Anniversary of the Paris Commune in Karl Marx, The Civil War in France (1891). www.marxists.org/archive/marx/works/1871/civil-war-france/postscript.htm.
Quoted in Gilson MacCormack, “Emma Livry,” The Dancing Times (September 1928): 613.
Yokel, 23.
Quatrelles L’Épine, 22.
Quatrelles L’Épine, 20.
Lillian Moore, “Emma Livry,” Artists of the Dance (New York: Thomas Y. Crowell, 1932), 156.
Sarah C. Woodstock, “Archives of the Dance: Later Dance Holdings of the Theatre Museum,” Journal of the Society for Dance Research 8, no. 1 (Spring 1990): 62–77.
Ivor Guest, “Emma Livry 1842–1863,” Dance Gazette, 174 (June 1980): 52.
Quatrelles L’Épine, 30.
Quatrelles L’Épine, 34.
Quatrelles L’Épine, 30.
Quoted in Quatrelles L’Épine, 32.
Quatrelles L’Épine, 32.
Quatrelles L’Épine, 32.
Quatrelles L’Épine, 42.
Victoria Huckenpahler, “Confessions of an Opera Director: Chapters from the Mémoires of Dr. Louis Véron, Part II,” Dance Chronicle, 7, no. 1 (1984): 78.
Huckenpahler, no. 1, 80.
Fanny Johnstone, “Women: Dressed to Kill,” The Guardian, October 20, 2006, 18.
Mary Grace Swift, “Dancers in Flames,” Dance Chronicle 5, no. 1 (1982): 1.
Ivor Guest, The Ballet of the Second Empire, 30.
Quoted in Judith Hatcher, “Trials, Troubles and Temptations in a Dangerous Era—Ballet Dancers in the nineteenth Century—Abstract,” Dance Magazine (January 1999). http://findarticles.com/p/articles/mi_m1083/is_1_73/ai_53501128/. December 12, 2011.
Quoted in Quatrelles L’Épine, 27.
Quatrelles L’Épine, 27.
MacCormack, 615.
“Ces Demoiselles de l’Opéra,” in Bulletin, 28. The nineteenth century was filled with examples of artists dying before their time, not only on the stage as Clara Webster had done but as a result of consumption, which claimed the lives of Polish composer Frédéric Chopin and the English poet John Keats, Roman
tic artists both. An entire school of art grew up around consumption as a metaphor for the artistic life, with victims of the disease said to have been consumed from within, by a surfeit of passion and poetic feeling. Molded in the Romantic tradition, Emma would have been aware of the metaphors surrounding death at that time. Death by fire to her was perhaps only death by consumption of a different sort.
Joel Fish, an internationally recognized burn specialist who treats pediatric burn victims at Toronto’s Hospital for Sick Children, says that while lemon juice might today seem a primitive, if not barbaric, form of treatment, those caring for Emma knew what they were doing: “The most common bacteria associated with burn wounds is pseudomonas,” Dr. Fish says. “It’s got a specific smell, very sweet, and one of the treatments is an acidic-based application, so the citrus juice probably neutralized the odor and helped infection from setting in.” The lemon juice may also have helped Emma live as long as she did after the accident, despite sustaining burns to 20 to 40 percent of her body. Those burns, Dr. Fish surmises after analyzing the evidence, were also deeper than the original doctors suspected: “A flame has the same temperature today as it had in the Romantic era, and flesh is still flesh no matter what year it is. She was badly burned, and had she been much younger or older, she might not have survived. But she was young and strong enough to allow the wounds to heal secondarily, this is, on their own.”
Paul d’Ambert, Le Nain jaune (August 1, 1863).
D’Ambert, Le Nain jaune.
The people had loved Emma as much as those at court; they were incensed that the Paris Opéra kept its doors open on the night of her funeral and wrote letters to newspapers holding the institution accountable for her death.
Le Moniteur universel (August 3, 1863).
Quatrelles L’Épine, 43.
Quatrelles L’Épine, 39.
Chapter 4: Striving and Starving for Attention
Jennifer Homans, Apollo’s Angels, A History of Ballet (New York: Random House, 2010), 247.
Homans, 254.
Alexander Pushkin, Eugene Onegin, trans. Vladimir Nabokov, revised edition (Princeton: Princeton University Press, 1975), 103.
Lynn Garafola, Legacies of Twentieth-Century Dance (Middletown, CT: Wesleyan University Press, 2005), 26.
