Background
Pierre Vladimiroff was born Piotr Nikolaevich Vladimirov, on February 1, 1893, in St. Petersburg (now Leningrad), Russia. He was the son of Nikolai Vladimiroff, a Cossack, and his wife, Alexandra.
Pierre Vladimiroff was born Piotr Nikolaevich Vladimirov, on February 1, 1893, in St. Petersburg (now Leningrad), Russia. He was the son of Nikolai Vladimiroff, a Cossack, and his wife, Alexandra.
Vladimiroff first showed enthusiasm for dancing when as a small boy he leaped up to join his father's regiment in the lezginka, a virtuosic folk dance. Soon after, his godmother took him to auditions for the Imperial School of Ballet, at that time supported by the tsar and connected to the Maryinsky Theater in St. Petersburg. Vladimiroff was accepted and studied with ballet masters Sergei Legat and Mikhail Oboukhoff.
As a student, he was known for his vivacity and independence, frequently going around school with a Cossack uniform and dagger instead of the required imperial uniform. In 1911, he graduated from the Ballet School and, like all graduates, was automatically accepted into the Imperial Ballet company.
In 1912, Vladimiroff joined Sergei Diaghilev's Ballets Russes when the company toured western Europe. Diaghilev's company, formed mainly of Maryinsky dancers, gave Europe its first taste of classical Russian dancing; the tour was a great success. On his return, Vladimiroff began to get better roles at the Maryinsky, especially since Legat, premier danseur and teacher, was getting older and Vaslav Nijinsky, the Maryinsky's star, had left to dance for Diaghilev. After a quarrel with Diaghilev in 1914, however, Nijinsky left the company. Vladimiroff received another leave from the Maryinsky to dance Nijinsky's part of the Slave in Michel Fokine's Cleopatre.
According to Serge Grigoriev, a longtime regisseur of Diaghilev's Ballets Russes, Vladimiroff's execution of the role was brilliant. In 1915, Vladimiroff became a premier danseur at the Maryinsky Theater. He created roles in Fokine's Francesca da Rimini and Eros. He also made several innovations in traditional male roles. Along with the director and conductor, he arranged a dramatic entrance for the male dancer in the coda of the Black Swan pas de deux in Swan Lake. Instead of beginning from the center of the stage, he entered with a leap from the wings after the music had begun. (Vladimiroff's variation is generally performed today. ) Vladimiroff's repertoire also included classics such as Paquita, Raymonda, and Giselle.
When the Revolution occurred in Russia in 1917, the Imperial School closed for a year, although the company continued performing. Conditions were poor: there was not enough to eat, the theaters were unheated, and many dancers left. Prima ballerina Matilda Kshesinska, who had powerful political connections, offered to help Vladimiroff escape. At first, he refused, preferring to stay in Russia, but later he changed his mind. On Easter night in 1920, he crossed the border into Finland disguised as a peasant. He brought with him Felia Doubrovska, a Maryinsky dancer, and her mother.
For a time Vladimiroff and Doubrovska danced in Paris. They joined Diaghilev's company in 1921 and were immediately cast in his production of the Russian classic The Sleeping Princess (Sleeping Beauty) in London. Vladimiroff was given the part of Florestan and Doubrovska danced a solo. Although he could have remained with the Diaghilev company, Vladimiroff knew that Diaghilev had other favorites and would not give him the roles he wanted.
In 1922, Vladimiroff left to dance with Tamara Karsavina, also originally of the Maryinsky, on a tour through Eastern Europe; Doubrovska remained with Diaghilev. Vladimiroff returned in 1925 for one season with Diaghilev, then left in 1926 to join Mikhail Mordkin's Russian Ballet tour of America. In 1927, he rejoined Karsavina for another tour of Eastern Europe. Vladimiroff joined Anna Pavlova's company, his last, in 1928. Pavlova, like Vladimiroff, had left the Maryinsky to dance with Diaghilev before forming her own company. As the partner of Pavlova, the most famous dancer in the world, Vladimiroff toured Egypt, India, and Europe. He often urged Pavlova to attempt more original and inspiring productions, but she conceived of her company primarily as a vehicle for herself and was interested only in presenting old favorites.
After Diaghilev's death in 1929, Doubrovska also joined Pavlova's company. Pavlova's death in 1931 greatly depressed Vladimiroff, who decided to stop performing at the age of thirty-eight, still young for a male dancer. He then served as regisseur for a small touring company in the United States headed by Serge Lifar. In 1934, George Balanchine, who had been impressed with Vladimiroff's fine classical technique, invited him to teach at the newly formed School of American Ballet in New York City. Vladimiroff taught advanced classes and coached dancers, such as Andre Eglevsky, in the classical repertoire. Although Vladimiroff was a guest teacher with other companies for brief periods, he remained at the School of American Ballet until 1967, when he retired.
Vladimiroff died on November 25, 1970, in New York City.
From 1934 to 1967, Vladimiroff taught at the School of American Ballet, being the first teacher of the newly founded school to teach the male students. He was known for the careful progression of his classes, which helped students develop exceptionally well-balanced and strong techniques. He also provided the vital link with the great Russian tradition that is in part responsible for the speed and dazzling precision for which Balanchine's dancers are known. Vladimiroff's example encouraged the development of male dancers in America, and he left a legacy of pure classical dancing to those who pass through the School of American Ballet today.
Called by Lincoln Kirstein in 1935 "one of the noblest living exponents of pure classic style, " Vladimiroff was a splendid partner and a virile, exciting dancer known better in Russia than in America. He constantly sought more challenging and demanding roles and was willing to leave familiar surroundings to further develop his artistic abilities. According to his wife, he always missed Russia and spoke often of returning, although he never did. Vladimiroff enjoyed teaching and found that it came easily to him.
Vladimiroff and Doubrovska were married on January 11, 1922.
Was a cossack.
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February 13, 1896 – September 18, 1981 Was a Russian dancer and teacher.
