Penjelasan Font Vladimir Script

7/22/2019 Penjelasan Font Vladimir Script

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Vladimir Script adalah font sikat-gaya, mirip dengan jenis huruf yang ditemukan pada tanda-tanda tua

department store yang dilukis dengan tangan selama tahun 1950. Surat-surat memiliki kemiringan yang

curam, dan huruf besar dan jumlahnya lebih informal. Banyak stroke huruf 'berakhir di terminal

melingkar, beberapa dengan jumlah dinamis kontras.

Vladimir Script paling baik digunakan dalam ukuran titik yang lebih besar, di mana rincian halus yangbisa menari di halaman. Tipografi tampak luar biasa pada tanda-tanda dan kartu.

Link video

Anna Pavlova -The Dying SwanAnna Pavlova performs ballet solos, 1920's - Film 7224Anna Pavlova - 'Invitation to the Dance' aka 'Invitation to the Valse'

Anna Pavlovna (Matveyevna) Pavlova was born on January 31, 1881 in Ligovo to unwed parents. Her mother,

Lyubov Feodorovna was a laundress. Some sources, including The Saint Petersburg Gazette, state that her

biological father was theJewishRussian bankerLazar Polyakov.[1]

Her mother's second husband, Matvey

Pavlov, is believed to have adopted her at the age of three, by which she acquired his last name.

Pavlova's passion for the art ofballetwas ignited when her mother took her to a performance ofMarius

Petipa's original production ofThe Sleeping Beautyat theImperial Maryinsky Theater.The lavish spectacle

made an impression on Pavlova. At the age of nine, her mother took her to audition for the renownedImperial

Ballet School.Because of her youth, and what was considered her "sickly" appearance, she was not chosen. In

1891, she was finally accepted at the age of 10. She appeared for the f irst time on stage inMarius Petipa'sUn

conte de fes(A Fairy Tale), which the ballet master staged for the students of the school.

Young Pavlova's years of training were difficult.Classical balletdid not come easily to her. Her severely arched

feet, thin ankles, and long limbs clashed with the small and compact body in favour for the ballerina at the time.

Her fellow students taunted her with such nicknames as The broomand La petite sauvage(The little savage).

Undeterred, Pavlova trained to improve her technique. She would practise and practise after learning a step.

She took extra lessons from the noted teachers of the day Christian Johansson,Pavel Gerdt,Nikolai

Legatand fromEnrico Cecchetti,considered the greatest ballet virtuoso of the time and founder of

theCecchetti method,a very influential ballet technique used to this day. In 1898, she entered the classe de

perfectionofEkaterina Vazem,former Prima ballerinaof the Saint Petersburg Imperial Theatres.

During her final year at the Imperial Ballet School, she performed many roles with the principal company. She

graduated in 1899 at age 18, chosen to enter the Imperial Ballet a rank ahead ofcorps de balletas a coryphe.

She made her official dbut at the Mariinsky Theatre in Pavel Gerdt's Les Dryades prtendues(The False
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Dryads). Her performance drew praise from the critics, particularly the great critic and historian Nikolai

Bezobrazov.

Students of the Imperial Ballet School in Marius Petipa'sUn conte de fes.A ten year-old Anna Pavlova participated in this

work in her first ever ballet performance. She is photographed here on the left holding the birdcage. St. Petersburg, 1891.

Photographic postcard of Anna Pavlova as the Princess Aspicia in the Petipa/PugniThe Pharaoh's Daughter,Saint

Petersburg, c. 1910
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Anna Pavlova in the Fokine/Saint-SansThe Dying Swan,Saint Petersburg, 1905

Career[edit]

At the height of Petipa's strict academicism, the public was taken aback by Pavlova's style, a combination of a

gift that paid little heed to academic rules: she frequently performed with bent knees, bad turnout,

misplacedport de brasand incorrectly placed tours. Such a style in many ways harked back to the time of

theromantic balletand the great ballerinas of old.

Pavlova performed in variousclassical variations,pas de deuxandpas de troisin such ballets asLa

Camargo,Le Roi Candaule,MarcobombaandThe Sleeping Beauty.Her enthusiasm often led her astray: once

during a performance as the River Thames in Petipa'sThe Pharaoh's Daughterher energetic doublepique

turnsled her to lose her balance, and she ended up falling into theprompter's box.Her weak ankles led to

difficulty while performing as the fairy Candide in Petipa's The Sleeping Beauty, leading the ballerina to revise

the fairy's jumpsen pointe, much to the surprise of the Ballet Master. She tried desperately to imitate the

renownedPierina Legnani,Prima ballerina assolutaof the Imperial Theaters. Once during class she attempted

Legnani's famousfouetts,causing her teacher Pavel Gerdt to fly into a rage. He told her,

"... leave acrobatics to others. It is positively more than I can bear to see the pressure such steps put on your

delicate muscles and the severe arch of your foot. I beg you to never again try to imitate those who are

physically stronger than you. You must realize that your daintiness and fragility are your greatest assets. You

should always do the kind of dancing which brings out your own rare qualities instead of trying to win praise by

mere acrobatic tricks."

