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in 1946 to re-open the Royal Opera House. The production featured a heavily altered choreographic text that angered
Sergeyev to such an extent that he left the company. At the invitation of Inglesby, Sergeyev soon took up the post of Ballet Master to the International Ballet. Sergeyev's stagings for
174:
from notations he prepared from consultations with
Christian Johansson, who had danced the principal male role. Based on the success of these demonstrations, the proposed notation project was approved and Stepanov soon set to work documenting the repertory of the Imperial Ballet. Among the first
45:
and music for many of the notated works. Also included are designs for stage décor and costumes, photos, and theatre programmes for performances of the
Imperial Ballet at the turn-of-the 20th century. The choreographic notations of the Sergeyev Collection record—in varying degrees of
570:
for the
Bolshoi Ballet. The décor and costumes were created from designs prepared for Marius Petipa's final revival of 1899 for the Imperial Ballet's. Designs for décor prepared for the Bolshoi Theatre's production of the turn-of-the 20th century were also
62:
of the St. Petersburg
Imperial Theatres from 1885 until his death in 1901. The dance sections of several operas are also among the notated choreographies of the Sergeyev Collection, the majority of which are the work of Petipa and Ivanov, respectively.
215:
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on 23 June 1951. Upon his death the notations passed on for a briefly to a
Russian associate of his, from whom Mona Inglesby purchased them. Through the London theatrical dealer Ifan Kyrle Fletcher, Inglesby sold the notations for
383:
both of these
British companies formed the nucleus of what is now known loosely as the "classical ballet repertory", and as a result these works went on to be staged all over the world in versions derived from Sergeyev's stagings.
146:
of the
Imperial Theatres and teacher at the school). The committee required that Stepanov first present demonstrations, known as "certifications", on the effectiveness of his new method before the project would be implemented.
525:
2007 — Doug
Fullington presented a lecture-demonstration staged for the Pacific Northwest Ballet using the notations to reconstruct various dances. These dances were performed with examples of
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in 1967. Two years later in 1969 Inglesby sold
Harvard the rest of the collection of Sergeyev's materials for a sum claimed to be around £6,000. Today the collection is known officially as the
1088:
260:, and during his appointment with the company he added more materials belonging to the notated ballets. Piano scores and orchestral parts for some of the ballets was also added, such as
110:, that would record the company's repertory for posterity. The committee, which made decisions on the appointment of dancers, repertory, etc., consisted of Marius Petipa (
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since the 1860s, but also the first production outside of Russia to include the old choreographic text as preserved under Petipa and his predecessors in St. Petersburg.
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Nicholas Sergeyev succeeded him to supervise the notation project. By the early 1900s Sergeyev had assistants aiding him in preparing the notations:
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229:, Nicholas Sergeyev left Russia with all of the notations as well as a great deal of music and other materials relating to the documented works.
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for the Mariinsky Ballet. The décor and costumes were created from the designs prepared for Marius Petipa's final revival of the ballet in 1900.
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467:. The décor and costumes of the Bolshoi Theatre's production were created from designs prepared for the Imperial Ballet's production of 1894.
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for the Bayerisches Staatsballett. The décor and costumes were created from the designs prepared for the first production of 1892.
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in Paris, but Diaghilev's insistence on altering passages of Petipa's choreography caused Sergeyev to withdraw his services.
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for the Mariinsky Ballet. The décor and costumes were created from the designs prepared for the original production of 1894.
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in 2022. The décor and costumes were created from designs prepared for the Imperial Ballet's original production of 1900.
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for the Mariinsky Ballet. The décor and costumes were created from the designs prepared for the first production of 1890.
