Magnificent jet from piglets: PEOPLETALK columnist Ekaterina Andreeva tells the history of the ballet “The Tales of Beatrix Potter”, which will fascinate even those who are far from the classics

Dancing has always occupied a large place in royal festivities. Especially if we are talking about the Renaissance, where one of the most famous genres in the world – ballet – was born. Its history cannot be contained in one material – it has undergone many changes throughout its existence. It originated in Italy: the well-known word comes from the Italian ballo, which means dance, translated into Russian. However, it first gained popularity in France thanks to the dances of Louis XIV, popularly known as the Sun King for his role in the “Ballet of the Night”. Thanks to French choreographer Pierre Beauchamp, the monarch became a ballet enthusiast and even ordered the construction of an Opera Academy in Paris. And it was he who further contributed to the development of ballet as a full-fledged genre.

Soon ballet appeared in other European countries – first it returned to its homeland with a new interpretation, then it appeared in the Netherlands, Denmark, and a little later in England. And although it appeared in Russia only in the 17th century, a hundred years later it formed its own school, became known throughout the world and became a canon in world art.

But today we will talk about another ballet, no less interesting. Can it fascinate those who have never been interested in this art? The answer is clear when it comes to The Tales of Beatrix Potter, a unique production that combines images from British children’s literature with the grace of ballroom dancing. Excerpts from this ballet went viral and the dancing animals fascinated millions of users. So how did this project come about and what makes it so special? Art critic, creator and instructor of the YaAndArt project and The Fashion Vibes columnist Ekaterina Andreeva talks about art, history and culture.

“Tales of Beatrix Potter” is a symbol of English childhood. Characters such as Peter Rabbit and Jemima the Duck have long been associated with country comfort. Although these stories can be understood in any language, they have deep roots in English culture. The cult status of fairy tales is confirmed not only by their endless reprints, but also by theatrical adaptations, from television versions of the 1970s to ballet productions of the 1990s.

The story began in 1968, when Beatrix Potter’s fairy tales were turned into a ballet. Christine Edzard, known as a film director, screenwriter and costume designer, met production assistant Richard Goodwin, who organized the shooting process, while working on the sets of the Romeo and Juliet movie in Rome. Their work together quickly turned into a warm friendship and then into a romantic and creative partnership. This acquaintance was the key to the creation of a unique project combining literary heritage with dance art.

Christine Edzard heard the stories of Beatrix Potter for the first time during a family visit to Britain. Richard Goodwin’s mother read to her grandchildren the story of Miss Tiggy-Winkle, a very thrifty hedgehog. This moment was the starting point for creating the production. Inspired by fairy tales, Christine showed the book to her colleague Lila De Nobili, who was working on the ballet Sleeping Beauty at Covent Garden. De Nobili immediately recognized the potential in these stories and suggested using animal images for a new project.

Artist Rostislav Dobuzhinsky was invited to work on animal masks and created the first prototypes. Dobuzhinsky, who had previously participated in the making of masks for ballet, was ideal for this task.

Instead of a traditional script, Christine Edzard and Richard Goodwin developed more than 200 sketches to outline the structure of the future film. The dances were choreographed by legendary choreographer Frederick Ashton, who in addition to working on the choreography took on the role of Miss Tiggy-Winkle, setting a precedent for male dancers.

The project encountered serious difficulties. Publisher Frederick Warne & Co., who owned the rights to the fairy tales, initially rejected the creators for fear of distortion of the original – even Walt Disney had been rejected before. But Goodwin and Edzard’s persistence paid off: the film rights were purchased for £5,000.

At the same time, active preparations for the shooting were ongoing. The masks Dobuzhinsky designed had to not only reflect the character of the characters, but also be comfortable for the dancers. They were made from bicycle helmets, polystyrene foam and artificial hair. These masks combined realism and practicality, allowing dancers to move and see everything going on around them.

Goodwin and Edzard worked independently to create costumes that combined practicality with aesthetic appeal. They created looks that made the characters recognizable while allowing the dancers to feel comfortable.

Frederick Ashton recalled: “I doubted there would be room for something so innocent in a world so full of rudeness and violence. But the people were ready for such purity and beauty.”

The film’s production was financed by EMI Films. Despite the board’s skepticism, the film was completed in 1971 on a budget of under a million pounds.

The television version premiered on June 30, 1971. The production immediately won the love of the audience with its exquisite choreography, detailed costumes and unique atmosphere. However, Frederick Ashton believed that the ballet should remain a purely cinematic work, since the dances were adapted to the characteristics of the screen.

In 1992, four years after Frederick Ashton’s death, the Royal Ballet decided to adapt the film for the stage. The premiere took place on December 4, 1992. Although critics said that the production was too long and deviated from the original idea, the audience welcomed the film with enthusiasm. Some believed that the transfer to the stage violated Ashton’s plan, but a new generation of spectators welcomed the performance. Reruns in 2007 and 2010 confirmed its popularity.

The Tales of Beatrix Potter is more than a ballet. This is a magical journey into the world of childhood where fairy tale heroes come to life. The production combines the elegance of dance, mastery of performance and a warm atmosphere that takes us back to the past.

If you haven’t seen this unique adaptation yet, be sure to take your time. This is a rare example of how art can transcend genre boundaries and capture the hearts of audiences of all ages.