ART AND SCULPTURE PATTERNS IN CREATING STAGE IMAGES BY ANNA PAVLOVA

: this article is a comprehensive analysis of the development of Anna Pavlova’s creative art in a manner that enables the translation of her physical stage roles into the production of models and sculptures. The author considers the formation and evolution of her creative style: individual performer’s artistic style, choreography manner, and type or Direction in Russian ballet schools, reflecting the system of thought of the nineteenth and twentieth centuries. Pavlova’s stage roles, not previously reflected in the literature, have been analyzed, and a comprehensive scientific assessment and systematic review of choreographic images have been given concerning figurative interpretation of the main character of the performance, wherein she acted as the artist-dancer-creator


Introduction
Synthesizing approach and analytical work on the materials were the most distinguished milestones amongst significant methodological achievements of choreographers' and ballet dancers' creative works of the late 19 th to early 20 th centuries.
On the one hand, mutual artistic enrichment of choreographer, performer, artist and musician takes place; on the other hand, there is an individual approach to scriptwriting and directing. In this respect, the fascinating and creative talent of famous ballerina Anna Pavlova (1881 is of special interest. Her works amid Russian choreographic culture are of particular significance.
Dance-plastic arts issues involving not only Pavlova, but other ballet dancers and choreographers as well, have not been subject to comprehensive arts analysis yet. Along with a number of art research works on dance, its theory and history, multidisciplinary approach to the phenomenon of its multi-faceted creativity has not been sufficiently developed.
The most valuable background on this issue is provided by publications on lives and works of the great ballerinas (ALDZHERANOV, 2006;ARKINA, 1981;FONTEYN, 1984b;HYDEN, 1932;KRANSS, 1931;KRASOVSKAJA, 1964;MONEY, 1982;SVETLOV, 1922), however, any mention of Pavlova's role in the field of sculpture arts has been referred to simply as a hobby and has not been associated neither with individual artistic interpretations of her roles, nor with implementation of artistic image and ballet drama.
There are some popular articles in periodicals on the art of sculptors and artists who sought to capture Pavlova's image, but these, however, are not related directly to graphic and sculptural experiments by ballerina herself (Exposition des sculptures de M. Boris Fradman-Cluse, 1910;KERENSKY, 1973). First-time detailed analysis has been undertaken in this article.
Data, significant to the study of Pavlova's art was reviewed in 1990s Sotheby's catalogues and materials related to the ballerina's world tour (illustrated concert program of A.P. Pavlova, 1920; illustrated program of Russian ballet performances by S.P. Dyagilev, 1914Dyagilev, -1917 The main difficulty faced in the study is a lack of chance to see the majority of A.
Pavlova's dancing images, that she sought for and implemented in sculpture -not only on stage, but shooting on a film as well.
Therefore, the only material available for the study of plastic qualities of her ballet roles were numerous photographs, artists' drawings, depicting the stop frames of her dance, depicted in a number of albums, books, catalogues (BEE; PAVLOVA, 1913;FONTEYN, 1984a;MAGRIEL, 1977;MALVERN, 1942;NEISHTADT, 1950).
Hence, there's plenty of literature, revealing trends of ballet theatre evolution, A.
Pavlova's creative works and certain individual interpretations of her parts. However, this literature doesn't consider peculiarities of her choreographic thinking on the basis of interaction between plastic arts, from ballet logic of staging a dance to imaginative patterns and choreographic drama of her roles. The latter are shown as a part of artistic transcription in the context of relative phenomena.
Therefore, topicality of the study in question is based on the necessity of scientific and art analysis of unknown aspects in acting and performing, choreographic and staging talents of the brilliant ballerina. Additionally, rethinking and reassessment of her works significance within the framework of rich cultural and spiritual experience of the late 19 th -early 20 th century is required.
The purpose of this paper is to identify A. Pavlova's art works, study their graphic and plastic structure, understand their semantics and subsequent use in ballet practice, as well as comprehend their integrated artistic effect in the historical and cultural background at the turn of the centuries (SMIRNOVA; KOZINA, 2011).

Research objectives of article:
• to introduce earlier unexplored pictorial and documentary material relating to A. Pavlova's works for careful scientific analysis; • to identify main stages in creating works of art; • to carry out artistic and stylistic analysis of little-known and unknown sculptural and graphic works created by the dancer; • to carry out analysis of Anna Pavlova's working methods, given the dynamics of dance language and modes of visual material representation; • to justify interrelation and mutual influence of artistic and stage images.

