Marius Petipa’s choreographic works are the cornerstone of today’s classical ballet repertoires and considered to be artistic and cultural treasures. Almost 200 years later, Petipa’s ballets and dances continue to be a vibrant source of imagination to the artistic community. Original choreographic notations, sketches of décor, and costume designs for Petipa ballets are carefully preserved at Harvard University library and other archives. Many modern choreographers study them in hopes of understanding the master and his art – classical ballet. “We are standing on the shoulders of giants” says Vasily when speaking of classical ballet’s legendary Marius Petipa and other master choreographers of that era.
“The pursuit of excellence is inherent in the very idea of classical ballet, and it implies continuous creative search, positive change, and innovation. If you think about it, then Petipa, Gorsky, and Fokine were innovators for their time, and we must preserve their legacy while sometimes striving to surpass them in some way.”
Vasily Medvedev
“I contribute in every possible way to the preservation of this unique tradition, as a stage director and as a theater director, so that culture, as a living, endless stream, reaches from its origins to future generations.”
John Neumeier
WHY WE EXIST
Our vision is to conserve the masterpieces of Marius Petipa and his contemporaries for future generations of dancers and audiences. Art does not stand still — even classical ballet is constantly changing and progressing. We feel the best way to preserve Petipa’s legacy is to revive and reconstruct his productions with modern perspectives. By carefully studying archival records, honoring original creations of the masters, and incorporating the technical and physical capabilities of today’s dancers, we allow the choreography of these early ballets to evolve and be seen in a new light.
Marius Petipa
“The most important is that classical ballet continues to live thanks to the heritage of academic repertory; to live, which means to evolve.”
Martine Kahane