Mindy Aloff, Dance Anecdotes: Stories from the Worlds of Ballet, Broadway, the Ballroom, and Modern Dance (New York: Oxford University Press, 2006), 118.
Jeffrey Taylor, “The Dancer, the Tsar, and the Boy Who Believed He Was the Romonov’s Lost Heir,” Express on Sunday, July 30, 2006, 58–59.
Quoted in Aloff, 206.
See Judith Mackrell, Bloomsbury Ballerina: Lydia Lopokova, Imperial Dancer and Mrs. John Maynard Keynes (London: Orion Publishing, 2009).
Quoted in Jennifer Homans, Apollo’s Angels: A History of Ballet (New York: Random House, 2010), 320–21.
Quoted in Laura Leivick, “Through Which She Is Seen: Bodies and Ballet,” in The Threepenny Review 2 (Summer 1980), 30.
Keith Money, Anna Pavlova: Her Life and Art (New York: Alfred A. Knopf, 1982).
“Anna Pavlova Dies at Height of Fame,” New York Times, January 23, 1931. www.nytimes.com/specials/magazine4/articles/pavlova1.html.
Quoted in Walter Sorrell, “The Diaghilev Era,” in The Dance Anthology, ed. Cobbett Steinberg (New York: New American Library, 1980), 396.
Quoted in Anna Kisselgoff, “Inseparable from a Swan,” review of Keith Money, Anna Pavlova: Her Life and Her Art, New York Times, January 2, 1983.
David Michael Levin, “Balanchine’s Formalism,” in Salmagundi, 33/34 (Spring–Summer 1976): 216.
Marilyn Hunt, “The Prodigal Son’s Russian Roots: Avant-Garde and Icons,” in Dance Chronicle 5, no. 1 (1982): 27.
Adrienne L. McLean, Dying Swans and Madmen: Ballet, the Body, and Narrative Cinema. (New Brunswick, NJ: Rutgers University Press, 2008), 230.
Hunt, 41.
Hunt, 28.
Quoted in Marvin Mudrick, “The King and His Queens,” Hudson Review 38, no. 3 (Autumn 1985): 524.
Quoted in John Gruen, The Private World of Ballet (New York: Viking Press, 1975), 96–97.
Interview with the author, February 24, 2012.
Toni Bentley, Winter Season: A Dancer’s Journal (New York: Random House, 1982), 34.
Quoted in Gruen, 284.
Barbara Millberg Fisher, In Balanchine’s Company: A Dancer’s Memoir. (Middletown, CT: Wesleyan University Press, 2006), 26.
Quoted in Suzanne Gordon, Off Balance: The Real World of Ballet (New York: McGraw-Hill Book Company, 1983), 209.
Quoted in McLean, 230.
Suki Schorer and Russell Lee, Suki Schorer on Balanchine Technique (New York: Alfred A. Knopf, 1999), 28.
Quoted in Levin, 224.
Camille Hardy, “Bringing Bourrées to Broadway: George Balanchine’s Career in the Commercial Theater,” World Literature Today 80, no. 2 (March–April, 2006): 16–18.
Quoted in Gruen, 62.
Jessica R. Feldman, “Fifth Position,” in Callaloo 17, no. 2 (Spring 1994): 571.
Susan Young, “From Ballet to Boxing, The Evolution of a Female Athlete.” in My Life at the Gym, ed. Jo Malin (Albany: SUNY Press, 2010): 45.
McLean, 230.
Gruen, 65.
Bentley, 16.
Gelsey Kirkland, with Greg Lawrence, Dancing on My Grave (New York: Doubleday Books, 1986), 55–56.
Linda H. Hamilton, J. Brooks-Gunn, Michelle Warren, “Sociocultural Influences on Eating Disorders in Professional Ballet Dancers,” International Journal of Eating Disorders 4, no. 4, (1985): 466.
Hamilton, et. al., 467.
C. Martin and F. Bellisle, “Eating Attitudes and Taste Responses in Young Ballerinas,” Physiology & Behaviour 46, no. 2, (1988): 223.
Hamilton et. al., 466.
Daniel le Grange, Jason Tibbs, Timothy D. Noakes, “Implications of a Diagnosis of Anorexia Nervosa in a Ballet School,” International Journal of Eating Disorders 15, no. 4 (1994): 370.
Hamilton et. al., 465.