Materials and methods, techniques
One of the most indicative and important trends in contemporary ballet history study is the expansion of the time frames of interpreted material. The principles of classification and typology in the field of fine art works of A. Pavlova have identified and applied in the article. The principles of the article are built on a fundamentally new concept of theatre science, overcoming the traditional attachment to the objective, primarily historical knowledge.
On the basis of detailed analysis of the interactive processes related to the creative arts of the prominent ballerina, a new direction of integrated ballet research and its gradual transformation from the subject of pure ballet to interdisciplinary synthesis.
Comparison of visual materials belonging to A. Pavlova with some surviving and rare video recordings of her dances and original photographs of her roles allow us to evaluate the objectivity of historicism and to integrate them in a wider cultural context.
Methods applied to achieve these goals are stylistic and comparative methods, observation method, and that of description of the structural and compositional elements in graphic and stage imaging.
The subject of our study has also been transformation method used by A. Pavlova herself, by which is meant a set of techniques and operations, converting a work of arts into a qualitatively new and relatively independent artistic whole. Transformation method is associated with transformation of art works and involves changes to the original, resulting in a new capacity, simultaneously maintaining similarities with its original image.
Transformation method is not limited to transcriptions only, but it penetrates into the adjacent areas, manifesting itself in performance editions. This fact proves the need for comprehensive approach to the phenomenon of artistic and sculpture patterns of creating stage images in Pavlova's performance.