166:, which was staged by Stepanov for the Imperial Ballet School, the first performance being given on 23 April [
474:, Doug Fullington used the notation to stage a reconstruction of Marius Petipa's original choreography for the scene
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2018 — Alexei Ratmansky used the notation to assist in staging a new production of Marius Petipa's ballet
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2011 — Sergei Vikharev used the notation to assist in staging a new production of Marius Petipa's ballet
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2014 — Doug Fullington and Alexei Ratmansky used the notation to assist in staging a new production of
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of the St. Petersburg Imperial Theatres from 1871 until 1903. Also included is notation for choreography by
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2007 — Sergei Vikharev used the notation to assist in staging a production of Marius Petipa's ballet
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2015 — Doug Fullington and Alexei Ratmansky used the notation to assist in staging a production of
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2013 — Vassily Medvedev and Yuri Burlaka used the notation to assist in staging a production of
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of St. Petersburg as it existed at the turn-of-the 20th century. The collection consists primarily of
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took over the notation project. After Gorsky departed St. Petersburg in 1900 to take up the post of
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A page of the Stepanov choreographic notation from the Sergeyev Collection for the Petipa/Minkus
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Nikolai Sergeev choreographic and music scores for the ballet Swan Lake, 1905-1924 (MS Thr 186)
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and were inspired by designs prepared for the Imperial Ballet's productions of 1885 and 1898.
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of the St. Petersburg Imperial Theatres, who brought the collection out of Russia after the
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Petipa & Ivanov, after Reisinger (music: Tchaikovsky; rev. Drigo) – 3 acts/4 tableaux
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2001 — Sergei Vikharev used the notation to assist in staging a new production of
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2001 — Sergei Vikharev used the notation to assist in staging a new production of
367:(1939). Sergeyev also began staging works with the aid of the notations in 1942 for the
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Petipa (1895) and Gorsky (1912), after Saint-Léon (music: Pugni) – 4 acts/10 tableaux
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2019 — Alexei Ratmansky used the notation to assist in staging a production of
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2016 — Alexei Ratmansky used the notation to assist in staging a production of
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529:'s choreography in order to demonstrate Petipa's influence on the work of Balanchine.
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Nikolai Sergeev Dance Notations and Music Scores for Ballets, 1888-1944 (MS Thr 245)
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2015 — Sergei Vikharev used the notation to assist in staging a production of
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2008 — Yuri Burlaka used the notation to assist in staging Marius Petipa's
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as Albrecht. This was not only the first time that the Parisian ballet had danced
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The first of these demonstrations was the notation of Lev Ivanov's one-act ballet
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developed his own method of choreographic notation, which he detailed in his book
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82:. Since 1969 these materials have been held in the Harvard Theatre Collection at
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654:. The program featured reconstructions of dances from Marius Petipa's ballets
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222:, Nikolay Kremnev (ru: Николай Кремнев), and S. Ponomaryev (ru: С. Пономарев).
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used the notation to assist in staging a production of Marius Petipa's ballet
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Petipa (music: Vizentini) – 2 acts (abridgement of Petipa's 1886 ballet
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Nikolai Legat and Sergei Legat (music: Bayer, etc.) – 1 act/2 tableaux
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2014 — Doug Fullington used the notation to present the program
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2012 — Doug Fullington used the notation to present the program
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Petipa and Ivanov, after Taglioni (music: Hertel) – 3 acts/4 tableaux
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for American Ballet Theatre. The production was later staged by the
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102:. In 1893 Stepanov proposed a project to the head committee of the
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Petipa & Cecchetti, after Saint-Léon (music: Delibes) – 2 acts
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detail—the original works and revivals of the choreographer
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for the Mariinsky Ballet. The décor and costumes were created by
722:. The program featured reconstructions of passages from Petipa's
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699:. The décor and costumes were created from designs prepared by
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2016 — Doug Fullington used the notation for the program
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Dances from Russia: An Introduction to the Sergeyev Collection
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Petipa, after Mazilier (music: Adam, etc.) – 3 acts/5 tableaux
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371:, a British touring company founded in 1941 by the ballerina
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of the St. Petersburg Imperial Theatres); Lev Ivanov (second
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Small Balletic Pieces - numerous items from various ballets.