Pavlova rose through the ranks quickly, becoming a favorite of the old maestro Petipa. It was from Petipa

himself that Pavlova learned the title role inPaquita,Princess Aspicia in The Pharaoh's Daughter, Queen Nisia
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in Le Roi Candaule, and Giselle. She was named danseusein 1902,premire danseusein 1905, and

finallyprima ballerinain 1906 after a resounding performance inGiselle.Petipa revised manygrand pasfor

her, as well as many supplemental variations. She was much celebrated by the fanatical balletomanes of

Tsarist Saint Petersburg, her legions of fans calling themselves the Pavlovatzi.

When the ballerinaMathilde Kschessinskawas pregnant in 1901, she coached Pavlova in the role of Nikya

inLa Bayadre.Kschessinska, not wanting to be upstaged, was certain Pavlova would fail in the role, as she

was considered technically inferior because of her small ankles and lithe legs. Instead audiences became

enchanted with Pavlova and her frail, ethereal look, which fitted the role perfectly, particularly in the scene The

Kingdom of the Shades.

Her feet were extremely rigid, so she strengthened herpointe shoeby adding a piece of hard wood on the

soles for support and curving the box of the shoe. At the time, many considered this "cheating", for a ballerina

of the era was taught that she, not her shoes, must hold her weight en pointe. In Pavlova's case this was

extremely difficult, as the shape of her feet required her to balance her weight on her little toes. Her solution

became, over time, the precursor of the modern pointe shoe, as pointe work became less painful and easier for

curved feet. According toMargot Fonteyn's biography, Pavlova did not like the way her invention looked in

photographs, so she would remove it or have the photographs altered so that it appeared she was using a

normal pointe shoe.[2]

Pavlova is perhaps most renowned for creating the role ofThe Dying Swan,a solo choreographed for her

byMichel Fokine.The ballet, created in 1905, is danced toLe cygnefromThe Carnival of the

AnimalsbyCamille Saint-Sans.Pavlova also choreographed several solos herself, one of which is The

Dragonfly, a short ballet set to music by Fritz Kreisler. While performing the role, Pavlova wore a gossamer

gown with large dragonfly wings fixed to the back.

In the first years of theBallets Russes,Pavlova worked briefly forSergei Diaghilev.Originally she was to dance

the lead inMikhail Fokine'sThe Firebird,but refused the part, as she could not come to terms withIgor

Stravinsky's avant-garde score, and the role was given toTamara Karsavina.All her life Pavlova preferred the

melodious "musique dansante"of the old maestros such asCesare PugniandLudwig Minkus,and cared little

for anything else which strayed from the salon-style ballet music of the 19th century.

By the early 20th century she had founded her own company and performed throughout the world, with a

repertory consisting primarily of abridgements of Petipa's works, and specially choreographed pieces for

herself. Members of her company includedKathleen Crofton.The ballet writer Cyril Johnson said

that"herbourreswere like a string of pearls".

Pavlova had a rivalry withTamara Karsavina.According to the filmA Portrait of Giselle,Karsavina recalls a

'wardrobe malfunction'. During one performance her shoulder straps fell and she accidentally exposed herself,

and Pavlova reduced an embarrassed Karsavina to tears.
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England[edit]

After leaving Russia, Pavlova moved toLondon,England, settling, in 1912, at the Ivy House on North End

Road,Golders Green,north ofHampstead Heath,where she lived for the rest of her life. The house had an

ornamental lake where she fed her pet swans, and where now stands a statue of her by the Scots

sculptorGeorge Henry Paulin.The house was featured in the filmAnna Pavlova.It is now theLondon Jewish

Cultural Centre,but ablue plaquemarks it as a site of significant historical interest being Pavlova's

home.[3][4]While in London, Pavlova was influential in the development of British ballet, most notably inspiring

the career ofAlicia Markova.The Gate pub, located on the border ofArkleyandTotteridge(London Borough of

Barnet), has a story, framed on its walls, describing a visit by Pavlova and her dance company.

