Rebellion at the Maryinsky
Posted 13 May 2000 - 05:33 AM
Bascially, complaints were voiced against the authoritarian style of the management; the endless tours causing fatigue; the choice of repertoire (too much Balanchine); the favoritism for the youngsters.
Valery Gergiev is said to have named three candidates for the succession: Dmitri Bryantsev, chief-choreographer of among others the Stanislavsky Theatre in Moscow; Nikita Dolgushin, former Kirov star and now professor; and Igor Zelensky.
Anyway, the conflict has been settled, everything remained the same, and according to Stupnikov the whole affair was unsuccessful because of the lack of a proper leader. Stupnikov comments rather contemptuously: “If anyone would have joined with the opposition, it would be old-timers: the theatre had renounced the Soviet version of “The Sleeping Beauty” on which an entire generation of dancer grew up (...). In doing so, the theatre fell out with nearly the entire population over the age of fifty.”
Yet, he has to admit that this whole unhealthy affair, quieted down for now, shook everybody up. And stars are still fleeing or are rumoured to leave the company: Samodurov went to Amsterdam, Ivanchenko and Batalov are said to be looking for a position in a Scandinavian company, and rumours also have it that Diana Vishneva (who according to the article, actively supported the rebels) is going to sign a contract with ABT.
Posted 13 May 2000 - 06:51 AM
[This message has been edited by Kevin Ng (edited May 13, 2000).]
Posted 13 May 2000 - 07:21 AM
Posted 13 May 2000 - 08:57 AM
Besides, since when is the West so "hungry" to see Balanchine performed by a company which is about as attuned to Balanchine as New York City Ballet is to Yakobson or Zakharov? I haven't seen much proof of that, unless of course you consider the at best condescending tone of many Western critics commenting the Russian way with Balanchine a sign of hunger for more .
Posted 13 May 2000 - 09:55 AM
Posted 13 May 2000 - 10:09 AM
Posted 13 May 2000 - 10:54 AM
But isn't it depressing that they are rebelling against 'too much Balanchine'? Is that because it is difficult to dance? ]
Yes, it is depressing if it's really true that they are 'rebelling against too much Balanchine'. The Kirov dancers should grasp that Balanchine's choreography is in many ways a logical extension of their own Petipa repertory, and that dancing Balanchine is beneficial to their company style.
Posted 13 May 2000 - 12:04 PM
But I think that there antipathy towards Balanchine is as much due to Russian Nationalism then artistic reasons. Balanchine represents America. It seems now that the old enemy having beaten the Russians in the Cold war is now challenging the Russians in that most Russian (supposedly) of past times- ballet! It is just another humiliation to the Russian old guard.
I take this view because it is so obvious to anyone that the Kirov repertoire is dated and stale - a museum piece. No one in the Kirov can object to the introduction of Balanchine on artistic reasion given the current Kirov repertoire.
Posted 13 May 2000 - 12:20 PM
Posted 13 May 2000 - 12:25 PM
Posted 13 May 2000 - 03:04 PM
Michael, I agree (about killing the King). When coups don't work, it usually means that the King has even more power.
Posted 13 May 2000 - 03:58 PM
Speaking up for both museums AND ballet companies...
Posted 13 May 2000 - 04:00 PM
I think Debbie Bull ( a principal with the RB) best summarize the purpose of a ballet company as to be a "musuem and a laboratory" as quoted in a debate at the Oxford Union. The trouble with traditional ballet is that the repertoire is too small for a ballet company to rely to much on. There cannot be mroe then 10 full length works of the classical period that can be staged (historical curiosity like the Daughter of the Pharoah and the Kirov Corsaire are excluded). Ballet companies far more then opera companies need new works.
Posted 13 May 2000 - 04:57 PM
I particularly like that last sentence.
Posted 13 May 2000 - 05:13 PM
Mel, good point about museums. I'm sure you're remembering Richard Pleasant's idea for ABT and its many "wings." I think Joffrey also well understood the concept of exhibits. There has to be room for both.
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