Un occhio vedico sulla “Bayadère” – Domenico Giuseppe Muscianisi – Stratagemmi 20
Natal’ja Makarova’s Bayadère is the most philological version since the main part of the origianl Petipa’s choreography drawings were lost in a burn in the early 20th century; and the Teatro alla Scala’s ensemble is philo-logically perfect for a punctual analysis on the ballet’s scenes, in search of Ideological elements into the ballet music and dances. Indian topic was a successful theme in opera repertoires of the 19th century, especially after an authentic Indian bayaderes tournée showed traditional dances across the most important European theatres. Indian bayaderes made performances on the dances of the classical canon, theorised by the mythical Bharata in the Treatise on Theatre (6-7th c. A.D.). All the Indian classical dances were born as mimetic of Vedic rituals, in which every movement is strictly codified and geometrically harmonised to every part of body: it can find a remembrance of some of these Vedic movements, especially from the Bharatanāṭyam (the most important of Indian classical dances). The solemnity of Indian gods, the statuary posi-tions of the Indian dancers, the delicate passages on points and tutus, the beauty of the plot, the choreographer genius of Natal’ja Makarova after Marius Petipa, and the perfection of Roberto Bolle, Svetlana Zacharova and all the cast form The Teatro alla Scala, all together gave of La Bayadère.