Pavlova was introduced to audiences in theUnited StatesbyMax Rabinoffduring his time as managing

director of the Boston Grand Opera Company from 1914 to 1917 and was featured there with her Russian

Ballet Company during that period.[5]

Personal life[edit]

Victor Dandr, her manager and companion, asserted he was her husband in his biography of the dancer in

1932:Anna Pavlova: In Art & Life[6]

Victor Dandr wrote of Pavlova's many charity dance performances and charitable efforts to support Russian

orphans in post-World War IParis

...who were in danger of finding themselves literally in the street. They were already suffering terrible privations

and it seemed as though there would soon be no means whatever to carry on their education.

[7]

Fifteen girls were adopted into a home Pavlova purchased near Paris at Saint-Cloud, overseen by the

Comtesse de Guerne and supported by her performances and funds solicited by Pavlova, including many small

donations from members of theCamp FireGirls of America who made her an honorary member.[8]

During her life she had many pets including a Siamese cat, various dogs, Cadilan birds and swans.[9]

Dandr

indicated she was a lifelong lover of animals and this is evidenced by photographic portraits she sat for which

often included an animal she loved. A formal studio portrait was made of her with Jack, her favorite swan.[10]
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Death[edit]

Anna Pavlova arriving inThe Haguein 1927

Urn with Anna Pavlova's ashes

While touring inThe Hague,Pavlova was told that she hadpneumoniaand required an operation. She was

also told that she would never be able to dance again if she went ahead with it. She refused to have the

surgery, saying "If I can't dance then I'd rather be dead." She died ofpleurisy,in the bedroom next to the

Japanese Salon of the Hotel Des Indesin The Hague, three weeks short of her 50th birthday.

Victor Dandr wrote the Anna Pavlova died a half hour past midnight on Friday, January 23, 1931 with her

maid Marguerite Letienne, Dr. Zalevsky and himself at her bedside. Her last words were, "Get my 'Swan'

costume ready."[11]

In accordance with old ballet tradition, on the day she was to have next performed, the show went on as

scheduled, with a single spotlight circling an empty stage where she would have been. Memorial services were

held in theRussian Orthodox Churchin London. Anna Pavlova was cremated, and her ashes placed in

acolumbariumatGolders Green Crematorium,where her urn was subsequently adorned with her ballet shoes

(which since then have been stolen).
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Pavlova's ashes have been a source of much controversy, following attempts by Valentina Zhilenkova and

Moscow mayorYury Luzhkov,to have them flown to Moscow for interment in theNovodevichy Cemetery.

These attempts were based on claims that it was Pavlova's dying wish that her ashes be returned to Russia

following the fall of Communism. These claims were later found to be false, as there is no evidence to suggest

that this was her wish at all. The only documentary evidence that suggests that such a move would be possible

is in the will of Pavlova's husband, who stipulated that if Russian authorities agreed to such a move and treated

her remains with proper reverence, then the crematorium caretakers should agree to it. Despite this clause, the

will does not contain a formal request or plans for a posthumous journey to Russia.

The most recent attempt to move Pavlova's remains to Russia came in 2001. Golders Green Crematorium had

made arrangements for them to be flown to Russia for interment on 14 March 2001, in a ceremony to be

attended by various Russian dignitaries. This plan was later abandoned after Russian authorities withdrew

permission for the move. It was later revealed that neither Pavlova's family nor the Russian Government had

sanctioned the move and that they had agreed the remains should stay in London.[12][13]

Legacy[edit]

Commemorative coin,Central Bank of Russia

Pavlova inspired the choreographerFrederick Ashtonwhen as a boy of 13 he saw her dance in the Municipal

Theater inLima,Peru.

ThePavlova dessertis believed to have been created in honour of the dancer in Wellington during her tour of

New Zealand and Australia in the 1920s. The nationality of its creator has been a source of argument between

the two nations for many years, but formal research indicates New Zealand as the source.[14]

TheJarabe Tapato,known in English as the 'Mexican Hat Dance', gained popularity outside ofMexicowhen

Pavlova created a staged version inpointe shoes,for which she was showered with hats by her adoring

Mexican audiences. Afterward, in 1924, the Jarabe Tapato was proclaimed Mexicos national dance.
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She once said that the country that would produce the best ballerina in history would be the United States

because of all the different cultures that came together there.[citation needed]

Anna Pavlova was able to complete 37 turns while on top of a moving elephant while on a tour in China.

