canbelto

Well actually in recent years some Russian stars (Maria Alexandrova, Irina Kolsenikova, some others) DID speak out about the extremely harsh and punitive training regimen in Russian schools. It's my understanding that many of the teachers that were named ended up retiring, and school curriculum in ballet schools in both Moscow and Vaganova was changed to be more "well-rounded," academic, more like an actual school than a ballet factory. That led to countercharges that instruction was no longer as "rigorous." But my point is that the "Russian way" CAN change. Not saying Womack went about this the right way (she didn't), but her complaints echo the complaints of other dancers at the Bolshoi, and so just to shrug it off as the "Russian way" is not productive.

I strongly disagree with this. I disagree with it when the same argument is used in the U.S. against immigrants -- "That's the way it is if you don't like it get back on the boat" rhetoric. It's the 21st century. The things that MANY Bolshoi dancers have described as "standard operating procedure" are not acceptable by 21st century standards.

Here;s the thing: I've seen many things in this thread (and elsewhere) simply shrugged off as the "Russian way." This includes securing rich patrons as lovers, abusive coaching practices, bribery, racism, and most of all, a dictatorial system of management. These are not accusations unique to Womack -- other dancers have complained about the same thing. My question, is, at what point, does the "oh well, they're Russian" excuse not fly anymore?

Megan LeCrone was promoted from corps to soloist in February of this year. Was this series filmed before then? I believe after, because she talks about becoming a soloist and getting paranoid because as a soloist, she dances less and she's always worried.

I've been watching this series with interest and I'm very surprised at how insecure Megan LeCrone seems. She's one of my favorites and I hope she becomes more secure doesn't just worry constantly "what Peter wants."

Very tense moment between A. Asylmuratova and Tsiskaridze. The body language is very telling, and Asylmuratova looks like she's fighting back tears. I don't see them working together for long.

This might sound weird, but here goes. In figure skating, there is a certain type of person (usually American, with a little bit of wealth but perhaps not that much) who becomes infatuated with the idea of "Mother Russia." This type of fan will adopt a Russian name, Russian mannerisms, follow around Russian figure skaters, and a few will go that extra step of only speaking in Russian. It's not just fans -- Johnny Weir is exactly that kind of skater. Luckily for Weir he's married a Russian and seems to be living the dream. Happy for him. From Womack's interviews it sounds as if she had an extreme version of this mentality. A more practical-minded 18-year old graduate of the Bolshoi school might have taken that diploma and fielded a variety of offers from various companies before taking the best offer with the best contract and terms. Instead, she arranges a phony marriage, ran into financial problems, and seems to have encountered some shady people who took advantage of her aggression and ambition, and finds herself unemployed (or is she?) at 19. She's very bitter that it didn't work out, and she's not handling it maturely. But seriously, ballet doesn't have to be about leaping onstage as Odette/Odile on a Russian stage. Great big world out there, and while she's young and uninjured, she should just explore other options.

It's eery how similar Womack and Angelina Vorontsova's complaints about the Bolshoi were, except Vorontsova was getting far plummier roles and also had what she thought was the protection of both a boyfriend and an influential teacher.

J. Stafford has had a lot of injuries in the past seasons. A shame.

I know it's really cheesy but I love Waterloo Bridge. Movie always makes me cry. http://www.youtube.com/watch?v=uzWpExwQkQA

Perm is a smaller theater with a smaller troupe. I'd imagine that many corps de ballet members double in solo parts. The Bolshoi is a 200-member behemoth and I'm sure all 200 members all think they deserve solo parts, but only a small portion of them ever get those parts. In that climate it's not surprising that there are middlemen who take bribes from insecure corps de ballet members in exchange for lobbying for that corps girl to get a solo. It's good that Womack was able to find another company and get out while she's still young.

It's also unclear whether "sponsor" is meant in the corporate sense in that she find some wealthy donors willing to pay for part of her training and living expenses as a dancer, or whether "sponsor" is meant as a euphemism for the Mathilde Kschessinskaya-type "patron."

The "sponsors" part sounds very realistic. Even in American ballet companies dancers have their appearances "sponsored." ABT even lists the sponsors in their programs, something I always find very cringeworthy. As for paying for solo parts, I'd be interested in whether this was official company policy, or there's a middleman involved -- a coach or staff member who was shaking up ballet corps members for bribes.

