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Acknowledgments Although my love for Russian ballet began decades ago, without the superb language-teaching skills of Professors Andrews and Grenier at Georgetown University, this book would never have been possible. I am eternally grateful for my “Russian family,” which includes Anastasia Vasilievna, for her constant support and openness, for smiles when others were frowning, and help in obtaining the final interviews for this manuscript; Grisha P., for being a forever constant, supportive friend, a creature at once more Russian and less definable than anyone I’ve ever met; Islom and Katya for their openness, friendship, and for providing a small oasis of comfortable, open “Western” interaction amid the sea of Russians; Sveta Ivanova for helping me to feel at home in the larger, more enriching world of the Mariinsky Theatre and for her unquestionable trust and our valuable friendship; Jill S., for becoming my best friend and partner in crime, for sharing stories of her many years in Petersburg and supporting me through the inevitable frustrations that only Westerners can understand, and for sharing in the moments of joy and small achievements in the course of working on this manuscript; Ira Fedortsova, my guardian angel many times over for her help, friendship, and understanding, for revealing to me that there is such a thing as a Western-oriented Russian in Petersburg; Anastasia Fedotova, for providing the literal key to a sacred, historical space at 93 Canal Griboedova that proved a retreat where I could write and think; Oksana Tokranova, for her endless professional support, her faith in me, her kindness and friendship; and Elena Lollo, for enduring my numerous requests and responding with prompt efficiency and professionalism to each one. The photographs in this book are courtesy of the archives of the Mariinsky Theatre, individual photographers, and Stanislav Belyaevsky. xvii xviii • Acknowledgments My gratitude to everyone for their help in providing visual support to accompany the text. My deep appreciation to Meredith Babb for believing in this manuscriptfromtheverystart ,andtoeveryoneelseattheUniversityofFlorida Press for their assistance and professionalism in helping this manuscript become a book. To Marthe Walters for her prompt efficiency, flexibility , and kind explanations throughout the final stages of the publication process; to Patterson Lamb for her patience, flexibility, and responsiveness duringthecopyeditingprocess.Withoutallof you,this smalldream would never have become a reality. In the United States, special gratitude goes to Mary Ellen Hunt, for her friendship across oceans, enthusiastic support, keen editorial eye, selfless understanding, and for sharing both my passion for Russian ballet and, vicariously, a very special journey with me. To my big brother and close friend Nikolai Kabaniaev, who was perhaps the sole individual who supported my crazy dream of moving to Russia before I ever left the States, for his early collaboration and help with contacts as I first began this journey, and for encouraging me to write a book. To my sister Margaret, for patiently and attentively reviewing early sections of the manuscript, for her wise counsel, ongoing interest, and support in this project. To Milena Dostanich, for helping me to understand parts of the Eastern mindset, for being a true friend, and for always encouraging me to dream big. To Toba Singer, who inspired the idea for the final structure of this book; to Heather Barrett, who shared wise, practical advice and helped me navigate the publishing process. To Claudia Bauer, my long lost ballet sister, for her valuable input and help at the final stages of the manuscript. Last but most certainly not least, to my parents, for providing me space to finish this book. To all of you and countless others , I am eternally grateful. To all of the dancers at the Mariinsky Theatre, both past and present, for upholding the traditions of Vaganova’s training and style—no matter what the consensus is regarding its status—hour after hour, year after year, in the studios and onstage, for dedicating yourselves to an arguably dying art form, and for providing a world of beauty and idealism, a much preferred alternative to the harsh realities of the other world in which we live and breathe, this is for you. ...

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