In 1980, Igor Carl Faberge licensed a collection of 8-inch Full Lead Crystal Wine Glasses to commemorate the

centenary of Anna's birth. The glasses were crafted in Japan under the supervision ofThe Franklin Mint.A

frosted image of Anna Pavlova appears in the stem of each glass. Originally each set contained 12 glasses.

Pavlova's life was depicted in the 1983 filmAnna Pavlova.

There are at least five memorials to Pavlova in London, England: a contemporary sculpture by Tom Merrifield

of Pavlova as the Dragonfly in the grounds of Ivy House, a sculpture by ScotGeorge Henry Paulinin the

middle of the Ivy House pond, a blue plaque on the front of Ivy House, a statuette sitting with the urn that holds

her ashes in Golders Green Crematorium, and the gilded statue atop the Victoria Palace Theatre.[15][16]

When theVictoria Palace Theatrein London, England, opened in 1911, a gilded statue of Pavlova had been

installed above the cupola of the theatre. This was taken down for its safety duringWorld War IIand was lost. In

2006, a replica of the original statue was restored in its place.[17]

AMcDonnell Douglas MD-11of the Dutch airlineKLM,with the registration PH-KCH carries her name. It was

delivered on August 31, 1995

Anna Pavlova appears as a character in the fourth episode of the British seriesMr Selfridge,played by real-life

ballerina Natalia Kremen.

Gallery[edit]

Christmas pavlova
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Stained glass window entitled "El Jarabe Tapatio"

The Butterfly(Costume Design byLon Bakstfor Anna Pavlova),Museum of Fine Arts, Boston
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London,Victoria Palace Theatre,rooftop statue of Anna Pavlova

See also[edit]

Biography portal

List of Russian ballet dancers

Notes[edit]

1. Jump up^

, (.: Oleg Kerensky. Anna Pavlova. N-Y., Dutton Publ.,

1973.ISBN 0-525-17658-6)

2. Jump up^Fonteyn, Margot,Pavlova, Portrait of a Dancer. Viking, 1984.

3. Jump up^Blue plaque, Hendon Corporation.

4. Jump up^"London Jewish Cultural CentreNow Booking".London Jewish Cultural Centre.Retrieved 5

May 2012.