There is now a public petition: http://www.onlinepetition.ru/viewsigns.php?pUrl=%D0%BF%D0%B5%D1%82%D0%B8%D1%86%D0%B8%D1%8F-%D0%B2-%D1%81%D0%B2%D1%8F%D0%B7%D0%B8-%D1%81-%D0%BD%D0%B0%D0%B7%D0%BD%D0%B0%D1%87%D0%B5%D0%BD%D0%B8%D0%B5%D0%BC-%D0%BD-%D1%86%D0%B8%D1%81%D0%BA%D0%B0%D1%80%D0%B8%D0%B4%D0%B7%D0%B5-%D0%BD%D0%B0-%D0%B4%D0%BE%D0%BB%D0%B6%D0%BD%D0%BE%D1%81%D1%82%D1%8C-%D1%80%D0%B5%D0%BA%D1%82%D0%BE%D1%80%D0%B0---%D0%B0%D0%BA%D0%B0%D0%B4%D0%B5%D0%BC%D0%B8%D0%B8-%D1%80%D1%83%D1%81%D1%81%D0%BA%D0%BE%D0%B3%D0%BE-%D0%B1%D0%B0%D0%BB%D0%B5%D1%82%D0%B0-%D0%B8%D0%BC--%D0%B0--%D1%8F--%D0%B2%D0%B0%D0%B3%D0%B0%D0%BD%D0%BE%D0%B2%D0%BE%D0%B9-

Well actually if you look at the history of "new buildings" for the arts there were many complaints that the new buildings had/have poor acoustics and other logistical problems. A good example might be Lincoln Center -- Avery Fischer Hall is known as one of the most acoustically dead orchestral halls there is, and the "new" Metropolitan Opera has very poor sightlines in many parts of the house as well as acoustical dead spots on the stage. The NY State Theater (now Koch) also was designed to be built for ballet but when it was the house for the NYC Opera they had to use amplification because of the poor acoustics. I don't think in these cases it's intentional. It's more like many modern architects are not familiar with how to build or refurbish performing arts theaters.

Vaganova teachers signing a petition: http://www.infan.ru/news/?338920 Also, Vera Dorofeeva's name and picture have been removed from the Vaganova website.

http://www.ismeneb.com/Blog/Entries/2013/10/29_Asylmuratova_said_to_be_still_considering_options.html "The dismissal of the Rector automatically terminates the contracts of her deputies, including the artistic director." I'm not sure how many teachers are considered deputies, but it sounds like their contracts are terminated until they are renewed by the new Rector? An offer you can't refuse.

Appointment as in nomination? Then, that sounds like a sentence Orwell could have written. If it means approved appointment, then if they don't approve he would have nothing to say about their contracts, unless the next approved Rector was a puppet. If they don't succeed in blocking his approval, then he could retaliate by refusing to renew their contracts. Vera Dorofeeva resigned, so the articles (I can't find them now) say that all contracts have thus expired and are up to the incoming rector (Tsiskaridze) to renew or terminate. So basically ... they're already fired unless they approve.

Some articles said that the rector's appointment would mean that all of the staff of the Vaganova's contracts would expire and be up to the rector to renew. So ... they can agree to this appointment, or be dismissed, or resign.

Dorofeeva is now talking to the presses: http://www.ismeneb.com/Blog/Entries/2013/10/31_Tsiskaridze_too_scandalous_to_run_a_school.html Dorofeeva now saying that Tsiskaridze's appointment will "combine both" the position of Rector and AD.

Stanislav Belyayevsky, a teacher at the Vaganova who has published some lovely coffee table books of the Academy, has put out a strong statement on his public Facebook page: His page has also been filled with his own personal photos of Asylmuratova teaching students.

Plus the rushed nature of this transition is very weird. They could have told Asylmuratova that this would be her last year as A.D. of the Vaganova and she would get to finish the 2013-14 graduating class. But this sounds very much like both the rector and A.D. were told "not to come back on Monday."

This line was chilling: That sounds a lot like a code for "please be advised to accept your dismissals without any protest or comment." p.s. In light of today's events I wonder how much of Tsiskaridze's conflicts with the Bolshoi were staged. Todays articles have said that Tsiskaridze had been in "talks" to take over the Vaganova for "a year."

http://www.themoscowtimes.com/arts_n_ideas/article/nikolai-tsiskaridze-to-head-vaganova-ballet-academy/488611.html Wow. So the appointments are immediate, as Tsiskaridze starts Tuesday. If the Vaganova staff/students did not know this was coming, what an unpleasant "Monday morning surprise." I feel sorry for Asylmuratova and her husband Zaklinsky. Some of Zaklinsky's students have youtube accounts and blogs and they routinely praise him as an extremely kind and inspiring teacher. I'm also very disturbed about these developments in light of the recent crackdowns on all sorts of dissident activities in Russia. Seems as if sudden dismissal of Vaganova staff sends a message: be afraid, be very afraid. No job is safe, no artist "honored" enough that he or she can afford any brush with the ruling authority.

Kolpakova is 80 years old and has a family in NY. She's also queen bee of the ABT -- the chief coach and indispensable to Kevin McKenzie. I doubt she'd be willing to take such a heavy position at this time.