Le Grange, et. al. 370.
T. Tölgyes and J. Nemessury, “Epidemiological Studies on Adverse Dieting Behaviours and Eating Disorders Among Young People in Hungary,” Social Psychiatry and Psychiatric Epidemiology 39 (2004): 647.
Quoted in Gordon, 154–55.
Wendy Oliver, “Reading the Ballerina’s Body: Susan Bordo Sheds Light on Anastasia Volochkova and Heidi Guenther,” Dance Research Journal 37, no. 2 (Women’s Health in Dance, Winter, 2005): 46–7.
Fleur Darkin, “The Everyday Dancer by Deborah Bull—review, The Observer, October 9, 2011. www.guardian.co.uk/stage/2011/oct/09/everyday-dancer-deborah-bull-review.
Quoted in Alistair Smith, “Seven Days On Stage: Dance World Puts Spotlight on Anorexia,” Guardian, May 4, 2012, http://www.guardian.co.uk/stage/2012/may/04/seven-days-stage-dance-anorexia-ballet.
Quoted in Matthew Lawrence, “The Complicated Truth About Eating Disorders in Ballet,” Dancing Times, March 5, 2012, http://www.dancing-times.co.uk/features/item/830-thecomplicatedtrutheatingdisordersinballet.
Interview with author, November, 11, 2011.
http://ballerina-thin.tumblr.com/.
http://preppypinkballerina.blogspot.ca/.
Quoted in Oliver, 39.
Oliver, 49.
In an interview with Dance Magazine, Holmes said that two and a half years before Guenther’s death, “when she first came to the company, she was a little chubby, and the artistic staff sat with her and asked her to lose five pounds.” The next season, Guenther had the shape they wanted, but she continued to grow thin and Holmes asked the company’s nutritionists to monitor her. She died while visiting her family in California. Susan Walker, “Ballet Sh
ows Its Muscles” Toronto Star, November 22, 1997, 1.
Lisa Lipman, “Boston Ballet Case Dismissed,” Associated Press, March 12, 2001.
Quoted in Gordon, 127.
Quoted in Ann Daly, “The Balanchine Woman: Of Humming-birds and Channel Swimmers,” Drama Review: TDR, 31, no. 1 (Spring 1987): 16.
Quoted in Gordon, 183.
Quoted in Gordon, 208.
Quoted in Gordon, 209.
Chapter 5: Laboring Under an Illusion
Quoted in Suzanne Gordon, Off Balance: The Real World of Ballet (New York: McGraw-Hill Book Company, 1983), 185.
Gordon, 189.
Barbara Rowes, “Baryshnikov Picks a New Partner with Classic Grace, Cynthia Harvey,” People, January 12, 1981.
Aimee Lee Ball, “Swan’s Way, ABT’s Susan Jaffe in her Championship Season,” New York, June 5, 1989, 40–44.
Kate Regan, “This Ballerina Is No Fragile Swan,” San Francisco Chronicle, November 10, 1985, 35.
Deirdre Kelly, “Gregory Finds Don Quixote Hurts So Good,” Globe and Mail, November 6, 1985, C9.
Deirdre Kelly, “Ballerina Sees Silver Lining in Exit,” Globe and Mail, December 18, 1995, C1.
Marcia B. Siegel, “Growing Old in the Land of the Young,” Hudson Review 29, no. 2 (Summer 1976): 250.
Occupational Outlook Handbook (OOH), 2010–11, “Dancers and Choreographers,” www.bls.gov/oco/ocos094.htm#earnings (accessed March 9, 2012).
Interview with the author, September 16, 2011.
“Dancer Job Description.” http://careers.stateuniversity.com/pages/105/Dancer.html#ixzz1oe8pblj2 (accessed March 12, 2012).
Deirdre Kelly, “Body Politics,” Saturday Night, February 1992.
Deirdre Kelly, “New Director Sees Changes Afoot for Ballet B.C.,” Globe and Mail, November 29, 1989, C13.
Deirdre Kelly, “National Ballet Report Card: Dancers Superb, Choreography Uneven,” Globe and Mail, November 27, 1998, C8; Gary Smith, “Rex Harrington a True Ballet Star,” Hamilton Spectator, November 27, 1998, C8.
Deirdre Kelly, “Glasco Considers Legal Action After Dismissal from National Ballet,” Globe and Mail, December 19, 1998, C2.
Ballerina Page 20