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used the notations to assist in staging a new production of
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Nikolai Sergeev Dance Notations and Music Scores for Ballets
35:
Nikolai Sergeev Dance Notations and Music Scores for Ballets
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used the notation to assist in staging a new production of
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used the notation to assist in staging a new production of
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A drawing of Nicholas Sergeyev by Pavel Froman, 1929. From
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1946 Sleeping Beauty in Royal Ballet performance database
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Ivanov?; Petipa? (music: Tchaikovsky) – 2 acts/3 tableaux
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2011 — Doug Fullington used the notation to assist
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2006 — Doug Fullington used the notation to assist
613:. The program featured reconstructions of passages from
910:
Petipa, after Perrot (music: Pugni) – 3 acts/5 tableaux
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Petipa, after Coralli and Perrot (music: Adam) – 2 acts
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used the notation to assist in staging a production of
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used the notation to assist in staging a production of
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The Sadler's Wells Ballet staged a new production of
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The River Variations in Petipa's La Fille du Pharaon
1004:(1930 - Nicholas Sergeyev's version of the scene
830:Petipa (music: Tchaikovsky) – Prologue and 3 acts
814:Petipa, after Mazilier (music: Deldevez) – 3 acts
94:At the end of the nineteenth century, the dancer
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463:. In 2008, Vikharev staged this version for the
785:and the Stepanov choreographic notation expert
1094:Mona Inglesby obituary in The Daily Telegraph
175:works to be notated was Petipa's 1894 ballet
902:Petipa (music: Glazunov) – 3 acts/4 tableaux
126:of the Imperial Theatres and teacher of the
89:
72:
413:Noted use of the collection in modern times
194:After Stepanov's death in 1896, the dancer
974:Petipa (music: Pugni) – 4 acts/6 tableaux
918:Petipa (music: Pugni) – 4 acts/7 tableaux
628:used the notation to present the program
100:L'Alphabet des Mouvements du Corps Humain
982:Ivanov and Petipa (music: Drigo) – 1 act
312:Sergeyev utilized the notation to mount
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248:In 1921 Sergeyev took over the post of
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170:2 May] 1893. Stepanov staged
106:of St. Petersburg and its school, the
1036:: September, 2004. Vol. 94, No. 1129.
1047:: December, 2000, Vol. 91, No. 1083.
470:2004 — with the assistance of
461:Novosibirsk Opera and Ballet Theatre
720:Works and Process at the Guggenheim
652:Works and Process at the Guggenheim
634:Works and Process at the Guggenheim
13:
894:Petipa (music: Armshiemer) – 1 Act
804:Works documented in the collection
673:for the Bayerisches Staatsballett.
14:
1130:
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1030:Petipa's Le Jardin Animé Restored
624:2013 — Doug Fullington and
206:of Moscow, the Imperial Ballet's
946:Petipa (music: Glazunov) – 1 act
938:) Petipa (music: Drigo) – 2 acts
295:In 1920 Sergeyev was invited by
1089:Discussion with Sergei Vikharev
966:Petipa (music: Minkus) – 4 acts
878:Petipa (music: Krotkov) – 1 Act
781:2023 — the choreographer
776:Theatre of the Hermitage Museum
499:in staging a new production of
486:Pacific Northwest Ballet School
422:and the musicologist/professor
138:of the Imperial Theatres); and
1018:Ballet sections from 24 operas
560:2009 — Yuri Burlaka and
1:
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990:Ivanov (music: Drigo) – 1 act
846:Petipa (music: Drigo) – 1 act
1081:Harvard Theatre Collection,
1071:Harvard Theatre Collection,
1056:The Harvard Library Bulletin
691:for a joint project between
418:1984 — the historians
320:in 1924, with the ballerina
252:to the ballet troupe of the
216:Чекрыгин, Александр Иванович
66:The collection is named for
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883:The Little Humpbacked Horse
716:Commedia dell'arte Explored
589:in staging a production of
273:The Little Humpbacked Horse
10:
1135:
386:Nicholas Sergeyev died in
160:'s one-act ballet of 1848
80:Russian Revolution of 1917
1006:The Kingdom of the Shades
682:Ural Opera Ballet Theatre
608:Works and Process at the
505:Bayerisches Staatsballett
488:'s annual recital at the
90:History of the collection
875:Les Caprices du Papillon
597:Pacific Northwest Ballet
112:Premier Maître de ballet
52:Premier Maître de ballet
931:Les Millions d'Arlequin
759:for the Bolshoi Ballet.
742:Les Millions d'Arléquin
724:Les Millions d'Arléquin
693:American Ballet Theatre
557:for the Bolshoi Ballet.
522:for the Bolshoi Ballet.