Sculpture models in choreography:
Along with other ballet dancers and ballet-masters in the late 19 th and early 20 th centuries, A. Pavlova turns to fine arts, since it has certain advantages over the art of choreography in the ability to capture a motion pattern in a most clear and convincing form.The ballerina applies these advantages to gain a more in-depth, visual overview of her stage roles and thoughts on them. Draft work on the image as a rehearsal process was equally important for her, as well as the outcome of her creative work in the form of individual performance or a play as a whole. In her works she tries to convey elusive nuances, vibrant details, which are extremely important in the art of ballet dancers and, finally, can be perceived only by themselves.
Her drawings and sculptures certainly don't lack small errors detracting from artistic excellence, since a work of art is evaluated primarily in accordance with the laws of that particular art.
In her works, in most cases, we can observe the need for analytical understanding of choreographic intents, i.e. vocational training does leave its imprint here. A. Pavlova refers mainly to sculptures, anticipating her endless possibilities in modeling ballet plastics. Choreography, which is the basis of movement is always related to the dimensional orientation of volume. It is only art of sculpture that allows to create the impression of three-dimensional, although stationary, pattern of a dance. Sculpture is dimensional in the same way as the spectacle of a ballet performance. Regarding this side of the ballerina's activities, W. Dandre (1933), her husband and impresario, said: Anna Pavlova's special affection was always for sculpture. When in Paris, she would visit Rodin museum and all the exhibitions. Constant investigation of body movements and lines provided her with exquisite understanding of sculpture and critical responsiveness to its creators. Klyuzel was the first sculptor she had met many years ago (p. 56).
Another example is the friendship relations between A. Pavlova and Russian sculptor G. Lavrov, who pictured Pavlova in many of his sculptural works. They worked together in a studio, with Pavlova prompting Mr. Lavrov some nuances of correct ballet movements and postures, and simultaneously, she learned from him tricks of plastic art by observing his work. This helped the ballerina later, when she began to sculpture herself. The famous ballet historian V. Krasovskaya in her book about A. Pavlova mentioned casually: The stream of her creative thoughts did not stop even during the brief breaks in the course of her journeys. Traces of them are preserved in dancing figurines made by the ballerina. Refuting scientific laws of aesthetics, establishing expression standards for different art forms, she conveyed in her sculptures flight of the dance and music of the soul caught in a pose of academic arabesque (KRASOVSKAJA, 1964, p. 65).
The ballerina was looking for the most expressive sense of ballet poses and shapes, while reflecting on her roles in terms of dimensional plastics. Her sculpted figurines in foreign museums include: "A. Pavlova -a dragonfly", "A. Pavlova -a butterfly", "A. Pavlova -arabesque", "A. Pavlova -The Dying Swan", "A. Pavlova -Gavotte". All of them retain the beautiful moments of dance for us. There are three sculpted figurines to consider carefully and compare to each other: "A. Pavlova -a dragonfly", "A. Pavlovaa butterfly", "A. Pavlova -arabesque" (porcelain). All three works embody variants of the same theme -the academic arabesque poses, which is one of the primary classical dance movements, with dancer standing on one leg, retracting another leg back, pulling the knee.       In this sense, V. Krasovskaya was fundamentally right claiming the following: Pavlova's arabesque music sounded differently: fast and reserved, with an effort of will and timid thought. There one could hear the sound of the fired arrow, the rustle of a dragonfly wing, and of fallen leaves (DANDRE, 1933).
The ballerina loved to convey the life of nature in her dance: the flutter of butterflies, leaves whirling, wind blowing, flower getting to blossom, etc., because she felt herself an integral, organic part of the whole. Her sculptures "A. Pavlova -a dragonfly", "A. Pavlova -a butterfly", "A. Pavlova -arabesque" are not just representations of one and the same ballet poses, but its interpretation through different images, dance motifs.   This immediately raises the question as to whether the reviewers who wrote them are competent in the synthesis of plastic arts, studied A. Pavlova's creativity from this perspective.
2. The actor's personality and birth of theatrical roles: The question of auto portrait art arises, as to whether the dancer wanted to reflect her own image in her works. Referring again to the memories of the above- 3. Anatomy of the "Dying Swan": "A. Pavlova -The Dying Swan" (bronze) is one of the famous sculptures by A.
Pavlova, contrastingly different from others not only in its spatial and compositional arrangement, but also in its imaginative solutions. The dancer focuses not on the beauty of the swan costume, but implements the essence of the image, the movement formula, which is deep and expressive.
Unlike other sculptors who captured A. Pavlova in this part, she uses her professional talents to solve the task of the flying swan: how it will look while on the ground, how the bird turns its linear position into curved, ceasing to move, changing of body axis, whether arm bend is necessary or not, like on the wing ends.
While investigating the animal world through the biomechanics of human movement in sculpture, A. Pavlova was seeking for rational pose structure required for her stage image. She was not looking for mere flexibility and conveying spiritual life of the character. Flexible body was as an attribute which constituted an integral part of a human as a bird, and she considers her image in the 'Dying swan' as a completely selfcontained, closed system.    Swan' sculpture wanted to examine the scheme of the bird's movements, at the expense of some spiritual state. The focus was made on dance anatomy, degree of joint mobility, muscles' functioning.
A. Pavlova was very self critical considering her works in artistic terms, she deemed them to be not up to the level, and was unwilling to create sculptures in porcelain.
She created her sculptures not for the exhibition but for herself, as they inspired her and helped her in dance performance. German sculptor, professor Mederer said: "... her statues are so good, as they are made by intuition, they should not be corrected as that would deprive them of their charm" (DANDRE, 1933, p. 112).
Originally, the statues were made by A. Pavlova in soft materials -clay and plasticine, though later in porcelain. 'A. Pavlova -a dragonfly' in addition to the porcelain version, later in 1956, received a bronze remake to commemorate the 25 th anniversary of the ballerina's death, and was erected as a symbol of classical dance in the London's Covent Garden foyer. Her figurines were shown many times at the exhibitions abroad, and particularly, at 1956 Paris Exposition, dedicated to the ballerina's ballet art (Exposition Anna Pavlova, 1956).

Graphic images:
In addition to sculptures, Anna Pavlova was engaged in graphics. A well-known drawing of one of her poetic images was reproduced on the cover of the book by V.
Although the dancer felt that she was better in sculpture, we can definitely say that she had a wonderful talent for graphics as well. By just a few dashes and lines, A. Pavlova accurately and expressively displayed her image, having almost self-documented features of her performing arts. A. Pavlova appears like a thin blade of grass, obedient to any subtle musical touch. The image of A. Pavlova seems to be spinning and floating across the piece of paper without any effort, without any tension, as if on a cloud.
The air is definitely in love with her, her every gesture, it straightens and emphasizes her, folding her dress with a breath of breeze, raising and lowering the tiny body of the ballerina, with her wing-hands, which remind the expressive beauty of Duse's hands (BESKIN, 1914, p. 6).
This was said about A. Pavlova by one of the theatre critics in his article ' Tales  If we address to the question of whether her work is a self-portrait, we can state that whilst the drawings closely resemble her real self, just as it was the case with her sculptures, we cannot speak of their identity, because A. Pavlova is primarily attracted not by ballet psychology and self-investigation, but by the investigation of the dance image and dance movement. Her works evade some specific portrait fact and acquire a kind of philosophical, sometimes symbolic meaning, and represent the source of her poetic gift.

