In this Book

Swans of the Kremlin
buy this book Buy This Book in Print
summary
Classical ballet was perhaps the most visible symbol of aristocratic culture and its isolation from the rest of Russian society under the tsars. In the wake of the October Revolution, ballet, like all of the arts, fell under the auspices of the Soviet authorities. In light of these events, many feared that the imperial ballet troupes would be disbanded. Instead, the Soviets attempted to mold the former imperial ballet to suit their revolutionary cultural agenda and employ it to reeducate the masses. As Christina Ezrahi’s groundbreaking study reveals, they were far from successful in this ambitious effort to gain complete control over art. Swans of the Kremlin offers a fascinating glimpse at the collision of art and politics during the volatile first fifty years of the Soviet period. Ezrahi shows how the producers and performers of Russia’s two major troupes, the Mariinsky (later Kirov) and the Bolshoi, quietly but effectively resisted Soviet cultural hegemony during this period. Despite all controls put on them, they managed to maintain the classical forms and traditions of their rich artistic past and to further develop their art form. These aesthetic and professional standards proved to be the power behind the ballet’s worldwide appeal. The troupes soon became the showpiece of Soviet cultural achievement, as they captivated Western audiences during the Cold War period. Based on her extensive research into official archives, and personal interviews with many of the artists and staff, Ezrahi presents the first-ever account of the inner workings of these famed ballet troupes during the Soviet era. She follows their struggles in the postrevolutionary period, their peak during the golden age of the 1950s and 1960s, and concludes with their monumental productions staged to celebrate the fiftieth anniversary of the revolution in 1968.

Table of Contents

  1. Front Cover
  2. restricted access Download |
  1. Title Page, Copyright, Dedication
  2. restricted access Download |
  1. Contents
  2. p. vii
  3. restricted access Download |
  1. Acknowledgments/Note on Translation
  2. pp. ix-xi
  3. restricted access Download |
  1. Introduction
  2. pp. 1-9
  3. restricted access Download |
  1. 1. Survival: The Mariinsky and Bolshoi after the October Revolution
  2. pp. 10-29
  3. restricted access Download |
  1. 2. Ideological Pressure: Classical Ballet and Soviet Cultural Politics, 1923–1936
  2. pp. 30-66
  3. restricted access Download |
  1. 3. Art versus Politics: The Kirov’s Artistic Council,1950s–1960s
  2. pp. 67-101
  3. restricted access Download |
  1. 4. Ballet Battles: The Kirov Ballet during Khrushchev’s Thaw
  2. pp. 102-136
  3. restricted access Download |
  1. 5. Beyond the Iron Curtain: The Bolshoi Ballet in London in 1956
  2. pp. 137-168
  3. restricted access Download |
  1. 6. Enfant Terrible: Leonid Iakobson and The Bedbug, 1962
  2. pp. 169-200
  3. restricted access Download |
  1. 7. Choreography as Resistance: Yuri Grigorovich’s Spartacus, 1968
  2. pp. 201-231
  3. restricted access Download |
  1. Conclusion
  2. pp. 232-240
  3. restricted access Download |
  1. Appendix 1: A Who’s Who
  2. pp. 241-256
  3. restricted access Download |
  1. Appendix 2: Ballets
  2. pp. 257-272
  3. restricted access Download |
  1. Notes
  2. pp. 273-300
  3. restricted access Download |
  1. Bibliography
  2. pp. 301-307
  3. restricted access Download |
  1. Index
  2. pp. 309-322
  3. restricted access Download |
  1. Back Cover
  2. restricted access Download |
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.