407:The Sergeyev Collection
60:Second Maître de ballet
31:The Sergeyev Collection
23:The Sergeyev Collection
915:The Pharaoh's Daughter
792:The Pharaoh's Daughter
324:in the title role and
254:Latvian National Opera
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181:followed by the scene
108:Imperial Ballet School
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43:choreographic notation
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1085:, Harvard University.
1075:, Harvard University.
891:Le Halte de Cavalerie
709:The Sleeping Princess
365:The Sleeping Princess
335:At the invitation of
276:by Cesare Pugni, and
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19:
1058:, 24.1 January 1976.
1050:Wiley, Roland John.
764:Stanislav Belyaevsky
369:International Ballet
128:classe de perfection
70:, former dancer and
951:The Pupils of Dupré
851:La Fille mal gardée
827:The Sleeping Beauty
689:The Sleeping Beauty
678:La fille mal gardée
619:The Sleeping Beauty
549:Mazurka des enfants
541:Grand Pas classique
490:Seattle Opera House
443:The Sleeping Beauty
380:The Sleeping Beauty
361:The Sleeping Beauty
302:The Sleeping Beauty
212:Alexander Chekrygin
140:Christian Johansson
1119:Harvard University
1039:Fullington, Doug:
1028:Fullington, Doug.
979:La Forêt enchantée
843:Le Réveil de Flore
772:The Trial of Damis
534:Le Réveil de Flore
399:Harvard University
318:Paris Opera Ballet
246:
227:revolution of 1917
178:Le Réveil de Flore
172:Le Rêve du peintre
163:Le Rêve du peintre
28:
1045:The Dancing Times
1034:The Dancing Times
943:Les Ruses d'Amour
768:Les Ruses d'amour
750:Australian Ballet
697:Teatro alla Scala
630:Giselle Revisited
580:Teatro alla Scala
527:George Balanchine
424:Roland John Wiley
337:Ninette de Valois
322:Olga Spessivtseva
96:Vladimir Stepanov
74:régisseur-général
68:Nicholas Sergeyev
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1083:Houghton Library
1073:Houghton Library
987:La Flûte magique
797:Robert Perdziola
562:Vassily Medvedev
512:Alexei Ratmansky
478:from the ballet
297:Sergei Diaghilev
268:Édouard Deldevez
220:Victor Rakhmanov
200:Maître de ballet
196:Alexander Gorsky
185:from the ballet
153:La Flûte magique
116:Maître de Ballet
84:Houghton Library
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439:Sergei Vikharev
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405:, or simply as
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204:Bolshoi Theatre
183:Le jardin animé
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136:Premier danseur
124:Prima ballerina
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662:as well as
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450:La Bayadère
359:(1934) and
326:Anton Dolin
289:Le Corsaire
240:La Bayadère
188:Le Corsaire
132:Pavel Gerdt
1108:Categories
1023:References
701:Léon Bakst
610:Guggenheim
587:Peter Boal
497:Ivan Liśka
225:After the
56:Lev Ivanov
859:Swan Lake
731:Swan Lake
615:Swan Lake
394:Swan Lake
349:Swan Lake
299:to stage
250:régisseur
208:régisseur
934:(a.k.a.
899:Raymonda
867:Coppélia
733:for the
711:in 1921.
703:for the
695:and the
680:for the
595:for the
578:for the
576:Raymonda
503:for the
484:for the
459:for the
457:Coppélia
430:for the
355:(1934),
351:(1934),
347:(1933),
345:Coppélia
316:for the
305:for the
142:(former
122:(former
819:Giselle
811:Paquita
774:at the
757:Giselle
671:Paquita
592:Giselle
554:Paquita
357:Giselle
330:Giselle
314:Giselle
283:Giselle
263:Paquita
202:to the
571:used.
551:from
214:(ru:
718:for
658:and
650:for
632:for
617:and
606:for
547:and
514:and
286:and
258:Riga
168:O.S.
770:as
744:as
397:to
363:as
266:by
256:in
130:);
118:);
1110::
1043:.
1032:.
543:,
409:.
375:.
270:,
218:,
191:.
86:.
1012:)
958:)
778:.
737:.
726:.
684:.
666:.
636:.
621:.
599:.
507:.
492:.
434:.
134:(
25:.
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