Abstract
ABSTRACTThis article deals with the dance-related layer of Eisenstein's Gesamtkunstwerk-film, Ivan the Terrible (Part 1, 1944; Part 2, 1946). Narrative and visual borrowings from the famous ballet Swan Lake, whose leading star Galina Ulanova was to play Anastasia in Ivan the Terrible, are examined in the first part of this essay. Another part discusses seemingly wild, yet meaningful and thoroughly staged steps of the oprichniki's dance in Part 2 as opposed to the majestic choreography of the wedding feast shown at the film's beginning. As argued in the final part of the article, Eisenstein chose to use choreography as a specific type of narrative, which could reveal the hidden message that the pre-censored scenario was not supposed or allowed to put into words.
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