Sketches of ballet costumes:
Another line of Pavlova's works in visual arts is her superb creation of costume sketches. A good example is the surviving "North Wind" costume, designed for "Autumn Leaf" to Chopin's music, her own stage production (coll. abroad), with decorations by K.
Korovin. It was first presented by A. Pavlova and her company in 1918 (Rio de Janeiro).
Despite being the only known sketch, we can say that the dancer had undoubted gift as a designer. All the features of Pavlova's sketchy choreographic style were embodied in it.
The dancer herself said the following on this part of her activities: There is a strong connection between the designer, the dancer and the costume. It often happens that the designer's imagination creates some magnificent work of costume art, which blankly and needlessly kills the dance itself with its demands, pursuing exclusively pictorial goals and neglecting the practical needs. Here, as in all other spheres of art industry, the purpose and design of the material should be dominating. Most beautiful costumes that I entrusted the designers with and their admirable sketches proved unsuitable, when I had to dance in them. Often, I changed them a lot in the rehearsal process, draped them differently and altered them completely (PAVLOVА, 1917, p. 13).
As to the "North Wind" costume, it was structurally and stylistically well- as well as to highlight the factors of interaction between one language system (visual) and another (expressive).
Practical value of the conclusions made in this article is that presented material on the great artistic works by A. Pavlova can be used in a variety of special educational courses on ballet theory and history, in directing activities, dance stylistics, as well as in dance descriptions, which will promote imaginative perception of the general performance pattern within modern ballet frameworks.

Conclusions
A. Pavlova's works related to the choreographic theme have been cited and studied, a list of seven works has been compiled. They present an example of chamber sculpture art and embrace a variety of genres within limited number of products. Therein, the ballerina is mainly the author of staging concepts for her own choreographic text, except the "The Dying Swan" part by M. Fokin (1961). Graphic and plastic characteristics of the created images gain particular importance in this context, as well as striving for individualism of expressive means in accordance with their uniqueness, subordinating sculpture principles and techniques to the tasks of stage performance, recognizing central role of dance variations and introducing it into a sculpture format of small sculptures and drawings.
Previously unpublished documentary materials have been introduced and studied; their artistic and stylistic analysis has been carried out. Study of rare literary sources and art objects entails the conclusion that A. Pavlova's creative process turns her fine arts experience into original phenomenon in the arts culture of the 19 th -20 th centuries, while preserving its cognitive, theoretical and practical significance. Blend of plastic arts is the secret of attraction behind most of her works and the examined ones in particular. They show artistic transition from one embodiment (static and fixed) of graphic dance variation to another (dynamic and passing) scenic image, or vice versa.
While sculptural works by A. Pavlova reflected rational thinking, her graphics clearly demonstrated personal identity of her emotional world, eluding outer control, and was marked with great poetic effect. In general and in most cases, visual images of the ballerina imply art and sculpture patterns in creating dance roles, being an important component of stage thinking.
Nowadays, A. Pavlova's works of art scattered around the world, following the tour of 'Russian Ballet' and later of her own troupe, contribute to understanding her creative ideas and provide the insight into the spectator's inner world, revealing a preset model of the viewer's perception, as well as to gain high level of information contained in them, in both the choice of thematic material and its bright implementation.
The main objective of this study, based on the formation of a holistic, systematic approach to researching and understanding visual and choreographic art of A. Pavlova as a single process of creating artistic and sculptural model of classical choreography images, has been achieved and enabled the author to make the following conclusions: • The turn of the 19 th -20 th centuries as a new era in the history of art was characterized by radical renewal of expressive means and facilitated transition from a single system of choreographic language to the multiplicity of language systems.
• Expansion of relations between types of artistic and sculpture art of different periods and trends occurs, manifesting itself in A. Pavlova's works as well.
• Tools of sculpture synthesis prove to be universal and are applicable to various expressions of dance imagery.
• The bases of this synthesis are laid in two aspects -structural and communicative interaction, and they move in the first case from sculpture form to the content, in the second case -from content to the form, showing coherent visual concept of acting role.