x, 91 p. : ill., music / In this study I examine representations of antisemitism, fantasy, and cultural
imperialism in the 1864 ballet The Little Humpbacked Horse, composed by Cesare Pugni
and choreographed by Arthur Saint-Leon. As the creative team adapted the story from
verse to ballet, they literally morphed the titular character into new fantastical forms.
They also added Jewish, Muslim, and other oriental characters and ended the ballet with a
parade of the Russian nations. Drawing on the works of Richard S. Wortman, Julie
Kalman, and Roger Bartra, I place these transformations in the context of a larger
Russian ambivalence around the shift from a rural and woodland economy to an urban
one, the inclusion of Eastern provinces in the rapidly expanding nation, and the
emancipation – and inclusion of – internal minorities. I then explain how the music,
choreography, and focus of the ballet change as the relevance of these mid-nineteenth
century concerns fades. / Committee in charge: Loren Kajikawa, Co-Chairperson;
Marian Smith, Co-Chairperson;
Anne Dhu McLucas, Member
| Identifer | oai:union.ndltd.org:uoregon.edu/oai:scholarsbank.uoregon.edu:1794/11507 |
| Date | 06 1900 |
| Creators | Manela, Aaron Daniel |
| Publisher | University of Oregon |
| Source Sets | University of Oregon |
| Language | en_US |
| Detected Language | English |
| Type | Thesis |
| Relation | University of Oregon theses, School of Music and Dance, M.A., 2011; |
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