000			01801nab a2200193 c 4500
001			myd_90812
003			ES-MaCDM
005			20241001092959.0
008			181003s2016 stk||||fr 00| u|eng u
040			_aES-MaCDM
100	1		_aMahiet, Damien _9138145
245	0		_aThe First Nutcracker, the Enchantment of International Relations, and the Franco-Russian Alliance _cDamien Mahiet
260			_c2016 _aEdinburgh: _bEdinburgh University Press,
300			_a31 p.
520			_aRESUMEN: Despite the lively scholarly debate on the place of The Sleeping Beauty (1890) in the political and cultural history of the Franco-Russian alliance in the 1890s, the representation of international relations in the first production of The Nutcracker (1892) has so far received little attention. This representation includes the well-known series of character dances in the second act of the ballet, but also the use of French fashion from the revolutionary era to costume the party guests, the mechanical dolls, the toy soldiers, and even Prince Nutcracker. The fairy-tale world offered a frame that not only promoted the absolutist aspirations of Alexander III's regime, but also solved the symbolic challenge of a problematic alliance between republican France and tsarist Russia. The same visual repertoire informed diplomatic life: four years after The Nutcracker, in 1896, the décor for the state visit of Nicholas II and Alexandra Feodorovna in France duplicated that of the fairy-tale world on stage. PALABRAS CLAVE: Imperial ballet, ballet des nations, Alexander III, Tchaikovsky, Vsevlozhsky, Petipa, Ivanov, Third Republic, Franco-Russian alliance, diplomacy
773			_tDance Research _wmyd_16032 _gVol. 34, núm. 2, Winter 2016, p. 119 - 149 _072889
903			_a90812 _b90812
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999			_c125955 _d125955