5. Jump up^"Max Rabinoff Papers".Columbia.edu. Retrieved 5 May 2012.

6. Jump up^"Anna Pavlova: In Art & Life" (London 1932; reprinted in the USA Arno Pres NYC 1979) author's

forward

7. Jump up^"Anna Pavlova: In Art & Life" (London 1932; reprinted in the USA Arno Pres NYC 1979) p 248
http://en.wikipedia.org/wiki/Victoria_Palace_Theatrehttp://en.wikipedia.org/wiki/Victoria_Palace_Theatrehttp://en.wikipedia.org/wiki/Victoria_Palace_Theatrehttp://en.wikipedia.org/w/index.php?title=Anna_Pavlova&action=edit&section=8http://en.wikipedia.org/w/index.php?title=Anna_Pavlova&action=edit&section=8http://en.wikipedia.org/w/index.php?title=Anna_Pavlova&action=edit&section=8http://en.wikipedia.org/wiki/Portal:Biographyhttp://en.wikipedia.org/wiki/Portal:Biographyhttp://en.wikipedia.org/wiki/List_of_Russian_ballet_dancershttp://en.wikipedia.org/wiki/List_of_Russian_ballet_dancershttp://en.wikipedia.org/w/index.php?title=Anna_Pavlova&action=edit&section=9http://en.wikipedia.org/w/index.php?title=Anna_Pavlova&action=edit&section=9http://en.wikipedia.org/w/index.php?title=Anna_Pavlova&action=edit&section=9http://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-1http://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-1http://en.wikipedia.org/wiki/Special:BookSources/0525176586http://en.wikipedia.org/wiki/Special:BookSources/0525176586http://en.wikipedia.org/wiki/Special:BookSources/0525176586http://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-2http://en.wikipedia.org/wiki/Margot_Fonteynhttp://en.wikipedia.org/wiki/Margot_Fonteynhttp://en.wikipedia.org/wiki/Margot_Fonteynhttp://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-3http://farm4.static.flickr.com/3448/3861001065_d9417660b3.jpghttp://farm4.static.flickr.com/3448/3861001065_d9417660b3.jpghttp://farm4.static.flickr.com/3448/3861001065_d9417660b3.jpghttp://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-4http://www.ljcc.org.uk/http://www.ljcc.org.uk/http://www.ljcc.org.uk/http://www.ljcc.org.uk/http://www.ljcc.org.uk/http://en.wikipedia.org/wiki/London_Jewish_Cultural_Centrehttp://en.wikipedia.org/wiki/London_Jewish_Cultural_Centrehttp://en.wikipedia.org/wiki/London_Jewish_Cultural_Centrehttp://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-5http://www.columbia.edu/cu/lweb/eresources/archives/rbml/Rabinoff/http://www.columbia.edu/cu/lweb/eresources/archives/rbml/Rabinoff/http://www.columbia.edu/cu/lweb/eresources/archives/rbml/Rabinoff/http://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-6http://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-6http://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-7http://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-7http://en.wikipedia.org/wiki/File:P_vip.svghttp://en.wikipedia.org/wiki/File:Victoria_Palace_Theatre_London_2011_4.jpghttp://en.wikipedia.org/wiki/File:Victoria_Palace_Theatre_London_2011_4.jpghttp://en.wikipedia.org/wiki/File:P_vip.svghttp://en.wikipedia.org/wiki/File:Victoria_Palace_Theatre_London_2011_4.jpghttp://en.wikipedia.org/wiki/File:Victoria_Palace_Theatre_London_2011_4.jpghttp://en.wikipedia.org/wiki/File:P_vip.svghttp://en.wikipedia.org/wiki/File:Victoria_Palace_Theatre_London_2011_4.jpghttp://en.wikipedia.org/wiki/File:Victoria_Palace_Theatre_London_2011_4.jpghttp://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-7http://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-6http://www.columbia.edu/cu/lweb/eresources/archives/rbml/Rabinoff/http://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-5http://en.wikipedia.org/wiki/London_Jewish_Cultural_Centrehttp://www.ljcc.org.uk/http://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-4http://farm4.static.flickr.com/3448/3861001065_d9417660b3.jpghttp://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-3http://en.wikipedia.org/wiki/Margot_Fonteynhttp://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-2http://en.wikipedia.org/wiki/Special:BookSources/0525176586http://en.wikipedia.org/wiki/Anna_Pavlova#cite_ref-1http://en.wikipedia.org/w/index.php?title=Anna_Pavlova&action=edit&section=9http://en.wikipedia.org/wiki/List_of_Russian_ballet_dancershttp://en.wikipedia.org/wiki/Portal:Biographyhttp://en.wikipedia.org/w/index.php?title=Anna_Pavlova&action=edit&section=8http://en.wikipedia.org/wiki/Victoria_Palace_Theatre


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8. Jump up^"Anna Pavlova: In Art & Life" (London 1932; reprinted in the USA Arno Pres NYC 1979) pp 251-

259

9. Jump up^"Anna Pavlova: In Art & Life" (London 1932; reprinted in the USA Arno Pres NYC 1972, 1979)

10. Jump up^"Anna Pavlova: In Art & Life" (London 1932; reprinted in the USA Arno Pres NYC 1979) p 53, pp

329-349

11. Jump up^"Anna Pavlova: In Art & Life" (London 1932; reprinted in the USA Arno Pres NYC 1979) p 360

12. Jump up^"BBC News, Pavlova's ashes stay in London".BBC News. 2001-03-08. Retrieved 2012-01-05.

13. Jump up^Amelia Gentleman in Moscow (2001-03-07)."Anger as Pavlova's ashes leave London for

Moscow".The Guardian. Retrieved 2012-01-05.

14. Jump up^Leach, Helen, The Pavlova Story: A Slice of New Zealand's Culinary History, University of Otago

Pr, 30 August 2008,ISBN 978-1-877372-57-5

15. Jump up^"Ballerinas & Meringues: Pavlova 2012 @ Ivy House",Londonist.com,accessed January 14,

2013.

16. Jump up^"Ten Dancer Statues Of London",Londonist.com, accessed January 14, 2013.

17. Jump up^City-of-London.comaccessed March 27, 2011

External links[edit]

Other[edit]

Anna Pavlova in Australia1926, 1929 Tours- programs and ephemera held by theNational Library of

Australia

Film of Anna Pavlova

Pictures of Anna Pavlova- digitised and held by theNational Library of Australia

Creative Quotations from Anna Pavlova

Andros on Ballet

Heroine Worship: Anna Pavlova, The Swan

Anna Pavlova on Encyclopaedia Britannica

Guide to the Collection on Anna Pavlova.Special Collections and Archives, The UC Irvine Libraries, Irvine,

California.

Anna Pavlovaat theInternet Movie Database

Anna PavlovaatFind a Grave

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ISNI:0000 0000 8120 9762

GND: 118641557

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