Anna Ekston E. Litvinova balletistuudio õpilasena 1923. | Anna Ekston as a student of Eugenia Litvinova ballet studio in 1923. | src Eesti Teatri- ja Muusikamuuseum on FBAnna Ekston Antverpenis 1929, Flaami Kuningliku Ooperi balletisolist. | Anna Ekston in Antwerp in 1929, ballet soloist at the Flemish Royal Opera. | src Eesti Teatri- ja Muusikamuuseum on FBAnna Ekston E. Litvinova balletistuudio õpilasena 1923. | Anna Ekston as a student of Eugenia Litvinova ballet studio in 1923. | src Eesti Teatri- ja Muusikamuuseum on FB
Mlle. Spinelly s’eveille dans Le Cochon qui sommeille (The Sleeping Pig). [Ph. Isabey] [Les Belles Images] Published in Fantasio: magazine gai. 1 Février 1919 | src BnF ~ GallicaLa Jolie Danseuse Napierowska dans La Reine Joyeuse. [Ph. Talma] [Les Belles Images] Published in Fantasio: magazine gai. 1 Février 1919 | src BnF ~ Gallica
Hannes Krock bei einem Auftritt als mimischer Tänzer (mimische Tänze u. Clownerien), Amsterdam ca. 1934. [Hannes Krock performing as a mimic dancer (mimic dances u. clowneries)] | src Jüdisches Museum Berlin
Kasyan Yaroslavich Goleizovsky’s avant-garde choreography of Prokofiev’s Visions fugitives, Nºs 10-11 (Ridicolosamente, Con vivacità) for his own company, the Moscow Chamber Ballet, in 1922. The configuration of the bodies is architectonic, like so much art of the time, and acrobatic. The avant-garde costume design was adapted to the new dispositions of the body. | src The Russian Art of Movement review
A moment from the dance Marche Fúnebre (Moscow, 1921), choreographed by Kasjan Goleizovsky, music by Nikolai Medtner, photograph by Daniil Demutsky. Depicted: K. Kuznetsova, Tat’iana Miroslavskaia, and L. Gai. From: Nicoletta Misler: The Russian Art of Movement 1920-1930, page 211. | src Karl Toepfer
Maurice Goldberg :: Jean Börlin i Harlekin, ca. 1920. | src Dansmuseet on IGJean Börlin in Harlequin (1920), with costume by Nils Dardel. | src Dansmuseet on IG