|
|
|
A brief history of the fairy tale by Jane Pritchard
The story of Cinderella is told in numerous versions worldwide allegedly being first written down in China in 850 AD and first printed in 1634 AD in Italy. As with most fairy tales versions can be disturbingly macabre or romantically escapist. Most frequently Cinderella-stories involve a heroine whose mother has died and been replaced by a cruel successor. With supernatural assistance the girl acquires the finery in which she attracts the hero who only recognises her again when her foot fits the slipper she had discarded.
The narrative has been used for many theatrical stagings, opera and pantomimes as well as ballets. It secured its place in the international repertory as a full-evening ballet once Serge Prokofiev had composed his memorable score (1940-44). In creating the ballet Prokofiev hoped to repeat the success of his earlier Romeo & Juliet and produced a work modelled on late nineteenth century productions. Cinderella is inspired by The Sleeping Beauty (1890) of Marius Petipa and Piotr Tchaikovsky and Prokofiev followed his predecessors in turning to Charles Perrault's 1697 version of the fairy tale for his inspiration. Cinderella was deliberately escapist entertainment (it was the first Soviet ballet choreographed post-war) and its structure looks back fifty years. Cinderella draws on the classical traditions of ballet with descriptive music for the narrative, the season-fairy variations, big group numbers for the stars and guests at the ball and climactic pas de deux for Cinderella and her Prince. The third act allows for a dance divertissement depicting the prince's travels to many lands to search out the owner of discarded slipper. This section has been cut from many productions (including those by Frederick Ashton for the Royal Ballet and Ben Stevenson's productions for English National Ballet) but, happily, this has been restored as the Prince's dream for Michael Corder's current production designed by David Walker.
|
|
|
|
|
|
